Prepared by:

Chong Chung Puo 21415941 Marion Ang 21415914

Muhammad Syukri B Selamat 21266323, Nurwafah Binte Kharuddin 21427446

Shahfii Mohamed Ali 21427301 Siti Mahmudah Binte Abdul Muttalib 21427375

CONSULTANCY REPORT

Commisioned by:

Communication Strategies and Tactics for First Take

1

TABLE OF CONTENTS

Executive Summary .................................................................................................................................... 2

Introduction ................................................................................................................................................ 3

Client’s Profile ............................................................................................................................................ 4

Target Audience ..................................................................................................................................................... 5

Needs and Motivation ........................................................................................................................................... 7

Communication Objectives ........................................................................................................................ 8

Key Message ............................................................................................................................................... 8

Communication Strategies and Tactics .............................................................................................................. 9

Partnership and Collaboration (Communication Objective 1) .................................................................... 9

Digital Presence and Media Relations (Communication Objective 2) ....................................................... 11

Relationship Marketing (Communication Objective 3) ............................................................................. 16

Budget ................................................................................................................................................................... 19

Evaluation ................................................................................................................................................. 20

Conclusion ................................................................................................................................................ 21

Annexes ..................................................................................................................................................... 22

References ................................................................................................................................................. 26

2

CONSULTANCY

BACKGROUND REPORT

EXECUTIVE SUMMARY

The Substation, which is the converging point for many aspects of

Singaporean artistic culture, is running a monthly event, called First Take,

which seeks to further broaden the reach of local film, and encourage the

networking, as well as continued contributions from budding Singaporean

filmmakers. This report outlines tactics and strategies, which have been

specifically designed to guide the Substation towards achieving these two

objectives.

Market research conducted prior to the undertaking of this report has shown

that 58 per cent of the Singaporean populace are open to being “converted”

into “consumers” of arts, be it in dance, theatre or music. Additionally, a

survey conducted by the report committee has found that 86 per cent of

respondents are receptive towards First Take, even though 62 per cent of

them had not heard of the event before. These figures indicate that there is a

broad scope available for the undertaking of a campaign aimed at prompting

greater participation of these targeted audiences at Substation events, and

by extension, in First Take.

In line with the objectives of First Take, a series of strategies have been

proposed, and categorized into three distinct groups: Partnerships and

Collaboration, Digital Presence and Media Relations, and Relationship

Marketing. Each strategy proposes a targeted approach at raising the profile

of First Take among Singaporeans, through a concerted and complementary

mix of tactics that range from institutional cooperation, establishing a

stronger digital presence, securing media coverage, and building relationships

with the key audiences. To facilitate the success of any similar campaigns in

[ARTISTIC

MISSION]

“A critical and rigorous

developmental space for

interdisciplinary

contemporary art practice

in the context of

Singapore and the region

through active

partnerships,

collaborations and

dialogues with diverse

artists and communities.”

3

future, an evaluation system to be conducted post-campaign has been introduced, to assist in determining the

methods, which resonate better with key audiences.

With the support of background research, an independent survey, and the development of tactics based on the

considerations of threats, opportunities, limits, this report hopes to have introduced a viable communications

strategy for the accomplishment of First Take’s objectives.

INTRODUCTION

The Substation is Singapore’s first independent Contemporary Arts Centre that was founded in 1990 by arts

director Kuo Pao Kun, and aims to “promote research, experimentation and innovation in the arts”, and aspires

“To be a critical and rigorous developmental space for interdisciplinary contemporary art practice in the context

of Singapore and the region through active partnerships, collaborations and dialogues with diverse artists and

communities” (The Substation, 2014).

However, even as the arts scene grows exponentially, it remains confined to a small community, with the

general public still uninterested or unaware of the developments of the local arts sphere. As Singapore embarks

upon the third phase of the Global Arts of the City ideology with Renaissance City Plan1, The Substation should

leverage on the building momentum of the growing artistic movement and community to further plant itself as a

prime arts hub or institution.

More specifically, this consultancy report will set out the communication strategies and key messages, along

with the communication goals and objectives of The Substation’s ‘Moving Images’ film initiative First Take. First

Take is monthly event that takes places every first Monday of the Month. The venue for this event has largely

been The Substation (Arts Centre) itself, Timbre Arts House) and La Salle (Arts School). First Take is to be a

platform for new filmmakers as well as anyone who is interested in filmmaking to showcase, meet, exchange

ideas and show their work (The Substation, 2014). Local short indie films are showcased during this event,

followed by a question and answer session. This event is widely popular among novice arts practitioners.

Additionally, communication strategies by other similar art institutions or organizations will be examined, and be

accompanied with analysis and comparison on how arts (including film) has been promoted overseas, and what

degrees of success these programmes have yielded.

