(m $0 .m: n). .. mutant! .3 PAL?! mm 1 CO 3 LIBRARY was 0" Michigar Write University This is to certify that the thesis entitled Marketing Efforts of Performing Arts Venues presented by Ariel Anne Knobbe has been accepted towards fulfillment of the requirements for Master of Arts (“mfehl Public Relations gov/Mg“ é/a‘éCL Bonnie Reece Major professor [hue May 2, 2003 0-7639 MS U is an Affirmative Action/Equal Opportunity Institution PLACE IN RETURN BOX to remove this checkout from your record. To AVOID FINES return on or before date due. MAY BE RECALLED with earlier due date if requested. DATE DUE I DATE DUE DATE DUE ”5242 7 6/01 c-JCIRCIDateDuo.p65-p.15 MARKETING EFFORTS OF PERFORMING ARTS VENUES BY Ariel Anne Knobbe A THESIS Submitted to Michigan State University In partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Advertising 2003 ABSTRACT MARKETING EFFORTS OF PERFORMING ARTS VENUES BY Ariel Anne Knobbe The purpose of this study is to gain insights into the public relations and marketing activities that performing arts venues use in promoting events sponsored by their organizations. Qualitative interviews were conducted with marketing directors of performing arts organizations including three for-profit, six non-profit, and three volunteer-driven organizations. The findings supported both hypotheses. It was concluded that for-profit performing arts venues use more marketing efforts than non-profit and volunteer- driven organizations that do not capitalize upon the development and use of personal relationships, while non-profit and volunteer-driven organizations use marketing efforts that utilize personal relationships. ACKNOWLEDGMENTS I wish to express sincere appreciation to Dr. Bonnie Reece for her assistance and guidance throughout the entire process. Her genuine interest and expertise really added to my learning experience. I am indebted to Dr. Nora Rifon for her help and patience with the analysis of my qualitative data. Her encouragement and direction helped me to succeed. I thank Dr. Brenda Wrigley for the time and effort she put forth in helping with the completion of this research study. I am also in appreciation of all the marketing directors who volunteered their time to participate in this study. In addition, I am grateful to Dr. Linda Hagan for her readiness to help me in any way possible. Lastly, I would like to thank my family and friends for their continual support throughout the complete procedure. TABLE OF CONTENTS LIST OF TABLES .............................. Vii LIST OF FIGURES ............................ viii CHAPTER ONE INTRODUCTION .................................. 1 Research Purpose .............................. 2 Contribution of Research ...................... 2 Organization of Thesis ........................ 3 Summary ....................................... 3 CHAPTER TWO LITERATURE REVIEW ............................. 4 Performing Arts Background .................... 4 Definition of Performing Arts ................. 6 Types of Arts Organizations ................... 7 Summary ....................................... 8 BASIC TERM DEFINITIONS ........................ 9 Marketing ..................................... 9 Advertising .................................. 11 Public Relations ............................. 11 Summary ...................................... 12 PERFORMING ARTS AUDIENCE ANALYSIS ............ 13 Gender ....................................... 15 Race or Ethnicity ............................ 16 Age ....... . ................................... 17 Education .................................... 18 Income ....................................... 19 Geographical Factors ......................... 20 Summary ...................................... 21 FUNDING FOR THE PERFORMING ARTS .............. 21 Federal Government ........................... 22 State Arts Agencies .......................... 23 Local Arts Agencies .......................... 24 Corporate Donors ............................. 25 Foundations .................................. 26 Individuals .................................. 26 Summary ...................................... 27 MARKETING FOR THE ARTS ....................... 27 Summary ...................................... 30 CHAPTER THREE METHODOLOGY .................................. 31 Methodological Approach ...................... 31 Hypotheses ................................... 33 Subject Selection ............................ 35 Procedures ................................... 36 Measuring Instrument ......................... 37 Data Analysis Plan ........................... 38 Summary ...................................... 39 CHAPTER FOUR RESULTS ...................................... 41 QUESTIONS ONE AND TWO ........................ 41 Previous Employment .......................... 43 QUESTIONS THREE, FOUR, FIVE, AND SIX ......... 44 Size ......................................... 45 Number of Programs Or Events Held ............ 46 Season Length ................................ 46 Type of Programs Or Events Held .............. 46 QUESTION SEVEN ............................... 53 QUESTIONS EIGHT AND NINE ..................... 54 Marketing Department Size .................... 54 Marketing Department Influence ............... 55 QUESTIONS 10, 11, AND 12 ..................... 56 Marketing to Current and Potential Audience Members ...................................... 57 Marketing to Current and Potential Volunteers ................................... 64 Marketing to Current and Potential Donors....68 QUESTIONS 13, 14, AND 15 ..................... 69 Effectiveness ................................ 7O Effectiveness-How Is It Determined? .......... 72 QUESTIONS 16 AND 17 .......................... 72 Audience Changes ............................. 74 QUESTIONS 18, 19, AND 20 ..................... 74 HYPOTHESES ................................... 76 CHAPTER FIVE CONCLUSION ................................... 79 RESEARCH PURPOSE ............................. 79 RESEARCH CONTRIBUTIONS ....................... 79 VOLUNTEER-DRIVEN PERFORMING ARTS ORGANIZATIONS ................................ 80 Marketing Directors .......................... 80 Venues ....................................... 81 Scheduling Input ............................. 81 Marketing Efforts ............................ 82 Target Market ................................ 83 Overall Trends ............................... 84 FOR-PROFIT PERFORMING ARTS ORGANIZATIONS ..... 84 Marketing Directors .......................... 84 Venues ....................................... 85 Scheduling Input ............................. 86 Marketing Efforts ............................ 86 Target Market ................................ 88 Overall Trends ............................... 88 NON-PROFIT PERFORMING ARTS ORGANIZATIONS ..... 89 Marketing Directors .......................... 89 Venues ....................................... 90 Scheduling Input ............................. 90 Marketing Efforts ............................ 91 Target Market ................................ 92 Overall Trends ............................... 92 LIMITATIONS .................................. 93 Sampling Frame ............................... 93 Measurement Instrument ....................... 94 BEST PRACTICES ............................... 95 FINAL THOUGHTS ............................... 96 SUGGESTIONS FOR FURTHER RESEARCH ............. 97 APPENDICES APPENDIX A ................................... 99 APPENDIX B .................................. 114 APPENDIX C .................................. 124 BIBLIOGWHOOOOOOOOOOOOO0.00.00.00.000000001‘4 LIST OF TABLES Table 2.2 1997 Attendance Rates for Arts Activities by Race or Ethnic Group .............................. 17 Table 2.3 1997 Attendance Rates for Arts Activities by Age .................................................. 18 Table 2.4 1997 Attendance Rates for Arts Activities by Income Level ......................................... 20 Table 4.1 Months Spent In Current Marketing Position ............................................. 42 Table 4.2 Previous Employment of Marketing Directors ............................................ 44 Table 4.3 Input Into Scheduling ...................... 55 Table 4.4 Email-Audience ............................. 57 Table 4.5 Trade Advertising-Audience ................. 58 Table 4.6 Direct Mail-Audience ....................... 58 Table 4.7 Website-Audience ........................... 59 Table 4.8 Poster-Audience ............................ 59 Table 4.9 Artist Interview-Audience .................. 60 Table 4.10 Free Ticket Giveaway-Audience ............. 60 Table 4.11 Public Service Announcement Audience ...... 61 Table 4.12 Press Kit-Audience ........................ 62 Table 4.13 Paid Advertising-Audience ................. 62 Table 4.14 Word of Mouth-Volunteers .................. 64 Table 4.15 Press Releases-Volunteers ................. 64 Table 4 Table 4. Table 4 Table 4. Table 4 Program Table 4 .16 17 .18 19 .20 Or .21 Free Ticket Offers-Volunteers ............. 65 Email Lists-Volunteers .................... 65 Website-Volunteers ........................ 66 Free Print Advertising-Volunteers ......... 66 Does Marketing Effectiveness Vary With The Event? .................................... 7O Identifying a Target Market ............... 72 Figure Figure Figure Figure Figure Figure Figure Figure Figure LZESTP (3F FIEGIIRIIS Classification of the Arts ...................... 6 The Four P3 of Marketing ....................... 10 Attendance at Arts Events ...................... 15 Popular Events ................................. 48 Family Events .................................. 49 Dance Events ................................... 50 Theatre Events ................................. 51 Music Events ................................... 52 Miscellaneous Events ........................... 53 Chapter 1 Those who love the performing arts truly want to see them flourish. “Art has the power to move the soul, lift the spirit, and expand the mind. Great art endures, transcending time and space” (Kotler, 1997, p. 537). Today there is much pessimism about the unstable future of the performing arts. Great art may stand the test of time but, performing arts groups will not endure unless a successful way is found to market to ever changing publics. Arts organizations now are competing with many more entertainment activities for the leisure dollar than they were two decades ago (McLean, 1995). It is vital to the existence of arts organizations that a balance is found between meeting the needs of the artistic mission and meeting the needs of audience members. DiMaggio (1985) describes this best by saying the following: On one hand, arts organizations are buffered from the marketplace by policies which provide incentives for them to adopt a non-profit existence-for instance, through grants, tax exemptions, and the right for donors to take tax deductions-while on the other hand, 1 they exist in a marketplace which thrives on supply and demand. (p. 29) Little published research has been conducted on marketing of the performing arts in the United States. This study focuses specifically on the marketing efforts of different types of performing arts venues. RESEARCH PURPOSE AND CONTRIBUTION The purpose of this study is to gain insights into the public relations and marketing activities that performing arts venues use in promoting events sponsored by their organizations. In particular, it is hoped to learn whether the type of organization affects the nature of techniques that marketing directors use. CONTRIBUTION OF THE RESEARCH This study aims to provide an exploratory view of marketing in the performing arts. We will investigate the communications strategies and tactics that arts marketers find most effective for them. This will allow marketing professionals for performing arts venues to determine what methods are successful in other comparable organizations, giving a reference point in analyzing marketing activities in their own performing arts organizations. ORGANIZATION OF THE THESIS This thesis will first focus on describing the performing arts, identifying the types of arts that are typically included within each classification, and defining other basic terminology. As last surveyed by the National Endowment for the Arts, the make-up of the audience and other target publics will then be discussed. Funding of the arts and an analysis of marketing efforts in performing arts organizations will then be covered. Lastly, the methodology, findings, limitations, and implications of this study will follow. SUMMARY The performing arts must find a way to succeed in marketing themselves in order to continue to survive. Little research has been done on marketing efforts in the performing arts. This exploratory research attempts to gain insights into the marketing efforts of performing arts venues. This research will give marketing directors in the performing arts a resource to refer to on the successful marketing efforts of other comparable organizations. 