Understanding audiences, part one
Deciding how to engage with your audiences will dictate much of the rollout of your strategy. While some institutions find a ‘broadcast’ method of communications effective (never engaging or commenting beyond the initial messages) others have found that engaging is a productive way to build support around a project or practice.
As you decide on your plan, explore who you might reach within these categories.
Engaged/Passive Allies
This audience is likely to engage in social justice work and broadly support the project.
Do: Encourage their participation and give them more opportunities to support the project.
Don’t: Endlessly amplify them (for example, by retweeting or resharing) and risk inflaming your engaged critics further.
Curious Neutral/Passive Critics
These audiences will have some concerns about the project but not lash out or attack right away. There is a clear opportunity with this audience to engage them, demonstrate that you’re listening, and recognise their needs and fears.
Do: Clear up any good-faith misconceptions and build relationships.
Don’t: Antagonise or provoke into stronger action.
Engaged Critics
This audience is likely to engage in stronger but civil confrontation. There may not be a way to convince or pacify them but we can still show that we value their engagement with the project. Be open to scrutiny.
Do: Acknowledge their feedback and comments in good-faith or if you have a clear response, consider responding indirectly through a new message.
Don’t: Give them easy targets or provoke into action.
Malicious Critics
This audience, otherwise known as ‘trolls,’ are not interested in good-faith discussions about the project. They likely have a surface understanding of the objectives and will be responding to incendiary media coverage or key words. They are also likely to use racist or prejudiced language.
Do: Recognise and avoid trigger words or phrases that stir up conflict. Hide racist and explicit messages if possible.
Don’t: Engage or amplify.
Image: Connecting with Yemeni Elders Heritage project at House of Memories © National Museums Liverpool, Gareth Jones