Question for Social Media: Strategic Development

19 thoughts on “Question for Social Media: Strategic Development”

1. The engagement strategy that the Steppenwolf Theatre Company uses is one that I have seen many times at off-off- broadway shows, at trainings and mentoring programs. It’s quite an interesting method in that it truly does repeat attendees. As I read the steps in the strategy implemented, I understood how it could be used in presentation to a board of trustees, participants, funders and even the community.

   Engaging the audience after the performance and extending the discussion beyond the theatre are very strategic where both the performer and the audience can learn from one another. Last week during our communications class, Don Waisamen emphasized the importance of the “afterlife of a conversation,” where the communication between the one speaking and the receiver should be perceived equally. Having a “post performance discussion” with an intermediary to lead the discussion, gives each party the opportunity to engage in ideas, to coordinate what their thoughts on what the performer was conveying and how the audience convey that idea. This technique can be extended on many levels in a not-for-profit organization: I can easily envision using this technique to the community the organization services as well as with colleagues or those you manage and supervise, especially after a planning meeting. In addition, opening up these discussions will let you emphasize an concept you’re displaying to your audience. For example, you can present to board of trustees where some seem interested in what you’re presenting and others are not. These post performance discussion can encourage conversation on a topic that perhaps you haven’t touched upon or even allow to you speak informally or in a way that will help engage those who were disinterested at first. However, it would take someone who can handle criticism(I’m sure there would be some in these post performance discussions) to engage in such a technique. But the ability to do so would foster a great leader, who listens to his/her audience.

   Equally, extending the discussion beyond the theatre, is important aspect of continuing communication with your audience and to thrive to continue a relationship with them. We do live in an information age, so having online content that the audience can access shows you can keep up and cater to the busy lives they lead. Additionally, the online content gives the audience the opportunity to select the information they’re most interested in learning about.

   One of the most effective ways to continue to build a relationship with an audience to extend that relationship through events, especially social events. It’s a way to open the door to a variety of people – old, young, contemporary, or traditional. This technique is usual in building your organization; the word is out on who you and what you do. You can connect with an array of foundations and future participants and cohorts, vetting out those who are interested in your organization.
   The engagement strategy is quite useful and I mentioned before, I can envision using it in a variety of ways depending on who your audience is.

2. My organization spends most of its time and resources providing early childhood education services to children between the ages of 2-5, but a large part of our mission is to engage families meaningfully in their children’s lifelong education goals. To accomplish this goal we need to not just record family goals on an intake form, but find practical ways to use this information, as well as check back to assess progress. We need to help families feel like partners in their children’s education instead of passive consumers. This can happen by acknowledging that early education is not one-size-fits-all, and partnering with families to learn more about their children’s temperaments, interests, strengths and challenges.

   We also need to find ways to engage and educate families outside of school. Blogs, videos, podcasts and online content could be used to share useful information on child development research and advocacy in interactive ways, as well as ways to extend children’s learning at home. Text alerts and reminders could also be used to remind families to engage their children and ask them questions while at home or running errands. Families could play an active role in choosing, creating, contributing to and commenting on the content.

   Family events and outings could provide opportunities for families to extend their children’s learning with the support of peers and a facilitator – a hands-on opportunity to put the information from online content into practice.

3. There are some great points in the Steppenwolf piece – I particularly appreciated some of the things they are doing to emphasize that audience building is ongoing and that they have the artistic department involved in the marketing (avoiding silos). And looking at single-ticket buyers might be similar to someone who comes to one event per year, or visits one program – thinking about how to keep them engaged and part of our organization’s community. Something we can implement soon (our annual gala is next week) is trying to not just thank many of our attendees, but also to hear from them what they thought and what their impressions of Let’s Get Ready were after the evening.

   I liked the ideas above about online content (blogs, podcasts, etc. “extending the discussion beyond the theater”), but I’m not sure my organization has the capacity to really engage in this way. We are okay at posting things online, but not as good at fostering discussion. And I’m not sure we have the time to do that in a meaningful way. It seems doing it in a half-heared way could be even worse than not at all.

   One thing I think we have done well is host events fostering discussion around college access and success that are not just focused on our organization, but the issues. These events (in NYC and Boston) have engaged a lot of partners and practitioners.