3 Chapter 2 LITERATURE REVIEW This review of the literature examines several key concepts such as: performing arts background, funding for the arts, arts audience analysis, and an analysis of marketing usage in arts organizations. First, however, definitions are provided for the basic background terminology. These include performing arts, marketing, advertising, and public relations. PERFORMING ARTS BACKGROUND In the 19u‘century the performing arts were offered to the American public exclusively by commercial or amateur artists and organizations. Unlike European countries, performing arts in the United States initially had very little government support. There was not, as of yet, a tradition of upper class patronage. Most performing arts organizations were for-profit and managed by individuals. Professional shows were only in large urban centers. Touring groups were made up of amateurs. These touring groups often performed in the homes of middle and upper class citizens. Musical literacy was much higher than it is now, especially among cultured young women. Young women often performed as a popular form of entertainment at family gatherings. By the 19303 the number of organizations had declined from 327 theatre companies to just a handful (RAND, 2001). This was mainly due to the introduction of movies. The lower class quickly gravitated to movies because of the lower cost of entertainment. This left the upper class still attending the performing arts. Prices went up to compensate for smaller attendance rates. More than 50 years later the National Endowment for the Arts was created to help with funding. In the 19808 a sharp hike in attendance rates of the performing arts was experienced because of the increase in prosperity, the increase in education level, and the increase in leisure time (RAND, 2001). In the 19908 government support declined drastically making a distinct need for marketing in the performing arts. Future demand for the arts has been lessened because of the increasing importance Americans put on flexibility of scheduling. Arts education also seems to have an unstable future in schools. This has a direct impact on attendance rates once these students are adults (Radbourne 1998). DEFINITION OF PERFORMING ARTS What are the performing arts? For the purpose of this study we understand them to be that of theater, music, opera, and dance. Please see Figure 2.1 for more complete data on the distinction of art forms. This study focuses solely on the far left column of arts classifications. Figure 2.1-Classification of the Arts1 Performing Media Visual Literary Theatre Installation Painting Fiction .Art Dance Film Sculpture Poetry Music Computer Art Crafts Opera Digital Art The disciplines illustrated in Figure 1.1 are representative. It is not an attempt to list all the disciplines of the major art forms here. ‘From The performing arts in a new era, by RAND Corporation, 2001, Retrieved on September, 15, 2002 from http://www.rand.org/arts_area/. TYPES OF ARTS ORGANIZATIONS Distinctions are often made among three types of arts organizations, depending on the nature of the employees and the profit motivation of the organization. These include the non-profit sector, the for-profit sector, and the volunteer- driven sector. There are also distinctions made among the forms of art, all of which are performed live to an audience. The three arts forms are high arts, contemporary popular arts, and the folk arts. There tends to be a relationship between the type of organization and the form of arts presented by that organization. The high arts are traditional art forms such as ballet and symphonic music. Most of the organizations that present this form of art exist as non-profits. For the purpose of this study, non-profit is defined as those arts organizations that have filed for formal non-profit status under Section 501(c)(3) of the Internal Revenue Code (RAND, 2001). These types of arts organizations depend greatly on philanthropic contributors and revenue from ticket sales. Non-profit organizations tend to define their success in terms of whether or not they are adhering to their artistic mission statement. The popular arts consist of art forms, such as rock- and-roll music concerts or musical theater, which attract mass audiences in the commercial marketplace. Almost all of the arts venues that present these types of entertainment exist as for-profit organizations. This means that they pay taxes and tend to rely on the market for funding (RAND, 2001). These types of organizations tend to define their success in terms of profitability. The folk arts range from gospel music to clog dancing, to local theatre. Folk arts tend to represent the diverse ethnic communities within the United States. Many folk arts performances are produced by amateur (i.e. unpaid) artists. This type of performing arts organization relies upon volunteer labor for existence. The primary purpose of these types of arts organizations tends to be to serve and educate the community in which it is located. SUMMARY For the purpose of this study, the performing arts are made up of dance, music, theatre, and opera, presented in front of a live audience. The performing arts are divided into three sectors: non-profit, for-profit, and the volunteer-driven. The three distinctions made in the forms 8 of performing arts are high arts, contemporary popular arts, and the folk arts. These forms generally correlate with the respective sectors. BASIC TERM DEFINITIONS marketing According to Kotler (2000),”Marketing is defined as a societal process by which individuals and groups obtain what they need and want through creating, offering, and freely exchanging products and services of value with others” (Kotler, 2000, p. 8). In operational terms, marketing can be seen as the task of creating, promoting, and delivering goods and services to consumers and businesses. Kotler (2000) mentions 10 identified marketing areas that people are involved in: goods, services, experiences, events, persons, places, properties, organizations, information, and ideas (p.3). The performing arts must promote to all of these identified entities. All marketing is similar in that someone is attempting to influence the behavior of someone else. Marketing personnel strive to understand the consumer so well that the product or service that they develop can essentially sell itself. Marketing is seen as an umbrella term that holds advertising and public relations underneath it. Marketers are in the business of creating and maintaining exchanges between publics. The mix of marketing tools used is typically referred to as the four P’s of marketing: product, price, place, 2000). Please see Figure 2.2 for a schematic representation and promotion (Kotler, of the four P’s of marketing and their constituent parts. Figure 2 .2 The Four P' s of Marketing1 Product Quality Design Features Brand name Packaging Sizes Services Warranties Returns Marketing Mix Price List price Discounts Allowances Payment Credit terms Place Sales promotion Advertising Sales force Public relations Direct Marketing Promotion Channels Coverage Assortments Locations Inventory Transport 1 From “Marketing Management: 2000. Copyright 2000 by Prentice Hall, Inc. Advertising The Millennium Edition,” by Philip Kotler, Advertising is part of the promotion element of the marketing mix. Cutlip, Center, and Broom (2000, p.11) define advertising as information placed in the media by an identified sponsor that pays for the time or space. The selling of goods and services can be greatly expedited by advertising because the message can be delivered to appropriate audiences more quickly than through most other means of communication. Advertising can be used to reach not only the consumers, but also other stakeholders for an organization. Human resources departments can use advertising to recruit new employees, and legal departments can use advertising for public notices of mergers or acquisitions. The bottom line is that advertising is a controlled method of placing messages in the media. Public Relations Public relations also falls under the promotion element of the marketing mix. Public relations serves to develop mutually beneficial relationships between any organization and all of its publics. There are many conceptual and operational definitions of public relations. In this thesis the definition used will be one developed by Cutlip, Center, and Broom (2000, p.6) that synthesizes those from many different sources. They define public relations as the distinctive management function that helps to establish and 11 to maintain mutual lines of communication, understanding, acceptance, and cooperation between an organization and its publics. Public relations serves as an early warning system to help anticipate trends. It also uses research and communication as its principal tools. Whereas advertising is conducted through paid media, public relations is often considered to occur through earned media. In fact, the ability of the sponsoring organization to have the audience attribute the source of the message to a third party often increases the credibility of the message. In summary, public relations definitions vary greatly, but most maintain the core concept that public relations is building mutually beneficial relationships with the publics of any organization. SUMMARY In order to discuss the marketing efforts of the performing arts, it is important to have an understanding of certain terms that will be used. In this thesis, marketing is defined as the task of creating, promoting, and delivering goods and services to consumers and businesses. Marketing is the umbrella term under which both advertising and public relations fit. Advertising is defined as 12 information placed in any media that is paid for by an identified sponsor. Public relations is the concept of building relationships with all of the publics of an organization. Public relations does not rely solely on paid media and the sponsor is not always identified. PERFORMING ARTS AUDIENCE ANALYSIS In order to market themselves effectively, performing arts venues must understand who their current and potential customers are. “Theoretically, there is no limit to the size of the market. Practically speaking, however, arts organizations do not have the resources to waste on long shots. They must establish a tight perimeter around the consumers they wish to market to” (Fitzhugh, 1983, p. 82). Studying past research on performing arts audience members can help to clarify the general target market. The audience of performing arts venues has been officially analyzed by the government only four times over the last 25 years. The National Endowment for the Arts (NEA) conducted the two most recent comprehensive audience surveys in 1992 and 1997. For the 1997 survey 12,349 telephone interviews were conducted and a similar number of respondents were surveyed in 1992 (National Endowment for the Arts, 1998). 