The purpose of this research is to identify key choice criteria of theater visitors in Serbia. The method used to conduct the research was the survey method, with statistical analysis of the obtained ...results. Key results suggest that the most important choice criteria of theatres are the plot of the play, personal recommendations and the genre of the play. A special focus was set on examining if there are differences in evaluation of observed criteria between respondents from generational cohorts X and Z, as well as between rare and frequent decision makers. In both cases, differences between the observed groups were discovered. Results of this research are useful for better understanding of consumer behavior of theater visitors and the way they make decisions. This can be helpful for decision-makers in theatre organizations for creating theatre marketing strategies to attract different market segments.
•Digital engagement can facilitate artistic contextualization; enhance audience anticipation; and develop new audiences.•Digital engagement with audiences can facilitate cognitive decoding and ...enhance kinaesthetic and emotional responses during an artistic event.•Digital platforms can encourage a slower, deeper, more relational and more democratic artistic engagement with audiences.•Digital platforms can encourage and facilitate slow, in-depth artistic critique.
There remains a significant gap in the scholarly literature on the processes, benefits and challenges of digital engagement in the arts. This article presents and critically analyses the findings of one of the largest mixed-methods studies ever conducted into audience engagement with dance. Based on a rigorous mixed-methods approach comprising participant and audience surveys, discussion groups, depth interviews, netnography and content analysis of a new responsive online platform based on Liz Lerman’s renowned Critical Response Process, this study investigates the potential of digital engagement to facilitate context and audience anticipation; foster a culture of constructive critical enquiry between arts organizations, artists and audiences; and break down barriers to attendance.
The study’s key findings indicated that responsive digital platforms can democratize critical exchange; foster slower, more reflective critique; and positively shift perceptions of unfamiliar artforms amongst non-attenders. A sustained process of digital engagement during the creative process was revealed to facilitate contextualization and cognitive decoding and thus enhance kinaesthetic and emotional engagement during an ensuing live performance. However, confirming previous findings, it proved challenging to maintain engagement amongst online participants, particularly amongst non-attenders, which reinforced the importance of social modes of engagement.
Ultimately this kind of digital platform has the potential to encourage a deeper, richer, more relational and democratic engagement between audiences, artists and arts organizations. Beyond the arts, the platform was shown to impact positively on participants’ wider feedback mechanisms, both at work and at home, indicating its potential wider educational and sociological role in enhancing interpersonal skills and encouraging empathy with others.
For decades, scholars in the United States have lamented public policies and government actions that seem to affect, intentionally or unintentionally, already marginalized Black populations. Urban ...renewal policies and initiatives are examples of government actions that receive such criticism. Arts promotion as a strategic public relations tactic, used to attract middle- to -upper class residents and visitors to cities, is one communicative approach cities take to sell their attractiveness and viability. Yet, cities, urban renewal, and urban tourism research has not received much attention from Public Relations researchers. Critical public relations scholars, however, can help to expose key issues such as displacement and marginalization of Black citizens that are associated with city public relations activities such as promotional culture, arts/city marketing, and urban tourism. Using racial neoliberalism as a theoretical, analytical framework, we examine urban renewal in Cincinnati, Ohio USA, to demonstrate the power of boosterish, government-sponsored urban renewal efforts and the ways such paradoxically positive discourse makes it difficult for the often Black, inner-city communities to challenge advancement that might marginalize them further.
•Uses Paradox of the Positive to interrogate arts promotion and urban renewal discourse.•Identifies arts promotion as form of government public relations in urban contexts.•Examines Cincinnati, Ohio USA’s urban renewal discourse.