1 Initiative by National Arts Council and National Heritage Board to promote arts and culture in Singapore. [Link:

http://www.mccy.gov.sg/~/media/MCCY-corp/Topics/Arts/Files/RCPIII_Bk1.ashx]

4

CLIENT’S PROFILE

The Substation is Singapore’s first independent contemporary arts centre, which promotes and champions

research, experimentation and innovation in the arts. The Substation also plays host to film exhibitions, theatre

productions and film screenings, which particularly pays homage in nurturing emerging artists. Among the few

programmes and initiatives offered by The Substation, ‘Moving Images’ First Take is one of the programmes

formulated for every one and anyone who are willing to watch local films. The programme, which has been

going on for 10 years strong is held first week of every month (normally on Mondays) and will run for two to

three hours.

Client’s Needs (Objectives)

The Substation’s main organizational goal is to promote itself as the primary space for interdisciplinary artistic

practices locally and regionally through active partnerships, collaborations and dialogues with diverse artists and

communities. The Substation also seeks to extend its reach beyond the artistic community, and propositioning

itself to be the leading venue that nurtures aspiring filmmakers and facilitates audiences’ appreciation toward

local film. From this, the needs of First Take can be categorized into two main and distinctive objectives.

1. The primary objective of First Take is to provide a free and open platform where anyone and everyone can

screen their short films to the general public.

2. The secondary objective is to provide a place/platform where the filmmaking community can gather and

share information. The screenings are followed by a short Question and Answer (Q&A) session with the

filmmakers, where they often end up sharing tips, and having discussions about the film.

Resource(s) and Constraints

The Substation’s only resource factor is its convenience of usable space. Despite hosting itself as a contemporary

arts venue, First Take has been staging their event at The Black Box (a hall within The Substation space) until

recently, when the programme was moved to the LASALLE College of the Arts in anticipation of event

disruptions stemming from SMU’s construction project in Fort Canning Green, located just behind The

Substation. Another constraint is their minimal outreach efforts and success in such efforts, as the programme

remains popular only within the filmmaking community. The final constraint factor is The Substation’s lack of

partnership and collaboration with other arts organizations. A brief SWOT analysis for First Take is provided

below (Figure 1).

5

Figure 1: SWOT Analysis

TARGET AUDIENCE

As most art forms are widening their target audience, it is appropriate to review literature across different arts

genres in determining the target audience for First Take. From the Singapore’s Biennale Festival, Chang and

Mahadevan (2013) identified and segmented Singapore’s arts audiences through their attitude and behavior

towards arts into four distinct groups. The devoted art lovers categorized as ‘converted’ constitute 14% of the

population, while the ‘unconvertible’ segment – who have no interest in arts or participating in at arts events -

make up 28% of the population. The other 22% and 36% of the population refers to the ‘high potential’ and

‘potential’ segments respectively. The last two segments present themselves as favorable target audiences for

First Take’s primary objective. This group has a tendency to respond positively and provides a good investment

to arts programmes or events. At the same time, the mindset of this group can be developed to greater

encourage their active participation in future artistic endeavors. (Lim, 2012).

Although The Substation are looking to develop their audience to ‘everyone’, it is important to scope a more

specific audience. To further understand the groups that Chang and Mahadevan have identified above, it is

insightful to use Hayes and Slater’s framework (Tajtakova and Arias-Aranda 2008) (Table 1) and classify

audiences based on their level of attitudinal (positive vs. negative) and behavioral loyalty (high vs. low

attendance).

6

Yes (interest) No (interest)

Yes

(Attendance)

A

Art Lovers

(current audience)

*Existing market

C

Potential

(Indifferent, the participation is

influenced by other people or by

circumstances)

*Secondary soft target

No

(Attendance)

B

High Potential

(intenders, latent interest)

*primary soft target

D

Unconvertible

(indifferent/hostile)

* hard target

Table 1: Adapted from Hayes & Slater (Tajtakova and Arias-Aranda 2008)

By analyzing the table above and looking at The Substation’s need to widen their target audience, the ‘everyone’

that they have identified are made up of the ‘Potential’ and ‘High Potential’ group. Audience development

remains a critical growth for The Substation to deepen organization’s role in the arts industry (Hand 2011, p. 89).

However it is safe to give the least attention towards the ‘unconvertible’ group as converting them will involve a

high investment with unpredictable results (Tajtakova and Arias-Aranda 2008).

