Transcript Document

Marketing of
Cultural Heritage
Art Marketing
Radka Johnová
[email protected]
Social Definition

Marketing is a societal process by which
individuals and groups obtain what they
need and want through creating, offering,
and freely exchanging products and
services of value with others.
Managerial Definition
(American Marketing Association):

Marketing (management) is the process of
planning and executing the conception,
pricing, promotion, and distribution of
ideas, goods, services to create
exchanges that satisfy individual and
organizational goals.
Marketing helps to
explain and deliver a product
to the right segments of customers
 at the right time and to the right place
 at a corresponding price (comparing with
the quality)
 with the support of publicity
 in the competitive environment
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MARKETING TOOLS - 4Ps
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Product
Price
Place
Promotion
Product - Tangible, Intangible
Goods
 Services
 Events
 Experiences
 Persons
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Places
 Properties
 Organizations
 Information
 Ideas
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Place
Place
 Time
 Electronic channels
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Price
Limiting external factors
 Economic
 Legal
 Social (merit goods)
 Customer Cost
Promotion
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PRs
 Sponsoring
Advertising
 Sales promotion
 Direct marketing
 Events & experiences
 Guerilla and viral marketing
 E-promotion
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Additional Ps
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Progress
People
Perfection
Psychology
Participation
Partnership
Potential possibilities
Packaging
4Cs (or Cs)
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Customer /
Consumer
Company skills
Convenience
Channels
Collaborators
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Cooperation
Competition
Communication
Context
Cost
Concepts
The production concept - products
available and inexpensive
 The product concept - quality,
performance, innovations
 The selling concept - aggressive selling,
promotion effort - for unsought goods, in
the non-profit area by fund-raisers
 The marketing concept - business
philosophy
 The holistic concept
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Holistic Marketing Concept
Relationship marketing
 Integrated marketing
 Internal marketing
 Social responsibility marketing
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History
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Ancient markets, medieval age: The seller knew
personally his customers.
Industrial revolution - mass production - mass
communication - printed press and posters.
20th century - radio broadcasting, TV
transmission - mass communication by mass
media
Return to the roots - close to customers satisfying solutions to their needs
Societal Marketing Concept
´60s creativity
 ´70s strategic planning
 ´80s perfection and quality, technology
 ´90s customer oriented marketing
 21st century information society – IMC
 ´10 holistic concept
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Customers
Visitors, Audiences
Mission vs. Conflict of Interests
Collect objects
 Preserve objects
 Interpret objects
 Show objects
 Educate people
 Inspire people to support museum
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Objectives of Museums
 Attracting
 Building
 Retaining
an audience
Audiences, Constituencies
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Visitors
Directors
Patrons
Donors
Members
Governmental constituencies
Corporate and business support constituencies
Needs Wants Demands
Stated needs
 Real needs
 Unstated needs
 Delight needs
 Secret needs
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Benefits, attractions, and
experiences
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In-house concerts
Theatrical performances
Poetry readings
Lectures by famous personalities
Continuing education
Study tours
Book signings
Food-tasting events
Social receptions
Types of Museum-Going
Experiences
Recreation
 Sociability
 Learning Experience
 Aesthetic Experience
 Celebrative Experience
 Enchanting Experience
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Audiences Categories
Emotional ("feeling comfortable")
 Rational ("having an opportunity to learn")
 Sensory ("having a challenge of new
experiences")
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Attributes that influence leisure
choices
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Being with people, or having social interaction
Doing something worthwhile
Feeling comfortable and at ease in one's
surroundings
Having a challenge of new experiences
Having an opportunity to learn
Participating actively
Audience Development
Visitorship level
 Visitorship diversity
 Repeat visitorship
 Visitor service quality
 Membership program quality
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Visitors
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Community residents
 repeat
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Tourists
visitors
Frequent Visitors
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Value most highly three attributes:
The
opportunity to learn
To undertake new experiences
To do something worthwhile in their
leisure time
The Occasional Visitors
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Seek after
 active
participation
 social interaction
 entertaining experiences
 relaxing experiences
 comfortable settings
 interaction with other people
The Nonparticipants
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tend to value
 being
together with other people
 engaging in high levels of activity
 feeling comfortable in their surroundings
Tourists
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Spend more money
Purchase gifts
Are first-time visitors
Plan their destination
Seek particular kinds of experiences
Have high expectations
Are attracted to so-called blockbuster exhibitions
Consumer Behavior Influence
Marketing stimuli
 Other stimuli (external)
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 Cultural
factors
 Social factors
 Personal factors
 Psychological factors
Social Factors
Reference groups
 Membership groups
 Aspirational groups
 Dissociative groups
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Opinion leader
Competition
Competition
Desire
 Generic
 Form
 Enterprise
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Competition
Stay-at-home behavior
 Free-time activities
 Cultural and educational activities
 Other museums
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Environmental Analysis
Internal environment
