How can art museums develop new business opportunities? Exploring young visitors’ experience

2020 ◽  
Vol 21 (1) ◽  
pp. 109-131
Author(s):  
Wided Batat
Keyword(s):  
Cultural Practices ◽  
Cultural Tourism ◽  
Art Museums ◽  
Consumer Society ◽  
Content Type ◽  
The Arts ◽  
Business Opportunities ◽  
Arts Marketing ◽  
New Business ◽  
Art Consumption

Purpose So far, most studies in cultural tourism have looked at visitors in relation to the experience itself. This study aims to bring a broader view on what constitutes the daily environment of younger visitors and how museums could use this knowledge to develop a service delivery that is more adapted to their needs without sacrificing the museums’ integrity and authenticity. As such, this research brings a unique and deeper analysis of young visitor behavior, in relation to arts and cultural practices that could be expanded to other areas of tourism experiences. Design/methodology/approach The present study examines the main art and cultural tourism activities among adolescents. Using 32 in-depth interviews with adolescents between 13 and 18 years of age, this research takes a closer look at their experience and perceptions of art museums and exhibitions. Findings The findings show that adolescents’ perception of arts and exhibitions do not correspond to museum art criteria held by cultural tourism professionals. Based on the key theoretical themes emerging from the empirical investigation, a conceptual framework of adolescents’ attitudes toward arts and exhibitions is now presented to provide insights into the dimensions of adolescents’ art consumption in today’s western consumer society. Figure 1 provides a graphic model that visualizes adolescents’ art consumption experiences and summarizes the main findings and marketing implications in the arts field. Originality/value Based on these findings, new ways of engaging with adolescents in the field of arts are suggested to create new business opportunities for the museum. The findings lean toward the necessity to develop a more youth-centric approach, which differentiates between how adults define art and what adolescents believe art is supposed to be. Thus, the findings demonstrate that adolescents’ art consumption experiences are deeply anchored within the context of their social environment and the value judgments of their peers. The adolescent-centric logic within the arts experiential context is taken into account to underline the gap existing in many current arts marketing strategies that are targeting young visitors – and especially adolescents.

scholarly journals New approaches to psychographic consumer segmentation

2020 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Christine S. Pitt ◽  
Anjali Suniti Bal ◽  
Kirk Plangger
Keyword(s):  
Personality Traits ◽  
Correspondence Analysis ◽  
Market Segmentation ◽  
Qualitative Data ◽  
Art Market ◽  
Content Type ◽  
Art Collectors ◽  
The Arts ◽  
Arts Marketing ◽  
Nuanced Understanding

Purpose While the motivation for collecting art has received considerable attention in the literature, less is known about the characteristics of the typical art collector. This paper aims to explore these characteristics to develop a typology of art consumers using a mixed method approach over several studies. Design/methodology/approach This is achieved by analyzing qualitative data, gathered via semi-structured interviews of art collectors, and quantitatively by means of natural language processing analysis and automated text analysis and using correspondence analysis to analyze and present the results. Findings The study’s findings reveal four distinct clusters of art collectors based on their “Big Five” personality traits, as well as uncovering insights into how these types talk about their possessions. Research limitations/implications In addition to contributing to the arts marketing literature, the findings provide a more nuanced understanding of consumers that managers can use for market segmentation and target marketing decisions in other markets. The paper also offers a methodological contribution to the literature on correspondence analysis by demonstrating the “doubling” procedure to deal with percentile data. Practical implications In addition to contributing to the arts marketing literature, the findings provide a more nuanced understanding of art collectors that managers can use for market segmentation and target marketing decisions. The paper also offers a methodological contribution to the literature on correspondence analysis by demonstrating a non-traditional application of correspondence analysis using the “doubling” procedure. Buyer behavior in the fine art market is not exhaustively studied. By understanding the personality traits of consumers in the art market, sales forces can better provide assistance and product to consumers. Further, understanding the personalities of consumers is better for art retail spaces to better serve consumers. Originality/value This paper demonstrates a unique mixed methods approach to analyzing unstructured qualitative data. It shows how text data can be used to identify measurable market segments for which targeted strategies can be developed.

scholarly journals Service-based business models in the Swedish railway industry

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Mirka Kans ◽  
Anders Ingwald
Keyword(s):  
Business Strategy ◽  
Service Management ◽  
Business Models ◽  
Business Environment ◽  
Strategy Development ◽  
Railway Vehicle ◽  
Content Type ◽  
Railway Industry ◽  
Business Opportunities ◽  
New Business

