The major communication strategy for any cultural centre is to create and animate a community of friends and influencers, able to generate powerful word to mouth and regular visits. It translates into community manager efforts on social networks and newsletters, and intense relationships with national and local media, tv, press, radio, bloggers, cultural webzines, etc.

 

        For cultural centres facing unfriendly political environment and limited opportunities to broadcast cultural content, getting the strategic support from the media can be difficult and digital communication is not powerful enough to reach new audience. In that case, a key way to reach new audience is by using public areas as exhibition/event spaces. The strategy is simple: if people don’t come to us, let us come to them. Thus, cultural centres often produce cultural events in streets and parks to get interest from people unused to artistic and cultural practices.

>> See more in the interview of the managers of Tambo de Bronce in Arequipa, Peru

           

      Some cultural centres follow the same guideline -if people don’t come to us, let us come to them- when broadcasting their cultural agenda. It leads them to develop in-the-field communication strategies, focused on regular immersions into everyday life of the audience as well as physical exchanges with the population at a local level. The methods are various: door-to-door communication, diffusion from a car or directly from the cultural centre using a megaphone, broadcasting pre-recorded supports in local public transports by radio, communication tools with support of local retailers.

>> See more in the interview of the managers of Corporación cultural Nuestra Gente in Medellin, Colombia

 

         The networking process has been well integrated by some of the independent cultural centres that 2ème Lieu met. First, networking arrangements can maximize visibility of cultural centres towards public institutions and potential audience first. By collaborating with similar or bigger centres, public or independent, a cultural centre is able to use the attractiveness of the other institutions to develop its own. The number of visitors, the potential touchpoints and the reputation of the partner become communication opportunities. The collaboration procedure is not always obvious when the cultural c is having difficulties to organise itself, but integrating quickly network facilities still appears virtuous for communication process. 

See more in the interview of the manager of Casa Ida in Lima, Peru and Tambo de Bronce in Arequipa, Peru.

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        The touristic approach can lead cultural centres to increase their visibility to new users. Indeed, their dynamism or the architectural singularity of the place, can be a manifest reason to spot the cultural centre as a highlight of a city and town. Then, they can raise their profile by referencing their activities and originality on touristic networks and dedicated media.

See more in the interview of the manager of Farm Cultural Park in Favara, Italy

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        The digitial existence of a cultural centre and its community management abilities became crucial issues to engage people around its activities and to create loyalty. With good knowledge of digital tools, time and agility, your community will grow. Nevertheless, unexpected use of social networks can be a brilliant way to buzz and spread the word about your place in one shot.

See more in the interview of the manager of Farm Cultural Park in Favara, Italy