 Market environment
Visitors and members
Community residents
Stakeholders collectors and patrons
Media
 Regulatory environment
 Competitive environment
 Macroenvironment
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Market
Segmentation
Targeting and Positioning
Segment
 Group
big enough
 Clearly defined
Approaches to Markets
Mass marketing
 Segmentation marketing
 Niche marketing
 Segment-of-one marketing
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Geographical Segmentation
Local visitors
 Short-distance visitors
 Long-distance domestic visitors
 European visitors
 Overseas visitors
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Demographic Segmentation
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Age
Sex
Family size
Family income
Education
Occupation
Religion
Race
Ethnicity
Psychographic Segmentation
Social class
 Lifestyle
 Personality characteristics
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Behavioral Segmentation
Occasion
 Benefits sought
 User status
 Loyalty status
 Stage of adopter readiness
 Attitude
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Organizational Segmentation
Foundations
 Government agencies
 Corporations
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Company Segmentation
Size
 Location
 Product lines
 Resources
 Personal variables
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 Owners’
personal preferences
 Human relations
Requirements for Effective
Segmentation
Measurability
 Substantiality (large enough to be worth
attracting)
 Accessibility
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Positioning Strategies
Attribute positioning
 Benefit positioning
 User positioning
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Marketing Information
and Research
Gathering Information
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a cross between
 what
information managers think they need
 what information they really need
 what is economically feasible
Marketing Research Process
Defining the problem and the research
objectives
 Developing the research plan
 Designing the questionnaire
 Collecting and analyzing the data
 Preparing and presenting the research
report
 Evaluating and implementing the findings
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Main Types of Museum Research
Exhibition Evaluation Research
Front-end evaluation
Formative evaluation
Summative evaluation
 Visitor Studies
 Development Research
 Organizational Research
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Secondary Data
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Advantages :
Quick
Cheap
Easy to get
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Disadvantages:
Inaccurate
Incomplete
(out)dated
Unreliable
Available for all
Can be divided into two groups:
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Internal
Invoices
Sales figures
Balance sheets
Sales reports
Visitors reports
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External
 Government
publications
 Statistics
 Periodicals
 Books
 The Internet
 Commercial data
 Competitors’
annual reports
Primary Data
Original information
 Gathered for the specific purpose
 Collected in three ways: through
exploratory research
descriptive research
experimental research
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Uses of Marketing Research
Description
 Explanation
 Causation
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Exploratory Research
Observation
 Individual in-depth interviews
 Focus groups
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Descriptive Research
Surveys
 Conjoint research
 Panel studies
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Experimental Research
The most scientifically valid research
 Capture cause-and-effect relationships
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Semantic Differential
Product
Developing Attractive
Offerings
Product
Goods
 Services
 Events
 Experiences
 Persons
 Places
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Properties
 Organizations
 Information
 Ideas
 Building
 Demarketing
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Museum's Offerings
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Exterior and interior architecture
Objects, collections, exhibitions
Interpretive materials such as labels, texts, and
catalogues
Museum programs such as lectures,
performances, and social events
Museum services, such as reception and
orientation, food service, shopping, and seating
Organization of the visitor's time, activity, and
experience
Organizing a Visitor's Time
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Welcome
Orientation
Services that will facilitate the museum-going
experience
Keep the visitor from being bored
Offer a friendly and comfortable setting
Maintain a clean environment
Watch over the visitor
Undertake extensive research
Be informed about a visitor's expectations,
needs, and preferences.
The museum-going experience includes
Make a decision
 Leaving home
 Driving/transport to the museum
 Parking/walking, being greeted at the
entrance
 The visit itself
 Refreshment, lunch
 Souvenirs
 The return home
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Collections and Exhibitions
Encyclopedic collections
 Specialized collections
 Structuring exhibitions with
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 themes
 contexts
 points
of view
Remember the Audience
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Exhibitions don't tell, they show
Exhibitions are provocative, not
comprehensive
A good question is better than a declaration
Interaction, unexpected connections,
surprises, humor
Match media with message
Exhibitions
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should not remain unchanged
rotate exhibitions
modify exhibitions
refresh exhibits regularly
plan new exhibits
upgrade existing ones
Programs
Programs
Musical
Theatrical
Film
 Lectures
 Classes
Education classes
Workshops
 Tours
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Events
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Events and happenings
 Social
 Recreational
 Celebratory
Holiday and seasonal events
 Opening-night events
 Social gatherings
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Developing New Offerings
Upgrading existing exhibitions and
programs
 New forms of exhibitions and programs
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Services
Orientation and way finding information
 Places to sit and relax
 Food services
 Shopping in gift shops
 Restrooms / toilets
 Facilities to change infant's and children's
clothes
 Water fountains
 Lost-and-found
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Main Characteristics of Services
 Intangibility
 Inseparability
