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A part of researchers even today think of CRM as only the technical tools for reaching customers, but a majority discusses CRM as a considerably larger issue, relating to a certain management style (see e.g. Buttle 2004, 12; Newell, 2003, 4, 10; Grönroos 2000, 18). CRM today can refer to all of the touch points an organization has with its customers; from marketing communication to interaction among the staff and the customers. When understood this widely CRM can thus mean almost the same as relationship marketing (Grönroos 2000, 18). In relationship marketing, however, both the importance of both acquiring new customers (Gummesson, 1988) and retaining the already existing customers (Grönroos, 1997; Passebois & Aurier, 2004) are emphasized. Relationship marketing, unlike CRM, also includes all kinds of relationships, for example the ones between on organization and its suppliers, its owners, its staff and so forth. Furthermore, a distinction is made between CRM and RM by the acknowledgement of complexity of relationships. In RM it is noted that the relationship between an organization and the customers is always complicated and many things affect it (see e.g. Zeithaml, 2000). CRM presumes that customers (and organizations) function rationally and straightforwardly, when on the other hand the entire RM logic is based on individuals being different and creating interpersonal relationships either with the staff of an organization, or the things an organization represents to them (Mitussis et al., 2006). Even though CRM is sometimes said to be closer to the customers than RM, perhaps because of the practicality of CRM vs. the theoretical logic of RM, CRM does trip into the data collection, thus not seeing the bigger picture behind the practical implementation models. RM, concentrating on the processes, takes on a more holistic approach to creating a relationship with the customers, even though technology can play a crucial role in the implementation of the customer-organization relationship. In RM this is seen as an important part of an entire network of relationships. RM logic can also understand the customers better, as it is not restricted into data gathering, but an attempt to actually take use of the information. 3.4 MAINTAINING A RELATIONSHIP WITH THE CUSTOMERS As described in the preceding sections, the museum environment is multidimensional, and largely in a transition towards more professionalized marketing and management of the entire organizations. The increasing competition over customers’ spare time and increasing pressure from funders mean that a change is needed in the way museums are marketed and managed. 35
Traditionally customers have seen to be the last link in the organization, especially for a non- profit culture organization such as a museum, but when relationship marketing is applied, the customer is seen as an important part of the organization. The strategic focus is shifting from the custodial product orientation to a customer orientation, understanding the need for further communication and co-creation of value with the clientele. 3.4.1 Co-creation of value In the traditional marketing model customers were not included into the processes of an organization, but merely held as informants, according to whose wants and needs products could be produced. However, since the production and consumption (Zeithaml, Parasuraman & Berry, 1985), not to mention delivery, marketing and product development, of services happen in direct interaction with the customers, it would be difficult not to include customers into the processes. In fact, if the customer does not interact, the service cannot be carried out. (Gummesson, 1987). Consequently the importance of RM has been highlighted especially for organizations that produce services (Bendapudi & Berry 1997; Berry 1995). The earlier mentioned increased expectations on museums, has driven museums to contemplate on the experience dimension of a museum visit. The visit needs to be made into something else than simply viewing art, it is made into a cohesive experience. This experience may begin in the internet, where people increasingly look for information on what to do and where to go (Official Statistics of Finland (OSF) 2., 2010). The experience can then either take a turn into visiting the actual museum, or further engaging with it online. After the visit or the online engagement, the customer might need some interaction with the organization, to make the experience complete. This can, for example, be the “liking” or “following” of the organization in social media, and thus receiving their updates also after the first experience. Further, for many visitors, the reason for going into a museum has to do with either doing something nice with a friend, doing something ”involving culture”, or doing something to educate oneself. It might not have anything to do with going into a museum to view art, but it be the experience the customers are looking for (Hannagan 1992, 13). Co-creation of value means that the visitors, or customers, create a remarkable part of the museum ‘product’ themselves by taking an active role in the creation and consumption of the museum experience. 36
Page 1 and 2: Is there more to it than posting a
Page 3 and 4: Tiivistelmä Tämä tutkimus osalli
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: all problems, for example, also in
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. (
Page 53 and 54: approximately 30 percent of the use
Page 55 and 56: developed for the function of filte
Page 57 and 58: important, what will it give to the
Page 59 and 60: 4 METHODOLOGY In order to find out
Page 61 and 62: interviews, instead of unstructured
Page 63 and 64: The methods used for data collectio
Page 65 and 66: with regard to the number of organi
Page 67 and 68: collections, the museums spent 2,8
Page 69 and 70: using the internet, but also they a
Page 71 and 72: Registered as a user in a social ne
Page 73 and 74: does what, at least almost on case
Page 75 and 76: wise to consider the style of writi
Page 77 and 78: there is or how to behave, or what
Page 79 and 80: Even though a few museums seemed to
Page 81 and 82: …There, in the online world a mus
Page 83 and 84: sized museum had, not only customer
Page 85 and 86: We don’t know whether people from
Page 87 and 88:
Yes, you could day the experience i
Page 89 and 90:
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
Page 103 and 104:
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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