Social media has become an important cornerstone of digitization without discussion. We all spend Around one third of our online time in social networks and like to be influenced there into buying decisions and opinions.

For companies, not only in the NGO/NPO sector, social media is therefore a huge opportunity to grow, to identify new potential, to get to know their target groups better and to improve their business in the long term.

To what extent has digitization arrived or already been implemented at Swiss nonprofit organizations?

With the evaluation of the social media presence of the top 12 Swiss non-profit organizations, a first superficial assessment can be made.

The size of the social media community should be treated with caution: Fake accounts, follow bots, and major cleanup campaigns by Instagram and Twitter raise eyebrows.

At the latest since the adjustment of the Facebook algorithm at the beginning of 2018, the number of followers and fans no longer has a direct influence on the reach and has therefore become obsolete as the sole measure of success.

"We want the time people spend on Facebook to encourage meaningful social interactions," Mark Zuckerberg said in November 2017.

Since then, companies have had to rethink how they attract the attention of their customers, or even just to reach them at all.

What really counts on social media

"Social media is a strategic challenge that affects the entire company," explains UX designer Dirk Unger from the Campfire agency. "The goals to be achieved with social media must be derived from the corporate strategy. However, this also requires a change in thinking within the company, which has not yet taken place for many."

And so many Swiss companies, not only in the NGO sector, continue to measure the success of social media by the number of followers.

Among the top 3 NPOs in terms of community size on Facebook, Instagram and Twitter are, as last year, WWF Switzerland, Greenpeace Switzerland and Terre des Hommes, each with a total of over 100,000 followers.

In contrast, the winners in terms of community growth compared to the previous year include SRC (+44.8%), Unicef Switzerland (+35.7%) and Terre des Hommes (+28.5%). These NPOs realized the greatest community growth last year - a good indicator of inspiring content and the implementation of a user-centric strategy.

Losers in the 2018/2019 year-over-year comparison in terms of community growth include Save the Children (-2%), World Vision Switzerland (+1.8%) and Swissaid (+2.9%).

Takeaway

To determine the actual success of their activity on social media, companies must set strategic business goals and measure them both quantitatively and qualitatively. On social media, therefore, sales and traffic can be useful indicators of success in addition to customer engagement and loyalty, which thus naturally go beyond social media alone and for which a professional tracking and measurement system is required. Many companies already see social media as far more than just a marketing tool that helps them sustainably realize a customer-centric brand, in customer dialog, in innovation management, and in corporate growth.

On Thursday morning, an unusual art transport made its way through the streets of Basel to Syngenta, the world's largest pesticide producer. Wearing protective clothing, members of Public Eye handed over to the head of Switzerland, Roman Mazzotta, a package containing a petition signed by almost 38,000 people calling on Syngenta to immediately stop the production and sale of highly hazardous pesticides such as atrazine, glyphosate and paraquat. To put a face to this concern, portraits of Brazilian activists painted with pesticide-contaminated water were placed outside the company's offices. In doing so, they denounce the damage to health and the environment that these toxins cause in their country.

Brazil is the world's largest user of pesticides and therefore Syngenta's most important market. Research by Public Eye has shown that millions of people there are exposed to a pesticide cocktail in their drinking water, the long-term effects of which are far from foreseeable. The revelations, published together with Repórter Brazil, caused a wave of indignation in the country, also because numerous scientists are warning of an increase in cancer, birth defects and other diseases in this context. Parliamentary discussions and hearings were held in several of the agricultural regions particularly affected.

In Switzerland, too, this problem is high on the political agenda, fueled by the current analysis of residues of toxic substances in groundwater, some of which exceed legal limits. These include atrazine, one of Syngenta's main products, which is also found in 85 percent of the samples analyzed in Brazil. The detectability of this particularly hazardous herbicide, which is banned in Switzerland, highlights the urgency of immediately phasing out such substances to protect future generations.

According to estimates, Syngenta generated sales of around $3.9 billion with such substances in 2017 alone. Many of these pesticides are no longer approved in Switzerland and the EU, but continue to be marketed in developing and emerging countries. Since Syngenta is not voluntarily fulfilling its responsibility for people and the environment, the Swiss authorities must finally take measures to put a swift end to this business, Public Eye demands.

The petition was accompanied by an awareness campaign by Kind regards (Werbewoche.ch and Werbewoche Print reported). Together with the Brazilian watercolor painter Renato Palmuti, the "Pesticide Portraits" were created: Portraits of four affected people, painted with pesticide-contaminated water. They are representative of the many activists who are active in Brazil against the massive use of pesticides. 