13 According to the 1997 survey, about 50%, or 97 million, Americans had attended one of the following arts activities: jazz, classical music, opera, musicals, plays, ballet, or art museums (National Endowment for the Arts, 1998). Please see Figure 3.1 for detailed numbers on each of the relevant categories for both 1992 and 1997. The increase in attendance between the two surveys is significant because each category increase is larger than the increase in population for that five-year period. 14 Figure 2.3-Attendance at Arts Events1 Attendance at Arts Events: 1992 and 1997 120 80 i * fl 7 7' 37592"; 40 I W, . 211.991; 20 , , , , 0 7. 7 ul . I \ 3013’ $09 Qng 4? O 0 Number in millions o: c: \9 9 0‘ . ’5 Q‘ \\ oe" Q‘ Q? Event type 1This displays the attendance in millions of each type of arts classification in the United States for both 1992 and 1997. These NEA surveys also make several distinctions on how the audience can be characterized and segmented. These distinctions are by gender, race or ethnicity, age, education, income, and geographical factors. Gender Gender is an important segmentation variable to use when looking at marketing to an arts audience. Both of these NEA studies show that women make up the majority of audience 15 members in performing arts activities. In 1997 women made up 51.8% of the population and 53.4% of those in attendance at performing arts activities (National Endowment for the Arts, 1998). Many experts claim that the gender discrepancy might be even more dramatic if a spouse or date was not seen as the most appropriate person to accompany the attendee at a performing arts event (Fitzhugh, 1983; Kotler, 1997). Another reason cited for the gender difference is the fact that women are more likely to have participated in some form of the performing arts in childhood, thus having more of a connection to the performing arts and a stronger desire to attend (Fitzhugh, 1983). Race or Ethnicity The 1997 survey shows that, in general, whites had the highest performing arts attendance rates. There are, however, arts classifications that are an exception to this. For example, African Americans are more likely to attend a jazz event than any other ethnic group, and a higher percentage of people of Asian heritage attend a play than do those from other ethnic or racial groups. Please see Table 2.2 for more detailed information about race or ethnic attendance of performing arts activities. 16 Table 2.2 1997 Attendance Rates For Arts Activities by Race or Ethnic Group1 (Tuber Race Jazz Classical Opera musical Play Ballet Dance Hispanic 6.8 8.4 3.1 15.7 9.7 4.5 14.6 White 12.1 17.5 5.2 26.5 16.6 6.5 11.9 African- Anerican 15.6 9.6 2.1 22.4 16.4 3.9 13.4 Jamarican Indian 11 8.9 5.1 15.4 5 1.2 10.6 Asian 10.3 16.2 6.9 20.4 18.1 4.3 14.5 1 Numbers are expressed in millions. An “attendance rate" is the percentage of the adult population that attended an arts event and is calculated by dividing the number attending by the adult population of the United States. Age Age is a demographic characteristic that also seems to play a part in attendance rates of arts activities. Adults between the ages of 45 and 54 have the highest attendance rates for most types of events, even though they are not the largest segment of the adult population in the United States (National Endowment For the Arts, 1998). This does not hold true for all classifications of the arts. Young people, age 18-24, have the highest attendance rates for jazz, plays, and other kinds of dance. Please see Table 2.3 for more detailed information on age and attendance of arts events. 17 Table 2.3 1997 Attendance Rates For Arts Activities 1 by Age Other Age Jazz Classical Opera. Musical Play Ballet Dance 18- 24 15.1 16.4 5.4 26 20.2 6.9 14.7 2} 34 12.7 11.4 4 22.5 13.3 4.7 11.1 35 44 14.3 14.3 4.4 25.8 14.7 6.6 13.6 45- 54 13 20.4 6 29.2 19.8 7.2 14 55- 64 8.8 16.3 4.9 23 14.4 4.8 11.5 65- 74 8.2 17.9 4.1 24 14.6 5.3 12.3 75+ 3.7 13.8 3.3 15.4 12.5 3.8 6.3 1'Numbers are expressed in millions. An “attendance rate" is the percentage of the adult population that attended an arts event and is calculated by dividing the number attending by the adult population of the united States. Education Education is another demographic characteristic for which the 1997 NBA Survey of Public Participation in the Arts reported data. It has been documented that education has a strong relationship to attendance at arts events (Fitzhugh, 1983). According to percentages, graduate school alumni have the largest attendance rates at arts events. Because this group is not the largest segment of the population, however, audience members with some college 18 education make up the largest portion of audience members. Those who have completed grade school as the highest form of education have the lowest attendance rates of arts events. “This survey shows compelling evidence that supports education as the predominant causal factor in attendance of arts events” (Fitzhugh, 1983, p. 59). Income Higher income households show greater attendance rates at performing arts events than those in other income brackets. Income is closely related to education because, typically, those with a higher level of education have a higher average salary. A higher salary allows for more disposable income to spend on entertainment. Table 2.4 shows the specific income and attendance numbers for performing arts events. 19 Table 2.4 1997 Attendance Rates For Arts Activities By Inceme Level1 Other Jazz Classical Opera Musical Play Ballet Dance $10,000 or less 4.6 4.3 1.8 11.6 9.6 1.6 7.2 $10,001 to $20,000 5.7 8.2 1.9 12.1 7.4 3.2 7.6 $20,001 to $30,000 7.5 9.7 2.4 17 9.9 3.7 9.4 $30,001 to $40,000 11.1 13.1 2.5 20.9 15.5 4.6 12.7 $40,001 to $50,000 10.7 14.8 4.5 23.4 15.3 6 13 $50,001 to $75,000 16.3 22.1 7.5 32 19.8 8.1 15.8 $75,001 to $100,000 23.3 26.3 5.8 41.2 27 9.6 20.2 Over $100,000 26.6 35 13.3 51.3 31.9 13.3 18.7 1Numbers are expressed in millions. An “attendance rate" is the percentage of the adult population that attended an arts event and is calculated by dividing the number attending by the adult population of the United States. Geographical Factors The one major geographical factor that plays a part in the performing arts attendance is where the consumer lives. Those who live in urban environments are provided with many more opportunities to attend performing arts events than those in more rural areas. This does not show signs of changing any time soon because urban city centers possess 20 the revenue to attract performing arts venues and artists (Fitzhugh, 1983). SUMMARY Analysis of the characteristics of performing arts audiences is important. Two surveys have been completed by the NBA in 1992 and 1997, and show similar results. These surveys discuss the distinctions of the arts audience by gender, race or ethnicity, age, education, income, and geographical factors. According to these surveys, arts audience members generally are white, more female than male, between the ages of 45-54, have higher income and education level, and live in urban areas. FUNDING FOR THE PERFORMING ARTS Typically, non-profit and volunteer-driven performing arts organizations receive approximately 50% of their revenue from ticket sales and the other half from donor contributions (Kotler, 1997). For-profit performing arts organizations receive almost all of their revenue from ticket sales. Many different levels of funding exist for performing arts organizations including: government, corporations, 21 foundations, and individuals. Most non—profit and volunteer- driven arts organizations utilize a combination of all of these types of funding. Arts organizations have fallen behind other non-profit organizations in terms of the amount of charitable donations received in the United States. The arts have never been first in terms of charitable donations received, but recently they have fallen to the last position. The arts come in last behind religious organizations, educational institutions, health related organizations, and human services organizations (Cobb, 2002). It is vital for performing arts organizations to understand the differences between each type of possible donor, in order to maintain a functional level of income. Federal Government The Federal government was once a major financial supporter of the arts. In the last two decades, however, its support has been dwindling. According to Radbourne (1998), “During the 1990s, government cultural policy priorities have clearly moved from funding to supply of the nation's arts products and the expansion of access for a wider audience base to follow a third, almost authoritarian dictate of ‘survive in a market economy'” (p. 67). Currently, the Federal government supports the arts through 22 the National Endowment for the Arts (NEA). The NEA distributes money to arts organizations in the form of grants. These grants require a lengthy application process, including the stipulation that the arts organizations must raise funds from private sources equal to the amount of its NEA grant. This helps to encourage performing arts organizations to develop a significant donor base of their own. The NEA has a limited amount of funds and is unable to help the multitude of arts organizations in need. “The governmental decline of the National Endowment for the Arts is seemingly irreversible. If there is to be a future for public culture in the United States, a post-NEA policymaking paradigm must be constructed” (Mulcahy, 2002, p.2). State Arts Agencies The creation of the state arts agency began in Utah in 1963. By 1965 five additional states--California, Georgia, Minnesota, Missouri, and North Carolina--had created state arts agencies. By 1974 all the states plus the District of Columbia had founded a state arts agency (Mulcahy, 2002). State arts agencies serve a very similar purpose to the arts as the NEA does. They were founded to stimulate and encourage the presentations of performing arts, as well as, to encourage the public interest in the performing arts 23 (Cobb, 2002). Each state arts agency accomplishes that by awarding grants to local arts organizations through an application process. State arts agencies are funded mainly by privately solicited donations. The NEA and state governments also provide a minimal amount of funding for state arts agencies. It should be mentioned that state humanities councils also contribute some funding to arts organizations. State humanities councils have many other causes, including: festivals, fairs, cultural tourism, and historic preservation. Therefore, state humanities councils offer sparse funding to arts organizations. “Indeed, as federal funding has declined from a high point in the 19905, state arts councils increasingly have become the important public patrons of the arts and culture” (Mulcahy, 2002, p.8). Local Arts Agencies Local arts agencies have begun to spring up everywhere. There are now approximately 1,200 of them in existence (Cobb, 2002). Local arts agencies operate very similarly to state arts agencies, only on a smaller scale. Initially, local arts agencies were not supported federally. They had to raise funds from private donors and local corporations. 