Smart Arts - Creative New Zealand

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Edwin Wright inthe SiLO Theatreproduction ofUnidentifiedHuman Remainsand the TrueNature of LoveBrian Budgeon
3 Makingthe saleThe overriding aim of your marketing strategy is to get people to buytickets and come to your arts event. This chapter looks at people’sbuying behaviour, potential barriers to buying a ticket, the box office andother options.CUSTOMERSERVICEThe box office is your pointof sale. It’s vital that thepeople selling your ticketsare familiar with yourproduct so they can givegood customer service. It’sa good idea to provide thebox-office staff with asuccinct and appealingblurb about your event,which can be read over thephone: e.g.“A weekend ofpoetry at the Bishop SuterGallery in Nelson, featuringleading New Zealand poetsJenny Bornholdt, BrianTurner and Bill Manhire.”Smart arts | Toi huatau23The box office and ticketingNo matter how much time and money you spend informing and attracting an audience, itis time and money wasted if you don’t close the sale. Your box office is where sales aremade. The easier it is for people to buy tickets the bigger your audience will be.Put yourself in the position of someone wanting to buy a ticket and try to remove anypotential barriers. Questions to ask:• Where do they go? Is there parking while they purchase a ticket? Is street signageadequate? Is there sheltered queue space?• Can they book by phone? Is the phone number easy to find?• Can they book online? How do they find the website?• How much is a ticket? What do you mean by koha (i.e. donation)?• What’s your pricing structure for full price and concessions? Who is allowed aconcession?• What identification do they need to provide for a concession?• How can they pay – eftpos, cheque, credit card, cash?• Is there a transaction fee? How much?• Can they buy a ticket in advance or is it door sales only?• What hours is your box office open? Are they convenient for your target market?• Have you collected the purchaser’s name, phone and number of tickets purchased? If theevent is cancelled, for example, you will need to make contact.Pre-booking tickets to an exhibition is seldom necessary and most tickets will bepurchased at the door. However, if you have a very popular exhibition there are a coupleof things to remember:• If you have 50-100 people lined up outside the door, keep them posted on theapproximate time they can expect to wait. Offer them a brochure to read while they wait,and even provide queue-sitters so people can go and get a take-away coffee.• Consider selling tickets for specific times and days so you can manage the crowds better.Weekends are the most popular times for visits to exhibitions.3
Page 1 and 2: Smart arts: Marketing the arts inNe
Page 3 and 4: Viewers engage withtext and photogr
Page 5 and 6: ForewordThe purpose of marketing is
Page 7 and 8: IntroductionThere must be as many m
Page 9 and 10: Your marketing strategyidentify 7 P
Page 11 and 12: 1Planning amarketing strategyThis c
Page 13 and 14: It’s important to make sure your
Page 15 and 16: ROUNDFIGURESOffering ticket prices
Page 17 and 18: SWOT analysisRESPECT 2003at The Dow
Page 19 and 20: Promoting theevent2How do you promo
Page 21 and 22: • travel and couriers• thank-yo
Page 23: Week 1 (production week)• schedul
Page 27 and 28: A B C D EThe ultimate aim of promot
Page 29 and 30: 4Communicatingyour messageThis chap
Page 31 and 32: RETURNTHEFAVOUROnce you have somesp
Page 33 and 34: THE EYESHAVE ITFaces and eyes have
Page 35 and 36: Using graphic imagesIllustrations o
Page 37 and 38: MÄORIAUDIENCESKnowing your target
Page 39 and 40: Printed material:from research to d
Page 41 and 42: Effective advertising ofthe Aucklan
Page 43 and 44: Can’t stop hip hop …an image th
Page 45 and 46: A MATTER OFCONFIDENCEIn the end, it
Page 47 and 48: THE VIRTUESOF E-MAILKiosk is a perm
Page 49 and 50: MAKEITEASYWith direct mail, make it
Page 51 and 52: • Ask if this is a convenient mom
Page 53 and 54: 5The mediaThis chapter discusses pu
Page 55 and 56: The title graphic isdistinctive, in
Page 57 and 58: • hand delivery - for a novelty i
Page 59 and 60: CROSSINGBORDERS“I wanted to targe
Page 61 and 62: • Find out if the programme is pr
Page 63 and 64: When supplying your own photo, labe
Page 65 and 66: 6Marketing onthe webThis chapter ha
Page 67 and 68: HIGHQUALITYFor a website to make ap
Page 69 and 70: THREETIPS1. Many of the onlinepubli
Page 71 and 72: 7Good businesspracticeThis chapter
Page 73 and 74: Keep a written record• Keep a jou
Page 75 and 76:
8AppendixUseful readingGuide to Art
Page 77 and 78:
Australian marketThe Australia Coun
Page 80:
“Inspire the public with your pas
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Smart Arts - Creative New Zealand

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