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Bisnis Jual Beli Mimpi Anak Muda Indonesia

Bisnis Jual Beli Mimpi Anak Muda Indonesia

Saat ini Indonesia sudah mulai memasuki fase bonus demografi dengan jumlah penduduk produktif usia 15-29 tahun mencapai 65 juta orang (sumber Kompas 05/05/2015). Fase ini memiliki potensi besar karena dominasi anak muda dianggap dapat menanggung beban dari usia tidak produktif dan memperbaiki kondisi perekonomian. Fase ini akan terus berlanjut sampai puncaknya pada tahun 2028-2031. Dengan mempertimbangkan hal tersebut, wajar kiranya jika anak muda menjadi target bisnis yang paling menggiurkan. Bisnis dan organisasi non profit, profit-oriented, sampai social enterprise yang menyasar anak muda pun bermunculan.

Hal ini juga dapat dilihat dalam ranah bisnis event organizer. Kiranya sudah tidak terhitung berapa poster seminar, konferensi, dan pelatihan dengan target anak muda yang sudah kita lihat. Biaya yang ditawarkan variatif, dari mulai gratis sampai jutaan Rupiah. Mereka memanfaatkan momentum dan karakter anak muda yang memiliki mimpi besar untuk menjadi agent of change. Tentu saja tidak salah karena bisnis tidak akan muncul tanpa ada demand yang tinggi. Tapi apakah model bisnis seperti ini menguntungkan bagi kedua belah pihak? Apakah semangat yang didapat sifatnya temporer atau berkelanjutan?

Plenary Session di Malaysia Tourism Center Conference Hall

Saya.pribadi merasa menyesal karena kurang mengambil kesempatan saat kuliah. Kalau saja saya pernah ikut pertukaran pelajar atau konferensi di luar negeri tentu masih bisa meminta bantuan dana. Maka saat ini saya sangat rajin mencari kegiatan-kegiatan yang bisa diikuti. Mumpung saat ini saya masih self-employed dan memiliki kebebasan mengatur waktu. Ketika melihat website ALC 2015, saya merasa acara ini sangat cocok dengan tujuan saya untuk mengembangkan diri di bidang entrepreneurship. Oh ya, darimana kita bisa mendapat info tentang kegiatan seperti ini? Saya merekomendasikan untuk follow Twitter @KampusUpdate dan @IDStudentJob.

PENGALAMAN KONFERENSI
ASEAN Leaderpreneur Conference 2015 (ALC 2015) diinisiasi oleh ASEAN YouthPreneur Community (AYPC). Acara diselenggarakan di Kuala Lumpur, Malaysia pada 7-10 Mei 2015 lalu.

Deskripsi acaranya akan saya kutip dari proposal.
"As a university students and youth among ASEAN Countries, we have responsibilities and rights to contribute to solve this problems. Therefore, we want to create a forum to accommodate all ideas of students and youth among ASEAN Countries and meet them with the expert to make sure that their ideas are accommodated. Furthermore, they will enhance more understanding and knowledge about how to contribute to the ASEAN Economic Community (AEC) 2015 and what we need to be one as an ASEAN Community."

Proses seleksinya cukup mendaftar online saja. Menyebutkan apa yang ingin didapat, pendapat tentang leaderpreneur, ide untuk Indonesia, dan sebagainya. Saya sendiri menulis tentang pentingnya design awareness dalam iklim kewirausahaan di Indonesia (semoga bisa saya tulis secara terpisah setelah ini)Dalam formulir disebutkan bahwa akan ada proses seleksi, maka saya senang sekali ketika tahu saya lolos. Kesempatan untuk mengembangkan diri sebagai seorang entrepreneur!

Official Poster ALC 2015

Biaya kegiatan ini adalah sebesar USD 165 dan harus ditransfer ke Bank Malaysia. Biaya meliputi hotel, makan, dan rangkaian kegiatan. Sesuai kurs dan biaya transfer antar negara saya membayar IDR 2.500.000. Biaya tersebut belum termasuk tiket pesawat yang berkisar IDR 1.000.000 PP.

POKOK PERMASALAHAN
Saat guide book dikirim via email saya mulai curiga. Kenapa hanya ada 100 peserta dan semua dari Indonesia? Saat itu saya pikir guide book ini khusus peserta dari Indonesia, tapi ternyata memang hampir seluruh peserta dari Indonesia! Setahu saya hanya ada 1 peserta dari Thailand. Bahkan Malaysia selaku tuan rumah pun tidak mengirim delegasi sama sekali.

Saya jadi bingung, apanya yang ASEAN? Ini kan sama saja mengadakan acara seminar dengan pembicara internasional. Tidak perlu susah-susah ke Kuala Lumpur, di Jakarta pun bisa. Sangat tidak sesuai ekspektasi dan jujur saya merasa tertipu. Salah satu tujuan saya kan ingin memperluas networking, apabila ditinjau dari pembicara saja acara ini jelas tidak appealing jika dibandingkan dengan biayanya. Saya kira pihak ASEAN perlu mengevaluasi kegiatan-kegiatan yang mencatut nama ASEAN agar tidak sembarangan menggunakan nama sebagai pemancing peserta.

Masalah peserta ini panitia menanggapi bahwa mereka memiliki beberapa partner (seperti yang tercantum pada poster di atas) namun karena suatu masalah kinerja partner tidak optimal. Partner tidak dapat mengumpulkan peserta dan saat hari H tidak dapat dihubungi sehingga koordinasi kacau. Akibatnya panitia dari Indonesia yang hanya 7 orang harus menanggung semuanya. Serius? Apa tidak bisa diantisipasi atau dibatalkan saja acaranya? Kenapa koordinasi acara berkelas internasional bisa lebih buruk dari acara OSIS SMA? Walaupun tahu ada yang janggal, toh pada akhirnya panitia tetap menjalankan acara dengan segala konsekuensinya.

