Digital collections have been robbed and 30 million blind boxes have been sold. Why is the museum IP popular?

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Author: Guo Ji'an

Source:Marketing Entertainment Jam

On International Museum Day in 2022, digital collections have become a new fashion topic.

The National Library, the National Grand Theatre, the Dunhuang Research Institute, the Louvre Museum and other top ten museums at home and abroad have launched 20 cultural and creative digital collections of cultural relics for the first time, covering world-famous cultural relics such as Dunhuang relics, Zizhi Tongjian, the statue of victory in the Louvre and so on.

28 national first-class museums, including Hunan Provincial Museum and Henan Museum, also cooperated with whale exploration platform to select 33 national treasure level cultural relics, and carried out artistic re creation relying on digital technology.

This is not an example. In fact, over the past year, there have been frequent collisions between museums and NFT. Cultural and creative digital collections have also become a trend respected by major platforms. Antiquity and fashion, history and trend have reached a high degree of unity through Museum cultural creation.

Being targeted by the hottest NFT circle is the corner of the museum's IP take-off.

Live broadcast, CO branding, offline exhibitions... In the past year, archaeological blind boxes have sold 30 million, and business brands have been linked frequently. Museum IP is rapidly becoming a hot pastry in the commercial market. They are no longer simply a place to learn history and culture, but also a trend language and social symbol pursued by young generations.

At present, the exploration of Domestic Museums in new media and new business is also advancing by leaps and bounds. In addition to the traditional exhibition planning, going on variety shows, doing cultural and creative communication, CO branding with new entertainment products and operating new social media have become a new way for them to communicate with users.

To this end,ID: marketingyuzijiangHe talked with Henan Museum, Hunan Museum and Shaanxi History Museum, trying to find out what is behind these changes.

To Xiaoyu's surprise, during the chat, the curators talked about new products and new media preferred by young people, such as Hanfu fever, immersive script killing, digital collection, IP industry chain, short video live broadcast and so on.

Obviously, it is no accident that museum IP is selected by business. The change of media and the rise of national tide are like a good wind, and the determination of the museum to talk to young users and various active attempts to embrace digitization and commercialization are the power of "going up to the green cloud".

New heritage of the Museum: create a digital man and plant grass in the little red book at station B

Tracing the popularity of Museum IP in China, the variety show "national treasure" can be regarded as a milestone. In 2017, the first season of "national treasure" was launched and quickly fermented on platforms such as station B and microblog, which also blew the charm of the museum and the trend of cultural relics to young users on a large scale.

At the end of 2021, the latest derivative program of national treasure IP "national treasure ยท exhibition season" was broadcast. This season's program created works for national treasures with the idea of "TV Exhibition", which not only showed different aspects of cultural relics and culture, but also contributed to the birth of large-scale offline cultural relics special exhibition.

During the dialogue, the first season of "national treasures" was regarded by many museum directors as an important node for museums to taste the sweetness of "new communication channels".

Especially in the view of Duan Xiaoming, curator of Hunan Provincial Museum, Ma Xiaolin, President of Henan Museum and Hou Ningbin, curator of Shaanxi History Museum, who participated in the recording of the first season program, participating in the recording has brought very practical blessing to the volume of the museum.

"At the end of 2017, the first season of national treasure was broadcast, which coincided with the completion of the new museum of Hunan Province and the reopening of the museum after five years of closure. The program brought us a lot of tourists on the TV and Internet. In 2018 and 2019, our tourists reached 3.14 million and 3.62 million respectively, which can be said to be the highest level of provincial museums." Duan Xiaoming said.

Ma Xiaolin, President of Henan Museum, also remembered the strong drainage effect of the program. "At that time, the main exhibition hall of Henan Museum was still closed and only some cultural relics were displayed in the West Annex building. However, a large number of viewers lined up to watch the three national treasures displayed in the program. The innovative expression of TV media is very important. Through star interpretation and expert interview, the program allows the audience to more intuitively understand the story behind the national treasures and appreciate the cultural relics."

This is exactlyThe empowerment of variety shows on the cultural communication of national treasures and Museums: with the help of stars to interpret stories, cultural relics carrying heavy history can be recognized by the audience in a more simple and understandable way, and increase the attribute of social communication.

"Before, when we were doing the cultural communication of Shaanxi Museum, the means were relatively single, not attractive enough, and the common people didn't buy it. But the program will actually lower the threshold. For example, the Du Hufu we sent in the first season talked about the origin of the word 'consistent'. So a large number of people left messages on the Internet, felt that they had learned new knowledge, were very excited, and would spontaneously spread the information, so the effect is very good." Curator Hou Ningbin said frankly.

The deductive technique of making "national treasures live" has also inspired a large number of museums. "After that, we will do some online virtual exhibitions and invite experts to tell stories and interpret them, which has changed greatly compared with the original mode of communication." Hou Ningbin said.

