Segmentation of infrequent performing arts consumers

2016 ◽  
Vol 6 (1) ◽  
pp. 88-110 ◽  
Author(s):  
Eric John Kolhede ◽  
J. Tomas Gomez-Arias
Keyword(s):  
San Francisco ◽  
Performing Arts ◽  
Product Distribution ◽  
Future Research ◽  
Content Type ◽  
Bay Area ◽  
Performing Arts Organizations ◽  
Arts Marketing ◽  
Differentiated Marketing ◽  
Audience Development

Purpose – The purpose of this paper is to examine market segments within the broader category of occasional patrons of the performing arts. While similarities between these segments exist, important distinctions are also apparent. Design/methodology/approach – The authors surveyed 347 performing arts patrons using a structured questionnaire. Their responses along 28 proposed motivational variables were subjected to factor analysis to reduce their dimensionality and collinearity. Cluster analysis was then applied to respondents’ factor scores to group subjects into homogenous segments for subsequent comparison along variables, including demographic and marketing mix elements. Findings – The authors find six key motivating factors influencing the attendance of performing arts events: personal; promotional; product; distribution; economic; and social motivators. The authors also find that infrequent consumers can be further subsegmented into disinclined and fringe consumers with different levels of performance attendance and dissimilarities in responding to motivators. Research limitations/implications – The survey was conducted in a single county within the San Francisco Bay Area, limiting the generalizability of results. Practical implications – Fringe consumers are more responsive to the personal benefits (e.g. cultural enrichment) derived from the core product offerings of a performance such as programming and quality of the performers. The disinclined segment is more influenced by economic, social, and distribution related elements associated with a performing arts event such as pricing, the accessibility (or convenience) of the venue, and the opportunity to socialize accompanying attendance. Social implications – The practice of relationship marketing by small local performing arts organizations (PAOs) has been emphasized and often advocated by researches in the most recent literature. In order to ensure the viability of PAOs beyond the short-term, further examination of audience development is imperative. This paper indeed places more attention on audience development with a particular focus on expanding audiences among subsegments of infrequent performing arts consumers. Originality/value – The central purpose of this research is to arrive at comprehensive profiles of subsegments within a group of infrequent arts patrons, along with viable differentiated marketing program and positioning approaches that would appeal to each of these consumer categories. Consequently, the authors address a significant gap in the performing arts marketing literature as few recent studies appear to have been structured to allow for the possibility of producing adequate subsegmentation information within a group of occasional performing arts patrons. Secondarily, this study also answers a call for future research to examine the internet as a channel of promotion for arts consumers.

Increasing loyalty in the arts by bundling consumer benefits

2016 ◽  
Vol 6 (2) ◽  
pp. 141-165 ◽  
Author(s):  
Emma Hall ◽  
Wayne Binney ◽  
Julian Vieceli
Keyword(s):  
Performing Arts ◽  
Structural Equation ◽  
Strong Support ◽  
Value Added ◽  
Future Research ◽  
Management Technique ◽  
Content Type ◽  
Theoretical Contribution ◽  
Arts Marketing ◽  
Brand Resonance

Purpose Operatic events are an important sector of the performing arts industry and are currently facing the challenges of decreasing demand and price-based competition from other sectors of the performing arts industry. It is posited that adding value and ensuring satisfaction may enhance consumer loyalty, and therefore, the likelihood of sales and continued subscriptions may be increased. The purpose of this paper is to examine bundling as a marketing management technique for opera companies and hypothesises that offering attractive “package deals” that bundle various benefits with the seat ticket may increase participation and loyalty. Design/methodology/approach A discrete choice experiment with opera patrons is used to evaluate the application of bundling to improve increased demand and loyalty. Findings It is concluded that offering bundles creates a greater likelihood of customer satisfaction and favourable behavioural intentions, which may lead to increased loyalty. Participants expressed strong support for value-added elements. Such package deals included a variety of elements: opportunity for a visit backstage to meet the cast, informative introductions to operas and facilitated parking options. Consumers’ level of overall willingness to purchase a bundle was altered based on the attributes that made up that bundle. The findings of this research confirm that the theory of bundling can be applied to arts marketing and provides support for the development of bundling strategies to enhance opera attendance. Research limitations/implications It is recognised that the research needs to be tested in different countries in order to know the extent to which the findings of this study can be generalised. Additionally, future research could use other statistical methods such as regression and structural equation modelling to holistically model behaviour. Finally, as well as testing customer-stated intentions, the model also needs to be tested with actual patronage behaviour following the development and application of bundling strategies. Future research could also consider how bundling and other aspects relating to opera attendance could be used as part of the branding strategy associated with opera attendance; in particular how to develop, increase and maintain loyalty and therefore brand resonance in opera attendees. Practical implications The findings have useful implications for event organisers and policymakers and suggest bundling strategies that could be utilised. It is has been found that loyalty can be enhanced by adding value and ensuring satisfaction, and therefore, increase the likelihood of sales and repeat purchase. Social implications Opera represents a significant cultural heritage and is a valuable component of the performing arts, both historically and currently. Opera is a form of art whose survival is threatened by an increasingly diminished audience whose average age is steadily increasing. This decrease in audience attendance has led to radical changes in the management and marketing of opera houses, where theaters have moved increasingly towards a business-oriented model where improved branding and bundling strategies can be utilised. Originality/value This makes a theoretical contribution by advancing performing arts research and furthering the notion that bundling can increase the likelihood of opera attendance, satisfaction, ongoing loyalty, and also addresses a managerial need of an arts marketing organisation.