Salah satu konsekuensi terberat adalah seluruh rangkaian acara sangat terlambat dan terkesan tidak siap. Dari rundown yang dibagikan saya sangat menunggu-nunggu focus group discussion (FGD), gala dinner, dan KL Race. Memang saya tidak beruntung, ketiga acara tersebut tidak ada yang dilaksanakan. Saya ingin ikut FGD karena besoknya saya akan mengikuti seleksi LGD untuk seleksi beasiswa LPDP. Hitung-hitung belajar. Kenyataannya karena acara yang sangat sangat terlambat acara ini harus dibatalkan. Saya pun tidak sempat mengutarakan pendapat. Bukan bertanya ya, tapi berdiskusi. Tanpa FGD jelas konferensi ini tidak berbeda dengan seminar biasa.

Saya yang mengasosiasikan gala dinner dengan makan malam mewah lengkap dengan appetizer, main course, dan dessert juga harus berujung kecewa. Ternyata pelaksanaan hanya makan nasi kotak di atas rooftop hotel. Rasanya disini lah kekesalan peserta mulai muncul. Apalagi esoknya KL Race dibatalkan dengan alasan banyak peserta yang ingin mengeksplorasi Kuala Lumpur. KL Race pun diganti kegiatan jalan-jalan secara independen. Saya tidak habis pikir, kenapa harus mengatasnamakan keinginan peserta kalau sebetulnya panitia yang tidak siap? Akhirnya peserta banyak yang langsung check out dari hotel karena kecewa. Closing ceremony pun dibatalkan.

Untuk menghormati panitia saya hanya menulis secara garis besar saja, apabila masih penasaran bisa kontak saya secara personal ya.

Lucunya sewaktu SD saya pernah menjadi duta terpilih untuk Konferensi Anak Majalah Bobo dan acaranya malah jauh lebih terorganisir. Kami yang masih kecil-kecil itu berdiskusi dan pada hari terakhir menelurkan deklarasi tentang menjaga lingkungan hidup. Deklarasi itu dibacakan, dimuat di majalah Bobo, dan akan direkomendasikan untuk kementerian terkait. Wah saat itu saya senang sekali karena merasa bisa membuat sedikit perubahan.

KEBIJAKAN PENGEMBALIAN DANA
Berhubung saya membiayai acara ini 100% dengan uang sendiri-mulai dari kegiatan sampai tiket pesawat-rasanya sangat masuk akal untuk meminta refund. Beberapa peserta setuju, beberapa tidak. Ada juga yang meminta refund karena dibiayai kampus dan tidak siap apabila diminta pertanggungjawaban dana. Saya kira yang tidak setuju tentu masih dibiayai orang tua sehingga belum ngeh betapa besarnya uang tersebut apalagi untuk seorang fresh graduate.

Pada 10 Mei saudara Y selaku general secretary AYPC menyebutkan solusi, "Refund perihal acara yang tidak kalian dapatkan atau kalian merasa dizalimi." Wah saya merasa bersyukur sekali dan segera membuat surat pernyataan rinci. Saya juga berpegang pada prinsip bahwa kesalahan harus diberi tahu supaya bisa dievaluasi dan jadi lebih baik. Saya sangat berharap surat saya dapat dipertimbangkan. Tapi ternyata tidak.

Refund dipukul rata dan hanya sebesar IDR 145.000! Jika dihitung hanya 7% bahkan tidak sampai 10% atau seharga satu tiket pesawat. Apa iya sampai saat terakhir peserta yang jelas-jelas rugi pun masih harus memaklumi panitia? Apa gunanya meminta penjelasan dari acara yang tidak didapatkan?

Apabila Surat Pernyataan saya ditanggapi dengan baik melalui proses negosiasi secara personal pun sebenarnya tidak apa-apa. Sebetulnya orang-orang seperti saya hanya penasaran sejauh apa kemampuan panitia dalam mengatasi masalah. Dalam pikiran saya dari 50% yang saya minta mungkin saya bisa mendapat 25%. Tapi ternyata tidak.

Saya tidak tahu seberapa besar kerugian panitia atau bagaimana 'kesialan' mereka yang salah memilih partner dalam acara dapat terjadi. Pada kejadian ini panitia selalu menyebut dirinya sebagai korban tapi saya tidak memiliki kapasitas untuk menjelaskannya karena memang tidak mengerti. Sebagai informasi saya sudah tidak menuntut apapun dari panitia karena yang bersangkutan sudah minta maaf secara personal bahkan berterimakasih atas kejujuran saya, maka disini saya hanya ingin berbagi.

Saya memutuskan untuk menulis pengalaman ini dengan tujuan agar anak-anak muda Indonesia yang sedang semangat-semangatnya ingin aktif dan berkontribusi lebih (atau memoles CV) berhati-hati dalam memilih kegiatan, apalagi yang biayanya lumayan. Jangan tergiur dengan embel-embel ASEAN atau acara yang diadakan di luar negeri. Yang terpenting adalah lihat dulu siapa penyelenggaranya. Apakah track record-nya bagus? Apakah ini acara pertama mereka? Apakah posternya well-designed? (Maaf kebiasaan dari kuliah) Ambil contoh AISEC, walaupun kita harus menanggung seluruh biaya sendiri kita dapat melihat review positif dari para pesertanya.

SISI POSITIF
Ada 3 sesi seminar yang diadakan pada ALC. Ketiganya mengundang pembicara-pembicara profesional yang telah sukses di bidangnya masing-masing. Pada sesi pertama di plenary hall memang tidak terlalu banyak yang tersampaikan karena harus mengejar Jumatan. Yang paling saya ingat adalah tips dari Anna Karina Jardin tentang goal setting. Kebanyakan dari kita hanya membuat list saja tapi tentu tidak cukup. Goal harus dibuat specific, measurable, attainable, dan time-bound. Hal terakhir ini yang sering terlupakan. Kita harus mengerti kapan suatu goal harus berhenti dikejar karena tidak lagi relevan. Cerita dari Aishah Zahari tentang NUS Startup Runway juga menarik. Disini ia dan teman-temannya memiliki launchpad startup di sebuah lot. Tadinya lot ini sepi tapi sekarang sudah membawahi ratusan startup. Jadi penasaran ingin kesana.