4. As I read the piece about Steppenwolf, I found myself admiring their engagement strategies; I also found myself a bit dismayed, thinking, “Wow, that is so much work!” I wondered who at Steppenwolf develops the web content, analyzes data from outreach and engagement, develops new strategies, etc, and then I wondered more about the financial investment – as well as the staff time – that goes into such a multi-layered, elegant engagement strategy (I also thought about how much I’d like to go to Chicago and see one of their productions!). It is clearly innovative, creative and effective, and therefore worth it, but it made me question my own organization’s approach to engagement.

   I work for a large non-profit mental health organization; our audience is diverse, made up of clients/consumers, providers, funders, organizational partners, etc. While we have over 300 employees and a multitude of programs, I am not sure that our organization has a cohesive engagement strategy beyond traditional “outreach” and some means of collecting consumer satisfaction data. I even think it’s likely that our social media presences are a bit more traditional.

   We do have an annual gala each year to engage donors and supporters, but I think we don’t regularly engage those donors throughout the year – we could diversify our approach to creating more events where people can come together and discuss the organization, its vision, etc, but even as I write this, I am doubtful that we have the capacity to manage diversifying our efforts without adding additional staff.

   I realize, upon reading the article, that I am somewhat accustomed to thinking of “engagement” as rather one-sided – as in making sure we are promoting our programs, tweeting or posting onto Facebook or writing articles in popular and professional media outlets. We do these activities fairly regularly, but I am not at all convinced that we are truly “engaging” our multiple audiences to the fullest extent possible. I’m mindful of one of the “five questions” as I write this, which is: how does my audience(s) want to be engaged? I am honestly not sure I know the answer to that question…which makes me want to find out!

5. Though I work for a community based organization and our mission is to engage with the community, I am in operations and therefore my focus is internal. Relating this to my work, I signed up my org’s internal newsletter committee, which we are launching in a few weeks. Reading this piece made me brainstorm ways to include the staff in the newsletter so it’s not just a dry dissemination of information. We have already included ideas to engage staff, such as inviting “shout outs” from one staffer to another for a job well done; publishing birthdays from the quarter; highlighting a different staff member; requesting content ideas or submissions, including a recipes section. However it’s still one dimensional and here’s no conversation happening.

   What I’d like to create is more of an interactive newsletter that would allow people to make comments and engage in a dialogue about the content. This would likely mean a web-based newsletter instead of an email campaign provider, as we had originally planned. I’m curious to know if anyone has experience with online magazine makers, which Google seems to think is what I’m envisioning. This would also allow for more media so we could share a slideshow of an event instead of the one token picture. I’m keeping in mind, though, that there are staffers who don’t know how to use a computer and those who simply prefer a print version, so printing capability is also important. We would like to keep it electronically based, but I think printing a few copies and making them available in the lunch area would be a nice compromise, even if we end up using an email campaign provider.

   The overall communication in my org is poor, frankly, and we operate in silos. But I think this newsletter could be an opportunity to create an informal dialogue that facilitates professional relationships and internal communication. I will have the opportunity to pitch this idea on Thursday.

6. Great reading and model organization for audience engagement. Each of the engagement strategies could be integrated into TGCW’s efforts and service provision.

   1) We do currently recommend that each of our clinicians engage clients at the end of each session to explore their experiences with the service/session. We do not recommend or require our psychiatric providers to do this. I can foresee extending this practice with all services at all of our clinics, be it individual psychotherapy, group or family therapy, medication management and psychiatric evaluations. Instead of it simply being recommended, if we make a global practice of engaging clients regarding their experiences with services, they are more likely to buy into the process as well as provide us with valuable information that can ultimately lead to enhancement with the individual provider’s service and the clinics overall.

   2) We don’t do so well of a job at extending the conversation with clients and potential clients in a proactive way. There is a lot of room to grow in the way we utilize our website to engage clients around clinic, agency and field activities. Currently our site is fairly static and seems disconnected from the work that we do in mental health services. We could have a meet the therapists section (and/or all staff), and share clinic as well as industry news about mental health, parenting, relationships, education, substance use, etc.

   3) Our online content beyond our website equally needs a lot of work. We tend to have some fluff pieces around general holidays and information, but not the kinds of things that can take someone on a journey as I saw referenced in the article. Things like, getting started with therapy, To medicate or not to medicate, Am I addicted to Benzos…. could engage our clients and potential clients/the general public about therapy, medical risk, substance use and other issues that can demonstrate our expertise and engage audiences who may refer others or become a client themselves.