The Substation should also strive to retain their small following of film enthusiasts. The majority of the First Take

audiences are polytechnic students enrolled in arts courses, and therefore, it would be apt to designate them as

a core target audience, seeing as the number of those enrolled in arts courses in 2012 constituted the biggest

proportion of all diploma students (Ministry of Culture, Community and Youth 2013). It is interesting to note

that while the arts student might be the existing and the soft market, they could also become advocates for First

Take. A relationship communication strategy, (sharing and inviting friends to join) could mean they would play

an active role in converting the ‘potentials’ group to attend First Take (Tajtakova and Arias-Aranda 2008). From

the Youth Arts Qualitative Study (National Arts Council 2011), most students who pursued arts in the course of

7

their tertiary education were highly likely to display a passionate interest in the discipline, and as a result, are

expected to possess a ‘higher’ need to be educated.

Although they already have a steady following within the film community, The Substation continues to search

for and discover new aspiring filmmakers, with the objective of introducing them to First Take as well as the

greater network of more experienced film directors. With the rising number of institutions offering film studies

such as School Of The Arts (SOTA) - which recently launched its Film programme - polytechnics, universities and

Institute Of Technical Education, there is anecdotal evidence of a growing demand and supply for local short

films.

NEEDS & MOTIVATION

To understand the needs and motivation of the target audience, it will be insightful to use the taxonomy of

benefits (Boorsma 2009).

1. Functional or cultural benefits /educational benefits – linked to a thirst for cultural knowledge.

2. Symbolic benefits linked to the need to demonstrate one’s social position or personality.

3. Social benefits linked to the need for social contact and interaction with others.

4. Emotional – or hedonistic - benefits linked to the desire for pleasurable experiences, which can be

stimulating or relaxing experiences, and to the need to escape from daily problems and routine.

A careful relook at the list above reveals that the most common motivators are (i) emotional impact, (ii)

escapism, and (iii) edutainment (Radbourne et al., 2009). Notably, these motivation(s) among potential

audiences can be distinct and overlapping. Contemporary arts audiences are now classifiable more commonly as

consumers, having a different set of expectations and needs from a decade ago. According to Lehman (2009),

the museum sector reveals that audiences seek a ‘sense of empowerment through arts, not only wanting to

observe in the artistic creation process, but to also be active participants at the same time. Audiences no longer

passively attend an arts event, but they seek to be engaged and are ‘on a quest for self-actualization where the

creative or cultural experience is expected to fulfill a spiritual need’ (Radbourne et al., 2009).

Furthermore, the report committee’s research conclusively arrives at the notion that “marketing to mass

audiences involves a mediated advertising strategy, as arts in particular is said to be an acquired ‘taste’ in the

sense that you have to be exposed to it in order to develop the taste” (Sayre 2008, p. 85). An intensity chart

outlining our target audience and communication objectives is illustrated in Annex B, p. 20.

8

Radbourne’s research also largely resonates with the findings (Annex A, pp 18-19) derived from our own

research, which had determined that audiences were driven mostly by entertainment (emotional impact) and

cultural exposure (edutainment).

COMMUNICATION OBJECTIVES

The Substation and First Take remain generally unfamiliar to people outside the artistic community. Thus it is

significant to first increase the awareness to the target audience and provide knowledge to the audience. From

the client’s programme needs and the above SWOT analysis (Figure 1), three main communication goals can be

drawn out, and will serve as guiding parameters in establishing relevant communication strategies for

implementation. The proposed communication objectives are:

1. To enhance the visibility (and educate current and potential audiences) of The Substation and First Take by

10-20%.

2. To persuade audiences to watch more local films, (and remove the perception that Singaporean films are

inferior) and increase First Take’s viewership by having 75% attendance at every screening.

3. To inform, remind and highlight to film enthusiasts (students) about First Take, and have a subscription

database of 50 members after the campaign concludes in six months’ time.

*KEY MESSAGE*

The key message for The Substation’s First Take will be:

“Support independent local films”

The communication strategies and tactics will underline the key message as a broad approach on how the

targeted primary and secondary audience can be persuaded and influenced to support independent local films.

9

COMMUNICATION STRATEGIES AND TACTICS

[Refer to Annex C, p. 23 for the scheduled communication timeline.]

PARTNERSHIP AND COLLABORATION (COMMUNICATION OBJECTIVE 1)

1. Partnership With Audiences

The Substation’s objective of expanding the reach of the arts to the public can be achieved through establishing

a multi-beneficial partnership with various independent institutions, by showcasing the works of emerging

artists, such as the screening of local film efforts or experimental forms of art. Based on our survey (Annex A, pp

20-21), these locations have been selected based on the needs of the audience, which includes, (1) convenience,

(2) interest, (3) ambience to be used as a hosting venue for events by The Substation.

2. Partnership with Independent/Public Institutions

Conducting First Take at a series of fresh venues will spread the reach of its name and awareness

amongst audiences who regularly visit those places. It remains important to ensure that the locations or

institutions selected also attract the same audience demographics that may develop an interest in First

Take, and actively attend future screenings.