PurposeThe purpose is to describe new business opportunities within the Swedish railway industry and to support the development of business models that corresponds with the needs and requirements of Industry 4.0, here denoted as Service Management 4.0.Design/methodology/approachThe study is an in-depth and descriptive case study of the Swedish railway system with specific focus on a railway vehicle maintainer. Public reports, statistics, internal documents, interviews and dialogues forms the basis for the empirical findings.FindingsThe article describes the complex business environment of the deregulated Swedish railway industry. Main findings are in the form of identified business opportunities and new business model propositions for one of the key actors, a vehicle maintainer.Originality/valueThe article provides valuable understanding of business strategy development within complex business environments and how maintenance related business models could be developed for reaching Service Management 4.0.

Cultural policy and participatory art practices in Flanders

2019 ◽  
Vol 32 (2) ◽  
pp. 266-281 ◽  
Author(s):  
Kris Rutten ◽  
Helena Calleeuw ◽  
Griet Roets ◽  
Angelo Van Gorp
Keyword(s):  
Cultural Policy ◽  
Cultural Practices ◽  
Policy Framework ◽  
Structured Interviews ◽  
Content Type ◽  
Participatory Art ◽  
The Arts ◽  
Art Practices ◽  
Politics Of Resistance ◽  
Art Organizations

Purpose In Flanders, the subventions in the cultural sector are mainly divided and decided upon within the framework of the Arts Decree. Within this policy framework, art organizations may choose in their funding applications for “participation” as one of the five possible functions to describe their artistic and cultural practices. However, questions need to be raised about the different interpretations of the notion of participation within this policy framework. The growing trend of evidence-based policy-making implies that participation risks to become a “target” that needs to be achieved instrumentally, which paradoxically ignores the fact that participatory practices within culture and the arts are very often diverse, multi-layered and context-specific practices. Starting from this paradox, the purpose of this paper is to explore how the current policy framework is translated into different “participatory” art practices by art organizations and specifically how cultural practitioners themselves conceptualize it. Design/methodology/approach In this paper, the authors discuss the results of a qualitative research based on semi-structured interviews with cultural practitioners about how they grapple with the notion of participation within their organizations and practices. Findings The results clearly show that practitioners use micro-politics of resistance to deal with different, and often conflicting, conceptualizations of participation in relation to this cultural policy framework. Research limitations/implications The implications of the findings are vital for the discussion about cultural policy. These micro-politics of resistance do not only have an impact on the development of individual participatory art practices but also on the broader participatory arts landscape and on how the function of participation is perceived within the renewed policy framework. Originality/value The original contribution of this paper is to explore the perspective of practitioners in cultural organizations about the function of participation in the Arts Decree in Flanders and specifically how the notion of participation is operationalized in their practices in relation to this cultural policy framework.

scholarly journals “Show us your moves”: trade rituals of television marketing

2015 ◽  
Vol 5 (2) ◽  
pp. 126-138 ◽  
Author(s):  
Paul Grainge ◽  
Catherine Johnson
Keyword(s):  
Cultural Practices ◽  
Participant Observation ◽  
Research Approach ◽  
Creative Work ◽  
Television Industry ◽  
Content Type ◽  
Arts Marketing ◽  
Professional Field ◽  
The Uk ◽  
A Site

Purpose – The purpose of this paper is to examine the professional culture of television marketing in the UK, the sector of arts marketing responsible for the vast majority of programme trailers and channel promos seen on British television screens. Design/methodology/approach – In research approach, it draws on participant observation at Promax UK, the main trade conference and award ceremony of the television marketing community. Developing John Caldwell’s analysis of the cultural practices of worker groups, it uses Promax as a site of study itself, exploring how a key trade gathering forges, legitimates and ritualizes the identity and practice of those involved in television marketing. Findings – Its findings show how Promax transmits industrial lore, not only about “how to do” the job of television marketing but also “how to be” in the professional field. If trade gatherings enable professional communities to express their own values to themselves, Promax members are constructed as “TV people” rather than just “marketing people”; the creative work of television marketing is seen as akin to the creative work of television production and positioned as part of the television industry. Originality/value – The value of the paper is the exploration of television marketing as a professional and creative discipline. This is especially relevant to marketing and media academics who have tended to overlook, or dismiss, the sector and skills of television promotion.