Sesi seminar kedua lebih menyenangkan karena ruangannya bagus! Kami ditempatkan di ruang konferensi dengan meja melingkar dan microphone di setiap kursinya. Seandainya proses diskusi yang dilakukan disini, bukan hanya tanya jawab seminar, tentu akan sangat seru. Salah satu pembicara yang paling inspiratif menurut saya adalah Aaron Gill, CEO GrabTaxi. Sampai sekarang saya punya satu pertanyaan yang tidak sempat ditanyakan karena terbatasnya waktu, apakah kita bisa melindungi ide yang sudah diluncurkan? Ketika saya mencari aplikasi GrabTaxi di smartphone, banyak juga aplikasi lainnya, tidakkah kita bisa mencegah hal tersebut? Hal ini sangat bertentangan dengan cerita salah seorang pembicara (saya lupa namanya) pemenang Startup Weekend. Ia sudah mendapat dana, tim yang oke, dan konsep yang viable tapi startup-nya gagal karena Gojek diluncurkan lebih dulu. Ya betul, ia memiliki konsep yang sama.

Ruang Konferensi di Universiti Kebangsaan Malaysia

Sesi ketiga yang seharusnya gala dinner mengundang Wempy Dyocta Koto, CEO Wardour & Oxford. Saya rasa kalau Pak Wempy lebih ke arah motivasi, bukan sharing pengalaman. Beliau bilang kebanyakan orang Indonesia stuck di budaya maklum dan apologetik. Beliau yang baru kembali ke Indonesia setelah bekerja di beberapa negara merasa budaya ini tidak bisa dibiarkan lagi. Agar maju anak muda harus berani bersuara, mengatakan sesuatu yang salah itu salah. Lebih baik lagi kalau membantu mencari solusi dari kesalahan yang ada dan mulai bertindak. Nah pernyataan inilah yang membuat peserta lebih vokal terhadap panitia dan saya berniat menulis.

Untungnya selama konferensi saya berkenalan dengan banyak orang-orang hebat. Mereka semua punya semangat untuk melakukan perubahan atau membangun Indonesia. Kadang kalau melihat kondisi anak-anak muda yang seperti ini saya jadi optimis dengan masa depan Indonesia. Sampai sekarang pun di grup LINE mereka masih saling share info mengenai acara-acara terkait entrepreneurship dan opportunity lainnya.

Saya tidak sempat kemana-mana karena besoknya ada wawancara LPDP. Tapi saya cukup senang dan kagum sekali dengan transportasi publik di Malaysia. KRL-nya sangat terorganisir, tepat waktu, dan semua sistem dilakukan dengan mesin. Saya naik KLIA Ekspress dan keretanya benar-benar sampai di bandara! Tidak perlu naik angkutan umum atau jalan kaki lagi, saya sudah berada di underground bandara. Saya juga sempat baca ada kereta yang langsung persis berhenti di depan Batu Cave. Wah pantas banyak orang Indonesia senang ke Malaysia dan Singapura, transportasi umumnya sangat ramah. Beda dengan daerah di Indonesia yang kebanyakan mengharuskan menggunakan kendaraan pribadi.

KRL Ekspress ke Bandara KLIA 2 seharga RM 26.5

KESIMPULAN
Poin yang ingin saya sampaikan adalah: meraup keuntungan dari mimpi dan semangat anak muda harus disertai tanggung jawab. Apa kalian-penyelenggara acara-yakin dapat mengakomodasi pemikiran mereka, menyalurkannya, dan memberi banyak manfaat? Jika tidak, jangan pernah berpikir untuk membuat acara untuk gaya-gayaan saja.

Percayalah bahwa semakin worth-it acaranya semakin murah bahkan gratis biayanya. Acara semacam ini punya visi yang jelas dan akhirnya bisa menarik banyak sponsor. Pemilihan pesertanya jelas lebih ketat tapi jika bisa lolos pasti bangganya luar biasa. Contoh acara yang sedang berlangsung saat ini adalah IDEA Fest dan ASEAN Youth Creative Industry Fair (AYCIF). Jika penasaran silakan buka website-nya dan disitu tertera bahwa peserta yang lolos tidak dikenakan biaya apapun.

Ingat juga bahwa nama baik mahal harganya dan menimbulkan kekecewaan itu priceless. Sebagai seorang entrepreneur, justru inilah pelajaran terbesar yang dapat saya ambil. Saya akan berusaha lebih keras dalam bekerja dan memenuhi kebutuhan pembeli terlepas dari apapun masalah yang ada. Bagaimanapun juga dalam dunia kerja kita tidak dinilai dari proses, tapi hasil.

Di luar hal tersebut anak muda mesti paham bahwa semangat apapun yang didapat saat seminar atau acara motivasi hanya bersifat sebagai katalis. Apakah akan berlanjut mengantar ke kesuksesan atau tidak tergantung pada diri sendiri. Mindset ini harus ditanamkan dalam setiap penyelenggaraan acara. Kalau kamu sangat suka membaca seperti saya, itu sudah cukup jika tujuan utamanya hanya untuk belajar (bukan networking atau pengalaman). Ketika ALC kemarin pembicara sempat mengulas buku Emotional Intelligence, The Lean Startup, dan Business Model Generation yang semuanya sudah saya baca. Inti dari yang dibicarakan dan yang ada di buku sama kok.

Harapan saya semoga semakin banyak acara yang tulus ingin membantu mengembangkan potensi anak muda di Indonesia dan dikelola secara profesional. Saya tidak kapok mencari acara-acara menarik lainnya yang bisa diikuti. Mudah-mudahan pada post berikutnya saya bisa menulis cerita yang inspiratif.

Memilih Produk Bersertifikasi

Memilih Produk Bersertifikasi

Beberapa bulan terakhir kebakaran lahan dan kabut asap di Sumatera, Kalimantan, dan Sulawesi terus menjadi berita utama tanpa perbaikan berarti. Banyak korban kehilangan pekerjaan, sakit, bahkan meninggal dunia. Belum lagi dampaknya pada hewan-hewan liar dan lingkungan serta mempercepat pemanasan global. Tepat rasanya apabila JakartaGlobe menganggap bencana ini adalah kejahatan lingkungan terbesar di abad ke-21.

