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Summary The present research takes part in the relationship marketing discourse, focusing on the customer relationships of Finnish art museums. A special angle to the subject is taken in the implementation of the relationship marketing, as the research is centered on what museums do for their customer relationships in the online environment of social media. Unlike some of the previous literature on non-profit organizations, the present research argues that also for a non- profit organization the most important stakeholder group is its customers. Museum marketing in general is in a change towards more professional way of marketing and management. This is due to the increasing pressure they are under, as governmental grants are diminishing while expectations are increasing. Museums, as many other cultural organizations, are expected to outperform themselves unlike ever before in attracting more visitors and collecting more funds for their operations. In order to do these things museums are embracing customer orientation, and looking for new ways for communicating with their existing, and potential, customers. Social media offers a new setting for organizations to reach individual customers and create long-term and interactive relationships. However, it is not simple to create a lively social media presence for an organization, but a genuine communication and co-creation of value requires strategy, skillful execution, and measuring of the results for further development. The research was conducted via interviews with the staff members of Finnish art museums. The informants all either worked with the creation of the museum’s social media presence, or decided on matters affecting it. The research introduces a theoretical framework for relationship marketing in art museums, within the social media setting. The framework is divided into three parts; the prerequisites for creating customer relationships, the building of customer relationships, and the maintaining of customer relationships. It is through these three stages of relationship marketing that the social media characteristics are further discussed.
Tiivistelmä Tämä tutkimus osallistuu suhdemarkkinoinnin (relationship marketing) diskurssiin, keskittyen suomalaisten taidemuseoiden asiakassuhteiden hoitamiseen. Tutkimukselle valittu erityinen näkökulma tulee suhdemarkkinoinnin käytännön toteutuksesta, sillä tutkimus syventyy siihen mitä suomalaiset museot tekevät asiakassuhteilleen sosiaalisessa mediassa. Toisin kuin aiemmassa kirjallisuudessa, tässä tutkimuksessa esitetään, että asiakkaat ovat myös voittoa tavoittelemattomille organisaatioille tärkein sidosryhmä. Museot ovat muutoksessa kohti ammattimaisempaa markkinointi- ja johtamistapaa. Tämä johtuu pitkälti niihin kohdistuvista paineista julkisten tukien vähetessä ja odotusten kasvaessa. Museoiden, kuten monien muidenkin kulttuurialan organisaatioiden, odotetaan ylittävän itsensä uusien asiakkaiden houkuttelemisessa ja rahankeräyksessä. Toteuttaakseen tavoitteensa, museoiden tuleekin ajatella asiakaslähtöisesti ja löytää uusia keinoja asiakkaiden tavoittamiseen. Sosiaalinen media tarjoaa organisaatioille mahdollisuuden tavoittaa asiakkaita yksilötasolla, ja kehittää pitkäaikaisia, interaktiivisia asiakassuhteita. Aktiivisen läsnäolon ja aidon keskusteluyhteyden rakentaminen sosiaalisessa mediassa vaatii organisaatioilta kuitenkin strategista suunnittelua, taidokasta toteutusta ja tulosten aktiivista mittaamista. Tämän tutkimuksen haastateltavina toimivat suomalaisten taidemuseoiden työntekijät, jotka vastaavat omassa organisaatiossaan sosiaalisen median toiminnoista, tai tekevät niihin liittyviä päätöksiä. Tutkimuksessa esitellään teoreettinen viitekehys museoiden suhdemarkkinoinnille sosiaalisessa mediassa. Viitekehys jakautuu kolmeen osaan; suhdemarkkinoinnin edellytykset, asiakassuhteiden rakentaminen, sekä asiakassuhteiden ylläpitäminen. Sosiaalisen median tunnusmerkkejä tutkitaankin näiden kolmen suhdemarkkinoinnin vaiheen läpi. 2
Page 1: Is there more to it than posting a
Page 5 and 6: 5 FINDINGS OF THE RESEARCH ........
Page 7 and 8: 1 INTRODUCTION “Winning and keepi
Page 9 and 10: museums, are expected to outperform
Page 11 and 12: 1.1 Research questions and structur
Page 13 and 14: & Levy (1969) defined it, it is jus
Page 15 and 16: profit, and governmental. Each of t
Page 17 and 18: and the consumer of a service are t
Page 19 and 20: 3 THEORY: RELATIONSHIP WITH THE CUS
Page 21 and 22: 3.2.1 A mindset for customer relati
Page 23 and 24: depends on the customer and industr
Page 25 and 26: to understand in service organizati
Page 27 and 28: fact that a service is created at t
Page 29 and 30: RM, however, is not a new phenomeno
Page 31 and 32: step to creating a relationship. Wi
Page 33 and 34: 25). When the clientele of an organ
Page 35 and 36: all problems, for example, also in
Page 37 and 38: Traditionally customers have seen t
Page 39 and 40: entire process of co-creation of va
Page 41 and 42: messages received by the customers
Page 43 and 44: confused with the technology behind
Page 45 and 46: engage with the organization in soc
Page 47 and 48: media in an organization, and thus
Page 49 and 50: 3.5.1 Social media applications Soc
Page 51 and 52: & Leighton 2011). Kozinets et al. (
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approximately 30 percent of the use
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developed for the function of filte
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important, what will it give to the
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4 METHODOLOGY In order to find out
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interviews, instead of unstructured
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The methods used for data collectio
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with regard to the number of organi
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collections, the museums spent 2,8
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using the internet, but also they a
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Registered as a user in a social ne
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does what, at least almost on case
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wise to consider the style of writi
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there is or how to behave, or what
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Even though a few museums seemed to
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…There, in the online world a mus
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sized museum had, not only customer
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We don’t know whether people from
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Yes, you could day the experience i
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inquired on whether different conte
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6 DISCUSSION In this chapter the fi
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Another concern the museums pointed
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utilization, would be clear to them
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7 CONCLUSIONS In this chapter a dis
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that even when people do arrive int
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large-scale interactions with exter
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8 REFERENCES Alasuutari, P. Laadull
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Conway Tony & Debra Leighton. ”Co
Page 107 and 108:
Grönroos Christian. ”Service Qua
Page 109 and 110:
McDaniel Clay. ”3 Key Metrics To
Page 111 and 112:
Passebois Juliette & Philippe Aurie
Page 113 and 114:
Sorav Jain. ”40 Most Popular Soci
Page 115 and 116:
APPENDIX 1: List of Finnish art mus
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