Relationship marketing, audience retention and performing arts organisation viability

Marketing strategy in performing arts organisations has become particularly important in the increasingly competitive environment in which the arts operate. Since the late 1980s there has been a necessary shift in focus to audience development away from product development. This change in focus is being encouraged to ensure the long-term viability of performing arts organisations (PAOs) and micro-economic reform. While government reports have recommended strategies aimed at building audience based recognition, this is an expensive approach for many PAOs and does not produce short term returns. Little attention has been paid to building enduring relationships with existing audiences as a way if having a more dramatic impact on PAOs' long-term viability. This paper explores this theme through relationship marketing and the implication of retaining existing audiences. The paper identifies the changing cultural environment which has led to the importance if marketing. It then explains the concepts if relationship marketing and its pertinence to PAOs' viability by presenting a loyalty ladder. The structure is modelled as a dynamic conceptualisation of the relationships (audience and organisation) to assist arts managers to decide whether to focus their efforts on catching or keeping customers to maximise earned income.

What is the value of the arts?

In an age of globalisation, economic restructuring and rampant consumption, the "cultural industries" have come to be viewed as offering a source of social and economic salvation to declining towns, cities and regions. However, it is far from clear to what extent the arts, media and related tourism create employment, wealth, capital and community cohesion. What then is the value of the cultural industries and what concepts can be deployed to answer this question? This paper will report on one effort to devise a theoretical framework to assess the value of the cultural industries in one small Australian city. Drawing on Marxism, Pierre Boudieu and post-modem theory, it will develop a particular concept of "cultural capital" for use in quantifying and qualifying the socio-economic contribution of the cultural industries in Geelong, Victoria. It will argue that by linking Marx to Bourdieu around reformulated notions of "value" and "cultural capital", a theoretically rigorous framework can be distilled to assess and argue for the value of the arts. Such a concept has particular relevance and implications for arts managers.

Ethical behaviour: the foundation stone for entrepreneurial activity in arts organisations

Entrepreneurship is being touted as the way forward for arts organisations unsure of the level of continued government funding available and confronted with the need to ever improve. At a time when leadership and governance in cultural organisations have changed in line with cultural expectations, how is their ethical stance assessed? In an age of globalisation, economic restructuring and technological change, museums are sometimes seen to be something of a contradiction. Traditionally seen as temples for the muses, today's museums are being challenged to be ethical for society. As a solution, this paper proposes a Cooperative Model of Cultural Organisational Ethics that attempts to provide a framework by which arts organisations can put in place ethical artefacts that enhance organisational performance, rather than detract from it.

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.

A brief review of PhDs in creative and performing arts in Australia

This paper reports on an aspect of a pilot project conducted in 2003 by the authors comprising a bibliographic analysis of all (approximately 51,000) Australian PhDs. The pilot work is both a data and methodological basis for a larger project that investigates the nature and development of PhDs in Australia as they evolved in the context of national economic, social and educational changes. This paper reviews the evidence from the bibliographic data held in library catalogues of PhDs in each Australian university. After considering the definitional properties and their operationalisation, the paper provides an overview of the first instances, locations and frequencies of PhDs in the creative and performing arts in Australia, fields which are relatively new to doctoral study and which pose challenges in terms of doctoral pedagogy and scholarship. This is contextualised in terms of the development of the contemporary university sector during the 1990s, including the growth in the creative and performing arts therein.

From the comforts of print to the possibilities of digital media: leading the way in teaching political leadership in a faculty of arts

Since it inception, Deakin University has been committed to the delivery of innovative, high quality course materials to its off campus students. Until recently these packages were predominantly print based, although augmented with audio-visual materials delivered in cassette format. Ironically, with the advent of information and communications technologies (ICT), and some select computer assisted learning and multimedia packages, there was an overall decline in the use of audio and video as important means of enhancing learning. Like many other universities, Deakin has moved to a strong, centralised approach to the provision of its digital and online corporate technology environment. With investment in these technologies has come a renewed interest in the ways in which text and audio-visual materials in digital form can enhance students' learning experiences. Moreover, the ways in which a variety of digital media supported by online developments can create new models and approaches to teaching/learning has figured prominently. This paper presents a case study of how this challenge has been taken up in a unit, Political Leadership, in the Faculty of Arts. The academic teacher's intentions in moving to a completely digital approach are examined along with students' experiences of learning in the subject. Issues are considered from the experience.