24 Local arts agencies now receive a minimal amount of monetary help from both the NEA and state arts agencies. Corporate Donors Corporate giving differs from government funding, to a certain extent, in that arts organizations can affect the level of giving received. It is important to keep this in perspective though, because corporate funding only accounts for a little more than five percent of the total charitable giving in the United States (Brudney, 2002). Corporations are a significant resource for arts organizations to utilize when looking to fund a major one- time project or to provide on-going support for an annual event. Corporations have begun to look at gifts to charities as something that will produce future benefits. Public approval, favorable public image, and increased sales or brand awareness are among these benefits a corporation hopes to acquire from charitable giving. Major projects tend to appeal to corporate donors because they are visible to the community, well organized, and well managed. It is the job of arts organizations to convince corporations that the value they will receive from giving to their organization will out-weigh the costs. 25 Foundations Foundations are another source of funding for arts organizations. Foundations are the second-largest source of giving to the arts (Kotler, 1997). Foundations can be organized by corporations, families, or a group of community members. Many foundations are created for very specific purposes and will only support projects that match those purposes. A lengthy search and application process is also involved in receiving funding from foundations. The monetary gift can be very significant, but it is typically a one-time gift. Individuals Individuals represent the majority of all charitable giving to the arts. “Traditionally, approximately 80 to 85 percent of charitable giving to the arts comes from individuals” (Munson, 2001, p.2). Donations from individuals can vary greatly in dollar amount. Some individuals can afford to give as much as you could expect from a major corporation, while others can only give a small amount. Arts organizations need to learn to cater to the needs of their individual donors. They tend to give repeatedly, while corporations usually give a one-time gift. Individuals can be a double source of revenue. The performing arts 26 organizations are asking them to buy a ticket, applaud at the events, and then give more money to help fund their continued enjoyment. SUMMARY Funding for the performing arts is typically provided by a combination of ticket sales and donations, except in for-profit organizations where tickets sales account for the bulk of income. The other funding sources available to the arts for donations are the Federal government, state arts agencies, local arts councils, corporate donors, foundations, and individual donors. Without these additional funding sources many performing arts organizations would not be able to exist. MARKETING FOR THE ARTS Information about the diverse publics to whom an arts organization needs to market has been presented in the previous sections. The challenges presented to marketing directors of arts organizations are complex. In the commercial market, goods and services are produced to meet anticipated customer demand. Especially in the non-profit and volunteer-driven sectors of the performing arts, this is not necessarily so. These arts organizations attempt to 27 expose the widest possible audience to the works of an artist. Marketing directors for performing arts venues cannot mold the works of an artist to fit their audience. They can only select those works that are believed to have the most appeal to their particular publics. Kotler (1997) states that this situation presents three major marketing problems for arts organizations. First, the organization must find a market for its particular offerings. There may be relatively little existing demand for their product, so new needs must be created. Developing a need or stimulating need recognition among consumers is usually a more difficult challenge than promoting a product or service to consumers who already recognize the need exists (Engel, Warshaw, Kinnear, and Reece, 2000, p. 134-5). Second, arts venues are constantly facing the challenge of expanding their audience base. “It takes a long time to develop and educate an arts audience, and it entails a great financial risk for venues” (Kotler, 1997, p. 20). Third, an arts organization is constantly striving to maintain its current audience base. Given these three challenges that performing arts marketers face, it is vital to be aware of and sensitive to the diverse and constantly changing needs of the many 28 different publics. “What an artist does and what a marketer does are exactly the opposite. An artist must do what he does and then hope people like it. A marketer finds out what people like and then does that, or, to put it in marketing terms, the marketer is customer oriented, the artist is product oriented” (Kotler, 1997, p. 30). Despite this challenge, marketing is becoming part of the standard operating procedures of most performing arts organizations (Rentschler, 2002). In an extension of an analysis previously done of marketing articles published over the last 25 years in seven major arts journals, Rentschler (2002) found a significant increase in the attention being given to performing arts marketing. The method of journal selection and article analysis is fully discussed within the original mentioned study (Rentschler, 1997). In a study of 88 arts administrators, marketing was seen as primarily sales promotion, tied to advertising and selling activities or events (Permut, 1980). These are some of the most basic marketing tools available. “Marketing involves answering more in-depth questions such as, Who is the customer? What does the customer value? And how can we create more value for the customer?” (Kotler, 1997, p. 37). 29 Many arts organizations either lack the knowledge and skills to ask such questions, or lack the resources to find the answers to these types of questions. McDonald (2000), in a similar exploratory research found that Australian performing arts organizations had a strong desire to undertake marketing practices. Working against this desire, however, is the fact that many marketing tasks are viewed by the marketing directors as being beyond the current means of the organization due to lack of skills, resources, or time. This study attempts to bring together the knowledge of current arts marketing directors in the pursuit of successful marketing of the arts. SUMMARY Marketing in the performing arts faces three distinct challenges. These three challenges are finding a market for their particular offerings, expanding their audience base, and striving to maintain the current audience base. Many performing arts marketing directors lack the knowledge, skills, or resources to address all of these concerns. 30 Chapter 3 METHODOLOGY This chapter discusses the type of methodology used, the participant sample, procedures, measurement instrument, data analysis plan, and hypotheses used in this study of performing arts organizations and their marketing efforts. .Methodological Approach Qualitative research techniques provide in-depth insights into consumers' attitudes, beliefs, motivations, and lifestyles. Qualitative research helps research to get beneath the surface by providing feelings, textures, a sense of intensity, and a degree of nuance beyond the numeric descriptions provided by quantitative research (Davis, 1997, p. 195). Qualitative research was used for this study because the focus was both on gaining information about why marketing directors of performing arts venues utilize the marketing efforts they do as well as determining what they do. Qualitative research helps to tell the researcher from whence attitudes arise, how they are structured, and what broader significance they may have. 31 Qualitative research is also a good starting point for exploring a topic on which little research has been conducted. It allows for the discovery of new ideas and thoughts. This type of insight cannot be duplicated by quantitative research, which views the market from a more distant vantage point (Davis, 1997). Seeing, hearing, and interacting with participants allows a researcher to draw explanations and answers from the participants as opposed to the numerical results. Other advantages of qualitative research are that it is less expensive and sometimes quicker to conduct than many types of quantitative research. Qualitative research allows the researcher to probe deeper into specific subjects during an interview when necessary. The flexibility of qualitative research allows the researcher to modify any questions necessary, as well as add any additional questions that may add value to the information collected from participants. The major limitation of qualitative research data is that it is not generalizable. Qualitative data can only really be generalized to the population that participated in the study. The small sample size that is used in qualitative research prevents a numeric description of the findings 1 (Davis, 1997). The small sample size also adds an element of 32 uncertainty to the research. Qualitative data is also more subjective than quantitative. When dealing with participant responses as opposed to numeric ratings or rankings this cannot be helped. Hypotheses In a survey of five hundred arts presenters, unpaid promotions were ranked as the third most effective marketing tool, closely following first- and second-ranked direct mail and paid advertising (Kotler, 1997, p. 376). As the costs of both direct mail and paid advertising continue to rise, it has been predicted that public relations techniques will surpass direct mail and paid advertising (Kotler, 1997, McDonald, 2002). Most volunteer-driven and non-profit performing arts venues continually feel a pinch in the budget for marketing efforts. Some organizations do not even have a budget for marketing activities. This fact forces these performing arts organizations to rely on public relations methods of promotion because they are usually low cost alternatives for getting information to an audience. According to research conducted by Soutar and Close (1997), more than 65% of Australian performing arts 33 organizations regularly use public relations and promotional tools. Similarly Reiss (1997) noticed that performing arts organizations in the United States think they are using ‘innovative marketing’ approaches, but the examples provided including: mailings, brochures, and community involvement are common public relations activities. Public relations helps to build and maintain mutually beneficial relationships between an organization and its publics (Cutlip, Center, and Broom, 2000). Therefore, it has been hypothesized that: H1: Non-profit and volunteer—driven performing arts venues use more marketing efforts than for-profit organizations that focus on the development and use of personal relationships, including public relations. The for-profit sector of the performing arts really strives to take a more mass appeal approach to the arts programming that it offers an audience. The goal is to make money by finding and offering appealing programs for a target audience. This sector of performing arts venues has a bigger budget for marketing and typically uses paid advertising to reach consumers. Therefore, it has been hypothesized that: 34 M thE-_ . _: H2: For-profit performing arts venues use more marketing efforts than non-profit and volunteer-driven organizations that do not focus on the development and use of personal relationships, including paid advertising. Subject Selection Advertising research uses sampling to draw conclusions about a larger population. Even though qualitative research may not permit such generalizations to be