2000 words Marketing Plan of Royal Opera House in London (in 48 hours)
vandchuchu
Week2.pptxMKT3095
Lecture 2
Analysis continued Macro/ Micro/ Intra
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By the end of the lecture and your independent reading you should be able to :
Describe Cultural & heritage Micro environment
Apply key structures
Analyse organisational situations and identify options
Lecture Objectives
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MICRO
The Customers – see audience development
The Stakeholders/ Publics
3. The Competition
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1. The customers
Segmentation
Segmenting the arts market for Grayson Perry Exhibition
There are eight unique #segments within the Culture Segments system: #Enrichment, #Entertainment, #Expression, #Perspective, #Stimulation, #Affirmation, #Release and #Essence.
See additional slides and Audience development lecture
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MICRO
1. The Customers
2. The Stakeholders/ Publics
3. The Competition
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2. Stakeholders and publics
Who is important to the organisation?
Make a list:
A stakeholder
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Stakeholder analysis
Identifies the museum’s internal and external stakeholders;
Clusters stakeholders with similar interests;
Characterizes the nature of their interest in the museum;
Represents stakeholder groups in relation to one another and the museum;
Develops stakeholder messages to guide and align communication; and
Selects approaches to stakeholder engagement
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Who are the Stakeholders of the Sage Newcastle
Individual donors
Prospective donors
General public
Mass media
Tourism agencies
Advisroy committees
Families of users
Attenders
Administrative staff
Volunteers
Friends
Educators
Local businesses
Government - agencies arts council
Legislators
Local community
Council
Police
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Sage
Stakeholder Analysis Map
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Map stakeholders on a Stakeholders Matrix according to the level of impact of the change on them
and the importance these stakeholders to the success of the change project
Draws out the interests of stakeholders in relation to the project’s objectives – stakeholders
who will be directly affected by, or who could directly affect, the project are clearly of
greater importance than those who are only indirectly affected;
• Identifies actual and potential conflicts of interest – a stakeholder who is vital to your
project may have many other priorities and you need to know this so that you can plan how
to engage with them;
• Identifies viability other than in pure financial terms (e.g. includes social factors) – for
example staff who will be using a new system might be worried about the change;
• Helps provide an overall picture;
• Helps identify relationships between different stakeholders – helping to identify possible
coalition.
http://www.mmu.ac.uk/bit/docs/Stakeholder-analysis-toolkit-v2.pdf
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Kotler Publics
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Why is it important for cultural and heritage organisations to identify their publics?
Use Kotlers framework and identify the different publics?
Access this web page and apply to:
Heugh Battery Hartlepool http://www.heughbattery.co.uk/
Micro – who are the publics
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International Journal of Nonprofit and Voluntary Sector MarketingVolume 19, Issue 2, pages 76-91, 10 APR 2014
MICRO
1. The Customers
2. The Stakeholders/ Publics
3. The Competition
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The Competition
poRTER 4 Corners - http://www.cimaglobal.com/Documents/ImportedDocuments/cid_tg_strategic_analysis_tools_nov07.pdf.pdf
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| Desire Competition | Generic Competition | Form Competition | Enterprise competition |
| Work | TV at home | Theatre | Big Downtown museum |
| Exercise | Art on video | Symphony | Small local museum |
| Household chores | Viewing art on the internet | Rock Concert | University art gallery |
| Entertainment | Movie | Dance performance | Private art gallery |
| Aesthetic experience | Experience at public art | Museum | Local arts centre |
| Recreation | Create own Art | Outdoor art fair | Internet virtual musuem |
Competitive Choices Kotler & Andreasen 2008
Enterprise
Desire
Generic
Form
Kotler & Andreasen 2008
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Rivalry among organisations
Threat of Substitute products or offerings
Consumer Demand
Threat of New Entrants
Bargaining power of Suppliers
Donor Support
Next Week
Small group work read the Hadrians Wall case on BB
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Additional reading
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Arts
Heritage
Museums
A clear identification of attendees will enable a theatre to develop a targeted marketing plan that will reach the prospective audience cost effectively and with a message that they will find most persuasive’
SEGMENTATION EXAMPLES
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Useem & DiMaggio 1978
Arts attendees are typically higher education; professionals; higher incomes
Seminick & Young 1979
ARTS
DiMaggio, Paul and Michael Useem. 1978. "Cultural Democracy in a Period of Cultural Expansion: The Social Composition of Arts Audiences in the United States." Social Problems 26:179-197.