eWOM in the performing arts: exploratory insights for the marketing of theaters

2016 ◽  
Vol 6 (1) ◽  
pp. 111-123 ◽  
Author(s):  
Andrea Hausmann ◽  
Lorenz Poellmann
Keyword(s):  
Social Media ◽  
Performing Arts ◽  
Online Survey ◽  
Word Of Mouth ◽  
Research Area ◽  
Third Party ◽  
Future Research ◽  
Content Type ◽  
Study Results ◽  
Arts Marketing

Purpose – Word of mouth (WOM) plays an important role for the decision process of customers. This is especially interesting for service-dominant organizations like theaters where quality is more difficult to evaluate. In times of social media, third party recommendations can be given much more quickly, effectively and in greater detail. However, up to now not much has been researched on electronic word of mouth (eWOM) in a performing arts marketing context. The purpose of this paper is to provide some first exploratory insights into this research area. Design/methodology/approach – To do so, a literature review is conducted to clarify the concept of eWOM and the relevance of recommendations in the performing arts. Then, parts of the results of an online survey on Facebook with 16 German theaters and their fans will be presented. Finally, the implications of the study results for theater marketing are considered and ideas for future research are discussed. Findings – The study results confirm that recommendations have a high relevance for theatergoers and are very relevant in a social media context. They also show that the trustworthiness of eWOM on social media depends on the familiarity between the message sender and receiver. However, the results are limited with regard to the research design. Therefore, this paper concludes with ideas for further research. Originality/value – All in all, though the study’s focus is narrow, this paper fills a research gap in the performing arts. In doing so, the understanding of the phenomenon and its importance for arts marketing will be enhanced.

Unfurling the cultural value of street art experiences

2020 ◽  
Vol 10 (2) ◽  
pp. 65-82
Author(s):  
Amelia Green ◽  
Steffen Gray
Keyword(s):  
Social Contexts ◽  
Cultural Value ◽  
Street Art ◽  
Future Research ◽  
Content Type ◽  
Art Form ◽  
Arts Marketing ◽  
Recent Developments ◽  
Research Stream ◽  
Part Model

PurposeThe purpose of this paper is to begin unfurling the cultural value of street art experiences by opening up an audience-centred research stream sensitive to the nuances of this art form.Design/methodology/approachThe paper develops a two-part model through which to investigate how everyday citizens experience street art. The methodology involves a purposeful literature review, and direct assessment of how the nuances of street art could pertain to audience experiences.FindingsThe first part of the model conceptualises the characteristics that distinguish contemporary street art from other art forms. To help further guide future research, the second part distinguishes six layers that frame street art audience experiences: (1) “the art”, (2) artist's intentions for the art, (3) the street artist, (4) experiential context, (5) social contexts and (6) audience interpretive lenses.Research limitations/implicationsThe investigative model provides a constructive stimulus for substantive empirical inquiries into the dynamics, complexities and implications of everyday street art experiences.Practical implicationsThe research stream developed could inform appropriate approaches to facilitating street art, and collaboration amongst street artists, facilitators, municipal representatives and policymakers.Originality/valueThe paper helps to open up an audience-centred approach to street art that intersects with recent developments in arts experience, cultural value and arts marketing.