made, when selecting the participant sample for this study, the type of performing arts organization was taken into consideration. A broader range of thoughts and ideas might be gathered by using respondents from an assortment of for-profit, non- profit, and volunteer-driven performing arts organization sectors. A convenience sample was used for this study. Participants were gathered from personal and professional connections with marketing directors of performing arts venues. Proximity to Michigan State University was also a factor. The majority of participants and their respective organizations are located in Michigan. Convenience sampling does not offer any assurance that the characteristics of the sample are in any way representative of the larger universe (Davis, 1997). In light of the fact that a qualitative 35 research method was used, the survey already cannot be generalized to a population. Thus, this disadvantage is less critical than it might be in other circumstances. A convenience sample was the most efficient way to gather the data for this exploratory research study. Procedures After the sample population was found and selected, each participant was contacted to set up an interview time. Interviews were conducted in person, on the phone, and through e-mail. In the case of an e-mail interview, a follow-up phone call was used to clarify any ambiguous or partial information. Each participant was asked to sign a consent form, which openly stated the purpose of the study. Each interview was conducted using the same questionnaire basis. Qualitative research did allow the researcher to ask additional questions and probe in greater depth when necessary. Interviews were then transcribed and analyzed. A total of 12 interviews were conducted for this study. Three interviews are from the volunteer sector, three interviews are from the for-profit sector, and six interviews are from the non-profit sector. 36 .Measurement Instrument The information needs of the research were taken into consideration when designing the questionnaire that would be the basis for all the interviews. By understanding what information was needed from the interviewees, 20 direct and factual, open-ended questions were found to be sufficient. Direct questions are explicit requests for specific pieces of information or feelings and are most useful in providing background information or the foundation for more extensive discussion (Davis, 1997, p. 202). A copy of the interview instrument appears in Appendix A. In addition to answering the open-ended questions, participants were asked to share examples of press releases, mailing pieces, audience research, or advertisements that they have used in the past, if available. These materials strive to provide comprehensive information about the marketing efforts of performing arts venues . 37 Questions one and two were asked to assess the background familiarity, and past experience of the marketing director. Questions three, four, five, and six were asked to determine more information about the performing arts venue. Question seven was asked to categorize the venue by which profit sector it belonged to. Questions eight and nine were asked to assess the size and influence of the marketing staff of the performing arts venue. Questions 10, 11, and 12 were asked to gather data on the marketing efforts used to reach a variety of publics. Questions 13, 14, and 15 were asked to discover what marketing efforts were thought to be effective and how this was determined. Questions 16 and 17 assess how well the marketing director understands his/her target audience. Questions 18, 19, and 20 gather thoughts on budget and resource problems that marketing directors may be experiencing in the performing arts. Data Analysis Plan When analyzing qualitative research data, a researcher is trying to identify commonalities and differences among all of the verbal data collected. The goal of qualitative analysis is to produce findings that relate to the problem motivating the research and to provide insights that 38 contribute to answering the questions at hand (Davis, 1997). Qualitative data has no set formula for analysis. Reviewing and defining the informational needs of the research will help to narrow the scope of the data analysis. For the purpose of this study, Statistical Package of the Social Sciences (SPSS) software was used to analyze the data gathered. SPSS is primarily used for quantitative research, but was used in this research as an organizational tool. Every interview question was organized in SPSS by all the possible different answers that interviewees responded with. Then outputs were run on a variety of cross— tabulations of variables. From this data the researcher was able to gain many observable insights into the marketing efforts of performing arts venues. These insights allow the researcher to draw conclusions that both support and disprove the hypotheses that were formed at the beginning stages of the research. SUMMARY Qualitative research is being used because of the exploratory nature of the study. Despite the limitations, it is felt that more in-depth information can be gathered about the marketing efforts of performing arts organizations by 39 using a qualitative research method. Research subjects were selected from a convenience sample. Each subject was then interviewed in person, over the phone, or using email. The questionnaire used gathered information about the marketing director, the venue, and the marketing efforts used to reach audience members, donors, and volunteers. Commonalities and differences in the data collected were then studied. It was hypothesized that for-profit organizations will rely upon the use of paid advertising. It was also hypothesized that non-profit and volunteer-driven organizations will rely upon the development of relationships for media exposure. 40 Chapter 4 RESULTS This chapter presents only the results of the qualitative interviews that were conducted. Each result will be presented in the order of the interview questionnaire design. QUESTIONS ONE AND TWO Questions one and two were asked to assess the background familiarity and past experience of the marketing directors for each performing arts organization. Notably, all six of the non-profit performing arts marketing directors have less than three years of experience in their current position. There are many possible reasons for this trend including that non-profits typically do not pay well. Marketing directors may use these positions as stepping stones for another position. An appeal of non-profit arts organizations is that they appear to offer more freedom and control to their marketing staff. One non-profit marketing director said, “I took this position for more freedom and the ability to have more input into how to market the organization. Coming from a public 41 relations agency, this is something I really valued” (Appendix C, p. 41). The marketing director included in this study with the longest number of months at their current position works for a volunteer-driven arts organization. This particular marketing director has been in her position for the last 25 years. She works in many other capacities for her volunteer- driven organization and is also a full-time schoolteacher. Please see Table 4.1 for more information about the number of months that the marketing directors have been in their current position. TABLE 4.1 MONTHS SPENT IN CURRENT MARKETING POSITION Profit status Total For Non- Volunteer profit profit —driven Mbnths 1100 at the O 1 0 1 venue 12.00 0 1 0 1 18.00 0 l 0 1 24.00 0 1 1 2 30.00 2 0 0 2 36.00 0 2 0 2 48.00 0 O 1 1 96.00 1 O 0 1 300.00 0 0 1 1 Total 3 6 3 12 42 Previous Employment Also related to employment experience, respondents were asked what type of previous job was held. Answers were recorded either in the category of public relations, marketing, advertising, or other. It is notable that all three volunteer—driven organizations' marketing directors have no previous experience in public relations, advertising, or marketing. The marketing directors of the volunteer-driven organizations included in this research are all full-time employees elsewhere. Two are elementary schoolteachers and one is a college journalism student. Marketing directors for volunteer-driven organizations are typically filling their position for the love of what they are doing. Most participate in the organization in some performance outlet first and then volunteer themselves where needed. In the words of one volunteer-driven organization’s marketing director, ”I was made aware of the need to have someone handle the marketing of the company and I was the only one who had any background remotely related to marketing. I was helping out in any way I could” (Appendix B, p. 104). Please see Table 4.2 for detailed information on the previous employment of the marketing directors. 43 TABLE 4.2 PREVIOUS EMPLOYMENT OF MARKETING DIRECTORS Profit Status Total For- an: 'Volunteer profit profit -driven Previous Public Employment Relations 0 3 O 3 TYPe Advertising 2 0 0 2 Marketing 1 3 o 4 Other 0 0 3 3 Total 3 6 3 12 It was also assessed whether or not the previous employment experience was in the performing arts field or not. Eight out of 12 of the performing arts organizations' marketing directors have not worked in public relations, advertising, or marketing of the arts previously. The other four arts organizations’ marketing directors that did have past experience in public relations, advertising, or marketing of the arts work for non-profit performing arts organizations. QUESTIONS THREE, FOUR, FIVE, AND SIX Questions three, four, five, and six were asked to determine more information about each of the performing arts venues. This information includes the size of the venue, the 44 number of events held each season, the length of the typical season, and the different types of programs or events that are held at each venue. Size The size of the performing arts venues that were included in the study ranges from 230 seats to 14,127 seats. All of the volunteer-driven venues have 250 or fewer seats. The non-profit performing arts venues varied the most in size, ranging from 250 seats to 7,800 seats. The for-profit venues are the largest ranging from 12,098 seats to 14,127 seats. This division of size is very typical for each of the profit sectors of performing arts organizations. It should be mentioned that two of the three volunteer-driven organizations do not own their own venue. Both of these make use of a local school’s auditorium. According to a marketing director for a volunteer-driven organization, “Having our performance space in a local high school helps to keep us tied to our surrounding community” (Appendix B, p. 111). NHmber of Programs Or Events Held The number of programs or events held at each type of venue in one season varied from four to 461. The number of 45 events held did not seem to directly relate to the profit status, the length of the season, the size of the marketing department, or the size of the performing arts venue. Season Length The length of the season shows no pattern among the different sectors of performing arts venues. The only similarity shown is between the non-profit performing arts venues that are associated with colleges or universities. These venues all have a season that runs parallel with the academic year. One non-profit marketing director said the reason behind this is, “They rely on student employees as ushers, concession stand workers, and box office employees to run events. The audience in this venue is also centered around faculty, staff, employees, and students of the university” (Appendix C, p. 104). Types of Programs 0r Events Held Performing arts venues hold many different types of programs or events each season. The most common types of events include, but are not limited to: popular concerts, family events, dance events, theatre events, and music 46 events. All of these programs or events are performed in front of a live audience. One trend seen in the types of events held in each venue is that only the for-profit organizations surveyed held popular concerts and family events. For-profit performing arts organizations feel the pressure to market an event or program to every segment of the community each season, to offer something for everyone. A marketing director of a for-profit performing arts organization stated, “We want to draw a mass audience, we have the space to fill and mass appeal events are the only way to do so” (Appendix A, p. 87 ). Two of the three volunteer-driven organizations included in the research have only theatrical events at their venues. All six of the non-profit arts organizations included in this study hold theatrical events at their venues. Please see the Figures 4.1, 4.2, 4.3, 4.4, 4.5, and 4.6 for more detailed information on the types of programs and events each of the twelve included performing arts organizations hold. 47 Figure 4.1 Popular Events1 Popular Events ) r I For-Profit DNon—Profit l *._J 1 A total of four venues affirmed that they did hold popular concerts. Popular concerts include, but are not limited to country, pop, and rap performers. 