scholarly journals Not just what they want, but why they want it

2015 ◽  
Vol 18 (2) ◽  
pp. 230-248 ◽  
Author(s):  
Rebecca Anne Price ◽  
Cara Wrigley ◽  
Karla Straker
Keyword(s):  
Market Research ◽  
Research Study ◽  
Customer Engagement ◽  
Research Strategies ◽  
Content Type ◽  
Customer Needs ◽  
Advantages And Disadvantages ◽  
Business Opportunities ◽  
New Business ◽  
Practical Implications

Purpose – This paper aims to explore advantages and disadvantages of both traditional market research (TMR) and deep customer insight (DCI) methods to lay the platform for revealing how a relationship between these two domains could be optimised during firm-based innovation. Design/methodology/approach – The paper reports on an empirical research study conducted with 13 Australian-based firms engaged in a design-led approach to innovation. Firms were facilitated through a design-led approach where the process of gathering DCIs was isolated and investigated further in comparison to TMR methods. Findings – Results show that DCI methods are able to provide fresh, non-obvious ways of understanding customer needs, problems and behaviours that can become the foundation of new business opportunities. Findings concluded that DCI methods provide the critical layer to understand why customers do or do not engage with businesses. Revealing why was not accessible in TMR methods. Research limitations/implications – The theoretical outcome of this study is a complementary methods matrix, providing guidance on appropriate implementation of research methods in accordance with a project’s timeline to optimise the complementation of TMR methods with design-led customer engagement methods. Practical implications – DCI methods provide fresh, non-obvious ways of understanding customer needs, problems and behaviours that can become the foundation of new business opportunities. It is hoped that those in a position of data collection are encouraged to experiment and use DCI methods to connect with their customers on a meaningful level and translate these insights into value. Originality/value – This paper provides original value to a new understanding of how design techniques can be applied to complement and strengthen existing market research strategies. This is crucial in an era where business competition hinges on a subtle and often intimate understanding of customer needs and behaviours.

scholarly journals Digital business models in cultural tourism

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Salvatore Ammirato ◽  
Alberto Michele Felicetti ◽  
Roberto Linzalone ◽  
Daniela Carlucci
Keyword(s):  
Value Creation ◽  
Business Models ◽  
Mobile Apps ◽  
Cultural Tourism ◽  
Mobile App ◽  
Digital Products ◽  
Value Capture ◽  
Content Type ◽  
Classification Framework ◽  
New Business

PurposeDigitalization had a relevant impact on the cultural tourism sector, both demand and supply. If, on the one hand, advances in digital technologies provided tourists with new mobile services able to amplify the cultural experience, on the other hand, they catalyzed the development of new business models by digital enterprises. This paper has a twofold purpose: to detect business models and key characteristics of mobile apps for cultural tourism and to analyze the offering of app-based services in this sector.Design/methodology/approachThe authors defined a methodology to identify, characterize and analyze a particular category of digital products for cultural tourism: app-based services. They are studied in terms of value creation, proposition and capture with the aim to identify the distinctive features of business models. As a result, the authors identified a classification framework on three main dimensions, namely “how to exploit mobile app features to create value for cultural tourists” (value creation), “which valuable services are delivered to cultural tourists” (value proposition) and “how companies are rewarded for the value they offered” (value capture). The authors apply the framework to perform a situation analysis of app-based services in the cultural tourism market.FindingsThe analysis highlights that digital enterprises offering app-based services do not fully exploit advances in technologies about users' value requirements. Hence, the results of our work suggest some directions that digital enterprises may follow to better exploit mobile app technology.Originality/valueTo date, little research has been devoted to investigating cultural tourism business models involving the exploitation of mobile app-based services. This research provides a useful framework to analyze fundamental aspects of business models in this sector. Such a framework represents a practical tool that provides fruitful insights for the design of a new generation of app-based services within the so-called “Internet of things” domain.

Behind the Scenes

2017 ◽  
Vol 6 (2) ◽  
pp. 80-90
Author(s):  
Adilla Anggraeni ◽  
Adilla Amelia
Keyword(s):  
Collection Method ◽  
Traditional Art ◽  
The Arts ◽  
Arts Marketing ◽  
Art Consumption ◽  
Traditional Arts ◽  
Performing Art ◽  
Service Experiences ◽  
Art Elements ◽  
Depth Interviews

Delivering a satisfactory experience to the customers is an inseparable part of a service organization. This article investigates how two different groups of wayang orang (human wayang), a form of traditional art in Indonesia deliver service experiences to the audiences. Qualitative methods consisted of in-depth interviews and open-ended survey were utilized as the data collection method. The findings suggest that service experiences were delivered through the combination of various art elements in the performance, and some of the elements are considered to be more important than the others. Several barriers have also been identified as the barriers that inhibit consumption of this traditional art. Bharata and Swargaloka performing art groups were utilized as the context of this research. This article contributes to limited studies on traditional arts within the arts marketing domain, especially with regards to art experience delivery and art consumption.