DiMaggio, Paul, Useem, Michael, and Brown, Paula (1978), Audience Studies of the Performing Arts and Museums, Washington, D.C.: National Endowment for the Arts.
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ARTS
Sexton 1980
The lights;
The all rounders;
Museum movie goers;
Specialists
Andreason & Belk 1980
culture patrons & socially actives based on lifestyles
Sexton, Donald L. and Kathryn Britney (1980), "A Behavioral Segmentation of the Arts Market," in Jerry C. Olson (Ed.) Advances in Consumer Research, 7, Ann Arbor: Association for Consumer Research. 109-113.
Belk, R. and A. Andreason (1980), "De Gustibus Non est Disputandum: A Study of the Potential for Broadening the Appeal of the Performing Arts", in J. Olson (Ed.), Advances in Consumer Research, Vol. 7.
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Commercialised
creativity
Primary Audience
Public at large
Primary objective
Sought: Money
Peer oriented
creativity
Primary Audience:
Peers & Industry
Professionals
Primary objective
sought: Recognition,
acclaim
Self Oriented Creativity
Primary Audience:
The Self
Primary objective
Sought: Self
expression
Artist
Peers
Hirschmans Three Market Segments
1983 in From Maestro to Manager 1997
Ed. Fitzgibbon
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The satisfaction of a market need ie traditionalist approach cannot be applied to artistic products.
Artistic products contain there own reason for existence ie they do not fulfil any need other than artists expression (in Colbert)
The three segments are defined according to the artists creative orientation and goals.
Segment 1, artist or creator satisfies own need
2. Peers - artists critics or professionals in a discipline . Creativity is peer oriented the artists seek recognition with them
3. The public - can be aimed at several sub segments. Focus is commercial and market oriented. Primary objective is financial gain.
Artists may target one or all , they should still find satisfaction in their work. They may create different for each segment.
In reality the artist marketing the supply
Reiss 1994
Davis 1994
Sargeant 1997
Nouveau sophisticates
Blue Mooners
Ageing socialites
Regular attenders – distribute at other arts venues; raise awareness of scope of events; advertise quality; variety; surroundings; aesthetics; facilities
Non regular - advertise in local press or local radio
Aging - social aspects, enjoyment , entertainment, friendship status, Reposition on social aspect
Sargeant A (1997), ‘Arts Marketing A Classification Of U.K. Theatre Audiences’, Journal Of Non-Profit and Public Sector Marketing, Vol5, Iss 1, pp45-62.
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Standing room only - Kotler 1997
Geoclustering
Money & brains V winners & circles; young literati
Gender
Lifestyle (AIO) Andreasson & Belk
Usage – frequent/ light and non
Aesthetics Levy’s 6 factors
Benefit
Occasions
Loyalty
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MB single and couples
WB affleuent families young children
YL more likely to attend live theatre
AB six categories attnednce at syphony / theatre = passive homebodies; active sports enthusiasts;inner directed self sufficients;active homebodies; culture patrons &social actives
Philadelphis
F = high value on leisure time new sparks imagination;active ; many cultural events; higher satisfaction with more than 6 attendacnes
L= cost comfort and convenience; self improvement ; meeting people
N = fun and entertaining; perceived as formal and expensive
The 21st Century
Arts Council England -Arts Audience Insights 2011
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SEGMENTATION IN HERITAGE – GOULDING 2000
The existential visitor
The aesthetic visitor
The social visitor
Read etext - Misiura Chapter 3
Christina Goulding 2000. The commodification of the past, postmodern pastiche, and the search for authentic experiences at contemporary heritage attractions. European Journal of Marketing 34, no. 7 (January 1): 835-853
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Davies 1994 segments by eg
Demographics; lifestyle; geography; education
Mclean , F 1997 – available as e book
Black 2005
Segmentation in Museum
Davies - By popular demand: a strategic analysis of the market potential for museums and art galleries in the UK
McClean , F Marketing the museum
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