At the same time,The strong enthusiasm of a large number of young people after watching the program also made the museum aware of the interactivity of a new generation of users,As a result, more and more museums have launched official wechat, official account, short video official account and other more diversified self channel communication.

Since the outbreak, short video platforms such as Tiktok, which had been ignored by many museums, have become new areas for deep cultivation. With the help of Tiktok, a large number of museums have launched activities such as cloud live broadcasting and travelling to see exhibitions. Recently, Dunhuang Research Institute even made a special trip to launch the digital human Jiayao, which is promoted to the public in the form of animation on the short video platform.

According to curator duanxiaoming, at present, the official official account of Hunan Provincial blog has about 2million fans, and the number of Weibo fans has also reached 520000. At the same time, Hunan Museum will introduce and disseminate relevant contents on station B and little red book. Especially in the past two years, Hunan Museum has also launched Mawangdui digital course, which is also loved by many young people.

"For museums, young people after 95 are the target audience to gather at present and in the future. Effective online interaction will become an important way to spread museum culture in the future." Duan Xiaoming said.

It is precisely with the help of such a comprehensive coverage playing method that over the past five years, museum IP has "stepped down from the altar" step by step and become a cultural and social keyword loved by young users.

New ways to play in Museums: digital collections, immersive screenplays, and a sense of science and technology. Digitization is the key to the future

While the museum tries to conduct online new media communication, the lifestyle of young people and new entertainment products have gradually entered the attention of major curators.

For example, the scripts preferred by young people have been increasingly combined with museums in the past two years.In 2019, Shanghai Glass Museum launched the offline live script of "the mystery of the disappeared artist" on Christmas day, and Changsha Museum launched the immersive script of "Famen dream shadow" for "underground palace treasure: special exhibition of the essence of Tang Dynasty palace cultural relics of Famen Temple", which opened synchronously with the special exhibition.

A large number of museums have authorized the cultural relics in the museum to boxed scripts, puzzles and other products. Shaanxi History Museum, together with Zhonglian Baiwen, the publishing office of Shaanxi Normal University and the box lightning Quartet, jointly launched the puzzle solving book "the Bureau of antiques: endless collection". In September last year, Luoyang Museum authorized Xiao Heitan and Alipay to jointly develop the online screenplay game "when will the east wind come in Luoyang" for the three cultural relics in its collection, namely, the golden seal of the "King Hu of Jin Gui Yi", the opencut dragon agate Bi and the Golden Lion string decoration.

"The essence of this kind of cooperation is to activate the popularity of cultural relics in novel forms. For example, when we do the puzzle book of antiques Bureau, we actually want to stack cultural relics and IP, expand influence and drain each other." Hou Ningbin introduced.

At the same time,The linkage with new entertainment products loved by young people such as games has also become a cross-border communication mode loved by museums.Last year, Dunhuang Research Institute had in-depth cooperation with Tencent games. Several hero skins in the glory of the king were linked with the murals of Mogao Grottoes. In addition, Dunhuang Research Institute has also jointly developed more virtual exhibition and cloud exhibition projects with Huawei mobile phones.

Museum IP digital collections have also become a new trend.The sales of digital collections launched by Hunan Provincial Museum, China National Museum and Chengdu Jinsha Site Museum are very hot.

"In September 2021, our Hunan Provincial Museum Mawangdui and ant chain jointly launched four digital collections, 8888 copies of each, which was robbed by everyone. Among them, the three-dimensional collection of dragon pattern sold out in 28 seconds after it was launched. This actually shows that traditional culture needs contemporary expression. Without representation, it can only be called cultural resources. With a new product model, it can become a real cultural IP." Duan Xiaoming sighed.

More importantly, various museums are trying to extract the keywords of contemporary expression and apply them to the online and offline curation of museums. "In fact, the core of these new product forms is hard core high technology, experiential interaction and digitization." Duan Xiaoming concludes.

Previously, Hunan Museum introduced VR and AR technology into Mawangdui digital experience exhibition. Tourists can return to the ancient state of Changsha in the Western Han Dynasty with the help of equipment and help the general fight against the enemy with arrows. According to Duan Xiaoming, in July 2022, Hunan Museum will also build an immersive exhibition of ancient music relics, which will also make use of a large number of digital interactive technologies combining virtual and real.

Hou Ningbin, curator of Shaanxi History Museum, expressed his thoughts on the virtual exhibition: "with the help of digital means, VR and AR technology, visitors can see more real and three-dimensional cultural relics scenes. Take murals as an example. In the virtual exhibition, they are no longer planar, but truly distributed in the Southeast and northwest of tombs, completely restoring the real historical scenes." He also believes that with the application of blockchain and meta universe technology in the field of museums, it has a positive impact on the protection of cultural relics information and the prevention and control of anti-theft versions.

