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2014 | Book | 2. edition

Introduction Read chapter Read first chapter

Standing Room Only

Marketing Insights for Engaging Performing Arts Audiences

Author: Joanne Scheff Bernstein

Publisher: Palgrave Macmillan US

Part of: Springer Professional "Wirtschaft+Technik" , Springer Professional "Wirtschaft" , Springer Professional "Technik"

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About this book

Standing Room Only combines practical advice for creating a strategic marketing program and maintaining a successful performing arts organization. This revised edition lays out a framework to navigate the digital age, from online ticketing options, to marketing options in social, and mobile media.

Table of Contents

Frontmatter
Introduction
Abstract
In March 2011, one of the worst disasters in history occurred in Tōhoku, Japan. The most powerful earthquake to have ever hit Japan (one of the five most powerful in the world) triggered huge tsunami waves reaching heights of 133 feet, which traveled up to six miles inland and caused atomic reactor meltdowns and explosions. Thousands of people died, hundreds of thousands of buildings collapsed or were severely damaged, and all areas within 50 miles of the Fukushima Daiichi Nuclear Power Plant were evacuated. The entire region suffered from lack of electrical power, closed roads and rail lines, poor access to food and medical supplies, and the massive fear that accompanied the aftershocks.
Joanne Scheff Bernstein
Chapter 1. The Performing Arts: History and Issues—an Ongoing Crisis? A Growing Crisis?
Abstract
The nonprofit performing arts industry in America and many performing arts organizations around the world are facing crises on a variety of fronts. In April 2011 the Philadelphia Orchestra, one of the largest and most well-respected orchestras in the United States, filed for bankruptcy, facing a structural deficit of $14.5 million and other economic woes. The orchestra has since exited from bankruptcy protection, but continues to face financial challenges. In 2010, the Detroit Symphony found it necessary to make drastic cuts in musicians’ salaries to help rectify their shortfall of $8.8 million. Following a six-month strike, the musicians settled for a 23 percent salary cut. These situations are not unique.
Joanne Scheff Bernstein
Chapter 2. The Evolution and Principles of Marketing
Abstract
One can be a successful marketer only if one has adopted the proper marketing mind-set. This means having a clear appreciation for what marketing comprises and what it can do for the organization. Marketing, as it relates to the arts, is not about intimidation or coercion or abandoning an artistic vision. It is not “hard selling” or deceptive advertising. It is a sound, effective technology for creating exchanges and influencing behavior that, when properly applied, must be beneficial to both parties involved in the exchange.
Joanne Scheff Bernstein
Chapter 3. Understanding the Performing Arts Market: How Consumers Think
Abstract
Daniel Kahneman, the Nobel Prize-winning behavioral economist, shares the story of a man who told him that he listened to a gloriously beautiful symphony for 20 minutes, after which a terrible screeching sound ruined his experience. Kahneman replied to him that the experience was not ruined, as he enjoyed 20 wonderful minutes, but it was his memory of the experience that was ruined. Kahneman describes this as the riddle of experience versus memory. Says Kahneman, “We don’t choose between experiences, we choose between memories of experiences. Even when we think about the future, we don’t think of our future normally as experiences. We think of our future as anticipated memories. We don’t tell stories, our memory tells our stories.” Furthermore, “the remembering self is the one that makes decisions. The experiencing self has no voice in decisions. Look at this,” says Kahneman, “as the tyranny of the remembering self.”1
Joanne Scheff Bernstein
Chapter 4. Exploring Characteristics of Current and Potential Performing Arts Attenders
Abstract
Effective marketing communications appeal to each target customer’s core values, lifestyle, and interests. It is crucial for arts marketers to stay up to date with the changing attitudes and expectations of their current patrons. Also, arts marketers must develop and implement strategies that attract new audiences while continuing to build loyalty and frequency among current audience segments.
Joanne Scheff Bernstein
Chapter 5. Planning Strategy and Applying the Strategic Marketing Process
Abstract
Central to effective management and marketing is careful and thorough planning. Developing new tactics that are relevant to today’s consumers requires more than some good ideas; it requires thinking strategically. Strategic market planning necessitates a broad understanding of the organization’s current needs and opportunities, and it entails determining if ideas old and new are a good fit with the organization’s core strengths and resources.
Joanne Scheff Bernstein
Chapter 6. Identifying Market Segments, Selecting Target Markets, and Positioning the Offer
Abstract
Marketing planning must start with strategic marketing—namely, segmenting, targeting, and positioning. The marketer first identifies a variety of dimensions along which to segment the market and develops profiles of the resulting market segments. Then the marketer selects those segments that represent the best targets for its efforts. Finally, the marketer designs marketing strategies and positions the organization and its products in ways that are expected to have the greatest appeal to the target markets.
Joanne Scheff Bernstein
Chapter 7. Conducting and Using Marketing Research
Abstract