Operation Libero and the media project Republik are models for successful digital campaigns in Switzerland. Operation Libero, which emerged in 2014 as a young civil society's response to the mass immigration initiative and right-wing conservative isolationist tendencies, has been orchestrating political campaigns since 2015 with a well thought-out social media strategy: In 2017, for example, it helped both the asylum reform and the bill for easier naturalization to succeed.

Journalists from the Republic set out in spring 2017 with the ambition to realize an independent online magazine with 750,000 Swiss francs - and raised over 3.5 million francs with a crowdfunding campaign! The project was successfully launched in 2018.

But what about the social media competence of established nonprofit organizations? A recent rating shows that many NPOs still have some catching up to do.

Which NPOs are fit for the digital transformation?

Meanwhile, NPOs, associations, and campaigners have also discovered social media as an amplifier of political messages. Not only do they use it to promote voting and election campaigns, they also successfully collect signatures and donations via online channels. Nevertheless, only a few NPOs are really fit for the digital future: The WWF has had a Chief Digital Officer (CDO) since November 2016, who is responsible for leading his organization into the digital future. The following rating shows that the number of fans and followers of NPOs is still comparatively modest compared to digitally mature companies (as of April 2, 2018):

Source: Pluragraph.de (Evaluation: Consign)

Strikingly, only five of the top 12 NPOs use the emerging channel Instagram, which attracts a younger audience that tends to be female. NPOs and associations will have to sharpen their social media skills in the coming years. They are challenged to increase the number of their fans and followers, their reach and the number of interactions with a strategically planned use of social media.

Strikingly, only half of the top 12 NPOs use the emerging channel Instagram, which attracts a younger audience that tends to be female. NPOs and associations will have to sharpen their social media skills in the coming years. They are challenged to increase the number of their fans and followers, their reach and the number of interactions with a strategically planned use of social media.

Touching storytelling creates attention

An important means of touching people and involving them in campaigns is storytelling. Touching stories make people concerned and receptive to appeals for help or donations. Social media are ideally suited to formats that blend text and images to create moving and evocative stories. A successful social media strategy relies on relevant, regular, and wisely distributed content. Strategically planned content marketing ensures that target groups are drawn to your own website via social media channels - and converted into convinced members, supporters or donors.

Successful "Free Giacobbo" campaign

A good example is provided by the "Free Giacobbo" campaign of the Swiss section of Amnesty International: The petition for the Burmese comedian Zarganar, who was sentenced to 35 years in prison in his home country, is launched in May 2011 by a sensational Twitter campaign. On Sunday evening, 150 active Twitter users are asked to demand the release of the allegedly arrested Swiss satirist Viktor Giacobbo. Reason for his arrest: insulting the Federal Council. The tweets include a link to a video on YouTube showing Giacobbo in an alleged prison. The satirist explains the fate of his Burmese colleague and asks users to sign the Amnesty petition. Through retweets, the video spreads quickly and is also seen by journalists. On Monday morning, the topic is already the cover story on the online platform blick.ch ("Giacobbo goes to jail for colleague"). The YouTube video has 67,400 views, the Facebook page of Amnesty Switzerland gains 2,500 followers within three days - a doubling of the previous community. And last but not least: Amnesty Switzerland receives over 20'000 signatures via newsletter for the release of the Burmese satirist.

The campaign contains everything that makes for successful social media management: a surprising idea, a prominent influencer, drama, and a moving appeal that touches people and calls them to action. And above all: it conveys a user promise that is designed to last and can be repeated for similar actions. Finally, an important success factor is the fulfillment of the promise: Zarganar is released by the Burmese rulers in October 2011 along with other political prisoners.

In its anniversary year, Public Eye wants to enable one or two large, independent investigations that might otherwise not be possible due to a lack of resources. The subject matter will be a specific grievance in a developing or emerging country with as direct a connection to Switzerland as possible, regardless of whether it is a company, a person or a political institution. The research should bring to light previously unpublished facts on human rights violations, environmental pollution, corruption or illegitimate financial transactions.

Anyone who conducts professional research is invited to participate until January 31, 2018, including media professionals, NGO employees and academics. Entries for the 20,000 franc scholarship will be judged by a high-caliber panel including Oliver Zihlmann (head of the research desk at Sonntagszeitung and Le Matin Dimanche), ICIJ reporter Will Fitzgibbon, New York journalism professor Anya Schiffrin and head of research at the French online newspaper Mediapart Fabrice Arfi. The remaining three members of the seven-member jury are provided by Public Eye.

All other information about the competition can be found in the official Tender and the detailed Regulations. (pd/hae)

Freundliche Grüsse wins a White Pencil in New York with "Return to Sender" for Public Eye - this is equivalent to Gold, and the highest category award. The D&AD Club's Impact Awards honor creative work that contributes to a better and more sustainable future.

