What Arts Orgs Need Now: #3 Why didn’t the “edutainment” engagement of COVID continue?

This week’s series of posts are based on a conversation I had with Dave Wakeman on his podcast The Business of Fun, which came out on July 8, 2025. In each one, I’m digging deeper into one idea we talked about — with a few extra thoughts and takeaways for arts leaders. A link to the full episode is below – check it out!

In the early days of COVID, arts organizations were forced into reinvention. Audiences disappeared overnight. Performances stopped. And for a brief moment, everything was up for grabs.

It was the perfect moment to experiment, build new digital strategies, and rethink what it means to reach people.

Some organizations dipped their toe into edutainment. Ballet companies had dancers showing their barre workouts at home. Theater companies had actors improving over Zoom. Opera singers were giving breathing tutorials. But arts organizations either didn’t really go for it or stopped once in-person shows returned.

Instead of planting the seeds for the future, many crossed their fingers and waited for the old world to come back. Many are still waiting. Are you?

But here’s the good news: it’s not too late.

Start now. Most arts organizations have absolutely anemic social media presence. But that’s where audiences are these days, spending hours watching Instagram, TikTok, and YouTube. Build a new habit of experimentation. Invest in video content. Learn what resonates. You don’t need a big budget — just an iPhone, a fresh mindset, and a willingness to try.

In the next post, I’ll go deeper on why content creation matters and what kind of content can move the needle.

🎧 Listen to the full conversation.


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1 thought on “What Arts Orgs Need Now: #3 Why didn’t the “edutainment” engagement of COVID continue?

  1. […] mostly about themselves, with little to capture or grow an audience. As I’ve said before (here on why arts organizations should embrace “edutainment”, here on the upskilling needed in marketing departments) this is why younger audiences drift […]

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