Specialist
Former director at Beijing Kaisheng Culture Media Co Ltd (Kaishu Jianggushi)
Agenda
- Audio content platforms for ages 0-12 – market development, user demand trends for product form and content
- Competitive landscape among major players, plus development trends
- Kaishu Jianggushi’s market positioning, business model and strategies by development stage
- Kaishu Jianggushi’s content production processes, original and procured content proportions, content core competencies, sustainability and strategies
- Paying user scale, ARPPU, member acquisition and operations systems, plus user lifetime value
Questions
1.
Can you give us a recap on the growth of audio content platforms for children aged 0-12 in China in the past 3-5 years? Why did digital content for children become a hotspot in the country in the last two years?
2.
Platforms including Kaishu Jianggushi saw their user number and brand awareness grow notably in the past 2-3 years. Do you think it has anything to do with external factors such as the increasing penetration of electronic devices? Will the fever continue or will it be transitory and cool off in 2-3 years? What trends do you see in the sector?
3.
You said just now that there were 300 million children aged 0-12 in China and that 18 million babies were born annually. What percentage of the 300 million children are already users of digital audio content? When do you expect the market to hit a ceiling?
4.
What is the penetration of different types of audio products under different listening scenarios?
5.
There have emerged a slew of audio content platforms dedicated to children in recent years, including Kaishu Jianggushi, Penguin Fairytale’s Baobei Tingting (宝贝听听) and Baobei Tonghua (宝贝童话), Ximalaya Kids, as well as Shaoniandedao (少年得到). Which platforms do you think are leading the sector now? How do the platforms differ from each other in terms of positioning, content offerings, brand awareness and active user base?
6.
In the realm of children’s content, Kaishu Jianggushi sees Ximalaya Kids as a main rival. Are these two the oligarchs in the market now? Are there any other apps or platforms that you think have a clear upswing that threaten them?
7.
Can you talk about the evolution of Kaishu Jianggushi, the IP and platform? It started as a WeChat public account, and then began to develop children’s education courses. Later, there was Kaishu Youxuan (凯叔优选), which was an e-commerce mall, selling its Sui Shou Ting (随手听), a smart hardware, and other products. It then developed more product forms. Can you talk about the development stages it has experienced? How did it expand business step by step? What trial and error did it go through? What are the current development strategies and priorities?
8.
As for children’s education, Kaishu Jianggushi is now eyeing on children aged 0-12. Will it enter the K12 field and offer exam-oriented tutoring, too?
9.
Kaishu Jianggushi has been profitable for a long time, but the ongoing cost of content creation is high. Can you talk about the profit model and monetisation model of this platform? What are its main revenue sources and the contribution of each segment to the total revenue? What is its cost structure? How profitable is the company now?
10.
What is the growth trend of the scale and ARPU of paying users in 2017-20?
11.
Kaishu Jianggushi has many distribution channels. For instance, it had a content account on Ximalaya FM. What is its channel distribution pattern? How does it calculate its active users? What is its monthly active user scale on its app and other channels? What is the variation trend?
12.
What is the growth trend of the monthly active user scale on the app of Kaishu Jianggushi in 2018-20? What is its growth potential and penetration rate among target users? What is the trend of conversion rate from active users to paying members? Will it increase further?
13.
How long is Kaishu Jianggushi’s user life cycle in general? What is its average product repurchase rate? How many of its users aged 5-9 maintain their membership for four years?
14.
What is the proportion of Kaishu Jianggushi’s original and procured content? How will it build up a competitive barrier in content? What do you think of the challenge from Ximalaya FM as it may procure better IP products than Kaishu Jianggushi?
