Somos patrimonio somos ciudad - marketing social del patrimonio cultural urbano: Plan del Eje Ambiental de la Avenida Gonzalo Jiménez de Quesada

En la actualidad, el patrimonio cultural se encuentra inmerso en un entorno dinámico y cambiante, caracterizado por la globalización y la diversidad, que planeta nuevos retos a su gestión. En el plano internacional dos modelos de marketing han dado algunas respuestas a esto, el economicista o tradicional y el específico de las artes y la cultura. Ambos modelos se basan en una noción materialista del patrimonio cultural, concebido como producto o como recurso patrimonial, y la existencia de cuatro elementos comunes de contexto: El mercado, la organización, el sistema de información y el marketing mix. Sin embargo, estos enfoques no le son aplicables al patrimonio urbano colombiano, porque su contexto es diferente, caracterizado por una dinámica nula o de mercado inexistente, sin fuerzas de mercado que atiendan por su valoración, conservación y preservación o garanticen su sostenibilidad, que está referido a bienes de carácter público, por cuyo consumo nadie está dispuesto a pagar de manera directa, cuya tutela está atribuida al Estado y frente al cual coexiste una pluralidad de actores. Por lo anterior, un modelo de marketing aplicable a dicho patrimonio cultural, debe construirse sobre lineamientos conceptuales de mayor complejidad e hibridación, que permitan una concepción integral de aquel y de su gestión.

Utilidad de la relación estratégica comunitaria y el marketing en los mercados internacionales

Dentro de este trabajo de investigación se quiere profundizar en la teoría que abarca la relación estratégica comunitaria en los mercados internacionales donde se quiere resaltar si ha habido investigaciones alrededor de este tema y si el aporte que se está dando en esta investigación realmente si es información nueva que se está investigando. Se quiere enfocar la investigación hacia como las empresas están realizando la penetración de mercados internacionales pensando en la comunidad en la que están ingresando, sus costumbres, creencias y aspectos sociales.

Estrategias de marketing y comercialización de las editoriales independientes, dedicadas a las disciplinas artísticas de diseño y moda en Bogotá

El presente documento describe cómo funcionan las editoriales independientes dedicadas a las disciplinas artísticas de diseño y moda en Bogotá, proyecto que pretende ser una herramienta de estudio para las nuevas y nacientes publicaciones que deseen expresar sus intereses, lograr reconocimiento, culturizar al público y obtener ingresos en el proceso. El siguiente trabajo indaga sobre el movimiento de la moda, el arte y el diseño, corriente que ha evolucionado reveladoramente en los últimos años, la cual se ha convertido en una gran economía a nivel mundial. El sector de las editoriales independientes dedicadas a las disciplinas artísticas es un tramo emergente, existen varios proyectos que exponen nuevas propuestas de jóvenes diseñadores, empresarios y emprendedores colombianos que se mueven en la escena artística de la capital del país. Estos tipos de ediciones muestran lo que está sucediendo en Bogotá en diferentes aspectos, ejemplo; eventos relacionados con la música, gastronomía, moda, entre otros. Presentan las nuevas tendencias referentes al diseño y se proponen descubrir y publicar a los artistas emergentes de la capital para que ellos gocen de un medio para exhibir su trabajo. Muchas de estas ediciones no tienen la posibilidad de imprimir sus ediciones, y si las imprimen no logran vender su trabajo, con este documento se pretender brindar estrategias de mercadeo y comercialización de las editoriales independientes dedicadas a las disciplinas artísticas de diseño y moda de la ciudad de Bogotá , con el objetivo de que estas continúen funcionado, para que haya una circulación de información artística a la población capitalina, de esta manera jóvenes colombianos tengan una plataforma para exponer su trabajo y la ciudad misma se convierta en un centro de expresión cultural reconocida mundialmente.

