Arts Marketers example essay topic

Examine the problems encountered by arts marketers and suggest was in which organisations might rise to meet particular challenges. Knowing the customers, what they want, then they will come. Module based material Summary / evaluation of any problem / issue Examples of the application of the theoretical material When I visited the National Museum in London for the first time, I was surprised at the huge array of art works which it has, and the multi-cultural atmosphere. The problem was simple, I didn! |t know where to start, and some of them are so new that I couldn! |t understand well at all. When I have a discussion with one of my friends, we found a guide of foreign tourists, who explains the history of the work, and why it is still valuable today. It was really helpful, and added to our enjoyment of the museum.

Sometimes art work on its own can be enjoyed by an individual, however sometimes we need an expert opinion giving background to the piece. f"U What is an arts organisation? The character of arts field; it is not producing products, it is not like a commercial enterprise, it keeps heritages for the future, it give a chance to learn, where we are from, where we are, will show what we! |ve done to our descendents. Basically, arts organisation is usually defined as a non-profit organisation. It used be true, however, it is not enough to rely on governments, arts council, patrons, or donation. It is increasing the number of artists, and people are more likely to spend their time on relaxing, something giving pleasure, they don! |t mind to spend their money, time on non-material products. But what they are looking for, where they are going.

The numbers visiting arts field, such as museums, galleries, theatres, performing arts exhibitions, are going down. More people are going out for entertaining themselves, but not in arts fields. Seriously, managers in arts organisation don! |t believe to find audiences! | favourites. The Domus (Museums and Galleries Commission, 1998) survey showed that just 29% of museum owned up to having a formal marketing policy. (Runyard, S. 1999) That is why we need to bring! yenmarketing theories! | to the arts field in either of cases: -arts organisation as a commercial organisation -arts organisation to maximise the exposure of people to arts work. f"U What is an art marketing about? Marketing is the process of planning and executing the conception, pricing, promotion, and distribution of ideas, goods, and services to create exchanges that satisfy individual and organizational goals.

- American Marketing Association According to Chartered Institute of Marketing's definition, ! yenMarketing is the management process which is responsible for identifying, anticipating and satisfying customer requirements profitably! | In arts organization, the concept of marketing is not the same as these definitions for the characters of arts fields. In fact, general marketing is more focused on pricing, promotion, satisfying customers to get more profit; arts organization is usually more considering at satisfying individual to let them come. Katherine Kha life, publisher of MuseumMarketingTips. com and the Museum Marketing Tips e-newsletter, was attended in may, 2000, at Pennsylvania heritage tourism summit, when Carnegie Museums president Ellsworth Brown opened a morning workshop with the provocative question, "What is marketing?" what she heard from several museum professionals in the room responding was, "It's getting people to want what you have". (web. museumarketingtips. com / articles /marketing what. html) Also, many artists are needed strategic care to the arts organizations for concentrating more on their work.

Not only for arts organisation, but artists also need organisation become more strategy. As an individual artist, what marketing resources do you need? web ! SS What people want has a great deal to do with what they purchase - with their money, their time, their energy, or their attention. Whether you " re selling a commercial product or a nonprofit service, unless it meets the desires of people, most of them won't buy it". As consultant Will Phillips wrote in an excellent 1996 article, Linking Objects with Audience, "Historically, museums emphasized collecting and understanding objects and specimens, not audiences. The resultant strategy played on a field of dreams: Collect it and they will come".

But today, as Phillips notes, audience needs and values must become a primary focus if museums want to attract more visitors. The new mantra needs to be "Know them and they will come Developing a marketing mindset requires us to look at our audiences as customers, to see our museums through their eyes, and to adapt our facilities and programs to meet their needs and wants. The marketing batters continue by asserting that marketing's master is commercialism, the market force's profit. Marketers are not social workers. They exist to persuade in order to make! yen the best possible financial outcome! | (Diggle K. 1984: 22).

What marketing means; looking outwards, not inwards, constant awareness of what is happening in your market place, asking, not telling customers what they want, coring about processes as well as products, and communicating all this through the organization. Organisation: -marketing objective -product; life cycle, costs, portfolio, position Environment: Economic Political social Market: Competitive pricing segmentation price Customer: Demand / needs Benefits Value Pricing policy Source: Adapted from T.J. Hannigan, Marketing in the public and non-profit sector, Macmillan press Ltd, 1992 This figure represents that Pricing policies are influenced by four factors: those under the control of the museum itself, those that operate in the market in which the museum operates, those influenced by users! | needs, those determined by the marketing environment. Admission fee; As Diggle claims! yen charging for admission can actually help a museum achieve larger attendance as well as larger revenues without an ethical downside! | (Diggle, K. 1995: 32) UK museum association, which states: Above all, it is essential that policy in relation to admission charges is formed in such a way that it does not discourage people from viewing the collections or from using the museum. The Association's code on admission charges states that! yen central and local government have an overriding responsibility to maintain the tradition of free access! K; and that if charges are levied the revenue must be reinvested in the museum.