 Variability
 Perishability
Specific Museum Services
Visitor orientation and information service
 Seating and relaxation spaces
 Courses and research services
 Food service
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Purchasable Products
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Souvenirs
Books
Art reproductions and prints, posters
Clothing with the museum's name or logo
Museum pamphlets and guides
Jewelry
Children's games
Art catalogues
Rocks and minerals
Science learning games
Purchasable Services
Guided tours
In foreign languages
 Commercial services
Expert evidence by authorized experts
Rental of facilities
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Brand
Art of Branding
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Brand is major enduring asset and a
marketing tool
 name
 term
 sign
 symbol
 design
 combination
Brands
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Identify
Organization
Goods
Services
Seller
Producer
Brands promise to deliver a
specific set of
Features
 Benefits
 Services
 Warranty of quality
 Brand is complex symbol
 Subject od author‘s rights
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Levels of meaning
Attributes
 Benefits
 Values
 Culture
 Personality
 User
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Brand equity
Amount of power
 Value in the marketplace
Brands not known by most buyers
High degree of brand awareness
Brand acceptability
Brand preference
Brand loyalty
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High brand equity provides a number of
competitive advantages:
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Reduced marketing cost because of consumer
brand awareness and loyalty
Better position in bargaining with distributors –
consumers expect them to carry the brand
Charge a higher price – brand higher quality
Launch extensions – brand name carries high
credibility
Defense against price competition
A Brand Name Requires
Improving brand awareness
 Perceived quality
 Functionality
 Positive associations
 Continuous research and development
 Investments
 Skillful advertising
 Excellent trade
 Consumer service
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Branding gives several advantages
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Easier to process orders
Brand name and trademark provide legal
protection of unique product features
Attract loyal customers
Attract profitable set of customers
Brand loyalty - protection from competition
Helps segment markets
Build corporate image
But brand ladder replaced by brand parity –
many brands are equivalent – consumers are
more price sensitive
To brand or not to brand
Return to no branding of certain
consumer goods
 Lower price
 Lower cost (quality ingredients, labeling,
packaging, minimal advertising)
 Standard or lower quality
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Types of Brand
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manufacturer brand = national brand
licensed brand
distributor brand = reseller, store, house or
private brand
 large quantity
 low cost
 more profitable
 no need – research development,
 simple packaging and labeling
 good quality
 supermarkets
new brand
advertising
charge a slotting fee for accepting a
Brand Name Decision
Individual names
 Blanket family names
 Separate family names for all (or group of)
products
 Company trade name combined with
individual product names
 Cobrands
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Choose the Right Specific Brand Name
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Product’s benefits
Product qualities
Action
Color
Taste
Easy to pronounce
Easy to recognize
Easy to remember
Short names help
Should be distinctive
Not carry poor meanings in other countries and
languages
Name Search Procedures Include
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Association test – what images come to mind
Learning test – how easily is the name
pronounced
Memory test – how well is the name
remembered
Preference test – which names are preferred
Make sure the chosen name hasn’t already
been registered
Brand name that will become intimately
identified with the product category
Brand Strategy
Line extension
 Brand extension
 Multibrands
 New brands
 Cobrands
 Brand repositioning
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Place
Distributing the Museum’s
Offerings and Services
Distribution Channels Depends on
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Physical accessibility
Time accessibility
Attractiveness
Atmosphere
Interior and equipment
Architecture
Features
Surroundings
Internal factors
Ways to Distribute a Museum’s Offerings
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Off-site distribution
Reciprocal memberships
Curators offer lectures
Museums can have branches
Publish guides to museums and cultural
institutions
City Culture Card
Partnerships with hotels, restaurants, airlines,
public transport organizations
On the Web
Balance the value
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of distributing collections to a large
number of people in the present day
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against the value of conserving these
collections in the best state for future
generations
Key Questions
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What are the goals of outreach and distribution?
What are the target audiences for outreach and
distribution?
What types of distribution (or channels) are most
appropriate to the goals and the target
audiences?
How well are the distributed offerings working?
Whom are they reaching?
How is effectiveness measured?
What are the relative costs and benefits of
several distributional methods?
Major Distribution Channels
The main facility, building, place
 Expositions
 Branch museums
 Traveling exhibitions and loans
 Off-site programs
 Publications
 Electronic distribution
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The Main Facility
Accessibility
 Attractiveness
 Atmosphere
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Building
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External factors
 Architecture
 Features
 Surroundings
 Physical
accessibility
Internal factors
 Entranceways
 Corridors
 Stairs
 Physical
accessibility
 Galleries and other
display spaces
 Storage
Museum's Interior Design
Two basic views:
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Secular church
Inviting
 Informal
appearance
 Functional
 User-friendly
design
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Old-fashioned institutions
Modern facilities
Lighting
 Ventilation
 Wayfinding
 Functionality
 Access for handicapped individuals
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Options for Interior
