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Marketing for Cultural Organizations presents traditional marketing theory with a focus on the aspects most relevant to arts or cultural organizations. The book explains how to overcome the division between the concepts of high art and popular culture by targeting the new tech savvy cultural consumer. As arts patronage has declined, and given new technological advances, arts organizations have had to adapt to a new environment and compete for an audience. This edition emphasizes visitor or audience participation, as well as the use of social media in attracting and maintaining an audience. Learning to harness social media and technology in order to encourage a dialogue with its audience is of primary importance for arts organizations. This book covers: - Cost effective methods of researching the audience using technology - Developing a consistent, branded online message - Using social media to increase audience engagement, and involve them in the creative process With an approach that is jargon-free and focused on practical application, this book is designed for both undergraduate and graduate students of arts marketing and cultural management. Contents: 1. Cultural Marketing Challenges 2. From High Art to Popular Culture 3. The New Culture Participant 4. Marketing and the External Environment 5. Consumer Motivation and the Purchase Process 6. Consumer Segmentation 7. Researching the Consumer 8. The Product and the Venue 9. Pricing and Funding as Revenue Sources 10. Promotion of the Marketing Message Bonita M. Kolb is an Associate Professor of Business Administration at Lycoming College, USA. She has published in a number of leading journals and is the author of several books on marketing and non-profit management. \" Marketing for Cultural Organizations clearly and holistically addresses the current state of cultural organizations with invaluable insight on how to effectively market and engage with today's global, rapidly-evolving audiences. Kolb shares vivid case studies and provides practical examples, giving readers both the knowledge and tools to increase participation, communicate with diverse audiences, and build meaningful connections for their cultural organizations. A 21st century marketing tool-kit for anyone studying or currently working in the arts marketing or management field.\" - Ashley M. Berger, Senior Alumni Outreach Officer, Pratt Institute　 \"Dr. Kolb’s book, Marketing for Cultural Organizations , is an excellent tool for any student studying cultural marketing. Her perspectives on marketing for the cultural and nonprofit landscapes are informed by her international experience, a vital asset in this field today. Dr. Kolb offers incredibly helpful strategies for cultural organizations to succeed against the odds in a post-recession, cross-cultural, and cyber-preoccupied society, in this practical and accessible edition of Marketing for Cultural Organizations .\" - Jenny-Lind Angel, Arts Administrator \"A valuable guide to promotion for today’s nonprofits (of any size), Marketing for Cultural Organizations summarizes what’s core and critical to not only getting your message out there but also for it to stick. This should be recommended reading for all arts management professionals.\" - AV Goodsell, Friends of the High Line

\"The need for artists, musicians, actors, singers, designers and other creative individuals to understand basic business concepts so they can successfully pursue their chosen creative profession has only grown since the publication of this textbook, now in its third edition. This popular book teaches business concepts in a way that is relevant to the way that creative students learn. Providing an understanding of the fundamental skills of entrepreneurship, this book enables creatives to launch new businesses, run for-profit creative industries or manage nonprofit cultural organizations. The book leads the student through the entrepreneurial process starting with finding the right customers to pricing, distribution and promotion. This latest edition has been updated to account for significant changes in the creative industries that have been accelerated by the use of AI in the production of creative products, the challenge of pricing products within a range acceptable to consumers while accounting for the rising cost of production and the increasing need to use social listening skills and technology as a basis of consumer research. Weaving practical advice from successful creatives with pedagogical features such as 'Questions to Consider', 'Tasks to Complete', and 'Visualization Exercises', this textbook continues to be essential reading for creative students\"-- Provided by publisher.

Marketing for Cultural Organizations presents traditional marketing theory with a focus on the aspects most relevant to arts or cultural organizations. The book explains how to overcome the division between the concepts of high art and popular culture by targeting the new tech savvy cultural consumer. As arts patronage has declined, and given new technological advances, arts organizations have had to adapt to a new environment and compete for an audience. This edition emphasizes visitor or audience participation, as well as the use of social media in attracting and maintaining an audience. Learning to harness social media and technology in order to encourage a dialogue with its audience is of primary importance for arts organizations. This book covers: Cost effective methods of researching the audience using technology Developing a consistent, branded online message Using social media to increase audience engagement, and involve them in the creative process With an approach that is jargon-free and focused on practical application, this book is designed for both undergraduate and graduate students of arts marketing and cultural management.