48 Figure 4.2 Family Events1 Family Events I For—Profit D Non-Prof it l 1A total of four venues affirmed that they did hold family events. Family events include, but are not limited to circuses, ice skating shows, and puppet shows. 49 Figure 4.3 Dance Events1 IDBIHCElIEVNBDHZS I For-Profit [:1 Non- Profit I Volunteer 12, 50% 1A total of four venues affirmed that they did hold dance events. Dance events include, but are not limited to ballet, modern, and ethnic dance. 50 Figure 4.4 Theatre Events1 Theatre Events ; I For-Profit lDNon-Profit f I Volunteer 1A total of nine venues affirmed that they did hold theatrical events. Theatre events include, but are not limited to, plays, musicals, and monologues. Theatrical events are the most common type of event for all three profit sectors to have. One reason for the use of theatre is the versatility in space. Theatrical events can be performed in almost any size or configuration of space. One marketing director of a volunteer-driven organization said, “Plays are the only type of events that we present because of the space we have, they are also cost effective, and we have the talent available to produce them” (Appendix B, p. 96). 51 Figure 4.5 music Events Music Events r i I For- Profit i [:1 Non- Prof it I ‘ I Volunteer ! 13, 60% 1A total of five venues affirmed that they do hold music events. Music events include, but are not limited to jazz, opera, symphony, and choir. 52 Figure 4.6 Miscellaneous Events1 Miscellaneous Events ilFbr—Profiti 3 609; DNon-Profit' [IVolunteer ' 1A total of five venues affirmed that they do hold miscellaneous events. These include, but are not limited to spoken word, travelogues, and specialty events. Once again, miscellaneous events are most popular amongst for-profit organizations because of the need to appeal to a wide variety of target markets during the course of a season. According to one for-profit marketing director, “We have the versatility in space that we can offer events that many other venues cannot, such as the circus. Of course we want to take advantage of this fact” (Appendix A, p. 101) . 53 QUESTION SEVEN Question seven was asked to categorize the venue by which profit sector it belonged to. A total of three for- profit venues, three volunteer—driven venues, and six non- profit venues were included in this research study. QUESTIONS EIGHT AND NINE Questions eight and nine were asked to assess the size and influence of the marketing staff of each performing arts organization. Marketing Department Size The number of full-time employees in the marketing department seems to show a relationship with the size of the performing arts venue. Typically, the larger the performing arts venue is the larger the marketing department is. The volunteer-driven performing arts organizations range from one part-time to two full-time employees. The non-profit organizations range from one full-time to nine full-time employees. The non-profit organization with the most marketing employees is the biggest non-profit included in the study with 7,800 seats. The for-profit organizations range from three and a half to seven and a half full-time 54 employees. On average, for-profit organizations have the most employees in their marketing departments. One marketing director commented on this by saying, “We offer popular appeal programming. Most of this type of programming requires that we work with both the booking agent and the press agent to create a marketing campaign. This requires quite a few employees to keep up with" (Appendix A, p. 105). Marketing Department Influence The influence that the marketing directors have upon the season’s scheduling was also important to assess. The marketing directors bring to the table a valuable viewpoint for the organization. They help to merge the views of the executive directors with the reality of the appeal that each suggested program or event will have. Without the marketing director’s grounded viewpoint, the executive directors may get carried away with their desire to fulfill the artistic mission. The amount of input into the scheduling that the marketing director has does not appear to be associated with the size of the marketing department. Only one marketing director interviewed has the final decision on what events are in the season's schedule. This marketing director works for one of the volunteer-driven performing arts 55 organizations. She is the only person with decision-making power because she is doing the duties of many positions. The majority, eight, of the marketing directors interviewed have some input into the decision of program and event scheduling, but ultimately they do not make the final decisions. Please see Table 4.3 for the types of venues and what input into scheduling each had. Table 4.3 Input Into Scheduling Profit Status Total For Not For Volunteer Profit Profit ~driven Input Into yes/final 0 0 1 1 Scheduling decision yesinot final 2 4 2 8 decrsion no input 1 2 0 3 Total 3 6 3 12 QUESTIONS 10, 11, AND 12 Questions 10, 11, and 12 assess the marketing efforts that are used by each profit sector of performing arts organization to reach current and potential audience members, donors, and volunteers. All of the following marketing tactics and strategies were mentioned by at least one marketing director as ways 56 that their respective performing arts organizations use to reach the current and potential audience members, volunteers, and/or donors: press releases, paid advertising, trade advertising, newsletters, direct mail, websites, posters, artists interviews, free ticket giveaways, public service announcements, press kits, word of mouth, email newsletters, billboards, personal calls, program inserts, special receptions, and priority seating promotions. Marketing to Current and Potential Audience.Members To reach current and potential audience members, the use of press releases is one marketing tactic that all twelve of the marketing directors stated that they use. The other tactics mentioned as being used to reach potential audience members were email newsletters, paid advertising, trade advertising, direct mail, websites, posters, artist interviews, free ticket giveaways, public service announcements, and press kits. Please see Tables 4.4, 4.5, 4.6, 4.7, 4.8, 4.9, 4.10, 4.11, 4.12 and 4.13 for more detailed information on the use of the above marketing tactics to reach current and potential audience members by the three profit sectors of performing arts organizations. 57 Table 4.4 Email-Audience Profit Status Total For- Non- Volunteer profit profit -driven Emails no 1 O 3 4 yes 2 6 0 8 Total 3 J 6 3 l 12 Notably, none of the volunteer-driven organizations use email to reach audience members, and all of the non- profit organizations use them. In the words of one volunteer-driven marketing director, a reason for this may be, “We are not sophisticated enough to set up and use an email mailing list at this point in time” (Appendix B, p. 113). Table 4.5 Trade Advertising-Audience Profit Status For- Non- Volunteer prof it prof it -driven TOtll Trade none 3 4 O 7 Advertising print 0 2 3 5 Total 3 6 3 12 For the purpose of this study trade advertising is defined as advertising that is not directly paid for by the performing arts organization. Often advertising is traded for free tickets, advertising space in the programs, or season or event sponsorship. Trade advertising is often 58 utilized when the funds for paid advertising are not available. All of the volunteer-driven organizations use trade advertising to reach current and potential audience members, while none of the for-profit organizations do. A marketing director for a volunteer-driven organization commented, “We make use of trade because we have to. It is a low cost method of getting our name out. We have no budget for advertising, so this is our way of doing so” (Appendix B, p. 115). Table 4.6 Direct Mail-Audience Profit Status Total For- Non— Volunteer profit profit -driven Direct No 2 1 2 5 mail Yes 1 5 1 7 Total 3 6 3 12 Direct mail is used by some members of all three profit sectors to reach current and potential audience members. Two types of direct mailing are most frequently used. The first is a season brochure that promotes the new season’s schedule of events. The second is a post card mailing that promotes a specific special event, usually mailed to a specific target audience. 59 Table 4.7 Website-Audience Profit Status For- Non- Volunteer profit profit -driven TOtll Website no 1 4 2 7 yes 2 2 1 5 Total 3 6 3 12 Websites are another tactic that are used in marketing by members of each of the profit sectors to reach current and potential audience members. Table 4.8 Poster-Audience Profit Status For- Non- Volunteer profit profit -driven Total Posters no 3 5 O 8 yes 0 1 3 4 TOtll 3 6 3 12 For the purpose of this study posters are defined as 8.5 by 11 designed advertisements. Posters are a marketing tactic that is not used by any of the for-profit organizations, but they are used by all of the volunteer- driven organizations. Posters are a less expensive way of promoting a program or event. This may be the reason that all of the volunteer-driven organizations utilize posters. 60 Table 4.9 Artist Interview-Audience Profit Status For- Non- Volunteer profit profit -driven Total Artist No 1 3 3 7 Interviews Yes 2 3 0 5 Total 3 5 3 12 Artist interviews are not used by any of the volunteer driven organizations included in the study. The reason behind this may be that the artists that perform at volunteer-driven organizations are less well-known to the general public, therefore an artist interview would not make the needed impact on the prospective audience or be seen as newsworthy to the local media. Table 4.10 Free Ticket Giveaway-Audience Profit Status For- Non- Volunteer prof it profit -driven TOP!!