Describe the current situation around Branded Entertainment in your country or the region where this campaign appeared. Include any restrictions or regulations imposed by TV stations, broadcasting companies, government or other regulating body

We featured life-sized works from the exhibition in wild postings, subway posters and wall projections – essentially creating a gallery on the streets in specific neighborhoods not usually targeted by Lincoln Center institutions.

The paid media got noticed by publications that don’t usually talk about ballet. We also released an exclusive teaser video featuring interviews with FAILE and a behind-the-scenes look at the collaboration with NYCB and construction of the Tower of FAILE and to get additional traction in the arts community all over the world.

Following a limited single-ticket pre-sale for FAILE fans, the first performance sold out in 7 minutes.

Through this initiative, the average age of NYCB ticket-buyers dropped from 56 to 31 and 87% of the audience at the event was a first time NYCB ticket holder.

NYCB has gotten exposure beyond New York’s establishment arts and events publications (The New York Times, The New Yorker and New York Magazine) with coverage on websites like PSFK, Arrested Motion, Complex and Brooklyn Street Art.

From the announcement of the FAILE partnership to the opening of the exhibition, the NYCB website received approximately 1.7 million unique visitors which is ___ times greater than the same period a year ago.