   4) Events would be great! Panel discussions, workshops, as well as groups would definitely widen our opportunities for engagement.

   5) I also suspect that our “audience” could then be expanded to include people interested in health, wellness, mental health, etc. that could serve as volunteers, board members, advocates, peer educators, staff or clients. We could have an intention of developing a more sophisticated audience of individuals who can contribute to programming, practices, and services.

   6) Having opportunities for this wider audience, meaning not simply prequalifying people as clients but offering other opportunities for them to get involved (such as the events, online engagement and advisory boards) we’d be developing a broader audience base where clients and interested parties would all be treated equally well.

   Any/all of these could potentially energize our organization and position us a relevant and more likely to thrive than the current more reactive ways that we’re engaging.

7. Thinking about this theater’s experience with audience engagement and how it might apply to my organization…one option might be to more effectively engage our volunteers using short presentations before and/or after their shifts.

   Clients of our meal delivery program are homebound, but we host more than 8,000 volunteers annually, so volunteers are a primary audience at our organization. Volunteers might chop onions or carrots for three hours. Or, they might ladle soup into containers. We know these experiences are deeply satisfying to volunteers; at the same time, there may occasionally be a sense of disconnection from the program’s ultimate aim of nourishing people who are too sick to shop or cook. The tangible experience of food is strong, but the actual client is always absent from the kitchen.

   To address this potential communications gap, one option may be to have one of our dietitians give a very brief overview of the recipe being prepared that day, its nutritional profile, why its good for our clients, and how the volunteers can make this at home (possibly providing a recipe, or directing volunteers to the recipe online).

   Another option: A member of our client services staff could give a brief profile of a recent client (with names changed for privacy). Profiles could be selected for interest, urgency, and outcome. Our team so often gets positive feedback from clients. While these comments are frequently shared via social media and newsletters, it might be nice to offer these brief vignettes to volunteers at the beginning or end of their shift, to enhance their sense of purpose for the task.

   Of course, any brief presentation could also allow for questions and answers with staff to share more about the meals we prepare, the clients we serve, and the difference we are making in their lives.

8. It seems audience engagement strategies and audiences acquisition are in a direct relationship — as one increases, so must the other. Accepting this as a truth, nonprofits must be on an ever-trying path to test and validate engagement strategies to cultivating their audience.

   Our audience — that of the nonprofit — is not strictly the “donor.” Sure, everyone has the potential of being a donor — your volunteers, attendees of special events, friends of staff and board, perhaps even your staff. Each of these donor groups and the donors themselves are motivated from a wide array of sources. That said, the manner in which we engage them is critical to ensuring not only long-term relevance but the ability to thrive.

   Building Deeper Relationships helps us appreciate how one institution, the Steppenwolf Theatre, is thinking about engagement in a nuanced manner to build relationships that are multidimensional and multi-modal. There are a number of strategies that resonate with my experience and feel are necessary from the get-go.

   1. Listening to the Audience & Extending the Conversation Beyond the Confines of Your Organization

   As organizations concerned with delivering value directly to and appreciated by society we often have conversations about the how, when and where to do this work without actually bringing the community that we serve into the conversation. Even worse — when we do determine to have the conversation, we determine that it must take place on our home court as a “convener” rather than go into the community itself and be accommodating and inviting. By listening to our end-users — as the corporate sector does, investing significant resources in research, market testing and acquisition — we learn not only what we have to deliver from a service and value proposition perspective but we also build loyalty. Through this on-going cultivation and engagement, we (nonprofits and smallbiz) can engender strong bonds with our end-users, learn from them and rely upon them to grow and continue on.

   2. Treating Non-Subscribers and and Subscribers Equally Well

   As the piece described, the decoupling of subscribing and exclusivity runs counter to conventional wisdom behind the subscription model that served organizations well for decades until recently. The subscription model typically combined access with exclusivity, giving loyal subscribers “insider” status in return for a steady revenue stream. If we are constantly, though, striving to grow the pipeline for subscribers and at the same time increase our sphere of influence in the environment, following the Steppenwolf advice of treating both non-subs and subs equally holds great value. It helps demonstrate a taste of what subs get to experience through their membership and increases the value of membership as perceived from the outside. This is a strategy I’ve begun to see organizations use bearing fruit.