- Free No 1 3 2 6 Tickets Giveaways Yes 2 3 1 5 TOtfil 3 6 3 12 Free ticket giveaways are a strategy that is used by all of the performing arts profit sectors interviewed. This is a public relations strategy that can be done at minimal 61 cost. The media wants to have free giveaways available for their own marketing purposes. Therefore, free ticket giveaways benefit both the media organizations and the performing arts organizations. Table 4.11 Public Service Announcement-Audience Profit Status For- Non- Volunteer prof it prof it -driven Total Psas no 3 6 1 10 yes 0 0 2 2 Total 3 5 3 12 Public service announcements are not used in for- profit or non-profit performing arts organizations. Public service announcements are free to the sponsoring organization but, the media vehicle cannot guarantee any specific frequency or time period. This is why they may be utilized by an organization with a very small marketing budget. One volunteer-driven marketing director commented, “We are aware that public service announcements won’t play during any prime air time, yet someone some where sees them. It can’t hurt” (Appendix B, p. 110). 62 Table 4.12 Press Kit-Audience Profit Status For- NOn: 'Volunteer profit profit -driven Total Press no 1 2 3 6 Kits yes 2 4 0 6 Press kits are not used by the volunteer-driven performing arts organizations included in this study but, the majority of the other profit sectors do use them. Two possible reasons for this are the knowledge needed to create one and the associated costs of distributing a press kit. Table 4.13 Paid Advertising-Audience Profit Status Total For- Non- ‘Volunteer profit profit —driven Paid No Advertising 0 0 3 3 Yes 3 6 0 9 Total 3 6 3 12 Paid advertising is used by both the for-profit and non-profit performing arts organizations but, it is not used by the volunteer-driven organizations. A reason behind this is that the volunteer organizations included in this study do not have the budget available to utilize paid 63 advertising. They would like to use paid advertising. One marketing director for a volunteer-driven performing arts organization said, ”Paid advertising would be so easy and effective to use. Earned media is such hard work and time consuming" (Appendix B, p. 97). Marketing to Current and Potential Vblunteers Volunteers are an essential part of many performing arts organizations. Without them, the organization would not be able to carry on day—to-day operation. All three of the for-profit performing arts organizations that were included in this research do not utilize volunteers. All of the volunteer-driven organizations do utilize volunteers. Five out of six of the non-profit performing arts organizations also use volunteers. The marketing tactics and strategies that were mentioned as ways of reaching current and potential volunteers were word of mouth, press releases, free tickets, email lists, websites, and free print advertisements. An interesting trend is that all of the volunteer- driven organizations use word of mouth to recruit volunteers. A volunteer-driven organization's marketing 64 director commented, “Word of mouth is cheap and effective. People will trust their friends and relatives before they will trust an advertisement or letter" (Appendix B, p. 111). They do not use any of the other methods, except for one, which makes use of free print advertising. The non-profit performing arts organizations included in this research really seem to rely on word of mouth and free ticket promotions to obtain volunteers. Please see Tables 4.14, 4.15, 4.16, 4.17, 4.18 and 4.19 for the breakdown of which profit sectors use what marketing efforts to reach current and potential volunteers. Table 4.14 Word of Mouth-Volunteers Profit Status For- Non- Volunteer prof it prof it - driven TOPS]- Word No 0 1 0 1 Of “011th Yes 0 4 3 .7 not applicable 3 1 O 4 Total 3 5 3 12 65 Table 4.15 Press Releases-Volunteers Profit Status For- Non- Volunteer profit profit -driven Total Press No 0 3 3 6 Releases Yes 0 2 0 2 not applicable 3 1 0 4 Total 3 6 3 12 4.16 Free Ticket Offers-Volunteers Profit Status For- Non- Volunteer profit profit -driven Total Free No 0 1 3 4 Ticket Yes 0 4 0 4 Offers not 3 1 o 4 applicable Total 3 6 3 12 Free ticket offers are not used by the volunteer- driven organizations in this study, but they are used by most of the non-profit organizations. Free tickets are a win-win incentive for both the performing arts organization and the volunteer. A reason that the volunteer organizations included in this study do not use free ticket offers is because often volunteers work in many capacities for the organization, being able to attend or perform in the event without the need for a ticket. 66 4.17 Email Lists-Volunteers Profit Status For- Non- Volunteer profit profit -driven TOtll Email No 0 3 3 6 hilt YES 0 2 0 2 not applicable 3 1 0 4 Total 3 6 3 12 The volunteer-driven organizations do not use email lists to reach current and potential volunteers. Email lists were not used to reach current and potential audience members for these organizations either. Table 4.18 Website-Volunteers Profit Status For- Non- Volunteer profit profit -driven Total not applicable 3 1 0 4 Once again, volunteer-driven performing arts organizations do not use websites to reach current and potential volunteers. In fact, only one marketing director mentioned that this tactic was used, and that was for a non-profit organization. 67 4.19 Free Print Advertising-Volunteers Profit Status For- Non— Volunteer profit profit -driven Total Free Print No 0 5 2 7 Ads Ye 8 0 O 1 1 not applicable 3 1 0 4 Total 3 6 3 12 Only one volunteer-driven performing arts organization included in this study uses free print advertising to reach current and potential volunteers. It may be that this is something that is not offered at every newspaper, so it is a location—based method of promotion. Marketing to Current and Potential Donors Without funding the performing arts would not exist. Donors are another vital public for most performing arts organizations. Marketing directors target donors with direct mailings, personal calls, program inserts, newsletters, websites, flyers, special receptions, priority seating, and early ticket sales. As was true with volunteers, none of the for-profit organizations included in the research make use of donors. Two of the three volunteer-driven performing arts 68 organizations also do not make use of donors. One reason for this may be the fact that no tax benefit is available to the donor if the organization does not have non-profit status from the government. However, only one of the six non-profit organizations interviewed for this study does not solicit donors. Of the performing arts organizations that do solicit current and potential donors the only real trend was the use of personal contact. Commonly used methods of contacting donors were personal calls and invitations to special receptions. Audience members and volunteers for performing arts organizations did not receive such personalized treatment. Public relations methods seem to be more widely used in soliciting donors than advertising methods. One non- profit marketing director commented, “We like to make our donors feel more appreciated than our normal patrons. We treat them with special receptions and make sure to use person-to-person contacts with them” (Appendix C, p. 129). QUESTIONS 13, 14, AND 15 Questions 13, 14, and 15 were asked to discover what marketing efforts were thought to be effective, if what was effective varied between programs or events, and how this 69 was determined. These questions were important in understanding the level of sophistication of marketing plans and research. Effectiveness The responses of what marketing effort, overall, was found to be the most effective included the following: direct mail, television, radio, email lists, press releases, word of mouth, print, and a layering of various marketing efforts. There seemed to be no relationship between what marketing method was thought to be the most effective and the profit status, size or the marketing department, or size of the venue. The most frequently mentioned tactic in terms of effectiveness was word of mouth. Four venues, three non- profit and one volunteer-driven, agreed that word of mouth was the most effective. The second tactic that was mentioned frequently as being effective was print advertising. Three venues, one non-profit and two volunteer-driven organizations, agreed with this statement. Television, radio, email lists, press releases, and a layering of efforts were each mentioned once by a performing arts 70 organization as the most effective tactic or strategy for them. Eight of the 12 performing arts organizations that participated in this study agreed that the marketing tactic or strategy effectiveness did vary according to the program or event. The other four stated that they thought the same marketing effort was most efficient no matter what the event was. The two volunteer organizations that do not vary their marketing efforts do so because of the location from which they draw their consumers. One marketing director of a volunteer-driven organization said, “Our audience is very local and probably always will be. There is no need to change or expand our marketing efforts beyond where our audience lives” (Appendix B, p. 104). Please see table 4.20 for a cross tabulation of the profit status and whether or not it was thought that effectiveness of a marketing communication varied with the program or event. 71 Table 4.20 Does Marketing Effectiveness Vary With the Program or Event? Profit Status Total For- anr Volunteer profit profit -driven Does no effectiveness of marketing 2 0 2 4 communication vary with the program? Yes 1 5 1 8 Total 3 6 3 12 Effectiveness-HOW Is It Determined? Ten of the 12 performing arts organizations evaluate what is effective simply by the ticket sales of a particular event or program. The other two organizations also use ticket sales as a gauge. However, one additionally uses audience surveys and the other uses repeat customers to gauge success of a marketing effort. 72 QUESTIONS 16 AND 17 Questions 16 and 17 assess the level of understanding the marketing directors have for the target audiences of their respective performing arts organizations. All of the participating performing arts organizations identify some sort of target audience for either the entire venue or for each event or program. Some have identified them by location, some by basic research methods, and others have relied upon instinct and experience to know to whom the event or program would appeal to. One for-profit marketing director commented, “We gauge our target audience by what we think the draw of the performer will be. The larger more popular acts we advertise within an hour’s driving distance” (Appendix A, p. 104). Please see Table 4.21 for detailed information on the method that the marketing directors use to identify the target market for either their venue or the program or event. 73 Table 4.21 Identifying a Target Market Profit Status Total For- Non- Volunteer profit profit -driven How did you Instinct/ identify Appeal of 2 4 0 6 target the program market? distance from the 1 0 3 4 venue Research 0 2 0 2 Total 3 6 3 12 Nine of the twelve performing arts organizations included in the research agree that their target market does vary according to the program or event. The three that do not agree with this statement are all volunteer-driven organizations. A reason behind this is that the draw for their events is very local. They are trying to reach the same target audience for every event or program. Audience Changes Many of the marketing directors have seen changes in the make-up of their audience members since they started working at their respective performing arts organizations. The seven organizations that had noticed a change gave different answers as to the nature of those changes. Some 74 thought that their audiences were younger, but others mentioned that the audiences were older, bigger, or had fewer subscription members. There was no real observable pattern between profit sectors or venue size and audience changes that were observed. QUESTIONS 18, 19, AND 20 Questions 18, 19, and 20 gather thoughts on budget and resource problems that marketing directors may be experiencing at their respective performing arts organizations. This is the series of questions that almost all performing arts organizations agree on, no matter their profit status. The marketing budgets of the performing arts organizations included in the study leave something to be desired. All the marketing directors agree that their budgets are too small to be as successful as they would like to be in marketing events and programs. One non-profit marketing director commented, “We are not given nearly enough money to see what we would like to ideally be done in a marketing campaign, but we make do with what we have. This is a vital skill for any arts marketer to have” (Appendix C, p. 136). 