The code also maintain that the decision as to whether or not to charge should be left up to individual museums, but that free admission should be provided for the equivalent of at least one day a week, and there should be reduced rates on all other days for children, the elderly, the unemployed and disabled people. (museum Association 1991 a: 13) Marketing theory 4 Ps: product, price, place (determination), people (promotion) These are basic components when we break down the whole concept. In arts organisation, production could be current exhibition, or play on showing, event. If there is entrance fee, they can compare the price between competitors. Basically, it is analysis of each characters of the product, for example, when we compare two different kinds of beers, we can examine by price, logo, taste, colour, and the like. And then we can mark in each analysis, and then add up. Position map What we need to know is that how the products will differ from competitors and how it wants to come across to its target buyers.

Maybe we could offer an excellent product / with excellent service at a premium price and well advertise, or build a simple low-price product aimed at the more price-conscious market. However because there are limited budget, and technical problems, we need to find the best way. And we can see more easily though a product positioning map high quality low price Low quality It describes the position of four competitors currently selling to this market. Differ in sales volume (size of circle), b = average-quality product at an average price Markets (customer groups) Small customer medium Large Show A Show B Show C This diagram is about Product / Market grid for Shows. It is easy to compare each show by customer groups. f"U Market research Marketing research is the systematic design, collection, analysis, and reporting of data and finding relevant to understanding an organisation's consumers, the environmental factors influencing the organisation, and ways to improve consumer satisfaction and organisational performance.

Market research can take the form of focus groups, surveys done with visitors at museums, mail and telephone surveys and panel studies (what the heck is that? ). MoMO (Museum Of Modern Oddities) gallery, run by artists which is (created, curate, and collected). was one which took creative ideas and has been successes. From 22-31 August 2003, Zuercher Theatre Spektakel Festival in Zurich, Swaziland, it was small garden work, but they have produced something that people don! |t usually have, or even don! |t think about, but very nice crafts. Also they have shops which is commercial but in artistic way. It is special case, but still a good example of gallery's marketing. web f"U Audience development Marketing is simply the strategic and systematic approach to audience development which meets the overall objectives of the museum and galleries!

| (Runyard, S. 1999) Audience development- what they do instead of coming arts performance? Their time schedules are contributed in leisure time doesn! |t mean that they are coming to see the performance or exhibition unless they know something about those works. People want to do something that they are good at, or they can share with others. Arts fields compete for audiences against say-at! V home behaviours; watching television, using the computer, reading a book, other leisure activities; shopping, movies, sporting events, hiking, other cultural activities (concerts, festival), and other arts fields. Building audiences by attracting new visitors, by relating existing audiences and encouraging them to become more active; and by providing exhibitions and other offerings of outstanding quality and appeal. f"U maximise the exposure of people to arts work This purpose also needs to take marketing theories to increase number of audience.

And also it has to maintain certain amount of subsidise each year. They don! |t have customers, but still they have to keep the numbers of audiences for financial reason. In education term, people agree that to educate students / teachers are important in terms of audience development. It is good idea but what is the most effective way? I! |ve seen a programme about learning how to paint in a gallery. Because it was just opened and it needed to make people know their existence.

It was for young kids, but that is why their parents should go with them. That was advertising while they were educating. Maybe when the kids are grow up, paintings or galleries will be more familiar for them rather than others who have not got these experience. f"U Example: Marketing in a Museum The strategic market planning process work in a museum organisation is in three stages. Firstly, setting up a planning system that analyzes environmental factors, organisational strengths and weaknesses, mission, objectives and goals and then determines strategies, secondly crafting an organisational design adapted to the chosen strategies and finally creating systems to monitor planning implementation and outcomes, specifically market information, planning and control. (Kotler, N. & Kotler, P; 1999) Information from museum staff can be able to satisfy visitors, such as the Doncaster Museum and Art Gallery in UK, they have taken the lead in training staff at all levels to be information and orientation providers. Museum's offering; exhibitions, collections, lectures and events, merchandise in the gift shop, interior design, exterior architecture.

And offer value-learning, recreation, sociability, and experiences. Try to expose their offering There are the challenges that Museums, Heritage and Performing Arts organizations now have to face to remain healthy and competitive: understanding new and emerging cultural needs and offering people diverse opportunities to spend their leisure time, working out strategies for audience retention and development, diversifying funding sources, attracting young people. The increasing complexity of the environment in which arts organizations operate, has a number of different implications such as the need to serve a variety of stakeholders and to fulfil multiple roles. And, of course, one should not forget the must for all arts organizations: their institutional mission and the cultural identity they have developed over time.

Bibliography

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