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Show more of its collections
Fewer paintings commands greater attention
Benches in every gallery
Leave visitors standing
Silent exhibits or noisy exhibits
Fill interior with neon lights
Stimulating graphics
Create multiple theaterlike spaces for
demonstrating science
Atmosphere
Sensory
 Auditory
 Visual
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 visitor
orientation and way finding
 color-coded directional signs
 computer screens
 orientation galleries
 electronic aids that print out customized maps
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Branch museum
 Guggenheim
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Museum
Museum complexes
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Louvre
Traveling Exhibitions and Loans
Growing visibility of museums
 Reduce storage costs
 Reciprocity
 New offerings
 Sponsors
 Press attention
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Financing
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Museums have to cover the cost of
 loans
 shipping
 conservation
 exhibit
costs
 costs of technical assistance
 sharing of curatorial expertise
 ensure the care of objects
Museum Without Walls
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No building of its own
No permanent collection
Organize exhibitions across the city, at places
ranging from
 schools
 libraries
 community centers to
 corporate headquarters and
 municipal buildings
Special Places
Train (Artrain)
 Bus
(Bibliobus)
 Ship
 Airplain
 Subway, underground
 Open space
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Off-site Programs
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Distributing
 Materials
to other locations
 Loans and exhibitions
 Lectures by visiting curators
 Workshops for educators
 Technical and consulting services
 Instructional materials to schools
 Off-site museum stores
Publications
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Books describing a museum's history and
illustrating its collections and departments
Books, pamphlets, and catalogues on special
exhibits
Travelers guides
Card and board games based on the museum's
collection
Members' newsletter
A magazine or journal
Children's guides to museums
Annual reports, distributed to sponsors and
donors
Catalogues
Electronic Distribution
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Cyberspace visitors
Available via the Internet
Digital visits to exhibitions and views of objects in the
collections
Audio-assisted guides to Internet visitors
Real-time discussions with curators
Setting up a "chat room" to communicate with other
members on-line
An excellent response to followers who live at a distance
from the museum even across the globe, who want to
maintain contact with the museum
The museum experience far away from the traditional
museum-going
Offers of special merchandise that can be purchased at
the Web site
Advantages
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The cost effectiveness
Web sites provide feedback
Museum managers can learn
 how many "hits" the site has had
 which parts of the site command the most
attention,
 how long visitors stay at the site, and
Museums should be able to finance their Web
sites by advertising and finding sponsors
Price
Setting Pricing and RevenueBuilding Strategies
Admission Fees
Remain free to the public
 Request a donation at the door
 Charge admission
 Setting prices for other services
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Pricing
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Pricing admission
Pricing loaned objects and traveling exhibitions
Pricing special exhibitions and events
Pricing memberships
Pricing items in the gift shop
Pricing rental of museum facilities
Pricing donor support
Setting Admission Fees
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Charge the same price to every visitor
Charge different prices to different classes of
visitors (multiple pricing, discriminatory pricing)
Establish a membership program
Request voluntary contributions
Post suggested admission prices or donation
levels
Charge a price, but establish free days or blocks
of time Charge different rates for different
seasons
 Regularly or occasionally
Price Elasticity
Price sensitivity of the target market
 Break point beyond which its public
showed resistance.
 The rate of customer turnaround
 Alternative leisure-time activities
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Distinction between:
Nonintenders
 Nonattenders – pricing is not the central
issue
 Intender-rejecters – as a result of pricing
policy
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Barriers to Visitation besides
Admission Fees
Traffic conditions and parking
 Distance
 Long line
 Hiring a babysitter
 Paying admission fees for children
 Physical barriers
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Objectives for Setting Admission
Fees
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Charging to maximize the number of visitors
Charging to maximize cost recovery
Surplus building
Charging what comparable museums charge
Charging what other leisure activities charge
Charging a single, uniform price
Charging to maximize revenue
Charging the socially justified price
Pricing Objects Loaned to Other
Museums
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Loans involve expenditures
 staff
time
 costs of packing, shipping, and insurance
Art museums do not charge lending fees
 Charge lending fees
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 to
cover in-house costs
 to discourage the frequency of loan requests
Pricing Special Exhibitions
Expense often establish a special
admission fee
 Balance not discourage citizens of limited
means
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Events
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Events present good opportunities for
earning additional income
 Opening night receptions and dinners
 Social gatherings for young professionals
 Anniversary parties
 Celebrity receptions
 Seasonal events
 Themed events
 Musical and theatrical events
 Holiday events
Pricing Special Events
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Good opportunity for earning additional
income
These prices cover the cost of
 keeping the
 hiring staff
 purchasing
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museum open
and serving food
Expenses amount to half of the price charged
It would take a lot of visitor admission fees to
equal the level of revenue arising from a
special event
Special Social Events
Special social events do not interfere with
customary museum operations and hours
 Participants typically represent a segment
different from the regular museum-going
visitor.