Coaching from the coaches’ perspective: a process-oriented focus

2014 ◽  
Vol 3 (1) ◽  
pp. 72-85 ◽  
Author(s):  
Davide Celoria ◽  
David Hemphill
Keyword(s):  
San Francisco ◽  
Comparative Approach ◽  
New Principals ◽  
Content Type ◽  
Principal Coaching ◽  
Support Mechanism ◽  
Principal Mentoring ◽  
New Principal ◽  
Bay Area ◽  
Process Oriented

Purpose – The purpose of this paper is to examine the practice of new principal coaching in schools from the coaches’ perspective. Design/methodology/approach – Six coaches of new principals were interviewed over a one-year period. Through the use of a qualitative, constant-comparative approach, the participants’ voices were used to discover their views. Data analysis employed emergent coding (Creswell, 2008; Denzin, 2005; Glaser and Strauss, 1998; Spradley, 1979). The study took place in the San Francisco Bay Area, a linguistically and ethnically diverse area, in the state of California, USA. Findings – Thematic analysis of interview data from principal coaches revealed a process-oriented focus within principal coaching as a primary finding. Process-oriented coaching, rather than specific, skill-focussed content, was the main mechanism coaches used to support new principals. Research limitations/implications – Findings are limited to the sample of principal coaches used for this analysis, although there are potential applications to similar school settings in other locations. Researchers are encouraged to examine new principal coaching in other contexts. Practical implications – The results of this inquiry point to the importance of process skills in new principal coaching, suggest the need for new approaches in principal mentoring programs, and call for further research on specific process tools in coaching to promote reflection and inquiry. Originality/value – The paper identifies process-oriented coaching as a valuable support mechanism for new principals, particularly during their first year in the role.

Pandemic and the performing arts in New Zealand

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Suresh Ramachandra
Keyword(s):  
New Zealand ◽  
Performing Arts ◽  
Future Research ◽  
Specific Reference ◽  
Social Categories ◽  
Content Type ◽  
Ex Post ◽  
The Pacific ◽  
Grass Root ◽  
Future Research Directions

Purpose This paper aims to document the narratives that emerged in favour of and against the austerity measures proposed by the Auckland Council, with specific reference to performing arts organisations (PAOs) in the aftermath of the pandemic 2020. Design/methodology/approach Written submissions from stakeholders received in response to austerity measures were analysed to identify the arguments presented to support/oppose funding cuts to PAOs. These narratives were thematically grouped into accounting, political, artistic and social categories to deliberate on the tensions that exist between these when funding PAOs. Findings This study identifies the arguments presented by grass-root PAOs on the rationale of their existence from a Pacific perspective. The analysis suggests that accounting, hitherto considered as a “sword” can also be used as a “shield” if PAOs direct their research accordingly and offers future research directions. Originality/value Prior studies concerning funding difficulties of PAOs have relied on opinions obtained ex-post from selected stakeholders. There are no known studies, which factor the opinions of grass-root PAOs, captured “during” funding deliberations. This study bridges this gap in the New Zealand setting by providing an analysis of grass-root opinions from the Pacific perspective, conducted during a funding deliberation.

Almost like being there? A conceptualisation of live-streaming theatre

2018 ◽  
Vol 9 (2) ◽  
pp. 183-203 ◽  
Author(s):  
Daniela Mueser ◽  
Peter Vlachos
Keyword(s):  
Conceptual Model ◽  
Digital Technology ◽  
Performing Arts ◽  
Business Models ◽  
Future Research ◽  
Live Streaming ◽  
Content Type ◽  
Study Approach ◽  
Limited Effectiveness ◽  
Being There

Purpose The live streaming of theatrical performances to cinemas has become increasingly common in recent years. The practice offers potentially positive returns for audience reach, audience development, revenue streams and global cultural exchange (Cochrane and Bonner, 2014; Nesta, 2011; King, 2016). However, the conceptualisation of live performance transmissions remains under-explored. The purpose of this paper is to review critically selected literature on event experience and apply it to the growing practice of live-streaming theatre (LST). In doing so, the paper develops a new conceptual model that can be used to guide future research on audience expectations, motivations and experience of LST. Design/methodology/approach A comparative historic case study approach combines a structured review of relevant academic literature and industry sources. Theories of live cultural experience and authenticity are critically reviewed. The opportunities and threats of LST to performing arts companies are summarised. The approach considers cognitive, affective and behavioural factors in probing themes of audience awareness, perceptions, expectations and experience of LST. The paper uses these factors to develop an original conceptual model for LST. Findings The research finds that the practice of cinematic live transmission of performing arts challenges existing conceptual categories and marketing strategies. Fundamental events studies factors such as “attendance”, “authenticity” and “experience” are re-evaluated. The model suggests that despite improvements in digital technology traditional theatre and broadcasted theatre are two different experiences, not substitutes. Research limitations/implications As a conceptual paper, the results are subject to being tested in the field. The findings reveal implications for the evolving future of hybrid and mixed event experiences. The potential for LST screenings to attract new audiences requires further study. Practical implications The implications of the research reflect the changing business models and supply side dynamics of theatre production and touring. The results suggest that live streaming is of limited effectiveness in addressing the capacity limits of Baumol and Bowen’s (1966) “cost disease” in live arts performance. LST allows major brands to penetrate regional markets thereby potentially squeezing out smaller touring companies and restricting innovation. Social implications The findings reveal implications for the evolving future of hybrid and mixed event experiences. Originality/value The influence of digital technology on live arts experience is currently under-explored and under-theorised. This paper develops a new conceptual model that captures in greater detail than previously the various factors that may determine audience engagement with, and experience of, LST. The paper contributes to knowledge by expanding the discourse on the gaps between the competing aims of access and authenticity. The analysis expands the academic understanding of hybrid and virtual event experiences.