9. In the case-study it stood out over and over again that they had clear objectives for engagement and worked hard to understand their audience. To engage my audience, I think we first need to determine who that is. Our audience may be multiple groups, and we need engagement strategies that meet the needs and interests of each.

   My non profit like many, is serving a community that doesn’t necessarily readily use or have access to technology and also our organizations can feel like it’s still 1999 when it comes to some perceptions and knowledge of tech opportunities to improve our work. When designing a strategy, we will need to meet the organization where they are and grow from there. I want to think about the principles of the engagement strategy and how they can be applied in organic ways to our ongoing programming and communication with participants. Part of implementing this type of initiative will take some internal education for folks about the value and potential return and also a willingness to try new methodologies.

   The specific example of the how the theatre company shared the blog writing responsibilities with a few folks was interesting. My organization has had the perspective of wanting communication to all have the same voice, so one person spear heads our engagement and marketing. I want to think about ways to bring others into the fold and to hear about the work from the voices of the staff and participants and explore what value that has for the audience.

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11. The questions articulated in this article about the changing business model for theaters and the need for new approaches to maintain and grow an audience base mirror the challenges and opportunities facing public radio, and WNYC, as our audience shifts rapidly to digital listening. Our business model is based on our ability to convince listeners to pay for what they can get for free. We stake it all on the quality and depth of our content and the strong loyalty public radio listeners feel to their home stations. But in a rapidly changing media landscape, we are trying to figure out how to incentivize listeners to give to WNYC when they could be listening to our content in Alaska or to a program that we produce that is not immediately identified as a WNYC property. Building out the next business model for public radio is a major project of our organization, and it depends on deepening the relationship we have with our different audiences. We do this as well through live events, member only content and benefits, special access, and the ability to feedback to our programming.

12. How do you envision ways to further engage your audience (whether they be donors, subscribers, non-subscribers, or other groups) using “The Engagement Strategy” as a means to energize your organization and to ensure its relevance and ability to thrive in current and future years?

    The Engagement Strategy emphasizes inclusiveness and encourages deeper and more significant relationships with audiences. This is an extremely valuable marketing technique, especially for nonprofits, because it helps personalize relationships with clientele. The missions of most nonprofits aim to fix or serve causes or communities in need. Therefore, engaging the client base that is most crucial for continuing those services must feel like they are apart of the process. At Lincoln Square Neighborhood Center, our children and families must be in constant communication with staff in order to ensure continuity of care and quality programming. Needs must be both expressed and met by both parties in order to optimize outcomes. Feedback that parents and students provide is extremely important in recognizing the successes of the program and what improvements need to be made. In a broader sense, we are also community based center that is member based. However, engaging with the community at large will help expand and broaden our client base.

13. After reading the Engagement Strategy, I agree with some of Steppenwolf’s approaches and disagree with others when comparing the Theater to my organization. In my eyes the staff size in our organization is not the issue, but our target audience is the issue. Our target audience is much smaller than most organizations. In my opinion when you’re in a position like Steppenwolf’s Theater, I agree with his method on engaging an audience. When you have over 200,000 followers and you’re trying to create a new following, social media and internet is the best way to capture new audiences. It is also in my opinion that his strategy is effective because audience size varies in location. For example, an organization like mines, thrives mostly on Face to Face interactions rather than social media and internet. Our target market is in the range of roughly 15,000- 20,000 people. Our strategies for engagement are old school but are effective for the community we serve. As we promote growth in technology and education among our community, we service a population that depends on smartphones and tablets for internet use. Our population finds it normal to use a smart phone when filling out job applications, and that is one of the worst things you can do. The majority of our consumers don’t own a computer, and need classes to do a proper internet search. When our target market grows to become a city wide initiative, then we can relate to Steppenwolf’s engagement strategy. My organization has yet to totally conform to the technology era. My organization was founded in 1999 and in 2014 we created a Facebook page and lunched a website that has basic information but provides continuous updates. The only audience that follows those outlets are a very small group of Funders, Partner Organizations, and a very small participant pool. We are nowhere near 200,000+ followers, and hopefully one day we will get there. So in conclusion, great strategy but not fitting for all.