Penyebab kebakaran lahan dan kabut asap
(Sumber: data pribadi)

Tapi sejujurnya bagi saya bukan ketidakmampuan pemerintah untuk mengatasi masalah dengan cepat, ketidaketisan korporasi, atau lemahnya integritas lembaga penegakan hukum di Indonesia yang membuat saya sangat kecewa. Semua faktor tersebut adalah dampak, sedangkan jika kita harus mencari penyebab kabut asap akan sangat rumit, bahkan perlu juga mengkaji sisi historis dimana kebijakan-kebijakan Presiden Soeharto patut disangsikan. Kabut asap tahun ini adalah titik puncak dari akumulasi kelalaian selama bertahun-tahun sebelumnya.

Maka yang membuat saya marah adalah, disini saya duduk dan mengetik dengan nyaman tanpa bisa melakukan sesuatu yang signifikan. Tentu saja saya sudah melakukan tindakan-tindakan minor untuk membantu, tapi apakah itu cukup? Karena itu saya memutuskan untuk mengkampanyekan sekaligus mengedukasi masyarakat tentang pentingnya mengkurasi isi keranjang belanjaan. Hal yang sepertinya kecil, tapi bisa menjadi signifikan apabila dilakukan sebagian besar penduduk Indonesia. Misalnya tanpa disadari, penyebab kabut asap ada di dekat kita dan digunakan setiap hari, yaitu minyak kelapa sawit. Bagaimana mungkin kita bisa menyalahkan korporasi atau pemerintah? Kita adalah konsumen setianya, mungkin juga Anda membaca ini sambil makan sepotong gorengan.

Salah satu cara untuk memilih produk ramah lingkungan, sehat, dan berkelanjutan (sustainable) adalah dengan memperhatikan sertifikasi. Artinya produk tersebut sudah diaudit dan memenuhi standar tertentu baik dari bahan baku, kemasan, maupun manajemen perusahaan secara keseluruhan. Di luar negeri sertifikasi sudah sangat umum, namun di Indonesia sertifikasi yang sudah cukup umum hanya sertifikasi halal MUI dan standar kesehatan BPOM saja. Sertifikasi dapat dilihat melalui logo di kemasan produk. Beberapa sertifikasi yang ada adalah sebagai berikut.

Beberapa logo sertifikasi yang dapat ditemukan di kemasan produk
(Sumber: website masing-masing lembaga sertifikasi)

BPA Free: bebas bisphenol A (untuk kemasan plastik).
CSPO: sertifikasi minyak kelapa sawit berkelanjutan, untuk perusahaan maupun pertanian.
Indonesian Legal Wood: bahan baku lulus uji sistem verifikasi legalitas kayu (SVLK).
Forest Stewardship  Council (FSC): produksi dan konsumsi hasil hutan yang bertanggung jawab.
Fairtrade: standar perdagangan bebas (impor) yang adil.
Rainforest Alliance (RA): bahan baku berasal dari peternakan, lahan pertanian, maupun hutan yang dikelola secara bertanggung jawab.
InSWA Green Label Indonesia (IGL): bahan baku ramah lingkungan.
ISO 14001: sistem manajemen berbasis lingkungan.
ISO 22000: sistem manajemen keamanan pangan.
ISO 9001/9002: sistem manajemen mutu.
OHSAS 18001: standar keselamatan dan kesehatan pekerja.
SNI: uji standar nasional indonesia, penomoran berdasarkan jenis produk.

Untuk menemukan produk-produk bersertifikasi, saya melakukan observasi di sebuah supermarket di daerah Bandung. Apabila produk yang biasa Anda gunakan tidak terdapat dalam tabel di bawah ada 3 kemungkinan, yaitu: (1) produk tidak terdapat di supermarket; (2) produk tidak atau belum mencantumkan sertifikasi pada kemasan; dan (3) produk memang tidak ramah lingkungan. Bukan berarti nama PT yang tercantum disini semua produknya otomatis berkualitas sama. Kenyataannya satu korporasi pasti memiliki beberapa lini produk, bahkan jenis produk sama dengan merek berbeda (misalnya Indomie dan Sarimi sama-sama diproduksi PT Indofood). Biasanya perbedaan disesuaikan dengan target konsumen.

Disini saya tidak ingin mendiskreditkan produk tertentu dan tidak pula berpromosi, saya hanya ingin mengajak konsumen agar lebih cerdas dalam memilih produk. Intinya, perhatikan tulisan pada kemasan. Produk-produk bersertifikasi yang saya temukan dapat dilihat pada tabel berikut.

Daftar produk bersertifikasi
(Sumber: data pribadi)

Dari tabel tersebut dapat disimpulkan bahwa sertifikasi yang paling sering digunakan adalah SNI. Namun SNI merupakan sertifikasi bahan baku dan pengolahan produk. Darimana bahan baku tersebut didapatkan tidak termasuk tolak ukur karena secara konteks termasuk ke dalam sertifikasi ISO (sistem manajemen dan perusahaan) maupun sertifikasi lainnya. Contohnya produk berbahan dasar kayu harus memiliki sertifikasi Indonesian Legal Wood sedangkan produk minyak kelapa sawit harus memiliki sertifikasi sustainable palm oil dari RSPO, namun sayang sekali belum ditemukan. Saya juga mencatat banyak sekali produk yang tidak memiliki sertifikasi SNI.

Maka disini memilih produk ber-SNI bisa berarti memilih produk yang lebih baik, tapi tidak bisa menjamin bahwa produk tersebut sepenuhnya berkelanjutan karena tidak memiliki sertifikasi yang cukup, terutama terkait bahan baku.  Untuk itu saya menyarankan kepada pemerintah untuk meningkatkan kesadaran perusahaan dalam mengurus sertifikasi sebagai tindakan preventif menanggulangi bencana lingkungan maupun sosial yang tidak diinginkan.

Sedangkan untuk setiap individu, saya harap kita dapat lebih teliti sebelum membeli. Setidaknya sekarang Anda sudah tahu harus memilih produk apa. Tidak ada salahnya membaca infomasi di kemasan produk sebelum membeli, bukan hanya membanding-bandingkan harga. Padahal apabila ditinjau dari dampak jangka panjang, harga murah tersebut bisa jadi harus dibayar dengan rusaknya lingkungan yang sama sekali tidak ternilai. Apabila Anda memiliki toko, saya juga memohon agar berani menolak produk-produk yang tidak ramah lingkungan agar tercipta urgensi pengurusan sertifikasi produk di Indonesia. Jika tidak begini mudah saja korporasi berargumen, "Buat apa? Indonesia tidak peduli sertifikasi, Indonesia peduli harga murah."