Historically, managers have devoted most of their attention to managing their products, their money, and their people, while paying less attention to another of the organization’s critical resources: information. The need for marketing research information is greater now than at any time in the past. Said economist Joseph Steiglitz, “What you measure affects what you do. If you measure the right thing, you do the right thing.”1 As marketing segmentation strategies become more sophisticated, segments become smaller, and people expect increasingly individualized service, organizations need to learn more about the needs and wants of their various target markets. Also, as consumers have become more selective and demanding in their buying behavior, sellers find it harder to predict buyers’ responses to different features, benefits, packaging options, and other attributes unless they turn to marketing research. This need for information has grown over recent years with the emergence of sophisticated technologies that have revolutionized information handling and have made it accessible to and inexpensive for even the smallest organizations.
Joanne Scheff Bernstein
Chapter 8. Using Strategic Marketing to Define and Analyze the Product Offering
Abstract
The works presented on the stages of performing arts organizations are their raison d’être. Yet the product consists not only of the performances themselves; it is the complete bundle of offerings and experiences provided by the institution to the public.
Joanne Scheff Bernstein
Chapter 9. Managing Location, Capacity, and Ticketing Systems
Abstract
When we think about a performance, its setting typically comes to mind. Says Alan Brown, “Settings may be formal or informal, temporary or permanent, public or private, and physical or virtual. In the broadest sense, ‘setting’ is a sort of meeting ground between artist and audience—a place both parties occupy for a finite period of time to exchange ideas and create meaning.”1 The setting plays a significant role in that it influences both the art itself and the audience response.
Joanne Scheff Bernstein
Chapter 10. Focusing on Value and Optimizing Revenue through Pricing Strategies
Abstract
Arts marketers focus a great deal on price, thinking that price drives ticket purchase decisions. What people care about more than price is value. Said investor Warren Buffet, “Price is what you pay; value is what you get.”1
Joanne Scheff Bernstein
Chapter 11. Identifying and Capitalizing on Brand Identity
Abstract
The brand is the primary driver of people’s interest in and loyalty to an organization and its offerings. It is what the audiences, artists, staff, board, and entire community think of the organization. It is the company’s reputation, the perceived quality of the works presented, the promise of its products, the value it brings to the participants, and the sum of every experience one has with the organization.
Joanne Scheff Bernstein
Chapter 12. Formulating Communications Strategies
Abstract
Marketing is a philosophy, a process, and a set of strategies and tactics for influencing behavior—either changing behavior (e.g., encouraging attendance at certain performances) or preventing it from changing (e.g., encouraging patrons to renew their subscriptions). In previous chapters, we considered the offer, price, and place components of the marketing mix and saw how these components influence behaviors directly by providing incentives for action or for reducing disincentives. Everything about an arts organization—its programs, packages, employees, facilities, and actions—communicates something. But influencing behavior is largely a matter of communication.
Joanne Scheff Bernstein
Chapter 13. Delivering the Message: Advertising, Personal Selling, Sales Promotion, Public Relations, and Crisis Management
Abstract
Current marketing practice is simultaneously exemplified by the seemingly paradoxical extreme goals of mass branding and one-to-one relationship marketing. The marketing communications mix, also called the promotion mix, consists of four major tools: advertising, personal selling, sales promotion, and public relations. Each tool has its own unique characteristics and costs. Crisis management is also a critical function and managers must be adept at handling issues as they arise, or better yet, anticipate them before they become problematic.
Joanne Scheff Bernstein
Chapter 14. Harnessing and leveraging the Power of Digital Marketing Methods
Abstract
The Internet, email, and social media—known as new wave technology—have irrevocably changed the daily lives of consumers. They have also irrevocably changed the work of marketers. The emergence of new wave technology marks the era that Scott McNealy, chairman of Sun Microsystems, declared to be the age of participation. In this age, people create news, ideas, and entertainment, as well as consume them. New wave technology has enabled people to turn from being consumers into prosumers. It enables connectivity and interactivity of individuals and groups.
Joanne Scheff Bernstein
Chapter 15. Building Audience Frequency and Loyalty
Abstract
For more than three decades after public relations expert Danny Newman introduced his Dynamic Subscription Promotion campaign in 1961, the widespread application of subscription drives created a substantial and loyal audience base for hundreds of performing arts organizations.
Joanne Scheff Bernstein
Chapter 16. Focusing on the Customer Experience and Delivering Great Customer Service
Abstract
Great customer service is dependent on the marketer mastering the art and science of patron knowledge and understanding. The science is in the database and all the market research undertaken to better understand customers’ attitudes, preferences, interests, and behavior. The art is in how this information is used in designing and improving the customer experience.1
Joanne Scheff Bernstein
Chapter 17. Audiences for Now; Audiences for the Future
Abstract
Arts managers face two major challenges today. First, they must reach outward to their communities, with a goal of creating relevance, understanding, and accessibility and making art an integral part of people’s everyday lives. Second, managers must look inward to professionalize their management and marketing, to approach their tasks strategically in light of a continually changing environment, and to learn how best to be responsive to the needs and interests of their publics. Says marketing expert Mohanbir Sawhney, “It is not the biggest, the smartest, nor the richest organizations that survive; it’s the most adaptable.”1
Joanne Scheff Bernstein
Backmatter
Metadata
Title
Standing Room Only
Author
Joanne Scheff Bernstein
Copyright Year
2014
Publisher
Palgrave Macmillan US
Electronic ISBN
978-1-137-37569-8
Print ISBN
978-1-137-28293-4
DOI
https://doi.org/10.1007/978-1-137-37569-8