INTERNATIONAL WORKSHOP about New marketing approaches in Museums, Heritage and Performing Arts, Turin, 22nd 24th January 2004, Fondazione Fitzcarraldo

The first workshop on new marketing approaches organized by the Fondazione Fitzcarraldo in Torino gave the chance to connect practitioners and researchers from all around the world. Under the guidance of Prof. Neil Kotler and Prof. François Colbert the challenges that cultural organizations face nowadays were identified and suitable strategies discussed.

Nonprofit performing arts didn't have good, reliable research on attendance or it's audience -- until now. The Performing Arts Research Coalition chose 10 cities around the country for an in-depth study including Austin. The study found that 75 percent of Austinites attended a dance, opera, symphonic concert or theater performance in the last year.

This study had two objectives: to review the concept of cultural marketing as applied to museums; and to analyse the management and marketing strategies of cultural entities, museums in particular. The authors sought to identify the marketing tools and resources used in the museum sector by means of a questionnaire mailed out to all of the major museums in Catalonia.

This paper examines the relationship between consumer satisfaction and subsequent intentions in the museum context, as well as the moderating influence of demographic characteristics such as gender, age and education in that relationship. The relationship between satisfaction and a range of service elements, overall satisfaction with the experience and intentions was investigated. Museum marketers can profit by examining the value chain of museum experience outlined in the model presented, especially the greater likelihood of consumers recommending the experience to others than making a repeat visit themselves, and by investigating segment differences beyond those reported here.

In Britain, developments at the sharp end of arts management have been intensely controversial. Artists and arts workers have been highly critical of the way that management techniques have been imported into their organizations from the corporate sector, often with counterproductive consequences. Acknowledging their concerns, this paper argues that exchanges between management and the arts can usefully be developed in a two-way rather than predominantly passive or one-way fashion, with arts and other organizations drawing managerial value directly from artistic traditions and creative practices.

A thorough understanding of the creative process is key to social production in the television and film industry. The work carried out in complex environments as reflected by the number and variety of employees, type of organization and organizational relationships is described as craft-like, non-routine, unpredictable, and characterized by ambiguity, informality and negotiation. The creative process is described as one in which there is a division of labour, the absence of control, team work and a need for creative skills. The dynamics of the creative production process are intertwined with some basic necessary conditions, like having the right team members, and a series of possible consequences, like trust being present or having a positive perception of the outcome of the project, which brings an overall unity to the creative process. This reflection points to the need for increased understanding of the dynamics of the creative process.

Performing arts organizations are increasingly looking to build endowments as a means of stabilizing revenue flows. The authors report on a study of 272 arts-presenting organizations, some of which have built a substantial reserve while others have no savings at all. They hypothesize that the haves differ from the have-nots on seven factors: whether the organization is free-standing or part of a larger entity; the organizations age; budget size; whether the organization owns or rents its primary venue; the size of the board of directors; number of institutional donors; and proportion of revenues derived from donations. They conclude that the haves are larger organizations with large boards and a substantial number of institutional donors, factors that point to the value of budget size, network contacts and institutional legitimacy in the accumulation of investment capital.

Framed prints for art lovers, science kits for budding Einsteins, historically accurate reproductions for history buffs for unusual gifts that also give back to local cultural institutions, museum stores are the place to shop this holiday season.

A submission for the "White Book on Cultural Industries", Institut Català de les Industries Culturals, by Mark J. Schuster

On Sept. 22, 1999, New Yorks Mayor, Rudolph Giuliani, strode into a press conference to publicly attack the Brooklyn Museums not-yet-opened show of Charles Saatchis collection of British artists. The Mayors threats ignited a firestorm of controversy that finally burned itself out six months later, when a settlement was reached in federal court that ended legal hostilities with the museums free speech rights affirmed and its funding saved, at least for the immediate future.

"Culture matters" - this has become more and more of a certainty in the development policy debate in recent years. Cultural values, beliefs and view points are key influences on political, economic and social development.
The publication "Culture is not a luxury" was released by the Swiss Agency for Development and Cooperation and is available for free at their website (publication section)

NEW YORK, December 2003 - New York cultural leaders are optimistic about the future of the industry. According to the most recent DHR International cultural confidence survey, the index is now at 57, as compared to 30 when these were leaders polled in the spring (the index is measured on a scale of 1 to 100, with 50 as neutral and 100 as most optimistic). The majority of those surveyed believe that attendance, fund raising, their organizations overall performance and that of the industry will improve over the next six months.

CHICAGO, December 2003. Cultural leaders surveyed recently in Chicago are optimistic about the future for the industry and the confidence index is now at 62 for the industry, according to the most recent DHR International cultural confidence index (the index is based on a scale of 1 to 100, with 50 as neutral and 100 as most optimistic). This is in comparison to a much more pessimistic view of the industry expressed six months ago, when the majority of the cultural leaders believed the future for the industry was pessimistic and the index was at an all time low of 40.

This paper will address the economic value of having photographic resources available in digital formats.

This work was carried out by the Research Center for Arts and Culture at Columbia University's Teachers College, under a cooperative agreement between the National Endowment for the Arts and the San Francisco Study Center. The data here represent the answers of Jazz musicians in New Orleans and the aggregated answers of jazz musicians in the 3 study cities. They cover questions regarding income, employment, teaching and mentoring, professional development, professional representation, union membership and personal and professional considerations.

While the Detroit Symphony Orchestra continues to bask in the glow of its new $60-million cultural palace, a sudden surge of red ink revives chilling memories of the bad old days.

The DSO will announce an operating deficit of nearly $2 million on a $28-million budget at its annual meeting of members on Wednesday, according to people with knowledge of the orchestra's finances.

The 47th Annual Conference of the Association of Performing Arts Presenters (APAP) - January 10-14, 2004 in New York - is the most important conference in the USA concerning bookings of concerts, dance and other performing arts. Many important venues are visiting, in order to talk to new artists, agents and network with other "presenters".

The newly amalgamated North West University (former Potchefstroom University for Christian Higher Education and the University of the North West) has started a brand new Institute for Arts Management and Development.

In an effort to give downtown Baton Rouge it's own distinctive character, city planners are creating a downtown entertainment district to encourage arts, culture and entertainment development. "Among the options for creating a district are tax incentives, rebates on building permits, zoning restrictions and extending the legal hours of operation for venues that serve alcohol."