Saat ini tengah dilakukan penyidikan terhadap korporasi yang bertanggung jawab atas kebakaran lahan. Tentu saja kita berharap segera dapat ditemukan bukti-bukti definitif untuk mempermudah prosesnya. Kasus ini harus diusut tuntas agar selanjutnya kita dapat memboikot korporasi beserta produk-produknya sebagai bukti tindakan tegas konsumen.

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Audience Development in British National Art Museums

Audience Development in British National Art Museums

National Gallery London
(Source: www.artfund.org)

INTRODUCTION
There is a distinction between high cultural art form (e.g. art, opera, ballet) and popular culture (e.g. film, TV series, fashion design). The first one is identical with advanced taste and exclusivity whilst the second one is classified as ordinary mass-produced goods. In other words, to be able to understand the high culture, people need to have a higher level of knowledge or higher class in society (Boorsma, 2006). This conception promotes an understanding that art as a high cultural form is not for everyone. Therefore, people often question the eligibility of the arts-related state funding. The museum, as a medium to bridge between the artworks and the people, has a responsibility to alter this misconception. Across the year, art museums have been struggling to prove that the public and government funding is worth the investment by acquiring wider audience and assure that they may provide spill-over benefits to the society (O’Hagan, 2016).

The essay aims to further examine the museums’ audience development strategies. It is structured as follows. First, it will define the meaning of art museum, observe several types of museum funding scheme, and the objectives of the funding scheme. Second, it will discuss the museum audience and explore two theories of audience development from Hayes and Slater (2002) and Hansen (2015). Finally, it will mention some examples of audience development strategies in real-life practice which will be organised into four types: (1) taste cultivation; (2) audience education; (3) extended marketing; and (4) outreach, then further analyse how they are related to the objectives of the funding.

STATE FUNDING ON NATIONAL ART MUSEUM
At the beginning, museum’s purposes are to store, exhibit, conserve, and archive historical objects and artefacts, including artworks, thus the physical goods can be preserved permanently for the future generation and not just documented through pictures. The establishment of the museum is also based on educational core purpose.  It often acquires artefacts from personal collectors so that the artefacts will be accessible for public. Moreover, the museum is a symbol of well-developed and high-cultured society. That is why sometimes it is identical with the elitist (McClellan, 2008). It is true that museum does not cause an explicit impact on poverty, but it is considered to reaffirm the social and economic inequalities (Kawashima, 2006).

Nowadays the purposes of the museums are getting broader to reach beyond the cultural elitist, eradicate social exclusion, and heading towards the inclusive museum goals. In this case, the term social exclusion does not always refer to the exclusion of marginalised people, but it applies to all classes of people who possess some kind of barriers to participate in the arts and culture (Sandell, 2000). It does not mean that museums will start to display popular art rather than high art, but it will target mainstream audiences and become more socially inclusive (Hayes and Slater, 2002; Jancovich, 2011).

Statistically, there is a total of 17 museums in the UK which are officially funded by the Department of Culture, Media, and Sport (Maddison, 2004). Nevertheless, the scope of this essay is British national art museums or galleries, namely: (1) National Gallery; (2) National Portrait Gallery; (3) Tate; and (4) Victoria and Albert Museum. These museums are funded at arm’s length principle which means that the government does not interfere with their daily operational policies (DCMS, 2016a).

Variety of Funding Schemes in 2005/2006
(Source: Adapted from MLA, 2006)

There are several types of funding schemes based on the sources of the funding. MLA (2006) reported that art museums in the UK gathered their funding from national lottery funding, donations, sponsorships, government grant-in-aid, and public grant-in-aid which performs as the primary income. The museums also earn money from trading in the shops or restaurants and admissions for temporary exhibitions. The huge proportion of the funding is allocated to abolish entrance fee since it is an effective way to attract audiences. This policy succeeded to increase the number of visitors by 128% in 2015/2016 term (DCMS, 2016a). Besides that, the funding is allocated to cover the operational cost, capital expenditure, and to purchase artworks. Based on the statistics, the given funding which is translated into expenditure almost always produces higher income (MLA, 2006). Indirectly, it confirms that the museum funding is well-invested.

Expenditure and Income Comparison in 2015/2016
(Source: Adapted from MLA, 2006)

Despite the general funding, there are more specific funding schemes which target narrower goal such as New Audiences Fund for audience development, Museum Resilience Fund for sustainability and resilience-based development, and Cultural Gifts and Acceptance in Lieu to acquire private-owned works of art and change it into public-owned. Moreover, besides funding by the government, there is also grant by an independent philanthropic organisation such as Museums and Galleries Improvement Funds by The Wolfson Foundation (Hayes and Slater, 2002; DCMS, 2016a). However, Maddison (2004) stated that the increased amount of private grant may decrease the allocation of public and government’s funding in the future. It means that the government aid is not permanent, but rather it befits with the museum’s condition. For instance, Victoria and Albert Museum change their admission status several times during the 2000s.

The main goal of the subsidised arts is ‘providing free public access to permanent collections of national museums and galleries’ (DCMS, 2016a, p.2). However, besides cost, the government also acknowledges the importance of the quality of audiences’ visit to the museum. Therefore, DCMS (2016b, p.3) added that ‘everyone should enjoy the opportunities culture offers no matter where they start in life, […] benefit communities across the country, and […] increase our international standing’.

It is essential to converse the funding into concrete social impact. At some point, people acknowledge the personal and symbolic benefit of the arts such as the ability to spiritually connect oneself to the philosophy of an artwork, gains aesthetic pleasure, elevates social status, and helps us in relaxing our mind (Boorsma, 2006). Furthermore, the principal product of museums is not the artworks collection, but the propositioned experiences for visitors. Some museums not only display artworks and treat visitor as passive spectators, but also initiate related activities to help the visitors immerse themselves in the experience. There are four types of museum-going experiences, namely: ‘(1) social experiences; (2) cognitive experiences; (3) object experiences; and (4) introspective experiences’ (Kotler and Kotler, 2000, p.277).