Cultural marketing challenges -- From high art to popular culture -- The new culture participant -- Marketing and the external environment -- Consumer motivation and the purchase process -- Consumer segmentation -- Researching the consumer -- The product and the venue -- Pricing and funding as revenue sources -- Promotion of the marketing message

There is a general assumption that young people do not attend arts events because ticket prices are too high. To test the validity of this assumption, a survey of students' attitudes toward attending the performing arts was conducted. The data revealed that whilst students are concerned about cost, the major barrier is the perception that arts events are boring. It was found that students will purchase tickets for arts events that are perceived as entertaining and allow socialisation. This work continues the discussion contained in the recently published paper by John W. O'Hagan on equal participation in the arts.

Marketing is still too often thought of by cultural organizations as trying to manipulate the consumer into buying something they do not want. Because marketing developed as a business tool, cultural organizations may feel it is tainted by corporate greed. Of course, goods and services have been exchanged between individuals long before there were corporations with marketing departments. In fact, since marketing consists of making goods and services attractive and then communicating their availability to potential customers, most artists have also marketed. Artists have always needed someone to purchase their products, and marketing was used when artists tried to make what they produced attractive to those who might purchase. If artists did not wish to make the product attractive to buyers, they at least used marketing to communicate that their art was available.

Many theories on why individuals attend cultural events focus on a person's age, social class, education, and income level. Cultural organizations have particularly focused their promotional strategy on attracting different age groups. Therefore, the lack of attendance by the young has been of concern to cultural organizations for some time. What is new is that cultural organizations now must worry about declining attendance by older consumers. The decline in attendance at cultural events needs to be understood as resulting not just because people of certain age groups are not attending but rather as result of changes in consumers' attitudes and lifestyles. Consumers vary as to their emotional involvement with cultural organizations. Some people are currently culture consumers and will not progress to a deeper involvement with the culture organization, while some will want to fully engage. Cultural marketing has progressed from a model of expecting all consumers to love the art form to accepting consumers at whatever level of involvement they desire.

Cultural organizations have too often thought of marketing as only involving a product and its promotion. However, to develop a sound marketing strategy, the pricing of the product must be considered. Cultural organizations are not able to price their product so as no other revenue is needed to cover their expenses. If they could, they would then be a for profit business. Since non-profit cultural organizations cannot exist on direct revenue alone, they also receive funding from additional sources. Fundraising from the public and government grants are critical sources of revenue. However, pricing theory is still important to understand because the more revenue that can be obtained directly from customers, the less time and effort will need to be put into other forms of raising revenue. The days when cultural organizations could ignore the basics of pricing theory are gone. Pricing strategy, such as differential pricing, can even be used to motivate attendance at cultural events. Therefore, an understanding of the cost, competition, and prestige approach to pricing is necessary.

Few cultural organizations have an audience that consists of the broad spectrum of society that is the goal of their mission statements. The current audience for culture is skewed toward those from the upper social class with high incomes, who are older and well educated. Because the typical arts audience represents only a portion of society, the cultural organization needs to understand how to use segmentation to both increase and broaden its audience. Cultural organizations formerly thought of increasing the audience through audience development. This strategy relied on finding more of the same type of audience member. Instead, marketing needs to segment the audience based on demographic, geographic, benefit, and usage rate characteristics. Each unique segment will have similar characteristics and will share a similar motivation for attendance. The cultural organization can decide to concentrate on attracting a single segment with a marketing message. Or a larger organization may choose to attract more than one segment with unique messages for each. Whichever choice is made, the organization must develop a marketing message that will communicate the benefits sought by each segment. In addition, many cultural organizations choose to target tourists as a market segment.