arts public relations

7/29/2019 Arts Public Relations

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ARTS

MARKETING

& PR

Specialist Public Relations (SPR)
http://en.wikipedia.org/wiki/File:Aesthetica-2010.jpghttp://en.wikipedia.org/wiki/File:Aesthetica-2010.jpghttp://en.wikipedia.org/wiki/File:Aesthetica-2010.jpghttp://en.wikipedia.org/wiki/File:Aesthetica-2010.jpg


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Contents

Definitions and categorising the arts

Factors affecting the arts

Arts and the creative industries

Concepts of culture high vs popular

Relationships, loyalty and audiences

Role of public relations in the arts -

strategies and tactics


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Examples

The Lowry wide variety of arts

http://www.thelowry.com/

Film and museums http://www.londonfilmmuseum.com/

Music http://www.edinburghfestivals.co.uk/festivals/jaz

z-and-blues-festival
http://www.thelowry.com/http://www.londonfilmmuseum.com/http://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.londonfilmmuseum.com/http://www.thelowry.com/


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What makes the arts different?

Who are the target publics?

What do people want or need

from the arts? Is this different from a product

or service? If so, how?

What are the key elements youneed to focus on when

promoting an art form?


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Definition

Arts marketing is an integrated

management process which sees

mutually satisfying exchange

relationships with customers as the

route to achieving organisational

and artistic objectives

(Hill et al 2003: 1)


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Arts growth - Glastonbury

1970 - started 19th

September - the day afterJimi Hendrix died. Ran overa 2 days. Acts included MarcBolan.

Attendance: 1,500.

Price: 1 including free milkfrom the farm. 2010

7 main stages, hundreds ofacts including ScissorSisters, Muse, DizzeeRascal, Stevie Wonder.

Attendance 135,000.

37,500 passes (for crew,performers, stewards,

traders)


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Arts growth

FestivalsEdinburgh Fringe Festival http://www.edfringe.com/

Largest arts festival in the world

August - 3 weeks in Scotlands capital city. Started 1947 with 8 theatre groups now 2,400 shows

Theatre, comedy, dance, physical theatre, musicals, operas,music, exhibitions and events.

Thousands of performers, multitude of stages all over

Edinburgh, from big names to unknown artists Millions of visitors

Also hosts International Film Festival, Jazz Festival, and BookFestival

http://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-

festival
http://www.edfringe.com/http://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edinburghfestivals.co.uk/festivals/jazz-and-blues-festivalhttp://www.edfringe.com/


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Museums/galleries - 1billion

Museums and galleries generate 1bn for UK economy(BBC 2010)

Overseas visitors to the UK's major museums andgalleries boosted the nation's economy by 1bn in 2009

Of about 30 million visits made to the UK last year, over athird included a trip to a leading cultural institution

French tourists paid the most visits to museums, whileholidaymakers from the US favoured art galleries.

BIGGEST VISITORS TO THE UK'S GALLERIES AND MUSEUMS

United States - 1.52m visits

France - 1.42m visits

Germany - 1.13m visits

Spain - 0.92m visits

Italy - 0.69m visitsSource: VisitBritain

The

National

Gallery


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The arts...

The arts play a powerful role in society Overall growth within the arts, leisure and

entertainment sectors is a worldwide trend andthere is an increasing need for public

relations and marketing communicationsexperts to understand the dynamics of thisincreasingly fragmented and competitiveenvironment.

Beresford and Fawkes (2006: 598)


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Categorising the arts (McCarthy 2001)

Performing Theatre

Dance (ballet,

modern, folk etc)

Music (symphony,

jazz, popular etc)

Opera

Media Installation art

Film (narrative,documentary, avantegarde etc)

Digital

Visual Painting

Sculpture

Crafts (ceramics,weaving etc)

Literary Fiction

Poetry

Novels, plays,

poems


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Diversity of arts & cultural areas

Performing arts, visual arts, craft, fashion

Media, film, TV, video

Museums, artefacts, archives, design

Libraries, literature, writing, publishing, Heritage, architecture, archaeology

Sports events, facilities, sports developments

Parks, recreation, wildlife habitats, countryside

recreation Tourism, festivals and attractions

Informal leisure pursuits(www.culture.gov.uk)


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Entertainment

Covers film, broadcast TV, print and publishing, television

(satellite, cable, digital, terrestrial), books and magazines,

music, video and games

e.g. TV massive changes to the industry, 24-hour news

and culture, expansion of viewer choice via hundreds of

channels, access to global media via internet, downloading

e.g. Film art house, commercial cinema, film production,

film distribution.

