How should arts organisations approach PR when their stakeholders (including the media) turn against them, asks Helen Scott Lidgett? The emphasis is often on what you can keep out of the press rather than trying to generate realms of coverage.
We have first-hand experience of the highs and lows of arts organisations. Through strategic PR campaigns we have supported and helped navigate a number through challenging times, recent examples being the V&A?s transitory period between Directors when the British Galleries were being launched and the various opening delays experienced by Baltic. Arts organisations are in and out of favour with the media: two years ago it was the V&A, then it was the turn of the RSC, then the British Museum and now it is ENO that is making negative headlines. It is always possible in retrospect to work out how the crisis could have been effectively handled but it is quite different when you are in the thick of a media frenzy and you have the Chairman of the Trustees breathing down your neck.
Plan ahead
Life is always full of unexpected surprises but a lot of mistakes are made because of poor strategic planning. Announcements such as the appointment of a new director or the launch of a capital project need time and meticulous preparation. Messages need to be clear and all spokespeople should be briefed and singing from the same hymn sheet. The more time given to planning, the more convincing the organisation?s case will appear.
It is also vital from an early stage to identify the organisation?s stakeholders and to establish lines of communication with them on an individual basis. In troubled times these people need to be fully informed and supportive of the organisation. Endorsers are always useful ? high-profile people who can be wheeled out to speak intelligently and in favour of the organisation.
Media relations
With the media, it is often the regional papers that are the most difficult to win over and they must be nurtured continuously. Negative stories can appear in the regional press which are then picked up by the national papers. To keep the press on side, key journalists, namely editors, arts correspondents, critics and columnists, from the regional and national press should be identified at the earliest stage possible and personal contact should be made. These journalists need to receive all information on the organisation and to be encouraged to visit the project or attend performances on a regular basis. Introductions should be made with the relevant people within the organisation, but a single channel of communication should be encouraged. To have full control of a campaign, it is preferable if all media calls go through a press office which can provide information and act as a filter, rather than journalists going straight to the director. Organisations should deal with the media evenly if they wish to receive fair treatment in return.
Quick reaction
If an organisation feels that opinion is turning against it, immediate action to address the issue is vital. In the past a great deal of negative press levelled at arts organisations could have been avoided with face-to-face discussion. The organisation needs a couple of spokespeople who are fully briefed, and depending on the anticipated level of interest from the media, should hold a press conference to which all target media are invited. If a key player in the organisation is unable to attend then it is advisable to have a brief statement from them available. Media training is not always necessary ? some people are naturally at ease in front of the press ? but it is worth considering as it can help people to deliver messages more effectively. It is often a good idea to have a few endorsers on hand to provide quotes backing the organisation too. All spokespeople should be prepared for the conference by discussing possible questions beforehand. You can never predict exactly what will be asked, but the preparation will give spokespeople greater confidence. All facts need to be turned around quickly and handed out in press packs at the conference, and the nominated spokespeople should give up as much time as necessary for interviews. Any key journalists who were unable to attend the conference should be called immediately, given the headlines and then sent the press information. If images are relevant, they should be made available too.
The aftermath
There should then be an assessment of how to progress the campaign, whether through individual meetings or further press conferences. As soon as any press coverage appears, key stakeholders need to be sent copies of it. The campaign storm may be over the next day or it may continue for months, but it is essential that the media and all stakeholders are kept informed of any new decisions or information, and that phone calls are answered immediately (it?s frightening how much ill-feeling can result from slack responses). Equally important is that messages should be kept as simple as possible and that there is only one official message being sent out by the organisation (a good moment to lock up disgruntled staff).
Periods of crisis, particularly if prolonged, can be very draining for an organisation. It is vital, to avoid irreparable damage and the organisation being referred to for the next year as ?the much troubled?..? or ?the beleaguered??, that the organisation is as efficient as possible. Some will have the means to employ an outside PR agency to help, particularly useful for offering a fresh, objective perspective; but others will have to handle everything in-house. Being quick, non-defensive and open will help any arts organisation during such periods.
Helen Scott Lidgett is a Partner of the arts Public Relations company, Brunswick Arts, which is part of the Brunswick Group. t: 020 7396 5309