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Intro - Arts Marketing: Theory and Practice: Spring 2015
Transcript of Intro - Arts Marketing: Theory and Practice: Spring 2015
Why we're here, where we're going, and what to expect along the way.
Let's start with introductions.
10:00-10:15 – 3 deep breaths, announcements & housekeeping
10:15- 11:15 – Class discussion (readings, case review, SWOTs, group work, etc.)
11:15-11:30 – Break / shares
11:3o-12:15 – Guest lecture
12:15-12:30 – Closing Q&A
Course Reading Packet
Fundamentals of Arts Management
Museum Marketing & Strategy
Standing Room Only
The New Rules of Marketing & PR
The Tipping Point
To Sell Is Human
Invitation to the Party
Social media examples
Print marketing materials
Good content from the web
Your name, major, and class year
Experiences you've had that might be considered marketing
Area(s) of the arts you know most about
Activities, groups, organizations, etc. with which you're involved and how
Related experiences (training, work, volunteer, intern)
Your social media, blog, other online presence
Why you're here -- what's your goal?
Joanne Scheff Bernstein
5 Response Assignments
4 Case Studies
Group Project: Presentation and Marketing Plan
Be highly engaged, participatory, and responsive during weekly class meetings. At least once per class, offer a thoughtful comment or question pertaining to readings, lectures, assignments, or “THINK” prompts.
Be active learners and teachers. Bring in your own content, examples, ideas, opinions, and experiences. Things change fast, and you are the experts on the web and new media. Make connections between this course and your life.
Be respectful, appreciative, and inquiring of our guest speakers. Recognize that their visit to our class is both a pro bono service they provide to you and a special opportunity for you to learn from industry experts.
Make the coursework fun and worthwhile. If your responses to group projects, papers, and cases don’t interest you, it’s unlikely that they will interest others.
Be bold. Think like an arts marketer. Engage us.
The Dynamics of Building and Retaining Performing Arts Audiences
Arts Marketing Insights
Museum of Fine Arts, Boston
Radiohead: Music at Your Own Price
The Tate's Digital Transformation
Wynton Marsalis & Jazz at Lincoln Center
Note on Marketing Strategy
Fayerweather 215 or
VFH offices by appt.
What is Arts Marketing?
VALUE in money and time spent on product in the exchange
what the market will bear
ex: hard cover vs. soft cover book prices
Venue and means of distribution
When, where, and how tickets are purchased
Where program or service occurs
Communication to target markets:
Press releases / press coverage
Video & Audio
Posters and print materials
Smooth interaction of marketing mix
Programs, services, or products offered to the public
The Marketing Mix
AKA "the 4 Ps"
Product, Price, Place, Promotion
Other Ps? - Process, People
The Marketing Plan
Search Engine Marketing
Access & Inclusion
The Arts Marketer
Key animator of the "arts administration crossroads"
Facilitates the EXCHANGE by helping create & communicate value
Responds to the needs of both artist and audience
Seeks an audience, a venue, financial compensation, exposure, dialogue, connection, community change...
Seeks experiences, education, connection, enlightenment, captivation, economic growth, entertainment...
THE MARKETING EXCHANGE
THE FOUR P's
Analyze an organization's internal & external environment:
What are the first 5 words that come to mind when you hear "marketing"?
Internal: Strengths & Weaknesses
* See Scott's "Buyer Personas" in Packet, pg. 117
Target market selection should consider:
Org's strengths and weaknesses compared to competitors with regards to the segment
Org's goals and the fit of the segment with these goals
Resources necessary to successfully market to the segment
Need for / availability of collaborators to market successfully
Likely level of engagement, participation, and purchasing to be expected from the segment
Based on a feature / attribute of the org
or program: “the oldest” or “largest” or “most exclusive;” "the next big thing"
Based on the benefits it offers
: “hands-on for children,” “for active, life-long learners,” a quiet space for meditation
Quality vs. Service vs. Economy buyers
Based on who will use it:
“a children’s museum,” “LGBT night,” – but also by occasions: “after-work concerts,” "Nutcracker" at Christmas, rush-hour shows
√The marketing mix works out the tactical details of the positioning strategy.