Key aim of public relations and marketing is to generate

interest in the film to ensure audiences attend the movie

in the first week of its release also growing recognition

word of mouth is a powerful endorsement tool to

maintain audience figures


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Factors affecting the arts...

Socio-cultural factors

leisure trends - growth of tourism and the service

sector, success of commercial leisure industries

age, gender and ethnicity ageing population and

longer active lives for retired people; more working women familytime precious; multicultural society all provide challenges andopportunities for arts organisations

Technology

1990s key development - introduction of computerised ticketing

systems and customer databases track audiences and targetwith direct mail integrated systems that are customer centred

new technology e.g. websites powerful tool - shop window anddelivery platform, online booking, auditorium views to aid choice

social media (email, text, Facebook, Twitter etc) new ways totarget audiences and start a two-way dialogue, generate word ofmouth, create a buzz


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Factors affecting the arts...

Political environment For arts, exists at 3 levelslocal, national and international.

Local authorities help support subsidised arts, key stakeholders inlocal arts part of local civic identity.

Nationally arts worth promoting for social value aids socialinclusion, brings economic benefits, encourages active participation wellbeing.

Economy

Strong commercial sector in London, large subsidized sector

regionally.Arts closely allied to larger industries broadcastmedia, publishing and recording, sport and leisure, tourism

Recession & cuts e.g. Oct 2010 Arts Council England (ACE) -which distributes money to hundreds of arts venues, theatre groupsand galleries - will have its budget cut by 30% from a governmentgrant of 449m to 349m by 2014. UK Film Council also being

axed despite success of investment in The Kings Speech.


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Arts & creative industries

Arts also part of the the creative industries

13 creative industries (CI) sectors: advertising,

architecture, art and antiques markets, computer and video

games, crafts, design, designer fashion, film and video,

music, performing arts, publishing, software, television and

radio (DCMS 2008).

Those industries which have their

origin in individual creativity, skilland talent and which have a potential

forwealth and job creation through

the generation and exploitation of

intellectual property.(Department for Culture, Media and Sport - DCMS)


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Creative industries in the UK

UK has the largest creative sector in the EU

The size of the creative industries is comparable to the

financial services sector. They now make up 7.3% of the

economy, and are growing at 5% per year (almost twice therate of the rest of the economy)... the creative economy

employs 1.8 million people. Rt Hon Tessa Jowell, MP (DCMS2007:6).

creative economy sees high growth & consumer spending.

British, Americans and Japanese spend more on

entertainment than on clothing or healthcare.

creative economy grew four times fasterthan

manufacturing in OECD countries during 1990s (Howkins 2001).


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Creative industries in the North West

North West a key region for arts & creative industries

Liverpool European Capital of Culture 2008.

Arts Council England (2008) invested 72m in NW

BBC relocation of 1,500 jobs to SalfordQuays, 2011

North West is estimated to

contain the second largest

sector of digital and creativeindustries in Europe with

more than 321,000 people

working within these areas

(Englandnorthwest, 2010).


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Marketing the arts

Arts organisations produce cultural goods and compete with

each other for consumers attention (Kotler 1975)

Arts marketing & public relations should start with the product

and find customers for it, than react to market demand

Role - match artists creations and interpretations with an

appropriate audience (Mokwa et al 1980)

Aim bring people into contact with the artist (Diggle 1984)

BUT - limits marketing and public relations to little more than

selling tactical process for finding audiences for existing work.