Books Actually

The company seeks to encourage more literary interest among Singaporeans, particularly of

homegrown works, and draws some parallels with the aim of First Take, whose objective is to help

the growth of the local film scene. As literature and film fall under the broad category of arts, a

partnership between both parties would be complementary and fitting. To ensure that Books

Actually benefits from First Take being held there, a slip of paper entitling the holder to a 10 per

cent discount of all Books Actually purchases for that dat can be distributed to First Take

attendees once the event has concluded.

Timbre

Timbre, which is located in the Substation itself, is likely to attract the same crowds that may

attend First Take, who may fall under the “high potentials” and “potentials”. Similar to the tactic

used in Books Actually above, participants attending First Take at Timbre should be offered a

token discount off their food and beverage purchases.

10

National Library

First Take can conduct a collaboration with the National Library’s SG Memory Bank Project, and

call for filmmakers to contribute short films about their own memories of Singapore as they grew

up. This will conclude with a screening of these old Singapore-themed films in December at the

National Library.

3. Public art and QR code

Drawing inspiration from the Esplanade's tunnel (Figure 2), public art could be showcased at the proposed

venues to draw attention to The Substation. A Quick-Response code, also known as, QR code, could be

embedded into these art installations. Simply by scanning the QR code (Figure 3), members of the public will be

directed to First Take's micro-site. This tactic serves the purpose of educating the public by providing quicker and

easier access to First Take's micro-site.

Figure 2 Figure 3

Figure 2:

Fajari, F. (2014) Minor Cities. Retrieved from http://www.speakcryptic.com/minor-cities.html

Figure 3:

QR CODE we created that links to The Substation's First Take page: http://www.substation.org/first-take/

11

DIGITAL PRESENCE AND MEDIA RELATIONS (COMMUNICATION OBJECTIVE 2)

Enhancing visibility for a product, service or event remains largely dependent on traditional print and broadcast

media, as well as social media, which has flourished and is currently among the most cost effective ways of

reaching out to general and niche audiences, with the aid of platforms such as Facebook, Instagram and Twitter.

However, for an outreach campaign to be effective, one must take into consideration the target market

demographics, psychographics, and also be cognizant of the forms of media which the audiences are most likely

to expose themselves to. As such, First Take’s campaign to spread visibility should be specific in the media

partners and platforms it chooses to cooperate with, and not simply aim to be seen across every possible

medium.

The Substation can leverage on the unparalleled communicative abilities offered by social media to expand its

outreach. Online platforms can facilitate outreach opportunities, viral marketing, collaboration and participation

from social media users (Reid 2011, Hausmann 2012). While they have gained over 7,000 likes on their Facebook

page, their levels of audience engagement is still insufficient. However, there is potential for The Substation to

further increase the number of likes and kick start online activity. First Take’s primary audience’s age bracket of

15-24 years are the most active users of social media, therefore a campaign aimed at procuring their attention

should be one of the core wings of First Take’s communication plan. This section proposes the development of

two main digital platforms for First Take: social networking sites (Facebook, Instagram and Twitter), and the

establishment of a Microsite for First Take.

1. Curated Content for Social Networking Sites

Creative content is key to growing engagement levels across all social networking sites. Posts related to First

Take presenting ‘un-entertaining’ information will not encourage engagement or attract new likes. We

recommend releasing a weekly ‘fact card’ similar to the campaign run by Australia’s Council of the Arts. These

graphic ‘fact cards’ will present facts in a witty, punchy fashion that will prompt users to share the posts on their

own social media networks. Both the content and the aesthetics of the ‘fact cards’ are equally important to

attract users to click on the posts. It will be essential to run this digital campaign for the six months, culminating

in the ‘Best of First Take’ event that will be staged in December. Consistency of these posts is crucial, and

releasing a numbered series of ‘fact cards’ will incite a sense of anticipation for such new posts every week. This

will pique new audience interest and increase the ‘digital visibility’ of First Take.

The ‘fact cards’ could be made available in different dimensions for each social networking sites (Facebook,

Instagram and Twitter) as seen in Figure 4.

12

Among the types of content that these posts can contain are:

Figure 4: Fact Card Examples

Among the types of content that these posts can contain are:

Statistical facts on the Singaporean film scene

Quotes from successful local filmmakers on how they started

Profiles of First Take filmmakers

Fun facts or untold behind the scenes stories of featured films

13

a. Hashtags

To create conversational value, pre-event, during the event and post-event, all posts made on any social

networking sites should be accompanied with hashtags. A live Twitter feed could be activated during the

questions and answers segment with the filmmakers. Audiences in the theatre can post their questions on

Twitter and by doing so, activate a more ‘lively’ online presence for First Take. We suggest that the digital

‘fact cards’ campaign above include hash tags such as:

#FirstTake: to be applied to every fact card

#sglovefilms : to be used where statistics or facts are given

#thisiswhereitbegins: to be applied on quotes from successful local filmmakers

#loveatFirstTake: profile of First Take filmmakers

b. Film Trailers

For any film, trailers or short previews of the production is the single most important tool to attract and

increase viewership. Trailers are significant as film audiences are reliant on visuals and previews of the

films in their decision making process. A trailer that evokes interest and curiosity will lead to a desire to

watch the film, and as a result boost audience numbers for First Take.

