and Music

Recommendations

Info

66 imagination of marketers on how to use these levers (Zanibellato . 2014) Kotler and Scheff describe arts marketing as the efforts of an arts organisation “to sense, serve, and satisfy the needs and wants of its clients and publics within the constraints of its mission”. Along with Colbert, these authors define arts marketing and artistic creation as independent tasks, each maintaining its own logic and responsibilities. This view of arts marketing’s role is based upon the conception of art as a self-contained autonomous phenomenon (Boorsma et al, 2009, 5). Furthermore, as described by Fitzgibbon et al (1999), Kotler and Armstrong’s definition of marketing as “a social and managerial process by which individuals and groups obtain what they need and want through creating and exchanging products and value with other” provides a formulation which seems to have the scope and flexibility to accommodate arts related needs from the level of the individual artist to that of a major promotional organization (pp. 143-144). Basically, as Dickman claims (2000), arts marketing can be defined as a process of exchange between the artist and the consumer, in which we exchange something of value for something we want. You have something of value, an arts product — your skill as a writer, a musician, a dancer, your paintings, your craft work— and you share it with others (or sell it to them) in return for money, or recognition, or advice. You want to exchange it for something of equal value. In general, we think in terms of money, but that is not obligatory. It could be for other items (food, language lessons, household equipment, etc) or it could be for recognition (an award, a scholarship). It might even be an exchange of your work for someone else’s time (both of which have value). When programming municipal cultural events in Thermi and Thessaloniki, we see that there are many artists who are willing to perform for free if we provide them the right space and if we make sure an audience will come and watch their performance. Other artists are willing to perform at an event for free, knowing that recognized professionals will attend and provide them with valuable feedback. We consider marketing in terms of exchange and in terms of bringing together people who have something of value to offer. When starting out, creative people sometimes have trouble setting a value for their work. It is true that if you love doing something, the opportunity to do it and present it to people can seem exciting enough just on its own. Often, the idea of actually getting paid to do something you enjoy can seem almost greedy but if others value your work, then an exchange is suitable and money then becomes the most common form of exchange. For example, if someone likes your painting and wants to own it or a group of people appreciates your talent and they pay to see you perform. Getting paid reassures you and makes you feel more confident about your abilities and your work. A good example of this psychological change and boost of confidence can be noticed during the CHEAPART exhibition. This is a showcase where artists, irrespective of fame level sell their art for the same price. As the days go by, the confidence of young artists who participate and sell their art for the first time changes daily and depends only on their sales and public comments.
67 Use of Arts Marketing today Today’s art managers and art policy makers have come to realize that marketing can be not only a basic tool in improving the public image of the arts but also an agent for increasing audience participation and the offering of interesting opportunities to promote the arts and art life. Nonetheless, arts organizations are striving with the question of how to implement current marketing concepts and techniques effectively without jeopardizing the key values of the arts and the freedom of expression of artists; and also working on arts marketing strategies that will help them support and reinforce the particular way that each work of art functions. Boorsma (2002) stresses the idea that arts marketing can be helpful in reinforcing the relationship between subsidized arts, and society finds increasing support within the arts world (pp. 65-66). Marketing approach Marketing can help artists and arts organizations to realize their vision, whatever it might be. The vision will determine the type of artistic product which needs to be developed and the audiences which need to be attracted to this product. Market research can help assess whether a vision is viable, but it should never be the determining force behind a vision, it has to work from within and respect the boundaries set by this vision. In order to meet your goals, you will need a strategy. That is where arts marketing can help you since it can contribute to achieving your (or your organization’s) vision, mission and goals. Arts marketing helps strengthen the operations of arts organizations wherever and