However, O’Hagan (2016) stated that if art solely has personal benefit, it should not be funded by the government and the taxpayers because people would not get the benefit equally. He further explained that art is a medium to build identity and strengthen social cohesion thus it possesses a social impact. Moreover, Sandell (1998) proclaimed museum as the agent of social regeneration. In relation to these theories, Rushton (2003, p.91) believes that even though not everyone participated in the arts, everyone is ‘collectively benefits from the art’.

To fortify the evaluation of the social impact, each museum has its own interrelated goals which can be divided into three categories: ‘(1) audience goals; (2) product goals; and (3) organisation goals’ (Kotler and Kotler, 2000, 274).  The audience is related to the visitor, the product is related to the collection, and the organisation is related to the income and collaboration between museums. Some of the goals can be valued through quantitative measurements. For example, the museum can count the number of ‘attendance, volunteerism, advocacy, or donations’ and analyse the data as a framework for audience development program (Hayes and Slater, 2002, p. 7). However, some of the qualitative goals are only able to be measured in a long-term research.

MUSEUM AUDIENCE
The trend of British museums’ audience is escalating throughout the year. The fastest growing audience is shown in the National Gallery with its constant growth. However, Tate succeeded to obtain almost 8 million total visitors in 2015 which was the highest among other museums. It is assumed that this happened because Tate has four separate museums which are Tate Gallery (London), Tate Modern (London), Tate Liverpool, and Tate St. Ives (Tate, n.d.). Approximately 47% of the total visitors comprises of overseas visitors and 7% of the total visitor is under 16 (DCMS, 2016a).

Museum Visitors Between 2010-2015
(Source: Adapted from DCMS, 2016a)

The biggest challenge for the museums is to erase the stigma that art world is dominated by white middle-class male and address the cultural diversity issue (Jancovich, 2011). It leads ACE (2004, p.7) to better understand the profile of the audience demographic. Its New Audiences Program classified the priority of the audiences in its research findings which consists of ‘general audiences, disability, diversity, inclusion, rural, young people, families, and older people’. With wider audience segmentation, it is hoped that the exposure for art museums will be greater.

Before formulating the strategy, McCarthy and Jinnett (2001) stressed the importance to understand the factors that influence people to go to the museum and elaborate it in the RAND model. Besides personal background, which often understood as the most important decision factor, individual perception and their closest communities’ attitudes towards art also have roles in the decision-making process. It means that art museums can change perceptual and practical notion of people from different backgrounds. At the same time, people’s past experiences will determine their perception towards future participation in a cyclical pattern.

Audience Participation Model
(Source: McCarthy and Jinnett, 2001, p.24)

AUDIENCE DEVELOPMENT STRATEGY
Starting from 2002, all government-funded museums must provide free access to their permanent collections, but they are allowed to sell admission tickets for temporary exhibitions and special events (Madison, 2004). Considering this fact, technically there should not be any financial barrier for people to go to the museums, but on the other hand, many art museums still struggle to alter the stigma that art is exclusive and hard to understand without appropriate knowledge. That is why museums must accommodate the representation of people’s diversity so that everyone will have the same access to participate in cultural appreciation and production (Sandell, 2000).

Wiggins (2004) found out that the greatest barriers are caused by the lack of either motivation, ability, opportunity or the combination between those three aspects. Furthermore, audience motivation itself is diverse. It ranges from ‘self-actualisation, psychological needs, personal development, social needs, and stimulation’ (Cooper and Tower, 1992 as cited in Hill et al., 1995, p.50).

Another theory by Hayes and Slater (2002, p.7) conveyed two approaches of audience development which are (1) mainstream for attenders and (2) missionary for the non-attenders. The attenders and non-attenders are divided into six categories, namely: ‘(1) existing audience; (2) attenders elsewhere; (3) switchers; (4) intenders; (5) indifferent; and (6) hostile’. According to the findings of their research, most of the audiences fell into hostiles and indifferent categories, hence missionary strategies, like conversion and reversion, are more crucial to be implemented. On the other hand, Hansen (2015) adapted audience typology from Kawashima (2006) and proposed strategy for each typology. It simplifies the audiences into four categories based on their attendance and perception.

Audience Develeopment Strategies
(Source: Adapted from Hayes & Slater, 2002 and Hansen, 2015)

The practical examples from Hansen’s strategy (2015) will be discussed below. Some projects are independent projects of the museums while some of them are parts of the New Audiences Fund Scheme which have cultivated a total of 1,157 projects (Kawashima, 2006). Even though the classification is narrowed down into four strategies, the implementation may be overlapping.

Taste Cultivation
Positive attenders are the ideal museum audiences since they already have a personal connection with the arts. The objective of the taste cultivation strategy is to improve audiences’ comfort, generated more perceived value, and raise the frequency of attendance which will be translated into loyalty (Kemp and Poole, 2016; McCarrthy and Jinnett, 2001). The strategy can be achieved by constantly improves the variant of the collections and offers an appealing concept for temporary exhibitions. One of the exhibitions that captivate many visitors is a temporary Raphael Exhibition in National Gallery. It cooperated with other art institutions to bring paintings by Raphael to London for the first time. Approximately 231,000 people came to see this rare exhibition (MLA, 2006).

Another advantage of having mature audiences is the ability to ‘introduce new art forms, genre, or cultural institutions to broaden their scope’ (Hansen 2015, p.348). In line with this, National Gallery routinely commissions musicians to perform a classical piece in the museum (NG, n.d.). Moreover, to engage professional cultural workers as an active museum participants, Victoria and Albert Museum opens a residency program for contemporary UK-based artists, designers, and makers. The selected residents will be provided with on-site studio facility, artworks production grant, and unlimited access to the museum’s resource (VAM, n.d.).