NOTICE

Events show diminishing returns

Museum's facilities experience
excessive wear-and-tear
Membership Programs

Purposes
 Actively
attending the museum
 Supporting the museum
 Provide an independent revenue stream
Pricing Membership Programs

1.
2.
3.

Standard membership levels
Single memberships
Family memberships
Students membership
 unlimited free admission
 a discount on museum gift shop purchases
Higher membership levels
 Invitations to special programs
 Behind-the-scenes tours
 Meetings with directors and curators
 Free exhibit catalogues and other gifts
Gift Shops
Near museum entrances
 Prominent locations
 Expanding in size

Gift Shops - Special Market for
Souvenirs
 Books
 Gifts; glassware, tableware, clothes
 Art
 Educational games
 Reproductions of museum objects

Pricing Gift Shop Items
Items priced on the high side
 Items priced at the level of museum-goers'
expectations
 Items also found in department stores
 Another pricing principle - offering a
discount to museum members

Pricing Rental of Museum Facilities
Facilities are attractive to a variety of
groups and organizations
 Receptions and corporate dinners
 Corporations pay a premium price to host
a social or business event
 Standard markup over the actual cost
for local government social event
 Not to rent facilities out too frequently
(Scarce goods)

Pricing of Donor Support

Raise money from
 Individuals
 Foundations
 Corporations
 Government
agencies (Government and EU
grant proposals)
Donor Benefits
Names on individual or group plaques
 Names as sponsors of special events or
as patrons
 Names of specific museum galleries
 Names on galleries for a limited period or
permanently
 Pricing donations and gifts from individuals
and companies on principles of
segmentation, positioning, and tailoring
incentives to donations.

Marketing
Communication
Promotion
Communicating and Promoting








Image and brand building
Advertising
Public relations
Sales promotion
Direct marketing
Events & experiences
How to find customers
How customers will find us
Participants
Visitors and non-visitors
 Employees
 State and local governments
 Artists
 Professionals
 Critics
 Journalists
 Sponsors, donators

Questions
Economics
 What
 How
 For whom
Marketing
 Why
 Who are
customers
 When
 What price
Image Building and Brand Identity
Attracts attention
 Builds familiarity and trust
 Conveys a promise
 Conveys expectation of benefit
 Attracts people to the museum

Advertising

Paid form of nonpersonal presentation and
promotion of
 products,
 services,
 ideas,
 persons,
or
 organizations

by an identified sponsor.
Advertising can add value
 Institutional
advertising
 Product advertising
 Classified advertising
 Promotional advertising
Advantages