in whichever art form they may work in. Planning with the help of Marketing Effective use of art marketing – Marketing Planning As previously mentioned, cultural organizations have been using marketing since the 1970s to inform potential customers of upcoming events. Although promotional marketing was simplistic, it was all that was needed at the time. People then realized that art was somehow better than other popular forms of entertainment and deserved support, attendance and donations. Still, marketing to consumers was a one-way communication that merely provided factual information. This simplified form of marketing became old fashioned because of technological and social changes. A new marketing strategy is being developed by cultural organizations. It is a strategy that allows for two-way communication to build a relationship with the public; and cultural organization can meet these new marketing challenges with the help of a marketing plan (Kolb, 2013). Marketing is one of the most important elements of running a business, even a creative one. However, despite the fact that without a proper marketing strategy, you will most probably struggle and fail, it is amazing to consider that so many businesses and freelancers still do not
Page 2 and 3:
Omega: Opening More Employment Gate
Page 4 and 5:
Contents The Omega Project Introduc
Page 6 and 7:
The Omega Project The context for t
Page 8 and 9:
2 distinctions between the two term
Page 10 and 11:
4 for example, is a statement from
Page 12 and 13:
6 Considering Future Directions A s
Page 14 and 15:
8 Collecting Your Personal Informat
Page 16 and 17:
10 not enough. For example, let’s
Page 18 and 19:
12 The Flexible Archive "Necessity
Page 20 and 21:
14 relevance is going to dictate th
Page 22 and 23: 16 To achieve this you must study t
Page 24 and 25: 18 your suitability for the job off
Page 26 and 27: 20 4. Greeting. Dear + given title
Page 28 and 29: 22 employer or collaborator can hav
Page 30 and 31: 24 2. Etiquette Be punctual. Punctu
Page 32 and 33: 26 BIBLIOGRAPHY 1) The Business Dic
Page 34 and 35: 28 under a general heading (“soft
Page 36 and 37: 30 The new interest in soft skills
Page 38 and 39: 32 Figure 1. Dimensions of skills K
Page 40 and 41: 34 Figure 2. Do soft skills matter?
Page 42 and 43: 36 HEIs generally leads to changes
Page 44 and 45: 38 These expectations - of insecuri
Page 46 and 47: 40 how do teamwork skills translate
Page 48 and 49: 42 - Leadership is rotated; no one
Page 50 and 51: 44 The two sides of teams - the thi
Page 52 and 53: 46 Leadership Skills: Soft Skills f
Page 54 and 55: action helps the director, manager
Page 56 and 57: 50 Styles of Leadership The aforeme
Page 58 and 59: 52 in relation to arts graduates, w
Page 60 and 61: 54 Figure. 4. Problem-solving proce
Page 62 and 63: 56 Mindfulness involves doing these
Page 64 and 65: 58 essentially cover the hard and s
Page 66 and 67: 22) Güreşen, H. (2013), Erasmus m
Page 68 and 69: 62 CHAPTER III. Marketing Arts Orga
Page 70 and 71: 64 Boorsma (2002) is of the opinion
Page 74 and 75: 68 have a proper marketing plan. A
Page 76 and 77: 70 audiences or customers (Dickman,
Page 78 and 79: 72 Once the strategic market planni
Page 80 and 81: 74 organization’s product, while
Page 82 and 83: 76 The Marketing Mix The terms ‘m
Page 84 and 85: 78 1999). The promotion plan should
Page 86 and 87: 80 Although some organizations are
Page 88 and 89: 82 it cannot do directly is to crea
Page 90 and 91: 84 Marketing platforms Facebook, Tw
Page 92 and 93: 86 Record labels and independent ar
Page 94 and 95: 88 uncertainty on the part of the v
Page 96 and 97: ut also your own manager. You must
Page 98 and 99: 16) Hill, L., O’Sullivan, C. and
Page 100 and 101: 94 To change your present life and
Page 102 and 103: 96 Handling your finance You need t
Page 104 and 105: 98 Executive Summary The executive
Page 106 and 107: 100 too far too fast can lead to de
Page 108 and 109: 102 evolution of the market. They a
Page 110 and 111: 104 A description of the legal str
Page 112 and 113: 106 description. Any images, photos
Page 114 and 115: 108 Financial information produced
Page 116 and 117: 110 Balance Sheet The balance sheet
Page 118 and 119: 112 Carmen Parra Rodríguez Design
Page 120 and 121: 114 Founders, family and friends Th
Page 122 and 123:
116 BIBLIOGRAPHY Textbooks: 1) Barr
Page 124 and 125:
118 CHAPTER V. Project Management &
Page 126 and 127:
120 The project should come out
Page 128 and 129:
122 Steps of Objective Analysis Ste
Page 130 and 131:
124 Information contained in the Lo
Page 132 and 133:
126 Most projects fail, not because
Page 134 and 135:
128 Activity schedule helps us to p
Page 136 and 137:
130 2. Design of the project* 2.1.
Page 138 and 139:
132 Other funds are managed directl
Page 140 and 141:
134 BIBLIOGRAPHY 1) Bakay, E., Kale
Page 142 and 143:
136 F Floatation 115 Formal Leaders
Page 144:
138 V Values statement 97 Venture C
show all

and Music

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?