More realisticpublic relations needs to balance

organisation and customers needs, address a wide range

of stakeholders, and create and maintain long-term

relationships. Needs strategic planning approach.


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PR's role in the arts

Task of communications professional working inarts, entertainments, leisure and popular culture isto understand:

the creative product the aspirations of the creative producers

customers desires and expectations from thearts experience.

Arts public relations and marketing should put theartist and the cultural product at the forefront ofplanning, unlike conventional marketing which

focuses on the consumer


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Concepts of culture

Culture is about a shared experience which uses

symbols to express different values

Culture is the social production and

reproduction of sense, meaning and

consciousness (OSullivan et al. 1994)

Many interpretations of culture, dependent on the

viewpoint of different theorists e.g. culture

reflecting power divisions within societies, the use

of semiotics, postmodernism.


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Distinction between

High Art vs Popular Art

Developed in Europe and US in 19th century

High art internal vision of the artist.

Artistic product has a unique and personal meaning.

Artist not thinking of the consumer purchase.

Art is for contemplation and enlightenment e.g. Opera, sculpture

Popular culture focus placed on consumer and meaning isdetermined by how they consume the cultural product.

Desires and needs of consumers are paramount.

If consumers change what they want, the producer will give thema new popular cultural product.

Art is for entertainment and use e.g. music hall or X-Factor

This changed with the rise of popular culture and the massmarket, led by mass media mass produced art e.g. reproducedmusic and works of art, filmed theatrical performances


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Cultural consumers

Today breakdown in distinction between high andpopular culture easy availability of all types of culture.Freedom to enjoy variety of cultural experiences, createown meaning.

Wider access free museums, subsidised tickets foryoung people, access a cultural buffet from across theworld via internet

Emergence of the cultural consumer - result of thecurrent generation not being socialised to view high art as

inherently more valuable than popular culture travel,communications, technology etc expose people to widercultural traditions and influences

Cultural consumers want to engage with all types of arthigh and popular, and want both western and foreign

cultural experiences


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Marketing in the Arts

Range of arts marketing litsuggests over-emphasis on promotional

tactics (Hill et al., 2003) to sell the show

Differences in PR and marketing approaches for arts: transactional marketingshort timescale focus -

single ticket purchase, product features, little emphasison audience service, limited audience commitment &contact, quality is concern of production.

relationship marketing- long timescale focus aboutaudience retention, product benefits, high audienceservice emphasis, high audience commitment &contact, quality is concern of all (Christopher, Payne &Ballantyne 1991)

L t l ti hi


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Long-term relationships

& loyalty

Marketing approach will influence the type ofpublic relations practised purely promotionaltactics or building relationships?

Relationship marketing is needed to build audienceloyalty to increase frequency of attendance(Rentschler et al. 2002).

Public relations aimbuild long-term

relationships and audience loyalty Loyalty - a feeling of attachment to or affection

for a companys people, products, or servicesand outcome of a relationship built on shared

values, trust and commitment.


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Role of PR identify range of

audiences and publics first

One key difference for arts PR - target publics

Input publics who supply the resources e.g.playwrights, composers, artists

Internal publics who convert the resources intouseful services or offers (performances) e.g.performers, staff, board of directors, volunteers

Intermediate publics who communicate these

services e.g. PR agencies, advertising agencies,critics

Consuming publics who consume the activitiese.g. audiences, media

(Kotler and Scheff 1997)

Si l t k h ld


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Simple stakeholder map

Board of

directorsManagement

and staff

Corporate

sponsors

Artistic directors,

composers and

choreographers

Funders -

individualdonors; private,

public and

corporate

funding

Volunteers

Govt agencies

and interest

groups

General

audience

Trade

unions

Competition

Performers

Media

Beresford and Fawkes (2006: 607)

Businesses

Arts

Industry

Friends

Arts

organisation

R l f PR i h


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Role of PR in the arts

& creative industries

to understand, translate and capture audiences for thecreative professionals working in these areas

create long-term relationships to increase attendance

focus on promoting the arts experience employ full range of public relations tools

understand niche promotional channels - conventionalmedia & specialist journalists/media e.g. Aesthetica

increasing cross-over between leisure, arts and

entertainment PR e.g. artists are celebrities, celebritiesendorse a range of products from perfume to insurance toadd glamour, sports stars support artistic ventures etc.

