The impact of marketing on activities of Vietnam arts and cultural organizations

With the trend of budget reduction and autonomous operation of arts and cultural organizations, competition in this field to attract audiences is an inevitable trend. This sets out the requirements of marketing activities to bring arts to the audiences and bring the audience to arts, which is, to link arts with the audience; not only achieved the goal of establishing and meeting the audience needs, but also fulfilled the arts and cultural organizations’ task of creating arts. There have been many research perspectives on culture and arts marketing in the context of cultural integration and economic development associated with the characteristics of each country and region. In this study, the author approaches, inherits, and develops Rentschler's culture and arts marketing model to build a scale and conduct practical research in Hanoi, Vietnam. The survey subjects were identified as art practitioners (artists) with more than 3 years of working experience in 7 theaters in Hanoi. The research was carried out by qualitative method through secondary data collection, combined with the quantitative method through a survey of opinions of 200 artists.

impact of marketing on activities of Vietnam arts and cultural organizations

With the trend of budget reduction and autonomous operation of arts and cultural organizations, competition in this field to attract audiences is an inevitable trend. This sets out the requirements of marketing activities to bring arts to the audiences and bring the audience to arts, which is, to link arts with the audience; not only achieved the goal of establishing and meeting the audience needs, but also fulfilled the arts and cultural organizations’ task of creating arts. In fact, there have been many research perspectives on culture and arts marketing in the context of cultural integration and economic development associated with the characteristics of each country and region. In this study, the author approaches, inherits and develops Rentschler's culture and arts marketing model to build a scale and conduct practical research in Hanoi, Vietnam. The survey subjects were identified as art practitioners (artists) with more than 3 years of working experience in 7 theaters in Hanoi. The research was carried out by qualitative method through secondary data collection, combined with quantitative method through survey of opinions of 200 artists.

Artists as cultural intermediaries? Remediating practices of production and consumption

PurposeThe purpose of this paper is to discuss findings from an Arts and Humanities Research Council (AHRC)-funded research project into the heritage culture of British folk tales. The project investigated how such archival source material might be made relevant to contemporary audience via processes of artistic remediation. The research considered artists as “cultural intermediaries”, i.e. as actors occupying the conceptual space between production and consumption in an artistic process.Design/methodology/approachInterview data is drawn from a range of 1‐2‐1 and group interviews with the artists. These interviews took place throughout the duration of the project.FindingsWhen artists are engaged in a process of remediation which has a distinct arts marketing/audience development focus, they begin to intermediate between themselves and the audience/consumer. Artist perceptions of their role as “professionals of qualification” is determined by the subjective disposition required by the market context in operation at the time (in the case of this project, as commissioned artists working to a brief). Artists’ ability (and indeed willingness) to engage in this process is to a great extent proscribed by their “sense-of-self-as-artist” and an engagement with Romantic ideas of artistic autonomy.Originality/valueA consideration of the relationship between cultural intermediation and both cultural policy and arts marketing. The artist-as-intermediary role, undertaking creative processes to mediate how goods are perceived by others, enables value-adding processes to be undertaken at the point of remediation, rather than at the stage of intermediation.

The inter-generational arts branding of the Star Wars saga: may the myth be with you!

PurposeEmploying the Star Wars brand as a case study, this paper seeks to critically discuss the importance of comparative mythology for inter-generational branding and consumption practices within arts related markets.Design/methodology/approachSecondary data have been gathered focusing on the analysis of material in the form of books, academic journals, films, videos, television programs, websites and media reports related to the interface between comparative mythology, the Star Wars brand.FindingsFirst, this paper indicates how the long-standing success of the Star Wars brand mirrors and reflects the power of monomythic storytelling in creating a platform for arts and place building branding associations and extensions for numerous products and services. Second, this study shows and highlights the potential of monomythic structures/storytelling and comparative mythology in acting an underlying cultural platform whereupon several arts brand associations, narratives, extensions and overall strategies can emerge. Finally, this project suggests how arts marketing scholars could further explore the infusion of mythological narratives within branding practices in the areas of performing/visual arts, museums, entertainment and arts related tourism campaigns.Originality/valueFocusing on the most successful film franchise of all times, this study argues that comparative mythology constitutes an endless source for common templates of artistic, cross-cultural and inter-generational marketing practices focusing on universal moral codes and archetypes.

Expectation of being affected: an enactive perspective of spectators' expectations of contemporary dance

PurposeThis article examines how spectators describe their expectations of contemporary dance by referring to action. Through discussing a qualitative audience study, the article argues that spectators always have an expectation of being affected by performances they attend. This expectation can guide their interest in attending performances of certain genres instead of other possible ones on offer. Additionally, the article points out how spectators can actively manage their expectations in order to be affected.Design/methodology/approachThe study is based on 21 in-depth interviews with spectators at a dance venue, a company and a festival in Finland. The analysis of the interviews combines thematic analysis with metaphor analysis. Employing the paradigm of enaction and the concept of affordances, this article approaches expectations as embodied and dynamic, created in interactions between artists, producers and spectators.FindingsThe analysis shows that when speaking about their expectations of performances, spectators use bodily and spatial metaphors. Focusing on metaphors reveals how, for the spectators, performances afford a possibility for action that affects them. The interviewed spectators describe that contemporary dance is “not set in its ways”, and therefore it keeps them “awake” and their thoughts do “not fossilize”. This way, they understand contemporary dance as a genre that affords a possibility to be affected by allowing a freedom of own interpretation and surprising experiences if they desire such.Originality/valueConcentration on the metaphors of language offers a deeper understanding of the active nature of spectators' expectations. Understanding how spectators describe their expectations by referring to action that enables the shaping of their emotions and thoughts can help the development of arts marketing and audience engagement.

Developing insights into the link between art and tourism through the value co-creation lens

PurposeThe aim of the study is to gain insight into the link between art and tourism from a value co-creation perspective. This link is discussed with the help of the arts marketing, art tourism and value co-creation literature. The role of art in tourism and the role of cultural places in arts marketing are also evaluated.Design/methodology/approachFocussing on two cultural heritage sites in Turkey, Zeugma and Göbeklitepe, a qualitative study was undertaken in order to determine the value creation and co-creation processes occurring from the art–tourism contexts based on comparative case study analysis. In-depth semi-structured interviews were conducted with three groups of actors. Motivation, expectation and stakeholder experiences were the main themes explored.FindingsThe findings of the study relate to the role of the co-creation process. Marketing art in alternative places creates value in closing the gap between art and society through the use of related fields such as culture and heritage. In terms of cultural value, the paper identifies the reconnection with cultural heritage through contemporary art. This is a way of looking at culture and its concepts in different time and place dimensions which make visitors more engaged with culture and its contemporary reflection through art.Research limitations/implicationsAlthough the research focusses on two Turkish art and tourism cases, future research can be extended to other countries, including the assessment of the longer-term role of similar activities.Practical implicationsAs art is a subset of culture, the people who are interested in culture and history also have the potential to be interested in art. While art impacts on cultural tourism, cultural heritage and tourism work as arts marketing tools in a co-supporting way. The coming together of art and culture has societal benefits. There are lessons for practice such as the opening of a space for contemporary art in cultural heritage museums in order to promote art to society. The museum audience is an important potential for the future of art from a market generation perspective.Originality/valueThe study contribute to arts tourism, arts marketing and value co-creation in theory and practice.