As First Take screens random films every month - a concept that is foreign for new audiences - providing

them a glimpse of what they can expect for future screenings will reduce the audience’s perception of risk

(of not being entertained) and raise the possibility of securing their future attendance at First Take.

c. Microsite

Providing information and making information accessible is an important part of the audience experience

(Radbourne et al. 2009, p. 22). Information relating to First Take is highly lacking in visibility and depth on

The Substation’s main website. All information related to First Take is only featured on The Substation’s

activity calendar. To rectify this informational deficiency, we recommend The Substation to create a

specific microsite for First Take. The microsite will feature:

Detailed write-ups about the filmmakers

A list of the previous films screened at First Take

Trailers of the upcoming films

14

A comprehensive calendar consisting solely of First Take’s scheduled events and venues

Forum to discuss all things related to First Take

Attendee reviews

Providing such relevant information with an easy medium of access will improve potential and existing

audiences’ anticipation and set the scene for First Take. At the same, this also builds a connection

between the audiences and the filmmakers, thereby drawing them to the “communication loop”

(Walmsley 2011, p. 339).

Besides digital communicative efforts, traditional print and broadcast media remain as key outreach platforms

that First Take may engage to connect with potential audiences. The tactics proposed here are concerned with

extending the reach of First Take through more conventional media outlets such as the press and radio.

2. Story Pitching

A similar tactic to bring First Take to potentially new audiences is to package a series of print media features

with local publications such as newspapers and magazines. The package will comprise of interviews with film

community icons or directors, reviews of the event or films screened, and editorials which encourage audiences

to be supportive of the works of local filmmakers through participating in First Take, and Singaporean film in

general.

Specifically, the newspaper in question should be the Life! section of The Straits Times, since it is more focused

on lifestyle issues such as the arts, fashion, and travel. Besides the national newspaper, live interviews may be

conducted on radio networks such as Lush 99.5 FM and Kiss 92 FM, for the brand of music broadcasted on those

networks are of an “Indie”, or alternative genre in nature, and is more accessible to young adults, which

comprise a large proportion of First Take’s target audience. Kiss 92 FM provides an additional benefit for First

Take, as it works with its parent company, Singapore Press Holdings (SPH) – which owns The Straits Times - to

provide information and freebies to its listeners. This added advantage ensures that the interview and stories

can be communicated to both print and radio audiences.

A similar tactic to bring First Take to potentially new audiences is to package a series of print media features

with local publications such as newspapers and magazines. The package will comprise of interviews with film

community icons or directors, reviews of the event or films screened, and editorials which encourage audiences

15

to be supportive of the works of local filmmakers through participating in First Take, and Singaporean film in

general.

Specifically, the newspaper in question should be the Life! section of The Straits Times, since it is more focused

on lifestyle issues such as the arts, fashion, and travel. Besides the national newspaper, live interviews may be

conducted on radio networks such as Lush 99.5 FM and Kiss 92 FM, for the brand of music broadcasted on those

networks are of an “Indie”, or alternative genre in nature, and is more accessible to young adults, which

comprise a large proportion of First Take’s target audience. Kiss 92 FM provides an additional benefit for First

Take, as it works with its parent company, Singapore Press Holdings (SPH) – which owns The Straits Times - to

provide information and freebies to its listeners. This added advantage ensures that the interview and stories

can be communicated to both print and radio audiences.

Magazines are another effective medium which can assist First Take in its outreach efforts. Since the target

demographics are young adults, the magazines which First Take should seek a collaborative partnership with are

those which focus on trends relating to their interests. Juice and I-S Magazine project a chic and urban image,

which caters exclusively to younger audiences with their focus on music, fashion, and lifestyle trends.

Additionally, Cleo and Men’s Health are also good platforms which reach out to the core group of young women

and men, respectively. The readers of these magazines are more likely to be young, adventurous, and open to

new experiences, and bringing them stories of successful local filmmakers is a good way to raise their awareness

of First Take.