Knowledge centricity and organizational performance: an empirical study of the performing arts

2018 ◽  
Vol 22 (5) ◽  
pp. 1124-1152 ◽  
Author(s):  
Neville Vakharia ◽  
Marilena Vecco ◽  
Andrej Srakar ◽  
Divya Janardhan
Keyword(s):  
Organizational Performance ◽  
Performing Arts ◽  
Performance Metrics ◽  
Operational Performance ◽  
Equation Modeling ◽  
Arts Organizations ◽  
Organizational Practices ◽  
Content Type ◽  
Latent Construct ◽  
Performing Arts Organizations

PurposeThis paper explores the concepts of knowledge-centric organizations in the performing arts sector to understand how specific organizational practices relate to measures of financial and operational performance.Design/methodology/approachA quantitative analysis of 368 small and mid-sized nonprofit performing arts organizations in the USA was undertaken via primary data on organizational practices and secondary data on performance metrics. Structural equation modeling was used to validate the latent construct of knowledge centricity and to test hypotheses on how knowledge centricity impacts financial and operational performance, and is influenced by firm-level demographic variables.FindingsResults show several distinct performance metrics that are statistically associated with knowledge-centric practices of the organizations analyzed.Research limitations/implicationsThis article investigates the knowledge centricity of organizations, a relatively nascent theoretical concept, which is of significant relevance in today’s knowledge-driven economy. The findings can serve as a basis to further investigate strategic approaches that arts organizations can undertake to remain sustainable and operate effectively in a knowledge-driven society.Practical/implicationsIt provides critical insights into management practices and approaches that can be instituted to drive improved organizational performance.Originality/valueBuilding on the extant literature, this article develops a conceptual framework of knowledge centricity and defines a knowledge-centric organization. It thoroughly investigates the latent construct of knowledge centricity, identifies how knowledge centricity impacts financial and operational performance of nonprofit performing arts organizations, and provides grounding for future studies.

Tertiary education and innovation in the Greater Bay Area

2019 ◽  
Vol 9 (3) ◽  
pp. 325-336
Author(s):  
Man-Kong Chow ◽  
Jingbo Hua ◽  
Wing-Lok Hung
Keyword(s):  
New York ◽  
Hong Kong ◽  
San Francisco ◽  
Tertiary Education ◽  
San Francisco Bay Area ◽  
Tokyo Bay ◽  
Content Type ◽  
Bay Area ◽  
The Usa ◽  
Internship Programs

Purpose The purpose of this paper is to discuss the necessity of tertiary education in promoting innovations of the Guangdong-Hong Kong-Macau Greater Bay Area by using cases from other well-developed bay areas. Design/methodology/approach The paper used cases from bay areas of the USA and Japan to discover approaches that have been used to strengthen collaborations between tertiary education and industries by innovations. Findings This paper found that bay areas in the USA and Japan have adopted or developed various approaches to enhancing collaborations between tertiary education and industries. In the San Francisco Bay Area, the well-established knowledge transfer offices in universities help scholars to discover the commercial value of academic findings and help business in reverse. In New York Bay Area, big corporations built research institutes for universities with considerable findings. In Tokyo Bay Area, corporations and universities have developed various internship programs for different levels of students and also provide funds for universities to conduct research works. Originality/value This paper analysed approaches that using by other well-developed bay areas through real cases, and suggested that the Guangdong-Hong Kong-Macau Greater Bay Area should adopt these experiences in order to strengthen collaborations between tertiary education and industries to promote innovations.

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