High level of control










over the message content
over the choice of the medium
substantial control over the scheduling of the message
Allows to repeat a message
It lets the receiver compare the messages of various
competitors
Says something positive about the advertising
organization
Advertising is expressive,
Dramatizes its products through the artful use of print,
sound, and color
Advertising can reach masses of geographically spread
out people
at a relatively low cost per exposure
Shortcomings









It reaches many people quickly, but it is impersonal.
It cannot be as persuasive as a personal communication
It reaches far beyond an organization's targeted
audiences
Advertising carries on only a one-way communication
Audience does not feel that it has to pay attention or
respond
Advertising also can be costly
Difficult to assess the actual impact of paid media
Feedback is usually delayed
Other factors can affect consumer response
Steps of Effective Advertising Program
Setting the advertising objectives
 Deciding on the advertising budget
 Designing the message
 Deciding on the media
 Deciding on media timing
 Evaluating advertising effectiveness

Setting the Advertising Objectives
The target
 The position
 Response desired
 Time horizon

Stages and Objectives
Awareness
 Knowledge
 Liking
 Preference
 Intention
 Purchase

Advertising Budget
Objective-and-task approach
 Affordable method
 Percentage-of-sales method
 Competitive-parity method

Designing the Message
AIDA
Capture attention
 Hold interest
 Arouse desire
 Elicit action

Rules for Effective Ads
Strong
 Single theme
 Simple language
 Leave a picture in the viewer's or listener's
mind
 End dramatically

Formulating the Appeal







Appeal
Theme
Idea
Unique selling proposition
Capture a person's attention
Offer reasons why person should respond
Motivate person to respond in desired ways
Formulating the Message
What to say (message content)
 How to say it (message structure)
 How to say it symbolically and
imaginatively (message format)
 Who should say it (message source)

Appeals
Rational (directed at a person's selfinterest)
 Emotional (emphasizing such feelings as
desire, nostalgia, or pride)
 Moral (reinforcing a person's sense of
what is right and proper)

Choosing the Execution Style
Slice of life
 Lifestyle
 Fantasy
 Mood or image
 Evidence of expertise
 Testimonial

Designing Print Ads
Logo
 Picture
 Headline
 Copy

are important, in that order.
Designing Radio Ads
Name
 Addressing one person alone
 Only one message
 Deadline
 Repeat
 Ending

Deciding on the Media

Choosing media categories
 newspapers,
television, direct mail, radio,
magazines, and outdoor advertising
Choosing specific vehicles
 Scheduling

Media Categories
should be examined for their capacity to deliver:

Reach is the number of different persons or
households exposed to a particular message at
least once during a specified time period.

Frequency is the number of times within the
specified time period that an average person or
household is exposed to the message.

Impact is the qualitative value of an exposure
and the fit with a target audience.
Media Timing

Macroscheduling
 cyclical
 seasonal

Microscheduling
 Burst
advertising
 Continuous advertising
 Intermittent advertising


Flighting
Pulsing
Strengths and Weaknesses of Television
Strengths
 High impact
 Audience selectivity
 Schedule when
needed
 Fast awareness
 Sponsorship
availability
 Merchandising
possible
Weaknesses
 High production costs
 Uneven delivery by
market
 Up-front commitments
required
Strengths and Weaknesses of Radio
Strengths
 Low cost per contact
 Cheap transmission
 Audience selectivity
 Schedule when needed
 Length can vary
 Personalities available
 Tailor weight to market
 Address people both
nationally and locally
 Actual
 Can be changed
Weaknesses
 Nonintrusive medium
 Audience per spot
small
 No visual impact
 High total cost for
good reach
 Clutter within spot
markets
Strengths and Weaknesses of Magazines
Strengths
 Audience selectivity
 Editorial association
 Long life
 Large audience per
insert
 Excellent color
 Minimal waste
 Merchandising
possible
Weaknesses
 Long lead time
needed
 Readership
accumulates slowly
 Uneven delivery by
market
 Cost premiums for
original or
demographic editions
Strengths and Weaknesses of
Newspapers
Strengths
 Large audience
 Immediate reach
 Short lead time
 Market flexibility
 Good upscale
coverage
Weaknesses
 Difficult to target
narrowly
Strengths and Weaknesses of
Posters, Billboards
Strengths
 High reach
 High frequency of
exposure
 Minimal waste
 Can localize
 Immediate
registration
 Flexible scheduling
Weaknesses
 Posters have only
local impact
Public Relations