O mecenato cultural como estratégia de marketing empresarial : os casos Banco Espírito Santo, Banco Português de Investimento e Caixa Geral de Depósitos

O objetivo deste estudo consiste em investigar a aplicação do marketing na atividade de mecenato cultural no contexto empresarial. Nesse sentido, foi estudado o caso de três instituições financeiras, através de uma análise aprofundada às suas ações de mecenato, de forma a compreender melhor as suas motivações. Numa primeira fase, foi elaborada uma investigação teórica não só sobre o panorama cultural e políticas de mecenato na Europa e, em particular, em Portugal, mas também a relevância da responsabilidade social no âmbito empresarial. Esta investigação pretende assim salientar o mecenato cultural enquadrado numa estratégia de marketing empresarial, num cenário em que as instituições usam o apoio financeiro à cultura como veículo para destacar o seu papel ativo na sociedade e no mercado, promovendo a sua imagem.

Knowledge dissemination in the global service marketing community

Purpose– The evolution of the service marketing field was marked by the emergence of a global, vigorous and tolerant community of service marketing researchers. This paper seeks to examine the history of the service marketing community and argues that it may be an archetype for building the emergent global service research community. Design/methodology/approach– The study combines qualitative and quantitative approaches. The authors interviewed four pioneering service scholars and also collected descriptive data (e.g. Authorship, Affiliation, Title, Keywords) of all service related articles published in 13 top peer‐reviewed marketing and service journals over the last 30 years (5,432 articles; 6,450 authors). In a dynamic analysis the authors mapped global collaboration between countries over time and detected clusters of international collaboration. Findings– Findings suggest a growing international collaboration for the USA and the UK, while for other countries like Israel the global collaboration started from a high level and decreases now. Further, the service marketing community never became polarized and there were always contributions from researchers all over the world. Research limitations/implications– As the global service research community is developing, service marketing becomes a research neighborhood within the broader service research community. Simultaneously, other research neighborhoods are emerging within this new community (e.g. service arts, service management, service engineering, service science). Originality/value– Anchored on the social evolution and biological evolution metaphors, this study explains the evolution of the service marketing field from both qualitative and quantitative perspectives. Furthermore, it explains the development of the service marketing community as an archetype for building the global service research community.

Melbourne 2006: marketing south-eastern Australian aboriginal art

The Aboriginal cultural sector is dynamic and highly valuable to the Australian economy, returning an estimated $100 million dollars annually. The majority of Aboriginal artists and art works have been perceived to be in northern Australia— eighty per cent of them are in fact in this region—but Aboriginal artists in south-eastern Australia are emerging as a strong force as they struggle for recognition from commercial and national galleries, curators, art dealers, newspaper critics, and buyers. If marketing is to be effectual, the Aboriginality of the art must be presented in a form that is understood and accepted by the audience. Thus changing public perceptions is crucial to marketing south-eastern Aboriginal art. The primary task of this article is to discuss this marketing priority for Aboriginal art and artists in south-eastern Australia, previously neglected in marketing literature. Specifically, the upcoming Melbourne Commonwealth Games are proposed as an opportunity for intensive marketing of the region’s Aboriginal arts.

Entrepreneurship in the markets of nonprofit performing arts organisations

This paper explores how managers in nonprofit performing arts organizations balance the interests of the various funding sources and market opportunities to service their revenue requirements. It reviews a tension in nonprofit performing arts organizations: the relationship between limited funding and the subsequent need to act entrepreneurially and innovatively amongst the various funding sources. Using a longitudinal analysis of annual reports in six major nonprofit performing arts organisations in Australia since 1975, the paper uncovers some of the interplay essential to entrepreneurship. From this discussion, different strategies and tensions are highlighted that nonprofit general managers have used. Comparisons are made with nonprofit art museums which previous research has shown have the same funding tensions.