A tactic that can be applied with story pitching is for more aggressive publishing of featured articles towards the

end of the six-month campaign timeline, culminating in the final First Take of the year in December where the

best works of the year can be screened for the enjoyment of participants. First Take’s screening of the best of

the year’s films should be covered in these magazines and the newspapers more aggressively in November, and

could include full-page or two-page features and write-ups, providing a comprehensive look at First Take and

what it has to offer. This detailed coverage will benefit potential audiences who may have missed out on the

previous features, and still be exhaustive enough to garner their interest.

The Substation should bear in mind that “marketing strategies may attract customers but if the experience itself

is not satisfying, promotional techniques will not bring them back” (Kotler and Scheff, 1997). The Substation

should provide and ensure quality programming that will slowly change the perception of the masses to

disregard the notion that local films lack quality.

16

RELATIONSHIP MARKETING (COMMUNICATION OBJECTIVE 3)

1. Building partnerships and understanding audiences

A fundamental limitation that arts organizations often place on themselves is their failure to form and

nurture long term relationships with patrons to ensure their financial security (Rentschler, et.al 2002).

To ensure that audiences are retained, it is essential to understand their needs, as Parker (2012) had

elaborated. Parsons et al., (2008) further highlighted the importance of understanding the desires and

needs of potential audience members. It is recommended that the organization conducts groundwork

research on its consumer’s needs and wants to build on the capabilities of its service quality and

audience engagement.

Some steps that the organization can consider in their information gathering methods are the use of

post-performance conversations and digital surveys. With such tools, The Substation can carry out

targeted research campaigns directed at its target and current audiences for feedback, which can be

used to aid their future strategies, as well as better cater to unfulfilled wants of the audience.

It has been conclusively shown that “The difference from other modern marketing practice is the kind of

engagement the art seeks with their customers or patrons. The patron is central to the arts experience”

(Rentschler et al., 2002).

2. Database

a. Online Registration – “Eventbrite”

To build up its database of participants, First Take may employ the use of “Eventbrite”, which facilitates

the process of online registration for various events. Since the primary target group refers to the younger

individuals, it is similarly expected that they would be technologically savvy, and the use of online

registration should complement that particular demographic. Interested participants may register to

attend First Take through the “Eventbrite” webpage, thereby creating a fuss-free mechanism for

organizers of First Take to determine the real-time response and receptivity to the event. This provides

valuable insights into what venues may be more favorable among audiences.

Would-be participants will be able to register their interest and receive an immediate response on the

status of their application. This platform indirectly delivers multiple benefits. As the participants complete

their registration, they may spread word of the activity via word-of-mouth to encourage their friends to

participate as well, which is in essence an element of soft marketing.

17

b. Physical Registration

While interested audiences may register their attendance through “Eventbrite”, there is a certain group

which risks being neglected: walk in participants who decide to attend the event on the day itself. First

Take can still tend to this group through the exercise of physical registration, though it would be best to

do so only at the end of each session.

Both online and physical registration complement the other, and leads to the development of a database

that First Take can then leverage upon to further spread word of the event. Additionally, the data

gathered can be deciphered to evaluate the feasibility and sustainability of the event, and also provide a

better understanding of trends, indirectly guiding First Take and The Substation to craft more streamlined

strategies.

c. Enhancing Promotional Cause

In the lead-up to the event, First Take should embark on aggressive promotion to generate interest and

awareness. It is encouraged that First Take use persuasive phrases to generate the excitement and attract

more participants. Examples include “before the seats fly away”, “register early to avoid disappointment”

and “while seats last”.

d. Behavioral Effect

First Take is a platform for budding local filmmakers to exchange views and share ideas. Organizers may

invite participants to register with First Take to receive exclusive information on upcoming activities. The

event host can tap on the opportunity of physical interaction at each event, and encourage the audience

to participate in future First Take sessions and other events.

3. Endorsement

The efforts of local filmmakers have been garnering more attention lately, as they make their way across the

world, get screened at international film festivals, and collect awards. Anthony Chen’s 2013 film Ilo Ilo garnered

critical praise from global film critics, and has collected several awards in the film festivals it has been screened

at, which range from India, Ukraine, France and the United States. First Take can ride on Ilo Ilo’s positive

momentum, highlighting the talents and capabilities that young and budding filmmakers here possess. Here,

First Take may be endorsed by the successes of local directors whose work has received acclaim – albeit on a

more local or regional scale – by inviting these directors to participate in First Take, either answering questions,

conducting dialogue sessions, or engaging with the budding filmmakers, giving them advice on how to improve

their work. Additionally, the presence of these prominent filmmakers should be covered in the media as was

18

previously mentioned earlier, to further spread the word of how local filmmakers stand to benefit from

attending First Take.