Unpaid promotion
???
The task of public relations is to
 form,
 maintain, or change public attitudes
 toward the organization or its products,
 attitudes that in turn will influence behavior
PR Categories
 Image
PR
 Routine PR
 Crisis PR
Tools of PR - Events

Events are planned happenings that aim to
communicate or deliver something to target
audiences
 Press conferences
 Grand openings
 Public tours
 Sponsor events, programs, including
 Exhibition openings
 First-night performances
 Art fairs
 Art competitions
Community Relations
Identify local opinion leaders
 Make museum facilities available for
community events
 Tours for local residents
 Host special community events
 Educational programs

Tips for Working with the Media




Do advance planning
Prioritize the events and issues that best meet
the organization's goals.
Know the media
 read
 watch
 listen
and become familiar with
 style
 orientation
 strengths
 limitations
Body Copy




Include all the critical information (the who, what,
when, where, and why) in the lead or opening
paragraph,
Then move through the rest in descending levels
of importance,
Concluding with the least essential points in the
shortest paragraphs at the end.
This structure is helpful to copyeditors, who,
when pressed for space, can simply cut copy
from the bottom, assured that the crucial
information will remain intact.
Advantages of Direct Marketing
Prospect selectivity
 Personalization
 Relationship building
 Timing
 Attention
 Research opportunities

Sales Promotion
Temporary price reductions
 Admission free
 Late evening hours

Creativity
Methods
A Technique for Producing Ideas
– by James Web Young (1940)





Gathering raw materials - the specific and the
general
Working over the materials in the mind
The incubation stage, latency time subconsciousness is synthesizing the
information
The birth of the idea
The final shaping and development of the idea
Composition Theory
by Arthur Koestler
Called The Act of Creation (of new ideas)
 Based on bisociation as an opposite or
contrast to (word) association

Lateral Thinking by Edward de
Bono
Based on horizontal thinking
 Horizontal thinking should break the firm
construction of vertical thinking

Lateral Thinking











Vertical thinking
classical
selective
steps continue one after another
analytical
sequential
may use negation
logical
uses categories and
classifications
follows the most likely paths, the
most probable direction
finite process with conclusion














Horizontal thinking
unconventional
creative, generative
seeks new ways
provocative
can make jumps
breaks all bans
illogical
disturbing elements are welcome
explores the least likely
prefers the most improbable way
original ideas
never ending process,
probabilistic
Synectics - William J. Gordon








Program to train creative thinking
Takes the idea from one context and place it into
another
Uses metaphors and analogy
Associative
Based on metaphor
Direct analogy
Personal analogy - personified analogy
Compressed conflict - collision of contradictions
Sponsoring
Attracting Resources
Membership Programs
High actives
 Moderate actives
 Inactives

Membership Benefits








Free admissions
Discounts
Conveniences
Social events
Education
Information
Recognition
Gifts
Attracting Members
Mass marketing approach
 Segmenting and targeting approach

Attracting and Motivating Donors
 Stages
of Fundraising:
Begging
Collections
Campaigning
Development
Sponsor vs. Donor
Gaius Cilnius Maecenas (70 – 8 BC)
 Confidant and political advisor to Octavian
(Emperor of Rome as Caesar Augustus)
 Synonym to "patron of arts"
 Famous literary circle, which included
Horace, Vergil, and Propertius

Sponsoring
is a relationship between equal partners
sponsor and sponsored
 both of them are seeking to gain an
advantage
 is not a donation

Sponsor is seeking
Image
 Publicity
 Contacts

Sponsored is seeking
Money
 Goods
 Services

Sponsored organization offers
Image
 Product
 Audience (customers)
 Publicity

Triangle
Sponsor
 Sponsored
 Media

Can be sponsored:
Person (artists)
 Group, team
 Organization
 Exhibition, program
 Event

Sponsoring Targets
Familiarity
 Favorable attitude
 Image
 Goodwill
 Breaking through communication barrier
 Motivation of employees

Target Groups
Consumers
 Governments and authorities
 Employees
 Media

Geographical Target
World
 Country
 Region
 Local

Conditions of Concept
Credibility
 Uniqueness
 Publicity
 Ethics

Types of Sponsoring








One-time
Long-time
Money
Barter
Investments
Co-sponsoring
Exclusive sponsoring
Name holders
Sponsor Chooses
One or more projects
 Target groups
 Number of addressed
 Visibility in media
 Methods of presentation
 Breaking through communication barrier