Location, location, location: exploring the importance of place for arts organisations

Many arts managers and marketers are looking intently at the importance of high-speed communication and other technologies for the creation of virtual places. These places in cyberspace can only be accessed via a computer terminal and high-speed telecommunications tools. This paper asserts that there is still much for managers and marketers to learn about the importance of physical spaces for the arts. We use a model of place and apply it to three Australian arts organisations located in heritage buildings. One organisation failed, the other changed ownership, the third moved location. The findings demonstrate the importance of place and of strategy in determining place. We note the tension between the strategy, the venue, the objects, and the essential task and call for further analysis of place(s) for the arts.

Changing perceptions : marketing south eastern Australian aboriginal art

The Aboriginal cultural sector is dynamic and highly valuable to the Australian economy, returning an estimated $100 million dollars annually. The majority of Aboriginal artists and art works have been perceived to be in northern Australia-eighty percent of them are in fact in this region-but Aboriginal artists in South Eastern Australia are emerging as a strong force as they struggle for recognition from commercial and national galleries, curators, art dealers, newspaper critics, and buyers. If marketing is to be effectual, the Aboriginality of the art must be presented in a form that is understood and accepted by the audience. 1 Thus changing public perceptions is crucial to marketing South Eastern Aboriginal art. The primary task of this paper is to discuss this marketing priority for Aboriginal art and artists in South Eastern Australia, previously neglected in marketing literature. Specifically, the upcoming Melbourne Commonwealth Games are proposed as an opportunity for intensive marketing of the region's Aboriginal arts.

Dying in the arts: creativity as metaphor

The idea that organizations need to adopt structures and practices that facilitate 'creativity' has become a central theme in theories of managing organisational innovation and success. This idea has been deployed in organisational theory, HRM, marketing and other domains of organization studies. We argue, however, that in the process of being appropriated from the arts, the concept of creativity has been 'hollowed out' and refashioned to suit the structures of organization as institution, and its needs as a business organization (to make money and establish 'competitive advantage'). This devalued idea of creativity has, in turn, been imposed on arts organisatons, which are impelled to see themselves as 'creative businesses'. Creativity, has been defined as a set of imaginative practices intended to express original ideas, and is in need of defence.

An exploration of the components of relational bonds to an arts festival brand

This research investigates the nature of the bonds that consumers form with a brand that provides highly uncertain outcomes, and is only available intermittently. The research model draws upon elements of Keller’s (2001) conceptualisation of brand resonance, and extends McAlexander, Kim, and Roberts’ (2003), and Muniz and O’Guinn’s (2001) brand community construct, testing these in an atypical service environment. Qualitative research suggested the need for a broader view of the bond formed in these circumstances, specifically one comprising measures of anticipation of usage, social attraction, commitment, loyalty, and trust. This paper reports on analysis undertaken to develop such a construct, which has been labelled “brand affinity”. Tests for discriminant validity suggest that the brand affinity construct is a distinct construct that can be used to measure consumer attitudes toward a highly uncertain, intermittently available product.

A creative twist: management theory, creativity and the arts

For many theorists and practitioners in the area of organizational theory, HRM, marketing and other domains of organization studies, organizational creativity is something to be distilled and managed as an element of organizational performance. The article argues, however, that this process of appropriation from the creative arts is subject to a number of problematic transitions. The article's starting point is the notion of creativity itself. Within the creative arts, the question of what constitutes creativity and its relationship to artistic practice is subject to considerable debate. This debate centers on the question of whether creativity represents an essentialist and inexplicable (even spiritual) component of artistic practice or whether creativity is a trait of work and cannot be attributed as a unique aspect of art. The mantra of creativity provides nothing more than a means to control individuals and provide them with a false hope that contributing to the success of business will provide a means to self fulfillment.

Masters of their own destiny : autonomy and the performing arts

2001 Kenneth Myer lecture for the George Fairfax Fellowship, at Deakin University's Toorak Campus, Thursday 22 March 2001.
"Produced and distributed by Bowater School of Management & Marketing, Faculty of Business & Law, Deakin University."