4. Subscription

After building up an expansive database through the various activities and tactics above, the move to construct

a subscription system becomes viably important. This can be achieved through collaterals being sent to

subscribers and art lovers by letters, emails and invitations. It was also revealed (through a study of performing

arts organizations in Australia) that subscribers have higher levels of satisfaction, trust and commitment, and

have more positive intentions of supporting and donating to the organization (Johnson and Garbarino, 2001;

Rentschler et al., 2002). Some suggested tactics and methods are listed below.

a. Growing the database

Other than building up the database through the online and physical methods as mentioned earlier,

database enhancement may accompany other Substation initiatives that promote film as well. Among

these initiatives are special events, anniversaries and exhibitions that are conducted in collaboration with

other local arts institutions.

b. Providing regular and relevant information to subscribers

The subscribers should be given notice of local films/upcoming events to sustain interest levels. Such

information should remain exclusive and not be made available to non-subscribed parties.

Email

The Substation’s programmes (including First Take) should, and must be distributed to subscribers

regularly. More specifically, it should be done at the end of each month. Doing so would be fitting with

the occurrence of First Take, as it is hosted only the first Monday of each month. Along with The

Substation’s monthly programme, attachments and visual-graphic content must be clearly displayed in

emails, which should also ensure that subscribers have easy access to First Take’s microsite.

Letters and Invitations

Invitations and letters are effective forms of collateral to inform and remind subscribers (filmmaking

community) on upcoming First Take screenings, due to a personal touch. This may cascade to film-

related events including educational institutions, local arts and film festivals that the Substation

supports. Such events include the Singapore Film Festival, Singapore Arts Festival, Singapore

International Festival of the Arts, and YFest, among others.

19

c. Exclusivity and Incentives

The Substation can further enhance audience participation at First Take through the introduction of a

membership system that offers exclusive benefits for subscribers, creating a distinction between them

and non-members. This membership offer should be tied to The Substation’s objectives and available

programs as a whole, rather than solely to First Take.

The membership’s benefits can include some of the following:

An exclusive Substation membership card

Access to The Substation’s resources (space and events)

Special invites given for partner events supported and/or organized by The Substation or other arts

institutions and festivals

Accumulation of hours for members who consistently participate in First Take. Collected hours

entitle members privileges to certain programs.

Access to First Take’s virtual community.

The “soft benefits” of such a membership are that upcoming filmmakers (subscribers) have a community

platform they can turn to for assistance if they require help in their own filmmaking efforts.

S/N No. of Hours

Accumulated

(hrs)

Audience

Type

Entitlement

1 9 Moderate Exclusive invites to events supported and organized by

The Substation and other participating entities

2 0 to 6 Fair-weather Sneak Peek on The Substation programmes

through collaterals

Table 2: Summary of perks for membership programs.

* Based on the measure of 1 session equaling 3 hours per First Take Event

BUDGET

First Take’s communication campaign utilizes funds only under the Other Operating Cost (OOE) category, and

not on manpower or equipment. The report committee proposes a budget of $38,500. A detailed breakdown of

these costs have been tabulated in Annex D, p. 24.

20

EVALUATION

Increased audience participation

For every event across venues in partnership with First Take, a short survey will be handed out to audiences to

track the number of First Take’s first timers and repeat attendees.

The survey will contain only two short questions:

1. Are you attending First Take for the first time?

2. Where and how they got to know?

Increased number of social media ‘likes’, ‘follows’ and online engagement

Online engagement and activity throughout the course of the implemented campaign can be monitored and

assessed from the number of ‘likes’ and ‘follows’ across different social networking sites. Analyzing the trends of

online conversation traffic, the amount of posts shared, and also the total number of hits and unique visitors on

First Take’s microsite will reveal the degree of the tactics’ effectiveness. Similarly, page views and the amount of

“likes” given to uploads of previously screened First Tale films on Vimeo and YouTube will reflect how visibility

has been enhanced for audiences on the digital and physical platform.

Increase numbers of subscribers and active participation

A key indicator of a successful strategy would be indicated by a rise in the number of subscribers (through the

mailing list), among those who contributed to more films for screening and active participation in First Take's

events. Another way to estimate the depth of the strategy’s efficacy would be to conduct interviews with these

subscribers after the six months. Questions raised in the interview should include a review of their expectations,

and what they hope to see in future First Take events.

21

CONCLUSION

After a detailed analysis of the opportunities and threats present, with the support of market research and the

findings of an independent survey, the strategies and tactics have been proposed based on the resources and

limitations First Take faces, as well as its alignment with First Take’s objectives. As Chang and Mahadevan (2014)

had pointed out, there is a broad spectrum of potentially “convertible” Singaporeans (58 per cent) that the

Substation and First Take can capture. Through the implementation of the tailored communication strategies

that this report has outlined, there are considerable prospects in the pipeline for future Substation and First

Take events.