Pricing Sponsoring
Unimportant cost
 Assets for sponsor
 Publicity and its effectiveness
 Informal contacts

Marketing Strategies
Analyses, Planning
Strategic Planning

The strategic market planning process
(SMPP) allows museums to shape, plan,
and implement their missions, offerings,
and the markets to be served.
Marketing takes place when
following conditions are met:






At least two parties are involved
Value to offer the other party
Ability to deliver the value
Benefit or satisfaction from the exchange
Each party is free to accept or reject an offering
Appropriate and desirable to deal with the other
party
SWOT Analysis
SWOT Analysis

Internal Resources Analysis
 Strengths
 Weaknesses

External Resources Analysis
 Opportunity
analysis
 Threat analysis
Programs
Museum reputation
 Core product quality (exhibits)
 Interpretative quality
 Orientation quality
 Volunteer services quality
 New exhibit development

Marketing
Image effectiveness
 Public perceptions of accessibility
 Promotion effectiveness
 Pricing effectiveness
 Product mix

Finance








Cost/availability of capital
Cash flow
Financial stability
Fundraising effectiveness
Government support
Earned income support
Corporate support
Individual giving
Organization






Visionary, capable leadership
Dedication of employees
Entrepreneurial orientation
Innovativeness
Staff responsiveness to public service,
educational outreach
Flexibility and responsiveness
Environmental Analysis
Internal environment
 Market environment
 Regulatory environment
 Competitive environment
 Macroenvironment

Market Environment
Museum visitors
 Members
 Community residents
 Stakeholders
 Volunteers and activists
 Donors
 Media

Competitive Environment
Desire competitors
 Generic competitors
 Form competitors
 Enterprise competitors

Macroenvironment
Threat analysis
 Opportunity analysis

Internal Resources Analysis
Strengths
 Weaknesses

SWOT



Programs
 Museum reputation
 Core product quality (exhibits)
 Interpretative quality
 Orientation quality
 Volunteer services quality
 New exhibit development
Audience development
 Visitorship level
 Visitorship diversity
 Repeat visitorship
 Visitor service quality
 Membership program quality
Marketing
 Image effectiveness
 Public perceptions of accessibility
 Promotion effectiveness
 Pricing effectiveness
 Product mix


Finance
 Cost/availability of capital
 Cash flow
 Financial stability
 Fundraising effectiveness
 Government support
 Earned income support
 Corporate support
 Individual giving
Organization
 Visionary, capable leadership
 Dedication of employees
 Entrepreneurial orientation
 Innovativeness
 Staff responsiveness to public service,
educational outreach
 Flexibility and responsiveness
Offerings ►
Existing
Modified
New
1. Market
penetration
4.
Modification
for existing
markets
7. Product
innovation
Markets ▼
Existing
Geographical 2.
5.
Geographical Modification
expansion
for dispersed
markets
8.
Geographical
innovation
New
9. Total
innovation
3. New
markets
6.
Modification
for new
markets
Marketing Plan Structure

Introduction

Executive summary
 Main goals and
recommendations

Current marketing situation

Problems to solve
 Objectives

Analyses








SWOT
Customers
Competition
Marketing strategy
Budget
Controls
Implementation
Conclusion

Marketing strategy
 Product
 Price
 Place
 Promotion
 Advertising
 Sales promotion
 Public relations
 Personal selling
 Direct marketing
Remember the Audience










Exhibitions don't tell, they show
Exhibitions are provocative, not comprehensive
Effects affect
Match media with message
Exhibitions should not remain unchanged
Rotate, modify exhibitions
Refresh and plan new exhibits
Upgrade existing ones
A good question is better than a declaration
Interaction, unexpected connections, surprises,
humor
Conclusion
Marketing's role has to be seen as one
of supporting a museum's objectives.
 Marketing does not define the
museum's objectives.
 Marketing assists an organization in
achieving its objectives towards
customers.

Thank you for your attention
More detailed information can be found on the
Internet:
http://info.sks.cz/users/jo/
For English click to:
ENGLISH PAGES ART MARKETING
or in the book: JOHNOVÁ, Radka.
Marketing kulturního dědictví a umění.
Art marketing v praxi. Praha:
Grada Publishing, a.s., 2008. 288 s.
ISBN 978-80-247-2724-0.
(The book is available in Czech only)