The "Return to Sender" campaign for Public Eye was awarded the only White Pencil in the Environmental Sustainability category. A total of 13 White Pencils were awarded in 12 categories, including for multiple Cannes Grand Prix winner "Fearless Girl" by McCann New York.

With the campaign "Return to Sender" for the organization Public Eye, Freundliche Grüsse has drawn attention to the problematic behavior of Swiss commodity traders. The campaign has already been awarded a bronze Cannes Lions, a silver Clio Award, as well as with bronze and silver at this year's Best of Swiss Web Awards. (hae/pd)

For Walker and Ruf Lanz, the two Swiss agencies that are also among this year's Clio finalists were on the shortlist. Also in the category DirectThe Zurich-based agency came away empty-handed in the category Freundliche Grüsse was hoping for. However, in the second installment on September 5, the agency still made it onto the shortlist in the Public Relations made it - and stings!

With the campaign "Return to Sender" Freundliche Grüsse drew attention to the problematic behavior of Swiss commodity traders for the organization Public Eye (formerly the Berne Declaration) - and was awarded a bronze Cannes Lion for its work in June (Werbewoche.ch reported). So now a silver Clio Award has been added to the collection of trophies of the still young agency, which appeared in the top 10 of the Werbewoche creative rankings for the first time last year and has long since signaled that it is a force to be reckoned with again this year. (hae)

The centerpiece of the campaign launched in spring: "The Shoe Creator. A shoe configurator that allows anyone to design the shoe of their dreams (you can find the article on this in here). In addition to common factors such as shape, style, material or color, the "Shoe Creator" can also determine production conditions. Thus, an Air Jordan becomes a Fair Jordan and a Converse a Confair. Along the way, the user learns what reality looks like far away from the selected fair options. Among all the models created by the visitors, a winning shoe was drawn by lot, which was then produced in Switzerland. In the video, you can follow the creation process, while experts explain what the manufacturing conditions in the production countries actually look like. (red)

On Monday evening in Cannes, the Lions were awarded in the categories Promo, Print & Publishing, PR, Outdoor and Glass (to the Grand Prix). From Switzerland, the two Zurich agencies Freundliche Grüsse in the PR category and TBWA\Zürich in the Outdoor category were able to hope for one of the precious metal awards - and in the end they were jubilant!

This year's first Lion goes to Freundliche Grüsse! The agency wins a bronze PR Lion with the public eye campaign "Dirty Diesel - Return to Sender" Air pollution is a serious problem in African cities. Vehicle exhausts are largely responsible for the harmful particulate matter in the air. Although there are far fewer cars on the road in Africa than in Europe, pollutant emissions are much higher. This is due to toxic fuels. Swiss commodity traders control the dirty business with this fuel. With the Campaign Public Eye responded to the abuses. Together with its African partner organizations, Public Eye sent the self-proclaimed industry leader Trafigura a container of dirty air to its headquarters in Geneva. Almost 20,000 signatures were collected during the container's journey, which were handed over to the commodities trader at the end of the trip (Werbewoche.ch reported).

The second Swiss finalist TBWA\Zürich converts the shortlist placement into a Lion. In the outdoor subcategory The Zurich-based company also won bronze in the "Retail, E-Commerce, Restaurants & Fast Food Chains" category with the two McDonald's subjects "Big Mac" and "Fries". The campaign was used to promote the McDonald's app. (hae)

Advertising Week: Grégoire Vuilleumier, are you a sneaker freak?

Grégoire Vuilleumier: Absolutely, definitely.

From the consumer's point of view, how would the current Public Eye Campaign Change your behavior, or how does it change?

When I learned through Public Eye that the conditions in shoe production are at least as bad as in the textile industry, it piqued my interest. Interestingly, I have noticed that my shoe consumption - which is very high - has decreased since the campaign has been running. And that I'm also paying more attention to older pairs that I would have "shot down" before: I'm now trying to maintain and gently renovate them.

Were you not interested in the topic before?

I have already dealt with the issue of sustainability in the textile industry, because the problem is often raised in public. Also because it is a USP of certain brands to combine fashion demands with sustainability. This added value corresponds to an obviously existing demand. On the other hand, I have never asked myself what the situation is like with shoes.

Why not?

Perhaps this has to do with the fact that shoes are made from many different components: Leather, rubber, etc. The more complicated the supply chain, the more difficult it is to trace the associated abuses.

But do you think the average sneaker freak will follow your good example?