VAM's Artist Residency
(Source: www.transartist.org)

Audience Education
Negative attenders are an important target to tackle since they have the ability to advocate public with word-of-mouth or online review that may influence non-attenders to rethink their decision to visit the museum. Museums must transform their negative experience by providing basic education and positive stimulation (Hanse, 2015). For instance, National Gallery commenced Line of Vision youth mentorship and discussion program for a first-time visitor (MLA, 2006). Besides guides, museums also complete the artworks with easy to understand information which linked to interesting facts about the works, artists, or related art movement.

As for children, museums can make activity book or interactive display that is combined with games and art-making workshops (Kotler and Kotler, 2000), like TATE does with its SureStart program (MLA, 2006). If since the early age children are actively engaged in creating art, even though from different forms such as music and dance, it will be easier to appreciate all forms of art (Kemp and Poole, 2016).

The education process also can be enriched with events such as artist talk and public discussion (Hansen, 2015). It strengthens the importance to organise exhibition related to recent issue, thus it will catalyse stimulating discussion. For instance, in 2012 Tate organised an exhibition about immigrant movement. At that time and until nowadays, immigrant is a controversial issue. With the differences between how the public perceive the exhibition, the issue will raise to the surface and educate people who previously are not concerned with this matter. In this way, museums function as the agent of social change.

Extended Marketing
Positive non-attenders can be classified as a soft target because they are already interested in arts or museums. Mainly this segment’s barrier is related with a physical barrier and it can be changed into an opportunity for the museum. If it wants to expand the market, this segment is the most promising target (Wiggins, 2004).

Fundamentally, the museum must ensure that the information related to event and program has reached the audiences. The information can be spread through the website, social media, and electronic invitation (McCarthy and Jinnett, 2001). However, some audiences may not be able to attend the exhibition because they live far away from the location or have a busy schedule. The solution is to harness the power of digital technology. Museums can offer an informative website which is completed with an online shop and free downloadable resource, online course, or phone application. The example is Love Art phone application by National Gallery that can help non-attenders to accomplish virtual tour (Dawson, 2013)

Love Art Phone Application
(Source: Dawson, 2013)

A physical barrier also happens to people with special needs. In this term, National Gallery has Magical Journey Program. It brings the duplicate portrait of children author and poet for children in the hospital, tells stories about them, and encourages children to make their own art in order to feel better and happier. This program proves that art can contribute to wellbeing. Nationa Portrait Gallery also provides public creative space for an artist with disability (NPG, n.d.). In addition, a program like Talking Images by Tate and Royal National Institute for the Blind conducts a research to improve blind audiences’ art experiences (MLA, 2006). To some extent, most of the extended marketing strategies are close to community development approach (Kotler and Kotler, 2000).

Outreach
Different with the previous types, negative non-attenders may be physically available but they have a psychological barrier which is related to motivation. This cluster of the audience is subbed as a hard target (Wiggins, 2004) because the museums are not only competing with other museums to get their attention but also with other modes of entertainment such as cinema and concert. The proposed strategy is to move the settings from the physical museums whilst convey the same content (Hansen, 2015)

In example, National Gallery worked together with BBC1 to produce a series of documentary about British art entitled A Picture of Britain and Victoria and Albert Museum acts as the main speaker for a BBC2 show about modernism movement which was inspired by its exhibition (MLA, 2006). There is also At Home with Art program by Tate. It commissioned 9 artists to design and produce mass-produced products. It challenged the notion of art as a one-of-a-kind piece of work. The products were sold in ordinary homeware shops. More than 37,000 products were sold and the interesting concept of the program received wide media exposure (ACE, 2004). With this programs, the museums hope to ignite a spark of interest in the audiences’ mind. However, on top of that, all museums present open access to their annual report as accountability for the public patronage.

CONCLUSION
All in all, although the museums acquire their capital from several funding schemes, public grant-in-aid is their primary source (MLA, 2006). Nowadays, the primary objective of the funding is to provide equal access for everyone, regardless of their background (DCMS, 2016a). This objective is improved from the past objectives which revolve around preservation and education (McClellan, 2008). Since museums are funded by the public, it is paramount to ensure that they acquire equal benefits. The audience development strategy is the tool to help museums reach this equality.

However, before formulating any audience development program, the museum must understand the audience profile and investigate the barriers which preclude them for participating in the arts. Hayes and Slater (2002), Kawashima (2006), and Hansen (2015) holistically covers all types of audiences and assist specific strategies to engage with each type of audiences. Even though the two ideas may have different classifications, but the main ideas are similar. They both convey that museums must choose the strategy depends on the targets that they want to touch, which are attenders or non-attenders.

Regarding the objective of public grant-in-aid to prepare better access for everyone, the strategy for the non-attenders can be implemented. At the same time, access is also related to the visitors’ comfort and loyalty which is covered in the attenders’ strategy. Therefore, it can be concluded that to fulfil the aims of the subsidy, museums must perform several types of audience development strategies. It cannot just offer free charge and simultaneously expect people to come without further ado.

Moreover, the effectiveness of the strategies can be seen in wide variables from quantitative measurements of visitors’ attendance, website clicks (DCMS, 2016a), to a more intangible social function indicator such as the ability to provoke public discussion and offer new perspectives towards current issue (DCMS, 2016). As for the aim to fortify international standing, they aimed to gain more overseas audience by promoting the museums in the digital platform such as websites and phone applications.

DISCLAIMER
This is an essay for Creative Lives Assignment for Creative Industries and Cultural Policy Course at the University of Glasgow. Please provide proper citation if you use this as reference.

REFERENCES
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Working in the Digital Economy

Working in the Digital Economy

DIGITAL ECONOMY
The digital economy is classified as the fourth industrial revolution. Each industrial revolution has offered a new technology that significantly alters business model and human life in general. Previously, human depended on the agricultural industry which exploits natural resources. Afterwards, the transformation began with the invention of steam power, electricity, electronics, information and communication technology (ICT), up to the internet of things in the late 2000s (Maynard, 2015). Internet of things combine the extant technologies such as personal computers, web 1.0, and web 2.0 in an interconnected system. In such way, it will blur the distinction between software and hardware. As the ICT gets cheaper and becomes more accessible to wider people, the digital economy emerges (WEF, 2017).