The digital age is transforming job descriptions, especially for CEOs

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Stephen Denning
Keyword(s):  
Customer Value ◽  
Digital Age ◽  
Job Descriptions ◽  
Critical Feature ◽  
Content Type ◽  
Digital Era ◽  
Business Opportunities ◽  
New Business ◽  
Strategic Agility ◽  
Practical Implications

Purpose To implement a customer-centric vision in the digital era requires leadership that champions principles, processes and practices that promote customer value and corporate agility. Design/methodology/approach In the digital age organization the CEO’s job description, and those of all the leadership team, will require radical redesign. Findings A successful digital-age CEO is an entrepreneur with a passion for creating new value for customers and a preoccupation with strategic agility and discerning new business opportunities. Practical/implications Perhaps the most critical feature of digital-era CEOs’ jobs is their focus on the continuous creation of new businesses. Originality/value A successful digital-age CEO is an entrepreneur with a passion for creating new value for customers and a preoccupation with strategic agility and discerning new business opportunities.

scholarly journals The art of branding − lessons from visual artists

2014 ◽  
Vol 4 (1/2) ◽  
pp. 101-118 ◽  
Author(s):  
Victoria L. Rodner ◽  
Finola Kerrigan
Keyword(s):  
Visual Arts ◽  
Lessons Learned ◽  
Theory And Practice ◽  
Brand Name ◽  
Visual Artists ◽  
Content Type ◽  
Social And Cultural Capital ◽  
The Arts ◽  
Arts Marketing ◽  
Conceptual Paper

Purpose – The purpose of this paper is to highlight the importance of the field of visual arts marketing in the development of wider branding theory and practice. Drawing on examples from visual artists and the art mechanism that connects them, the paper reveals how artists and art professionals foster various types of capital (social, cultural, symbolic) as a way of developing a brand name, ensuring longevity in the field, and gaining financial value on the market. Design/methodology/approach – As a conceptual paper, the authors draw on a range of published works as well as examples from the world of visual arts in order to provide fresh theoretical insight into how branding in the arts may be applied to other industries. Findings – The key findings are the importance of the consideration of the development and nurturing of social and cultural capital in developing brand identity. Additionally, visual art brands are required to be innovative and dynamic, and lessons learned regarding these processes have relevance for mainstream brands. The paper also found that creativity is often collective and that looking to methods for developing work in the visual arts can be utilised by brand managers more broadly in the age of social media and user generated content. Originality/value – This paper follows on the developing body of work, which indicates what mainstream business can learn from looking at the visual arts. The paper highlights the collective nature of creativity in building the art brand as well as the importance of non-economic measures of value in the realm of branding.

Succeeding at new businesses: a matrix to measure flexibility

2014 ◽  
Vol 35 (5) ◽  
pp. 23-30 ◽  
Author(s):  
David J. Burns
Keyword(s):  
Business Environment ◽  
Two Dimensions ◽  
Market Potential ◽  
Content Type ◽  
Strategic Issues ◽  
The Past ◽  
Business Opportunities ◽  
New Business ◽  
Market Opportunities ◽  
Assessment Matrix

Purpose – This purpose of this paper is to suggest and develop an alternative model, the Opportunity Assessment Matrix, to address some of the primary strategic issues in the business environment of today. Changes in the business environment are increasing the need for strategic planning, but it has also diminished the value of some of the classic tools used in strategy formation in the past, such as portfolio models. Design/methodology/approach – The shortcomings in applying portfolio models from the past to today’s business environment are discussed, providing a basis for the developing the Opportunity Assessment Matrix. Findings – The Opportunity Assessment Matrix is introduced as a means to evaluate the ability of an organization to successfully undertake and exploit new business opportunities. The proposed model is based on two dimensions – operational flexibility and market potential. Originality/value – The Opportunity Assessment Matrix facilitates an assessment of new business and product opportunities. With today’s ever-changing customer needs, the identification and exploitation of new product and business opportunities have become critical for the ongoing success of many firms. Most attempts by business firms to exploit new opportunities, however, are not successful, often due to a lack of an understanding of the market potential realization or an inadequate consideration of possible internal constraints. The Opportunity Assessment Matrix addresses both of these issues by examining the match between potential market opportunities and a firm’s ability to exploit them.

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