Marketing, art and voices of dissent Patsiaouras, Georgios; Veneti, Anastasia; Green, William
Marketing theory,
03/2018, Volume:
18, Issue:
1
Journal Article
Peer reviewed
Open access
Limited research exists around the interrelationships between protest camps and marketing practices. In this article, we focus on the 2014 Hong Kong protest camps as a context where artistic work was ...innovatively developed and imaginatively promoted to draw global attention. Collecting and analysing empirical data from the Umbrella Movement, our findings explore the interrelationships between arts marketing technologies and the creativity and artistic expression of the protest camps so as to inform, update and rethink arts marketing theory itself. We discuss how protesters used public space to employ inventive methods of audience engagement, participation and co-creation of artwork, together with media art projects which aimed not only to promote their collective aims but also to educate and inform citizens. While some studies have already examined the function of arts marketing beyond traditional and established artistic institutions, our findings offer novel insights into the promotional techniques of protest art within the occupied space of a social movement. Finally, we suggest avenues for future research around the artwork of social movements that could highlight creative and political aspects of (arts) marketing theory.
The study of arts marketing is a comparatively new concept beginning in the 1960s. However, non-profit arts organizations only started to consider marketing as an integral part of their operations ...and use it increasingly from the 1980s. Generally, art is a broad field, which includes categories such as performing arts, visual arts, graphic arts, and literary arts. Each category has a unique character, requiring specific marketing methods and strategies. As the role of marketing, especially service marketing in the arts and performing arts disciplines, have been rarely studied, marketers face the problem of how to apply these marketing activities into the arts. The purpose of this study is to identify and compound literature regarding the characteristics of the arts, especially in performing arts, describe the role of marketing in arts, gain a better understanding of service marketing features and specific marketing activities in the field of arts and performing arts.
In the last years, the exclusive integration of advertising in the marketing mix has become a word-out manner of acting at an operational level. The autonomy of advertising in the management process ...has become inherent and, generally, closer to the area of communication than the other elements of the mix (price, place, product). The communication policies of an institution or company have separated more and more from the traditionally recognized marketing component. At the same time, in the case of Romanian theater (and, in general, in the cultural environment), but especially in the sector of independent theater, we can see a novel operational process, whereby not only the nature of the cultural service governs the media plan, but the reverse also applies. “Direct marketing” approaches seem to add an outer layer to the institutional communication segment and to dictate even an artistic-aesthetic direction to the organization.
Building on the embodied consumption literature, we draw on Merleau-Ponty's theory of art to consider how new modes of visibility arise in interactions between individuals online. Focusing on one ...particular virtual and collaborative museum programme, we use ethnomethodological analysis of interactions to analyse video recordings of virtual arts conversations. The analysis explores how participants render visible their orientation to each other and to the works of art discussed in the workshop. Thus, we can see how participants produce the sense and significance of works of art in, and through 'intercorporeal interactions' while participating in a virtual arts programme. Observations and findings from our research have significant implications for the strategic management of virtual consumer experiences.
This research examines the role of art intermediaries as power brokers working with different market stakeholders in the Indigenous art market in Australia. To conceptualise the legacies of settler ...colonialism and colonial market structures, we employ a decolonisation approach to understand how art intermediaries navigate the inherent tensions and power struggles within society. Using in-depth interviews, archival data, and fieldnotes, we identify three different roles of art intermediaries as cultural conduits, art connoisseurs, and change agents who use their power to engage in cultural expansion, aesthetic expansion, and political resurgence, respectively. This research highlights how some art intermediaries work to decolonise the market, while others reproduce dominant settler market structures.
Art and business are often described as worlds apart, even diametric opposites. And yet, these realms are close cousins in creative industries where firms bring cultural goods to market, attaching ...price tags to music, paintings, theater, literature, film, and fashion.
Building on theories of value construction and cultural production,Culture and Commerce details the processes by which artistic worth is decoded, translated, and converted to economic value. Mukti Khaire introduces readers to three industry players: creators, producers (who bring to market and distribute cultural goods), and intermediaries (who critique and rave about them). Case studies of firms from Chanel and Penguin to tastemakers like the Pritzker Prize and The Sundance Institute illuminate how these professionals construct a vital value chain. Highlighting the role of "pioneer entrepreneurs"-who carve out space for radical, new product categories-Khaire illustrates how creative professionals influence our sense of value, shifting consumer behavior and our culture in deep, surprising ways.
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