Figure 1. Combinatorial Effects of Technology (WEF, 2017)

The implication of the fourth industrial revolution is workers must adapt to the digital technology. Since it harnesses the creative capability of human resources rather than natural resources, the term knowledge worker was used as the opposite to routine worker who works in rigid schedule and brick-and-mortar office (Colbert et al., 2016). Furthermore, knowledge worker emphasises on ‘embrained knowledge rather than embodies and embedded knowledge’ (Colbert et al., 2016, p.206).

The structure of the report is based on 3 aspects of working that are affected by the digital economy, namely: ‘(1) workplace; (2) workforce; and (3) manner of work’ (Greenfield, 2014, p.109). Finally, it explains some government’s public policies to adapt to the digital economic landscape.

WORKPLACE
Current physical work surrounding is highly different from the office 20 years ago. With the advancement of technology, we simplify almost the whole workplace into a single desk. This leads to a more flexible work environment. The flexibility is also assisted by virtual knowledge sharing platforms such as Trello and Google Drive so that workers can solve problems or tasks from several locations at the same time. On the other hand, with the emergence of virtual communication media such as Whatsapp and Google Hangout, the communication line is more structured even though the managers, workers, or clients do not engage in a face-to-face meeting (Colbert et al., 2016).

Furthermore, start-ups can minimise their operational cost because they do not require to establish its own physical workplace. Nowadays there are many co-working spaces thus start-ups or independent workers can get office facility without establishing official workplace. The system of the co-working spaces is desk or small room rent. Other common office facilities such as receptionist, meeting room, and even café can be used together. Moreover, it is also possible to do work from home or for a company to establish a modular office (Greenfield, 2014).

WORKFORCE
The key subjects of digital economy are interactivity and open content. The goal is to overcome physical barriers and create a borderless world so that people can connect with anyone with the same interest, no matter where they live (Lanzolla and Anderson, 2008). Even though the application of ICT seems simple, it requires complex management process. That is why, digital economy is responsible for generating many new occupations in the past few years such as social media marketer, content manager, data analyst, and user interface designer. As stated in OECD (2015, p.43) report, ‘employment in the ICT sector accounted for more than 14 million people, almost 3% of total employment in the OECD’ countries. However, the employment growth is still fluctuating.

Figure 2. ICT Sector and Total Employment Growth in the OECD Area (OECD, 2015)

Most of the digital workers are digital immigrants which mean that they recently learned to operate digital devices in their adulthood. They are different with the digital natives of the younger generation which already exposed to the digital environment since their early stage of life (Maynard, 2015). Besides digital literacy, World Economic Forum (2016) discovers 10 essential skills for knowledge workers in the digital age as shown in the diagram below. It conveys that creativity as the ability to produce knowledge is getting more important in the future.

Figure 3. Top 10 Workers' Skills (WEF, 2016)

With the transformation of workplace concept, the notions of self-employment and freelance are thriving. A report from Klair (2016) showed that self-employed and part-time workers trend increased dramatically in the beginning of 2014 and the number are predicted to keep rising. Currently, there is a total of 4.6 million self-employed workers in the UK only. In addition, there is also a concept of interim manager which offer non-permanent outsourced manager for short-term contract projects (Inkson et al., 2001)

Figure 4. Net Employment Growth in the UK (Klair, 2016)

Another change is happening in the recruitment process. It is getting easier because interview can be conducted via an online platform. Moreover, with the international trade collaboration, people can work anywhere. For example, approximately 89,000 Indian engineers dominate Silicon Valley’s start-up workers (Dave, 2015). Besides, the presence of online resume and portfolio websites such as Linkedin and Behance makes it more convenient for head-hunter to recruit some specific workers independently rather than creating job advertisement. Therefore, workers must pay attention to their personal branding in the online presence (Fottrell, 2016). Some websites like Freelance, Upwork, and Toptal also perform as platforms to connect workers to clients and vice versa (Johansson, 2015).

MANNER OF WORK
Flexible working constitutes in a task-specific approach rather than strict working hours. Workers are allowed to work anytime they want as long as the task will be finished on deadline (Colbert et al., 2016). The company also encourages their workers to be more proactive and find solutions together rather than executing an order in the top-bottom approach because it aspires for continuous improvement (Nonaka and Taekuchi, 1995).

However, the flexibility of digital workers has merged work and home and blurred the distinction between work and play (Greenfield, 2014). The drawback is they may confuse to distinguish between working time and leisure time. For instance, even after they arrive at home, they continue to do a working task or discuss the task via smartphone thus it may act as a distraction from their wellbeing and social life (Colbert et al., 2016).

ROLE OF GOVERNMENT
It is important for every country to adapt with the dynamic of the industrial revolution. Nowadays many countries consider ICT as the driver for national economic growth. Considering this fact, the governments must formulate public policies to reinforce the development phase. The policy can be formulated based on the supply-side (producer) or the demand-side (consumer or user) as illustrated in the table below (Pick and Sharkar, 2015).

Figure 5. Classification of ICT Policies in Several Countries (Pick and Sarkar, 2015)

In general, the key objective of the policy is to prevent digital divide. The digital divide is the knowledge gap between the digital immigrants who require constant ICT education and the digital natives (Wong et al., 2009). Furthermore, according to United Nations (2012, as cited in Pick and Sarkar, 2015, p.338), ‘access to the internet is a basic human right’. Regarding this matter, most of the policies accentuate the development of network structure (e.g. faster fibre internet access) and provide supporting tools (e.g. free computers to school). With these programs, ICT is proclaimed to be inclusive and accessible for a whole range of social class. After the infrastructures are established, the government can do related training to improve digital literacy. Consequently, these programs will boost the quality of the forthcoming digital workers and prepare them to compete globally (Wong et al., 2009).

CONCLUSION
There are many positive impacts of the workers’ change in the digital economy. Some of them are time and space flexibility, the removal of labour’s boundaries to work internationally, and a desire of self-improvement that will also impact the company. The advantages lead to government policies to abolish digital divide and provide citizen with an inclusive environment. Furthermore, to be able to compete in the current economic landscape, workers must possess the required skills and adapt with the manner of work because change is inevitable.

DISCLAIMER
This is an essay for Digital Transformation Assignment for Creative Industries and Cultural Policy Course at the University of Glasgow. Please provide proper citation if you use this as reference.

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