Fortunately, we are not starting from scratch. If sustainability and fair working conditions in clothing weren't already an issue and we had to kick that door in first, then it would be much more difficult. But there is an existing intersection of young people who are extremely interested in fashion, but also in sustainability at the same time. A lot of groundwork has already been done there. That's why that's our core target group. It's about showing that fashion and sustainability are not contradictory. To address them, we created a world that not only shows the problems and possible solutions, but also comes in a design that picks up on the fashion vocabulary.

Does this approach work?

Definitely. Example: I also collect and sell vintage sunglasses. At the same time as the campaign launch, I was asked by the Zurich sneaker fair "Sneakerness" if I wanted to do an eyewear stand there. I immediately implemented this with the branding of "The Shoe Creator". It was interesting that many people there already knew the campaign - and how good the feedback was. The "Sneakerness" itself is interested in doing something on this topic next year, because the sustainability aspect is still missing from their overall concept.

The next step will be to have the "winning shoe" produced fairly. What are your expectations?

Completing the campaign to produce the shoe will be an extremely exciting challenge for both the agency and Public Eye. We can't reveal too much yet. But the key point is this: I'm not alone. Public Eye, creation and consulting work hand in hand. That's how you get much further than if you produce something on your own and you're not in ping pong with others. That's the point I appreciate about my work at Freundliche Grüsse compared to my job as a musician, where I'm the sole executive producer and have to solve every problem myself.

The team concept seems to play a central role for you in your new job.

Exactly, for me as a musician who now works in an agency, the most interesting thought: The relief provided by consulting leaves a lot of room to be creative. As a musician, I've always said: I may have a talent for music - but in an album production, the creative process accounts for 15 percent at most. The rest is administrative work.

Was that also a reason why you got into the advertising business in the first place?

That was a longing I had again and again. Be it when I did something with M&C Saatchi in Geneva. Or when I met Christian Haueter (consultant at Freundliche Grüsse, editor's note) and Samuel Textor (partner at Freundliche Grüsse, editor's note), with whom I studied and have been close friends ever since. Whenever I saw them and they told me, I said: I'd "uhuere like" to do that someday, too. At some point it just became a reality. But I definitely also had a yearning to work in a team where several brains solve a problem together. My expectations in this regard were completely fulfilled.

That all sounds perfect - do you have any motivation at all to continue your musical career with the same commitment?

Absolutely. The activities cross-fertilize each other. I've only been here since October, but I've already learned a lot about systematizing creative processes. I try to let that flow into the songwriting. I've just been in the studio for a month, trying to think through to the addressee.

Didn't you do that before?

There are many songs that I wrote a few years ago that I don't understand today. Because at the time I was extremely enamored with the complexity of the thought I was having. But simplification as an art form has always interested me. And I can learn and practice that here.

So can we expect this simplification and reduction musically from Greis in the future?

I will try. But this hasn't just been an issue since Friendly Greetings. I've been trying to do this for about five years. But I get the necessary tools here much better than before when I tried to figure it out on my own. And that has to do with something above all: With vanity. The reason I didn't simplify more before was that I was in love with the subordinate clause and the image. This is where you learn to butcher darlings with a machete. To constantly reduce. I benefit a lot from that.

As a political person, do you also have concerns in this industry - if you had to promote a product or cause that contradicts your stance?

I certainly had these concerns and therefore also talked to people in the industry about it in advance. The custom was that you could basically walk out on any customer if you can't represent something. However, I don't think that this will happen any time soon with Freundliche Grüsse, because I can identify 100 percent with the agency in terms of attitude. But: For me, by the way, working for Public Eye is much more difficult than with any other client.

Why is that?

Because my heart is in it. I've done a lot with Public Eye privately over the last 15 years. Because it's something personal, I take it much more into the after-hours. I think the less closely you're tied to a job, the freer you can approach it.

Interview and photo: Thomas Häusermann

Responsible at EvB: Susanne Rudolf (Marketing & Fundraising), Oliver Classen (Media Spokesperson), Andreas Missbach (Executive Board). Responsible at Spina's Civil Voices: Lorenz Spinas (concept and creative direction), Miriam Fischer (AD), Tom Malecha (text), Corinne Bucher (consulting). Responsible for film production: Compost. Executive Producer: Gian Klainguti, Producer: Dennis Guggenheim. Production Company: Mind & Image Manipulation Coop. Director / Digital Compositing: Matthieu Schmit, Producer: Nick Warnecke, Animation: Nicolas Giraldon, Matte Painting / Character Design: Meike Deutsch, Grading: Sergej Jurisditzkij, Sound Design: Gustav Scholda, Compositing: Sascha Blank, Mixdown: Mannuel Meichsner