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.

Arts marketing challenges in multicultural societies

With an increasingly diverse, multicultural society in many countries, it is timely to look more closely at the current literature on arts marketing, ethnic identity and segmentation issues. The growth of diverse, multicultural societies in many countries warrants a closer examination of arts marketing and the use of ethnicity as a basis for segmentation, as these issues have implications for attracting and retaining arts audiences and other consumers of arts related activities. Researchers in the arts industry have stressed the importance of understanding the fundamentals of audience development and the ability to focus on satisfying the needs and wants of their audiences. The focus on marketing activities comes at a time when there is greater pressure on arts organisations to move beyond their traditional role as subsidized non-profit organisations in order to become more self-supporting. Internationally, audience development in the arts industry has focused on segmentation dimensions such as youth, mature aged individuals, geographic location (rural), individuals with disabilities, low income earners, and individuals with culturally diverse backgrounds. Most of these potential segments are under represented in the population of arts consumers in Australia, the United Kingdom, Singapore, and North America. Of those dimensions, segmentation of arts markets by cultural differences such as ethnic identity appears to be a somewhat under researched area. Hofstede's (1980) model of national cultural differences continues to be widely used as a basis for strategic and marketing decisions in international business. However, the cultural characteristics attributed to individuals in their country of birth are likely to change through immigration to another country. In this situation, the ability to predict the consumption behaviour of various ethnic groups is complicated by acculturation processes in which arrivals attempt to adapt to their new environment. Over time, this process has resulted in the emergence of bicultural individuals who are able to switch, at will, between their ethnic identity and an identity aligned with their host country, or a combination of both at any time. Ethnic identity and affiliation with ethnic groups can also change over time, suggesting challenges for arts marketing approaches, and the application of market segmentation theory in particular.

Musical arts education in Africa : differentiation, integration and disassociation

By discussing the future challenges to musical arts education in Africa in which local cultural practices are valued, the differences of those historically marginalised by virtue of gender, race, ethnicity, and class, are celebrated. In Africa, musical arts education and culture are regarded as an integral part of our life, which not only embraces the spiritual, material and intellectual aspects of our society, but also contributes greatly toward our emotional development. This affirms the integrity and importance of various forms of 'Art' including literature, technology, design, dance, drama, music, visual art, media and communication.

This paper will discuss the future of African musical arts education programmes through the dynamic cycle of differentiation, integration and disassociation. The authors will consider the concept of ‘differentiation’, ‘integration’ and ‘disassociation’ within musical arts practice. An analysis of selected international arts education programmes provides a globally differentiated perspective through a discipline-based approach. In the African context, arts education programmes are located within an integrated approach. The structure of a Music Action Research Team (MAT cell) in Southern African Developing Community (SADC) countries will be highlighted as a means to address disassociation through the active engagement of professional development programmes offered by the Centre for Indigenous African Instrumental Music and Dance (CIIMDA).

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.

Creative arts practice, creative industries : method and process as cultural capital

The value of artistic research is related not only to the products of creative arts practices, but also to methodological, material and social processes through which they operate.

This paper argues that although creative arts research methods – the use of personally situated, interdisciplinary and emergent approaches – contradict what is usually expected of research, such approaches underpin the innovative capacity of studio enquiry and its implication for extending practice-led research pedagogy across all research disciplines.

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.

The new arts leader: the Australia Council and cultural policy change

One consequence of the development of cultural policy has been a demand for more creative leadership in arts organisations. This article provides a case study of how leadership of the Australia Council changed from the 1970s to the beginning of the 21st century. It argues that changes to the way in which Australia Council chairs approached their role was shaped by, and contributed to, the trend towards constructing the arts as an industry. Part of this change sees the Australia Council subjected to aspects of reform, which were widely endorsed by the Australian public sector. The article identifies three styles of leadership exhibited by the chairs over the period: visionary, statesman and reformer, in three phases of the Council's history. It examines the political and social imperatives shaping these leadership styles.