Subject

Cultural Marketing

  • code 04012
  • course 1
  • term Term 1
  • type OB
  • credits 3

Main language of instruction: Spanish

Other languages of instruction: English

If the student is enrolled for the English track then classes for that subject will be taught in the same language.

Teaching staff

Head instructor

Lda. Joaquina BOBES - jbobes@uic.es
MsU Christoph Rudolf PASOUR - crpasour@uic.es

Office hours

 To be set with the teachers before or after the classes:


Introduction

There is no question if a novel is amusing, it wins the approval of a public…I believe, however, that to say ‘‘if a novel gives the reader what he was expecting, it becomes popular’’ is different from saying ‘if a novel is popular, this is because it gives the reader what he was expecting of it’. The second statement is not always true. Umberto Eco

One of marketing’s most relevant axioms is that to be successful, a product must satisfy some need or desire in the marketplace. Conventional marketing wisdom holds that customer orientation provides a firm with a better understanding of its customers, which subsequently leads to enhanced customer satisfaction.

Traditional marketing is considered a process associated with promoting the sale goods or services, and is considered a social and managerial process by which individuals and groups obtain what they need and want through creating and exchanging products and values with others. Therefore it is a market-focused marketing.

Cultural marketing is, generally, considered a process associated with promoting the sale cultural goods or cultural services, considered a social and managerial process by which managers search the audiences for their cultural goods and services. Therefore, cultural marketing is generally product-oriented.

This seminar is designed to observe the delimitation of cultural marketing from a general and traditional marketing perspective, underlining specificities and special goals, as well as observing the specific challenges that cultural marketing has to face nowadays.

The structure of this seminar is organised in four modules; the first is based on the theoretical background of traditional and cultural marketing; the second focuses on the elements of marketing mix; the third is based on the marketing plan and its characteristics in museums and events as well as in performing arts; and the last module focuses on four different case studies (TBC).

Pre-course requirements

The same as for the Master's Degree. 

Objectives

  • To understand the main concepts related to marketing and their specificities to cultural marketing.
  • To have the ability to develop a marketing plan.
  • To gain methodologies to analyse and evaluate culture.

Competences / Learning outcomes of the degree programme

Basic competences

  • To have and understand knowledge which provides a grounding or opportunity to be original in terms of the development and/or application of ideas, often in a research-based context.
  • To know how to apply the knowledge acquired and the ability to resolve problems in new or little known environments within broader or multidisciplinary contexts related to the area of study.
  • To have learning skills which allow students to continue to study in a way that will be mainly autonomous or self-directed.
General competence To analyse and interpret social and cultural environments in order to identify needs, opportunities, weaknesses and strengths. 

Cross-disciplinary competence

To design, direct, produce and evaluate projects, programmes, strategies, policies or cultural actions which involve a wide variety of different professional profiles, agents and institutions. 

Specific competence
To analyse, apply and evaluate marketing strategies in different sectors, institutions and cultural projects and organise a basic communication strategy for a cultural institution or project.  

Learning outcomes of the subject

The student:
  • Has and understands knowledge which provides a grounding or opportunity to be original in terms of the development and/or application of ideas, often in a research-based context.
  • Knows how to apply the knowledge acquired and the ability to resolve problems in new or little known environments within broader or multidisciplinary contexts related to the area of study.
  • Has learning skills which allow them to continue to study in a way that will be mainly autonomous or self-directed.
  • Analyses and interprets social and cultural environments in order to identify needs, opportunities, weaknesses and strengths. 
  • Designs, directs, produces and evaluates projects, programmes, strategies, policies or cultural actions which involve a wide variety of different professional profiles, agents and institutions. 
  • Analyses, applies and evaluates marketing strategies in different sectors, institutions and cultural projects and organise a basic communication strategy for a cultural institution or project.  

Syllabus

1. Marketing Introduction: evolution, fundamental concepts, specificities of cultural marketing
2. Marketing Plan: strategic and tactical marketing, implementation and evaluation
3. Cultural consumption
4. SWOT analysis (Strengths, Weaknesses, Opportunities and Threats)
5. Consumer behaviour
6. Strategical marketing: mission, vision and institutional value
7. Segmentation: loyalty, engagement and audience development
8. Competence and positioning
9. From service to experience
10. Ticketing
11. Digital marketing
12. Management and evaluation of digital marketing
13. Market analysis techniques and methodologies

Teaching and learning activities

In person

We expect the students to expand the content provided by the professors during the sessions by searching for information on the Internet as well as with readings, to be able to complete this knowledge. We will provide bibliography and some articles will be suggested to introduce the student to the specific issues addressed. Also, the student is expected to provide their findings on particular sites or readings that can enrich the group.

Learning will be organised into:

  • Lectures: plenary sessions where the content of the course will be explained. Students are invited to ask questions and express their concerns during the session.
  • Tasks in class (undertaking practical exercises): seminar sessions to do exercises based on the content we talked about.
  • Meetings (tutorials): in the seminars, to supervise all tasks (both individual and in groups).
  • Tasks at home (independent work by the student): preparation of the final assessments based on the content of the course.