Arts marketing is more than selling and includes a full range of communications:
1: Points of Entry
2: Stepping Stones
Market segments are subgroups of your market that:
share similar characteristics
express similar needs/desires
respond to similar marketing strategies
Marketing Process Schematic
posted on Collab
Organization -> Media -> Audience
buy expensive ads or
get media coverage
Traditional media: newspapers, magazines, radio, TV, direct mail
Hard to individualize message, which is needed for niche markets like the arts
Must "interrupt" audiences to get attention
Press releases seen only by media
But the web has changed the rules...
Organization -> Audience
Communicate directly with audience
Delivered at point of consumption
Direct-to-consumer news releases
Good marketers use the web to:
Tell compelling stories
Engage in conversation
Long tail of marketing (Amazon, Netflix)
Enables buyers to search + browse
Must create useful CONTENT
Content drives action
Website content based on target markets
Branding org as thought leader
Search engine marketing
Target not only traditional media, but also: bloggers, online news sites, micro-publications, public speakers, consultants, social media, Google, RSS
Use audio and video, blogs, keywords
External: Opportunities & Threats
Ways to segment:
DEMOGRAPHIC (age, income, gender, occupation)
GEOGRAPHIC (nation, region, urban vs. rural)
LIFESTYLE or PSYCHOGRAPHIC (hedonistic vs value-oriented)
BEHAVIOR or RELATIONSHIP (occasion, user status, usage rate, benefits sought, loyalty)
Segments should be:
Mutually exclusive - separable from each other
Exhaustive - every potential target belongs to some segment
Measurable - “love your data”
Substantial – large enough to matter and to spend resources on
Accessible & actionable – can you actually reach the segment?
Grouped based on lifestyle, social class, or personality
Changes over time (same person different at age 25 than at 50); therefore dynamic compared to other segmentation
Examples: Passive Homebodies, Culture Patrons, Sports Enthusiasts, Socially Active, Childless Bohemians, etc.
Example: Philly's Cultural Sector Market Segments
Not early adopters / often in 30s & 40s / married
Subscribers / secure / 50s & 60s / $50K+ income
Not subscribers / risk / 20s & 30s / single / new
Quiet, secure / not new / 60s+ / plays, not art
At ease / Profs. / 50s & 60s / high incomes / varied art
How the organization wants to be perceived
by the target market.
What do you want your buyers to believe?
[Our organization] is
[single most important claim]
among all [competitors]
[single most important support].
Public Relations (PR)
Word of Mouth
How you communicate your positioning statement to the public
Unique Selling Proposition (USP)
Content (See Scott readings)
Budget (See packet reading)
Goals (Marketing plan)
INFORMING EDUCATING PERSUADING
Customer becomes marketer
Most powerful marketing
Tipping Point (find opinion leaders)
Long tail of content
Audience as curator (not spectator)
Encouraged by digital technology
Increases audience access
See 20UNDER40 reading,
Apply concept to Radiohead case...
From "What's My Plan? A Guide to Developing Arts Marketing Plans" by Dr. Sharron Dickman, 2000
See: "Mozart in the Jungle"
Landmark RAND Corporation study (2001):
A New Framework for Building Participation in the Arts
3 ways to build arts audiences
Increase audience size
Target population: inclined
Relevant factors: practical
Strategy: overcome practical barriers
Increase level of involvement
Target population: current participants
Relevant factors: experience
Strategy: make the arts experience as rewarding as possible
Bring new groups into the fold
Target population: disinclined
Relevant factors: perceptual
Strategy: overcome perceptual barriers; change attitudes toward the arts
3 minutes or less!
Survey of Public Participation in the Arts
NPR Audience Segments
Wallace Studies in Arts Participation
Guides for press releases, media pitching, social media, etc.