22

ANNEXES

Annex A

Survey Results

23

Annex B

24

Annex C

Communication Timeline (2 slides)

25

Annex D

Budget Proposal

First Take Budget Expenditure (6 months)

Estimated budget of $38 500

Other Operating Expenses

S/N Item Cost

1 Photocopying and printing charges (Collaterals and promotional causes) $15,000

2 Publications (Story-pitching through print media) $2,500

3 Entertainment & Refreshment $3,000

4 Audit fees $3,000

5 Transportation, postage & courier services $10,000

6 Card Membership (Subscription) charges $5,000

Total $38,500

OTHER OPERATING EXPENSES (OOE)

Justifications

Materials & Consumables

Photocopying and printing charges: As collaterals and print brochures will be necessary for First

Take’s communications campaign, charges for the procurement of print materials will be incurred.

Features, editorials or interviews placed across newspapers, magazines, radio broadcasts, and

electronic media.

Others

Entertainment & Refreshment – Provisions of entertainment in the form of sound systems, musical

interludes and post-event refreshments may be necessary across all six events within the

campaign timeline.

Audit fees – In ensuring accountability and good financial practices, it is imperative to conduct an

audit review to ensure that all allocated funds are properly disbursed.

Transportation, postage & courier services – For the delivery of collaterals in bulk, and the

facilitation of transport for the Arts Mentors for all six sessions of First Take.

Card Membership (Subscription) charges – Costs set aside for the production of unique

membership cards for members of First Take.

26

References

Boorsma, M. (2006). A strategic logic for arts marketing: Integrating customer value and artistic objectives.

International Journal of Cultural Policy, 12(1), pp.73--92.

Chang, S. and Mahadevan, R. (2013). Fad, fetish or fixture: contingent valuation of performing and visual arts

festivals in Singapore. International Journal of Cultural Policy, (ahead-of-print), pp.1--23.

Hand, C. (2011). Do arts audiences act like consumers?. Managing Leisure, 16(2), pp.88--97.

Hausmann, A. (2012). Creating ‘buzz’: opportunities and limitations of social media for arts institutions and their

viral marketing. International Journal of Nonprofit and Voluntary Sector Marketing, 17(3), pp.173--182.

Johnson, M. and Garbarino, E. (2001). Customers of performing arts organisations: are subscribers different

from nonsubscribers?. International Journal of Nonprofit and Voluntary Sector Marketing, 6(1), pp.61--77.

Kotler, P. and Scheff, J. (1997). Standing room only. 1st ed. Boston, Mass.: Harvard Business School Press.

Lehman, K. (2009). Australian museums and the modern public: A marketing context. The Journal of Arts

Management, Law, and Society, 39(2), pp.87--100.

Lim, L. (2012). Constructing habitus: promoting an international arts trend at the Singapore Arts Festival.

International journal of cultural policy, 18(3), pp.308--322.

Ministry of Culture, Community and Youth, (2013). Singapore Cultural Statistics 2013. Singapore: Ministry of

Culture, Community and Youth, p.p. 35.

National Arts Council, (2011). Youth Arts Qualitative Study. Singapore: The Black Box, p.p. 9.

Parker, S. (2012). 1st ed. [ebook] Available at: http://www.wallacefoundation.org/knowledge-center/audience-

development-for-the-arts/strategies-for-expanding-audiences/Documents/Building-Arts-Organizations-

That-Build-Audiences.pdf [Accessed 7 Jun. 2014].

Parsons, L., Maclaran, P. and Tadajewski, M. (2008). Nonprofit marketing. 1st ed. Los Angels, Calif.: SAGE.

Radbourne, J., Johanson, K., Glow, H. and White, T. (2009). The audience experience: measuring quality in the

performing arts. International journal of arts management, pp.16--29.

Reid, R. (2011). Hello World!: Promoting the Arts on the Web. Platform Papers, (27), p. 1

Rentschler, R., Radbourne, J., Carr, R. and Rickard, J. (2002). Relationship marketing, audience retention and

27

performing arts organisation viability. International Journal of Nonprofit and Voluntary Sector Marketing,

7(2), pp.118--130.

Sayre, S. (2008). Entertainment marketing & communication. 1st ed. Upper Saddle River, N.J.: Pearson/Prentice

Hall.

Tajt'akov'a, M. and Arias-Aranda, D. (2008). Targeting university students in audience development strategies

for opera and ballet. The Service Industries Journal, 28(2), pp.179--191.

The Substation, (2014). Artistic Mission. [online] Available at: http://www.substation.org/about-us/artistic-

mission/ [Accessed 7 Jun. 2014].

Walmsley, B. (2011). Why people go to the theatre: a qualitative study of audience motivation. Journal of

Customer Behaviour, 10(4), pp.335--351