Evaluation systems and criteria

In person

The evaluation of this seminar is divided into two parts:

  • Oral assessments (45%)
    1. Attitude, cooperation, participation and argumentation in class (20%)
    2. First approach: oral presentation about a case study marketing action related to culture in your country. (to be developed in a group of 2 or 3) (25%)

 

  • Written assessments (55%)
    1. Exam (individually) (30%)
    2. Marketing Plan (to be developed in a group of 2 or 3) (25%)

Bibliography and resources

Basic references

  • KERRIGAN, F., FRASER, P., ÖZBILGIN, M.,(2004) Arts Marketing. Oxford: Elsevier
  • KOTLER, N., KOTLER, P., KOTLER, W.: (2008) Museum marketing and strategy. San Francisco: Jossey-Bass
  • KOTLER, P.; (2004) Marketing de las artes escénicas. Madrid : Fundación Autor
  • KOLB, Bonita M. ;(2000) Marketing Cultural Organisations New Strategies for Attracting Audiences to Classical Music, Dance, Museums, Theatre and Opera. Oak Tree Press
  • MACDONNELL, J.; (1986) Performing arts marketing. Confederation of Australian Professional Performing Arts
  • O’REILLY, D., KERRIGAN, F. (2010) Marketing the Arts. A fresh approach. New York: Routledge. 305p.

 

Complementary references

  • ARIÑO, A. (2010). Prácticas culturales en España. Desde los años sesenta hasta la actualidad. Barcelona: Ariel.
  • BAKER, T. (2000). Stop Reinventing the Wheel: A Guide to What We Already Know About Developing Audiences for Classical Music. Association Of British Orchestras.

http://culturehive.co.uk/wp-content/uploads/2013/04/Stop-Reinventing-the-Wheel-Guide-to-Classical-Music-Audiences.pdf

  • BOTTI, Simona (2000), “What Role for Marketing in the Arts? An Analysis of Arts Consumption and Artistic Value”, International Journal of Arts Management, vol. 2, núm. 3, primavera 2000.
  • CASHMAN, Stephen (2010), Thinking Big! A guide to strategic marketing planning for art organisations. Arts Marketing Association, Cambridge.

http://www.culturehive.co.uk/wp-content/uploads/2012/11/Guide_-_Thinking_Big_-_Stephen_Cashman_-_2010-2.pdf

  • COLOMBO, A., ROSELLÓ, D. (2008). Gestión Cultural: estudios de caso. Barcelona: Ariel Patrimonio.
  • HILL, E; O´SULLIVAN, C.; O´SULLIVAN, T. (1995). Creative Arts Marketing. Oxford: Butterworth-Heinemann.
  • KOLB, B.M., Marketing Cultural Organizations. New Strategies for attracting audiences to classical music, dance, museums, theatre and Opera. Dublin, 2000. Oak Tree Press.
  • LAPORTE, A.; BOBES, J. (2014), Manual de tiendas de museos. Gijón: Editorial Trea.
  • LEAL, A.; QUERO, M.J. (2011). Manual de marketing y comunicación cultural. Dirección General de Universidades de la Consejería de Economía, Innovación y Ciencia de la Junta de Andalucía.

http://www.antoniovchanal.com/wp-content/uploads/2012/09/Manual-de-marketing-y-comunicacion-cultural-web.pdf

  • MCCARTHY, K. F.; JINNETT, K. (2001). A New Framework for Building Participation in the Arts. Rand Publications. http://www.rand.org/publications/MR/MR1323/
  • MCLEAN, F. (1997). Marketing the Museum. Londres: Routledge.
  • MORTON SMYTH (2004). How to Reach a Broader Audience. Morton Smyth Limited, Edinburgh.

https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=4&cad=rja&uact=8&ved=2ahUKEwj31_Tq_6_dAhUD3xoKHbb7AF4QFjADegQIBxAC&url=https%3A%2F%2Fwww.artscouncil.org.uk%2Fsites%2Fdefault%2Ffiles%2Fdownload-file%2FNFTLOY_doc_A.doc&usg=AOvVaw3LOoYJnufF-f0OsU4GwqJr

  • O’REILLY, D., KERRIGAN, F. (2010). Marketing the Arts. A fresh approach. New York: Routledge.
  • PÉREZ SANTOS, E. (2000). Estudio de visitantes en museos. Metodología y aplicaciones. Gijón: Trea.
  • SELLAS, J.; COLOMER, J. ( 2009). Marketing de les artes escénicas. Creación y desarrollo de públicos. Barcelona: gescènic
  • STEIDL, P.; HUGHES R. (1999). Marketing Strategies for Arts Organisations. Strawberry Hills: Australia Council.
  • STEIN, S.T., BATHURST, J. (2008) Performing Arts Management: A Handbook of Professional Practices. New York. Allworth Communications, Inc.,
  • YEOMAN, I., ROBERTSON, M., ALLI-KNIGHT, J., DRUMMOND, S., MCMAHON-BEATTIE, U.; (2007) Festivals and events management an international arts and culture perspective. Oxford: Elsevier
  • TOMLISON, R.; ROBERTS, T. (2006). Aforo completo. Cómo convertir los datos en audiencias. Madrid: Fundación Autor.
  • WALLACE, M. A. (2010). Consumer Research for Museum Marketers. Lanham: Altamira Press.
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