challenge for PR practitioner- keep up to date with newand fashionable trends in artistically focused industries


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PR strategies for arts organisations

Media relations steady output of information andstoriesdrip-drip-drip approach to maximise mediaattention before and after production and publicperformance

Target print, broadcast, radio and internet mediapossibly over long term e.g. 2-3 year campaign for film

Online websites, fansites, ongoing communication withconsumers/fans e.g. via e-newsletters, concert updates,ticket promotions, competitions

Branding - PR as part of the brand strategy anddevelopment e.g. to position a brand in the arts sector,work with celebrity brands and brand personalities

Events announcements, press conferences, previews,awards ceremonies, special appearances

Beresford and Fawkes (2006)


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Arts PR example: The Oscars

The Academy Award (Oscar) - recognizesexcellence of professionals in the film industry,including directors, actors, and writers.

most prominent award ceremonies in the world,televised live in more than 200 countries

studios spend millions of dollars and hirepublicists specifically to promote films duringthe Oscar Season

gain huge positive exposure and prestige

but accusations that the Academy Awards are

influenced more by marketing than quality American viewers 2011: 37.63 million

"the greatest promotion scheme thatany industry ever devised for

itself."
http://www.zimbio.com/pictures/avFdiubKlB1/81st+Annual+Academy+Awards+Show/-AgNOPQQqxq


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References

Beresford, S. and Fawkes, J. (2006) Arts, leisure and entertainment public relations in Tench, R. and Yeomans, L.(eds) Exploring Public Relations. Pearson Education: Essex. pp.598-617.

Christopher, M., Payne, A., and Ballantyne, D. (1991) Relationship Marketing. Bringing Quality, Customer Service andMarketing Together, Butterworth Heinemann, Oxford.

Cooper, P. And Tower, R. (1992). Inside the consumer mind: consumer attitudes to the arts. Journal of the MarketResearch Society. Vol. 34. No. 4. Pp299-311

DCMS (2007).Staying ahead: the economic performance of the UK's creative industries. Department for Culture,Media and SportPP1041 June 2007. Available at: www.culture.gov.uk/reference_library/publications Accessed 15 June

2008. DCMS (2008) Creative Industries. Department for Culture, Media and Sport.Available at:www.culture.gov.uk

Accessed 15 June 2008

Diggle, K. (1984). Guide to Arts Marketing. Rhinegold.

Englandsnorthwest (2010) Your Business in Englands Northwest.Available from http://www.englandsnorthwest.com/Accessed 13th March 2010

Hill, L., OSullivan, C. and OSullivan, T. (2003). Creative Arts Marketing. Second edition. Butterworth-Heinneman:Oxford

Howkins, J, (2001). Money for new rope. Independent on Sunday, 10 June, 11-16.

Kolb, B.M. (2005). Marketing for Cultural Organisations. 2nd edition. Thomson Learning: Ireland.

Kotler, P. (1975) Marketing Management: analysis, planning and control. 3rd ed. Prentice Hall: London.

Kotler, P. and Scheff, J. (1997). Standing room only: strategies for marketing the performing arts. Boston, MA: HarvardBusiness School Press

Mokwa, M.P., Dawson, W.M. And Prieve, E.A. (1980) Marketing the Arts. Praeger: New York

Rentschler, R., Radbourne, J., Carr, R. and Rickard J. (2002). Relationship marketing, audience retention andperforming arts organisation viability. International Journal of Nonprofit and Voluntary Sector Marketing, Vol. 7 No. 2
http://www.culture.gov.uk/reference_library/publicationshttp://www.culture.gov.uk/http://www.englandsnorthwest.com/http://www.englandsnorthwest.com/http://www.culture.gov.uk/http://www.culture.gov.uk/reference_library/publications

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