14. An engagement strategy is vital in establishing and developing meaningful lasting relationships. The reading: “Building Deeper Relationships: How Steppenwolf Theatre Company Is Turning Single-Ticket Buyers Into Repeat Visitors”, was fascinating in that it offers a unique approach to engagement strategies. The message is clear: arts organizations need to attract and engage new audiences to ensure their artistic and financial viability.” In today’s congested and competitive market, more nonprofits struggle financially. One of the fastest ways to increase the amount of revenue we bring in is by focusing more time and energy on individual donor programs. Fundraising, is a key strategy for both engagement and financial gain. Donor-centered philanthropy and motivations is fundamental and crucial to engage new audiences. The approach has to be increased outreach recruitment efforts focusing on fund development, board development, strategic planning, and marketing and communications. The Settlement House movement, particularly University Settlement has been deeply grounded in using the arts to attract it individuals and sustain relationships. It is interesting how the reading describes creating unique social gatherings that encourage discussions around the art collection, “facilitating critical thinking and dialogue and providing interactive and educational programs to introduce and engage new audiences to the arts”, all of which has been ongoing within my organization, in which University Settlement and continues to be an innovator. This article helped give me an appreciation and new found respect for my organizations’ artistic viability and the fact that we have established ourselves as trend setters and look forward to continued growth in this capacity. In the piece, Steppenwolf utilizes an effective approach to “build deeper relationships with its audiences, by having ongoing dialogue and having audience members take part in discussions and involving multitudes of online content”. By virtue University Settlement’s is committed to increased outreach efforts and it’s mental health cluster is committed to strengthening the communities we serve externally and this will propel outwardly by supporting and empowering the social, emotional and well-being of individuals and families. I envision the agency continuing to grow and thrive in this regard by expanding media presence, developing and sustaining those deeply impactful relationship both far and wide, by leading, beautifying the community, developing innovative initiatives and jobs, supporting the community in the face of tragic events, maintaining the depth and breadth of expertise it is known for and continuing as a reputable, respected, reliable family organization.

15. Looking forward to meeting everyone tomorrow for our Social Media Strategy session!
    Joyce Sullivan
    http://twitter.com/JoyceMSullivan
    hashtag #NYCTLF

16. As an individual who works in the performing arts, I found the Steppenwolf Theatre Company’s “Engagement Strategy” extremely informative and deeply aligned with our institutional vision for audience engagement. The decentralization of knowledge and creation of dynamic spaces for learning was really empowering. The Steppenwolf’s effective use of multiple platforms reinforced the importance of being intentional and multifaceted in our approach; creating a cross-section of online content and experiential opportunities for audiences to delve deeply into the themes and fields of inquiry that we engage in during a given season. I am interested in collaborating with our Marketing Department to conduct research in an effort to find out how our audiences would like to engage with us and the types of content and/or experiences that they would find most stimulating/rewarding. This research and feedback can only serve to help us as we look to streamline and maximize our efforts.

17. I found the Steppenwolf piece interesting and thoughtfully write. As others have mentioned, reading the piece helped to highlight a weakness in my own organization – a clear engagement strategy. Going a step further, for my organization in particular, it highlighted an even more basic absence – any significant online or social media presence.

    Unlike many others here, my organization has remained small (10-15 employees) by choice. That organizational leaders have little interest in expanding the size of our organization (generally speaking) means that “engaging our audience” means something very different for us.

    We provide financial assistance to working households facing eviction, but have always chosen NOT to advertise this service to potential clients, instead choosing to partner with other organizations who can then, more discretely, refer potential clients to our office. This strategy has proved successful in many ways – we can move much faster than most of our colleagues, have more discretion when it comes to assessing applicants, and we have less red tape to cut through. However, by remaining so private and limiting our growth, we also limit our reach.

    My organization is not likely to expand greatly anytime soon, but the Steppenwolf piece did contain ideas for improving our engagement with funders and past clients, if not the general public. While we issue an annual report that contains a handful of client photographs and brief narratives (last names redacted), but this is about the only time our prospective funders and board members SEE the people they have helped. Rather than once a year, we ought to provide more timely (perhaps a monthly newsletter or e-mail) update to funders and partner organizations – to remind them of the important work we do, and the unique niche we occupy.

    More attention is being paid to the issue of homelessness and eviction prevention here in NYC, which is absolutely great. However, if we remain complacent and expect funding to roll in without getting serious about a real engagement strategy, we may find some or all of that funding redirected towards organizations ahead of us in these areas.

