Standing Room Only: Marketing Insights for Engaging Performing Arts Audiences

ISBN-13: 9781137282934 / Angielski / Twarda / 2014 / 408 str.

Joanne Scheff Bernstein

Opis

Standing Room Only combines practical advice for creating a strategic marketing program and maintaining a successful performing arts organization. This revised edition lays out a framework to navigate the digital age, from online ticketing options, to marketing options in social, and mobile media.

Recenzje

'Bernstein's book is equally valuable to professional arts managers who are looking for solutions to their marketing problems as it is to students who want to learn arts marketing principles for the first time. But what makes this book unique is that Joanne truly believes in the fundamental greatness and power of the arts to positively affect the people and society. She challenges us to believe in it too, and then tells us how to effectively communicate that greatness to our potential audience.' Miho Ito, Arts Bridge, Inc. (Tokyo)

'The best 'crash course' in audience development in the arts there is. If you're a busy executive, you owe it to yourself to read it. You'll find compelling strategies and tried-and-true techniques, and you'll quickly see why this should be required reading for all new hires, as well as your Board. Don't reinvent the wheel find out what really works!' Eugene Carr, Founder & CEO, Patron Technology

'In this second edition of Standing Room Only, Bernstein includes a new paradigm for engaging consumers through social media, website development, online ticketing, blogs, email and mobile phone marketing. A compelling read and a global 'call to action' compulsory reading for all involved in marketing the arts.' Jennifer Radbourne, Emeritus Professor, Deakin University, Australia

'An extraordinary guide for every marketing manager who wants to develop arts audiences. Anyone interested in the value of marketing in the arts should not miss this book.' Lanfranco Li Cauli, Head of Marketing, Piccolo Teatro di Milano, Italy

'Having already devoured the first edition of Standing Room Only, there is a wealth of updated and new information in the second edition. A great guide to all aspects of marketing. It's like having your own consultant sitting on your bookshelf.' Andreas Mitisek, Artistic & General Director, Long Beach Opera / Chicago Opera Theater

Spis treści

Introduction 1. The Performing Arts: History And Issues; An Ongoing Crisis? A Growing Crisis? 2. The Evolution and Principles of Marketing 3. Understanding the Performing Arts Market: How Consumers Think 4. Exploring Characteristics of Current and Potential Performing Arts Attenders 5. Planning Strategy and Applying the Strategic Marketing Process 6. Identifying Market Segments, Selecting Target Markets, and Positioning the Offer 7. Conducting and Using Market Research 8. Using Strategic Marketing to Define and Analyze the Product Offering 9. Managing Location, Capacity, and Ticketing Systems 10. Delivering Value and Maximizing Revenue Through Pricing Strategies 11. Identifying and Capitalizing on Brand Identity 12. Formulating Communications Strategies 13. Delivering the Message: Advertising, Personal Selling, Sales Promotion, Public Relations, and Crisis Management 14. Harnessing and Leveraging the Power of Digital Marketing Methods 15. Building Audience Frequency and Loyalty 16. Focusing on the Customer Experience and Delivering Great Customer Service 17. Audiences for Now; Audiences for the Future

O autorze

Joanne Scheff Bernstein was coauthor of the acclaimed first edition of Standing Room Only and author of Arts Marketing Insights. One of the world's leading arts marketing authorities, she is a well-known educator, arts manager, and consultant to the arts management community. She was Professor of Business Institutions at Northwestern University, taught arts management at the Kellogg Graduate School of Management, has taught at Bocconi University in Milan and was a Fulbright Senior Scholar at the Helsinki School of Economics. She has been a frequent speaker across the United States and internationally, including engagements in Seoul, Tokyo, Moscow, Sydney, and Copenhagen. She served as executive director of a symphony orchestra and a dance company, and has consulted extensively with diverse non-profit arts organizations.