1.Marketing Edinburghs Festivals: Cultural Tourism

2. History andContext 3. History and Context 4. History and Context1947 1950 1978 1983 1988 1990 1994 1995 5. Positioning: Research2007 20082009 2010 2011 2012 First definition of ourcultural, social andenvironmental impacts Scale & comprehensivenessof the study is unique Festivals have consistentlypositive impacts Festivals offer is trulydistinctive Economic impact of theFestivals continues to grow 6. Research:The Market 7. Research: AudienceAudience Profiling Demographic Socio-economic Motivations & behaviour 8. Research: Focus Groups Target markets Northern UK Cities South East of England Germany USA & Canada Aims to appeal to typicalfestival audiences Mosaic Group A:Alpha Territory Mosaic Group B:Professional Rewards Mosaic Group O:Liberal Opinions Focus groups Recent Attendees Potential Attendees 9. Decision making journey6 months3 months The Sunday Supplements are great when you have I read a review about a play at the time to browse you canTraverse Theatre in the Guardian and have a good look through so I booked it. them. (Non attender 35+) 10. Motivations Have friends in Edinburgh or friends are going Late night clubs, partying, non stop fun! Diversity of cultural experiences The beautiful city of Edinburgh Friendly people The atmosphere, great buzz Its cost effective many events are free Small city so easy to walk around, all contained The city is the backdrop for the festival Its unique General low awareness of more than Fringe Perceptions are of a busy city that is hard to navigate Just not got round to it Put off by the hustle and bustle and the expense 11. German Market Keep language simple or translate it Make sure it translates well Dont assume Germans know a lot about thefestivals Must work well online Transport magazines (rail) Consider Cologne and Bavaria region Cologne has a reciprocal state agreement with Scotland so there will be marketing opportunities Bavaria region, they are really into Scotland Baden-Wurttemberg is a wealthy untapped region 12. USA market Online will be key for this market The message must be communicated quickly The US family market will not be likely to considerthe Edinburgh Festivals Key NYC venues to promote festivals through Brooklyn Academy of Music Lincoln Centre New York magazine online (promotes other placesto visit at certain times of the year) Partner with airlines and tour operators 13. MarketingStrategy 14. Marketing Strategy Local [navigation] UK Europe Long HaulDigitalCampaignsTravel TradePRPartnerships 15. 1. Digital: Website2007 2008 2009 2010 2011 2012 From this.... Static Only fit for purpose in summer Listings but no ticket purchase 16. 1. Digital: Website2007 2008 2009 2010 2011 2012 To this... Year round offering clear Dynamic elements: social media integration Evergreen magazine content Itinerary planning Cross festival ticketing Festival showcase 17. 1. Digital: Content2007200820092010 2011 2012 From basic content onwebsite to: Year round magazine content: planning, booking, top tips Digital magazines showcase year round offering Video to add value and create interest All content used to power other channels, e.g. Facebook and Twitter Social tools announce key programme dates, tickets on sale etc Facebook planning app allows users to tell friends which shows they will be going to 18. 1. Digital: Partnerships200720082009 2010 2011 2012 From internal focus withlimited external partnershipsto: Working with key partners on Festival coverage, Festivals promotions and key new developments [eg Skyscanner] Organic (unpaid) support for Festival digital initiatives Integration with value added partners who provide content and/or services (eg Blipfoto) 19. 1. Digital: Traffic Drivers2007 2008 20092010 2011 2012 From SEO/PPC in 2008 to: broadening into social spaces such as Youtube and Facebook targeting international and London South East audiences digital integration into major consumer campaigns 20. 1. Digital: CRM2007 20082009 2010 2011 2012 From no database/messagingto: Using the website and major campaigns to acquire data Tailored communications based on user interest and preference Analytics links emails to ticket purchase, tracking effectiveness -2012 21. 2. PR20072008 2009 2010 2011 2012 From Agency model To Freelance model To in-house operation Travel/lifestyle press Not arts or news Not reviews Media events Support agencies mediavisit programmes Creation of content Long term strategy andplanning 22. 2. PR: Media Pitching20072008 20092010 2011 2012MARKET PUBLICATION/OUTLETNYT, USA Today, Washington Post, Marie Claire,NORTH AMERICAVillage Voice, Toronto Star, Globe & Mail, National - PrimaryPost GERMANYFrankfurter Allgemeine Zeitung, Der Spiegel, Der - PrimaryTagiesspiegel, Grazia FRANCE/ITALY/SPAIN Le Monde, Le Figaro, LEspresso, La Repubblica, El- Secondary Pais, El MundoAftonbladet, Expressen, SVT Sweden, De Telegraaf, SWEDEN/NETHERLANDS - SecondaryMetro EMERGING MARKETS Target primarily China & India depending on location - Tertiary of festival activity. 23. 2. PR: Media Pitching20072008 2009 2010 2011 2012Which arguments ticks boxes with international media? Affordable (e.g. Opera tickets start at 13) Equalitarian (for everyone) Non-language specific Global names of tomorrow Incredibly visualSome of the generic travel pitches: Ten reasons to come to Edinburgh Festivals 48 hours in Edinburgh Programme highlights See the hidden city through the festivals How to do the festivals for free Match best restaurants to best performances 24. 2. PR: Events2007 200820092010 2011 2012 Domestic - London LaunchEvent and Broadcast International - Events inBerlin, NYC, Washington,China and Sydney Hosted media events inNew York and Toronto,visited key travel writersand journalists Use of Ambassadors Broadcasting Strategy Commissioners Lunch 25. 3. Campaigns: Domestic200720082009 2010 2011 2012 VisitScotland/BritishAirways campaign Tube and Rail Time Out Partnership 26. 3. Campaigns: International2007 2008 2009 201020112012 VisitScotland/New York Visit Scotland campaign - 2011Times competition - 2010 27. 4. Travel Trade: Research200720082009 201020112012 To maximise features with tour operators. Info needed in Juneprevious year for subsequent summer product (price & info) Longer the lead, easier the sell (Expo) Longer runs useful - more worthwhile Unnamed show need the confidence in Festival/ Operator The only way to sell unnamed shows is via a pass Specific shows can be more tricky to sell to customer base Can we develop long runs thematic / via an event? Product development of a pass? 28. 4. Travel Trade: Product2007 200820092010 2011 2012 Trade exclusive product 3 shows in a day [9am-midnight From 42 net; freesale product Flexibility for operators to addmargin Fixed price, fixed itinerary In the know: tickets taken fromCritics Pick selectionsHassle-free: no time-consumingploughing through brochures,with fixed itineraryIdeal for short itineraries 29. LessonsLearnt 30. Lessons Learnt1.Divided by a common language2.Creation of evidence base3.Prioritise audiences4.Understand audience - behaviours, motivations and journeys5.Prioritise markets6.Understand markets behaviours, motivations and tailor messaging7.Promote on basis of brands not programmes [evergreen content]8.Content is king9.Constant communication data acquisition and CRM10. Ambassadors as communication relevance to markets11. Importance of digital and mobile [death of the app?]12. Development of collateral for use by partners [open up content]13. Importance of partnership campaigns greater use of limited resources14. Piloting new approaches to developing mutual beneficial cross-sectoralrelationships [London 2012 & Glasgow 2014]15. Collaboration is hard work and takes time [eg sign off]16. Success breeds ambition and evolution of innovation 31. Marketing Edinburghs Festivals:Cultural TourismQuestions and Answers