"Of course, these digital processes need to be supported by special funds, which means more funds, and museums need to try their best to increase revenue and reduce expenditure." Duan Xiaoming said.

New business of the Museum: the blind box has sold 30 million, and the anthropomorphic IP has entered the live broadcasting room

In the past year, the development of Museum IP derivative industry chain, the creation of cultural and creative products and more diversified brand licensing cooperation have become an important "open source" way for major museums.

The current museum IP market is no longer unique to the Palace Museum. Henan Museum, Dunhuang Research Institute, Shaanxi History Museum and Sanxingdui Museum all perform well in the field of culture and innovation.

A typical example is the Henan Museum, which launched the archaeological blind box in 2020.This blind box comes with Luoyang shovel. The cultural relics are hidden in the soil and need to be excavated by users themselves. By the end of 2020, with the help of tap water unpacking video and graphic Amway, this product was widely used on microblog, station B, Douban and other platforms. In the first half of last year, there was even a "grand occasion" for a large number of user cards to enter the official e-commerce platform for pre-sale.

According to Ma Xiaolin, President of Henan Museum, the sales of this single blind box product alone exceeded 30 million from its launch to October 2021. "In 2019, our cultural and creative sales will be more than 1 million, but we reopened in September 2020. By the end of the year, the sales will reach 8 million in four months. In 2021, our cultural and creative sales will exceed 40 million."

Such strong gold absorption ability is not an accidental phenomenon. According to the data, nearly 100 museums participated in tmall's double 11 last year. On the first day of sale, the sales volume of cultural and creative products of the museum surged by more than 400% year-on-year, becoming the "big dark horse" of this year. Cultural and creative products such as Yupei lollipop of Henan Museum, blind box of Sanxingdui Museum, solid ointment of twelve flower gods of the Forbidden City Museum, baking Nang shaped mouse pad of Xinjiang Museum and flying bookmark of Dunhuang research institute all achieved high sales.

This also means the spontaneous cooperation of more and more brand businesses. It is reported that major cultural and creative enterprises such as Henan Museum, Shaanxi History Museum and Dunhuang museum have teams specially responsible for cultural and creative derivatives cooperation with external brands, and the business is very "busy", which shows the popularity.

Xiaoyu also learned that,At present, the cooperation between museum IP and brand in the industry mostly adopts the mode of authorization + sales proportion sharing,This makes the initial authorization fee of Museum IP not too expensive, some even less than 100000 yuan, which also gives more opportunities for small and micro enterprises with creativity and ideas.

"It's more of a nurturing mindset, focusing on the sharing of subsequent business benefits. We will require all online sales to be unified in our official flagship store. Offline, in addition to being in the museum, we will also cooperate with some store brands that purchase goods in bulk. It seems that the licensing fee is not much, but with the increase of cooperative brands, the revenue is considerable. For example, the monthly sales of a single product of a derivative stationery we are cooperating with will increase It can reach more than 100000. What if there are more than 100 such products? We value the back-end model more. " Ma Xiaolin introduced.

On the other hand, Shaanxi History Museum has explored the road of Museum IP image development. The anthropomorphic IP "Tang Niu" in the museum is designed as a q-version Tang costume lady and has carried out diversified cultural and creative development. In the view of curator Hou Ningbin, this idea is also a necessary stage for the development of cultural industry.

"The first stage of the cultural and creative industry is very primitive. It is the imitation of cultural relics, which is essentially tourist souvenirs. In the second stage, we start to extract the elements in cultural relics and sell them on daily necessities, so that users can enhance emotional links through their use in reality. In the third stage of sustainable development, we need to give full play to the advantages of clusters as much as possible, so we must develop IP. Different from fragmented elements Refining, IP is a highly concentrated representative image. Just like our Tang Niu, she can be used flexibly in any field. " Hou Ningbin said.

At the same time, on the promotion side of culture and innovation, the curators also showed a high embrace of new media. Henan Museum carries out regular Taobao live broadcast, and promotes all kinds of cultural and creative products in the live broadcast room every day; The tangniu picture book launched by Shaanxi History Museum last year was once stationed in the head anchor live broadcast room, and more than 20000 books were sold out in three seconds; Hunan Museum attaches importance to planting grass through microblog, xiaohongshu, video number and other channels, and a variety of CO branded goods have a good communication effect on the social platform

These new marketing and establishment, which are highly close to young users, also open up a smooth road for the commercialization of Museum IP.

"In the final analysis, what we always adhere to is that we put social benefits first and economic benefits second, pursue the unity of the two benefits, make cultural and creative products an extension of our museum's display and exhibition, and let more visitors understand culture and culture while purchasing products. This is also the embodiment of the museum's social responsibility." Ma Xiaolin said.

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