18. It was interesting to read the Steppenwolf audience engagement case study, party because while I was a college student, I went to Steppenwolf shows regularly (as a single-ticket buyer), and by the end of four years, their marketing department successfully made a donor of me through coherent and effective communications.
    Now, as an individual facing the same challenge in my professional role – the challenge of breaking through your audiences’ default, passive mode of engaging with your work – their successful model of engagement tempts. Specifically, their success seems at least in part to be a consequence of their deep understanding of their work, acquired through intentional quantitive research and qualitative assessments through audience talk-backs and other interactive events. Steppenwolf has a clear understanding of WHAT they are doing, and for WHOM they are doing it: they are providing exciting and cutting-edge theater, and they are providing it for an engaged audience looking to be challenged and taken seriously.
    Too often, we grow complacent with our interpretation of our community or audience. I think this is one of the great strengths of social media: that you receive instant feedback that makes it clear whether or not you’re getting it right. It makes it hard, though not impossible, to continue sharing and focusing on information that your audience does not need, like the Steppenwolf audience turned out not to need logistical details in their marketing materials.
    One thing that was interesting was that I read the Steppenwolf article right after finishing the leadership article, which focused mostly on the language and the meaning of “growth” and “development,” and I found myself often confusing the two when the Steppenwolf article spoke of “growth” – and I honestly think they were talking about development. A good engagement strategy increases your capacity as an organization, and allows you to take on more challenges and work that you find meaningful (like the artistic department at Steppenwolf was supported and freed to do more daring/risky work through understanding that their audience wanted that). I would like to discuss other models of fostering engagement and ownership among audiences/supporters – specifically in instances where your audience/supporters are not physically present, like they are with theater. Our challenge, at the Ecology Center, is often that our supporters are an idea, except for two or three fundraising events we have annually. Understanding and developing a wholly-digital strategy to engage them remains elusive.

19. After reading this article I saw the need for Steppenwolf to engage his audience to buy-in to his work. This is in correlation to my current field of healthcare, our organization feels very strong about customer service without patients our jobs will slowly diminish and identifying ways to engage our patients enables us to continuously grow as a corporation. Steppenwolf focuses on a number of things one of which is engagement. In order to engage individuals you have to identify what they are interested in and also identify areas in which there is a similar interest. In our everyday lives we have to take ownership for how we operate in regards to engagement we actually set the tone for others to follow. We have to be able to deepen the connection sometimes with real life experiences our audience will then feed off the message delivered and develop their own thoughts and ideals. One way at my organization we try to obtain our goals of increasing patient care and 5 star customer service is by getting feedback. Steppenwolf discusses the significance of getting feedback from the audience in a collective manner instead of independently. In addition with consistent follow up post performance audience members are identified as being significant members of the shows entirety. Allowing your audience the authority to formulate their own opinion and develop further conversations in different aspects. I have also noticed from the reading that we have to continue to identify different methods to engage our patients to walk in through our health center doors to stay alive. Steppenwolf takes the time to research additional outreach methods to capture their audience’s interest with the goal of a returning customer. With different methods available the audience is able to explore a number of different areas of interest. Steppenwolf also adds the constant frequency of stimulation encourages increased participation. I also gathered from the reading we need to understand our population we are serving and keeping them up to date with the constant changes which occur that allow our patients/audience a sense of having a voice in their interactions. Steppenwolf mentions he does not want his audience to walk away confused but to turn that situation into an occurrence in which it is an inclusive experience allowing the audience/patients for me a better of understanding of what is taking place. Some forms of engagement are targeted in different atmospheres if you target individuals in an atmosphere which is relaxing with an added incentive of food you can gain more interest in a subject matter with these additions. As stated prior engagement has to be flexible to the needs of the audience and engagement does not target a specific age group all individuals are considered equal and should be treated as such. There are many different approaches to engagement particularly Steppenwolfs ideal of ” feeling smarter than they did when they walked in” if individuals feel that they have learned something this benefits and also motivates them to seek more interest into a particular item. Adopting the feedback from the audience allows Steppenwolf and the likes of to better plan their season in the future. Being proactive and continuously looking towards the future and not just the success for a one shot deal capturing commitments of longevity and deepening the connection of the audience.

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