From break-ins and theft to exhibitions with sensitive content and unexpected fire alarms, as public organisations museums have plenty of potential for situations that can cause negative press.
And in today’s social media world stories can gain traction and spread more quickly than ever before.
It is simply not possible to anticipate every potential issue that can cause bad press so it is essential to have a crisis plan in place that outlines a strategy to follow if a situation begins to unfold.
“It is good practice to have a strategy in place so everyone knows what to do in some sort of crisis,” says Catharine Braithwaite, an independent arts marketing consultant.
Forward planning
According to Laura Bates, the marketing manager at the Museum of London, a crisis strategy should set out the process in terms of who in the organisation will deal with the problem, and the communications response, including who will talk directly to the press.
It should also include emergency contact information for key staff and an internal cascade that will keep staff up-to-date when necessary.
Sometimes potential problems can be anticipated – for example, a contemporary art exhibition with controversial content. In these cases, it is best to have everything in order before it opens.
Braithwaite suggests having a Q&A prepared so that all staff, volunteers and trustees have answers to hand.
“It’s good to brief partners or stakeholders as well as key staff on what might happen so they are prepared if they get calls,” she says. “If you are not prepared for a negative story it can be a lot of work to catch up.”
It is also possible to plan for some operational problems, such as having to close unexpectedly or an issue with some of the facilities. Bates says: “Have stock responses including statements and social copy ready that can be updated or tweaked in the event of those things happening.”
The front-of-house team will take the brunt of those situations as they are on the ground with the visitors, she adds.
“So make sure you have a good relationship with them and offer your support.”
Theft of the Wenlok Jug
Karen Perkins, the director of culture and engagement, Luton Culture, has first-hand experience of dealing with a high-profile story after the 14th-century Wenlok Jug was stolen from the Stockwood Discovery Centre in May 2012.
The theft of the jug, which had been acquired following a fundraising campaign, instantly became a national story. As soon as the break-in was confirmed, the the centre’s crisis plan set in motion.
One of Luton Culture’s first tasks was to update funders who had contributed to the jug’s purchase.
“It was such a public story, we had to be very upfront about what had happened so we did a police appeal, conference and a Q&A,” says Perkins.
Taking control of the situation and not being reactionary or emotional was key, she adds. “The press were invited to the Q&A, and staff were asked not to discuss the matter with journalists outside of that.”
Following that, the trust worked closely with police and looked to use the press in a positive way.
“We did that by sending out regular updates to avoid it becoming too negative,” Perkins says. “It meant there was a stream of releases with our message in our voice.”.
Following a spate of museum thefts, there was intelligence in the police community about what had happened. It was felt that young people had stolen the jug to order with a view to selling it on.
To reflect that, it was decided to highlight that the value of the jug lay in its provenance, not in its value.
“While its insurance value was £1m, its bullion value was around £20,” Perkins says. “It has value to the museum and a social value, but no material worth.”
It was hoped this message would get to the perpetrators and lead to them dumping it once they realised where was no resale value. And it worked. The jug was recovered in Surrey four months later.
“You can prepare but you can only do the basics,” Perkins says. “We had an emergency plan in place, a cascade that meant the right people were called.”
And in today’s social media world stories can gain traction and spread more quickly than ever before.
It is simply not possible to anticipate every potential issue that can cause bad press so it is essential to have a crisis plan in place that outlines a strategy to follow if a situation begins to unfold.
“It is good practice to have a strategy in place so everyone knows what to do in some sort of crisis,” says Catharine Braithwaite, an independent arts marketing consultant.
Forward planning
According to Laura Bates, the marketing manager at the Museum of London, a crisis strategy should set out the process in terms of who in the organisation will deal with the problem, and the communications response, including who will talk directly to the press.
It should also include emergency contact information for key staff and an internal cascade that will keep staff up-to-date when necessary.
Sometimes potential problems can be anticipated – for example, a contemporary art exhibition with controversial content. In these cases, it is best to have everything in order before it opens.
Braithwaite suggests having a Q&A prepared so that all staff, volunteers and trustees have answers to hand.
“It’s good to brief partners or stakeholders as well as key staff on what might happen so they are prepared if they get calls,” she says. “If you are not prepared for a negative story it can be a lot of work to catch up.”
It is also possible to plan for some operational problems, such as having to close unexpectedly or an issue with some of the facilities. Bates says: “Have stock responses including statements and social copy ready that can be updated or tweaked in the event of those things happening.”
The front-of-house team will take the brunt of those situations as they are on the ground with the visitors, she adds.
“So make sure you have a good relationship with them and offer your support.”
Theft of the Wenlok Jug
Karen Perkins, the director of culture and engagement, Luton Culture, has first-hand experience of dealing with a high-profile story after the 14th-century Wenlok Jug was stolen from the Stockwood Discovery Centre in May 2012.
The theft of the jug, which had been acquired following a fundraising campaign, instantly became a national story. As soon as the break-in was confirmed, the the centre’s crisis plan set in motion.
One of Luton Culture’s first tasks was to update funders who had contributed to the jug’s purchase.
“It was such a public story, we had to be very upfront about what had happened so we did a police appeal, conference and a Q&A,” says Perkins.
Taking control of the situation and not being reactionary or emotional was key, she adds. “The press were invited to the Q&A, and staff were asked not to discuss the matter with journalists outside of that.”
Following that, the trust worked closely with police and looked to use the press in a positive way.
“We did that by sending out regular updates to avoid it becoming too negative,” Perkins says. “It meant there was a stream of releases with our message in our voice.”.
Following a spate of museum thefts, there was intelligence in the police community about what had happened. It was felt that young people had stolen the jug to order with a view to selling it on.
To reflect that, it was decided to highlight that the value of the jug lay in its provenance, not in its value.
“While its insurance value was £1m, its bullion value was around £20,” Perkins says. “It has value to the museum and a social value, but no material worth.”
It was hoped this message would get to the perpetrators and lead to them dumping it once they realised where was no resale value. And it worked. The jug was recovered in Surrey four months later.
“You can prepare but you can only do the basics,” Perkins says. “We had an emergency plan in place, a cascade that meant the right people were called.”