75 The last two questions addressed what resource each marketing director felt they lacked the most and what they might do with additional resources if they had them. The resource that marketing directors thought they lacked the most was time. Five of the 12 performing arts organizations responded in this manner. A close second was the lack of money. Four organizations responded that funds were the scarcest resource. Two organizations thought that lack of proficient staff was the biggest problem that they faced. The resource of manpower is very closely related to both time and money. When marketing directors were commenting on what they would like to do most if they had more resources, using more advertising, hiring more staff, using more direct mail, a technology upgrade, and more branding of the facility as opposed to the program or event were mentioned. HYPOTHESIS The first hypothesis, which concluded that both non- profit and volunteer-driven performing arts organizations utilize more marketing techniques that are based on personal relationships than for-profit organizations, has been shown by this study to be true. 76 Many of the non-profit performing arts organizations included in this study use trade advertising, free ticket giveaways, and artist interviews to reach current and potential audience members. Four non-profit organizations use word of mouth as the main way of reaching volunteers. When attempting to market themselves to current and potential donors the use of personal contact, including phone calls, personal visits, and special receptions are used. Half of the non-profit organizations think that word of mouth is the most effective marketing tool for them. All of these mentioned marketing efforts are based on the formation of relationships with the media, the public, or both. All of the volunteer-driven organizations included in this study utilize trade advertising to reach audience members and use word of mouth to reach volunteers. To reach current and potential donors, the volunteer-driven organizations also utilize the personal contact marketing efforts mentioned above. The most effective marketing efforts mentioned by the three volunteer-driven performing arts organizations were word of mouth, trade print advertising, and press releases. All of these methods of marketing require the building and use of personal relationships to be effective. The second hypothesis, which concluded that for-profit performing arts organizations use more marketing efforts that do not focus on the development and use of personal relationships than non-profit and volunteer-driven organizations, has been shown by this study to also be true. The majority of the research supports this thesis; but, unlike H1, there are a few pieces of information that do not. In support of this hypothesis, none of the for-profit performing arts organizations utilize trade advertising but, all do use paid advertising. The for-profit performing arts organizations included in this study do not have volunteers or donors, which is where a lot of the personal contact and relationship building were utilized in non-profit and volunteer-driven organizations. Email lists and paid radio advertising were specifically mentioned as the most effective marketing efforts. Neither of these requires the building of relationships in order to execute them. On the other hand, two for-profit organizations make use of artist interviews and free ticket giveaways. These methods are based around relationship building. 78 Chapter 5 CONCLUSION This chapter contains a brief summary of the study including the purpose, contributions, limitations, and suggestions for further research on marketing efforts in the performing arts. RESEARCH PURPOSE The purpose of this study was to gain insights into the public relations and marketing activities that performing arts venues use in promoting events sponsored by their organizations. In particular, the study tries to determine whether the type of organization affects the nature of techniques that marketing directors use. Each profit sector will be discussed individually. RESEARCH CONTRIBUTIONS This study investigated the communications strategies and tactics that arts marketers find most effective for their organizations. The contribution of the research was to allow marketing professionals of performing arts venues to determine what marketing efforts are successful in other comparable organizations, giving a reference point in analyzing marketing activities in their own performing arts organizations. 79 Both a depth and breadth of information was gathered with the use of qualitative interviews. There was information to support the relationships proposed in both hypotheses, but many more ideas can be formed from the information that this research gathered. There are many differences and similarities in non-profit, for-profit, and volunteer-driven performing arts organizations. These similarities and differences help each profit sector to reach and serve their particular consumer. VOLUNTEER-DRIVEN PERFORMING.ARTS ORGANIZATIONS marketing'Directors If what has been shown in this study is true for other arts organizations, then marketing directors of volunteer- driven performing arts organizations tend to have little, if any past experience in marketing, advertising, or public relations. Typically, they have not worked in any other arts organizations either. This puts volunteer-driven organizations at a disadvantage. They may be forced to use very primitive methods of determining what marketing efforts work. Thus, research is used very minimally. None of the volunteer-driven organizations in this study use research 80 beyond the collection of contact information from those who are willing to provide it. They also have other occupations beyond working for the performing arts venue. This limits the amount of time and effort that a person can put into marketing a volunteer- driven organization. The marketing directors included in this research not only have other jobs, but they handle the marketing efforts of the organization as well as perform with the organization. Most are doing the job of marketing the organization out of necessity. venues The volunteer-driven organizations in this study have small venues of 250 or fewer seats, often utilizing the local high school’s auditorium. This can help to tie the organization into the local community. Often volunteer- driven organizations offer only a few events each season, but each event is repeated many times over. Scheduling Input All of the marketing directors of this profit sector have input on the scheduling of their respective venues. It is beneficial to have the marketing director's view heard 81 when making scheduling decisions. Volunteer-driven organizations may not benefit as much from this advantage because the marketing directors tend to not have any background experience in marketing, advertising, or public relations. Also, volunteer—driven organizations have to base their decisions mainly on what they have the resources to produce. Marketing Efforts If what has been shown in this research is true, then volunteer-driven organizations typically use press releases, trade advertising, posters, direct mail, ticket giveaways, and public service announcements to reach audience members. With the exception of direct mail, all of these methods of communication require the use of relationships in order for them to have the desired effect. All of these methods are also very low cost. This fits with the fact that all of the volunteer organizations’ marketing directors in this study said that money is the resource that they lack the most and that there is rarely any marketing budget. All of the volunteer organizations included in the study have volunteers. All three mentioned word of mouth as the most effective way to reach volunteers. It should be 82 noted that free print advertisements were also cited by one volunteer organization. Again, word of mouth is a method of communication that relies strictly upon the building and maintaining of relationships and is free to use. The majority of volunteer-driven organizations do not have donors. This plays into the fact that volunteer organizations are made up entirely of unpaid volunteers. They have other jobs and are lacking the time that is takes to solicit donors. Also, the organization may not be well- known or large enough to appeal to potential donors. Or volunteers may also contribute themselves, or provide enough free services that they don't need much money. Target.Market All the included volunteer organizations have identified a prospective target market, but none of the organizations have done any research to justify the selection of this target market. Most simply use the distance from the venue in identifying the target market. Marketing directors have assumed that beyond a specific mile radius no one will travel to see local performing arts. 83 Overall Trends The major trend to note is the lack of experience or expertise that the marketing directors have in volunteer performing arts organizations. Without the knowledge to complete anything beyond very basic methods of research, volunteer-driven organizations will always be a step behind other performing arts organizations. The lack of funds for any type of marketing plan is also an apparent downfall. On the other hand, volunteer- driven organizations really make good use of their community ties and relationships in order to market themselves to their immediate surrounding communities. Most have a mission to serve their communities and with this in mind, they are succeeding. They do not expect to grow and expand; they only wish to continue to exist. They are in existence not only for the enrichment of the audience, but also for the satisfaction of performers themselves. FOR-PROFIT PERFORMING ARTS ORGANIZATIONS marketing’Directors All of the marketing directors of the for-profit performing arts organizations included in this study had 84 previous experience in advertising and marketing, but not in the arts. This gives for-profit organizations an advantage in that they have experienced marketing staff. The for- profit organizations included in the study did not appear to take advantage of the fact that they are familiar with research, as none of them mentioned conducting any kind of research. Two for-profit organizations said that they use instinct to identify the target market and the other uses distance from the venue. As of yet, they collect nothing beyond contact information from their audience members that would like to be on email mailing lists. One reason for this lack of research may simply be that they don’t need to conduct it because they do aim to have such wide appeal in the community. Another reason may be the lack of support staff that was cited in interviews. Research is not necessary in day-to-day survival and could easily be set aside. Venues For-profit organizations had the largest venues ranging from 12,098 to 14,127 seats. These venues offer the most versatility in the use and configuration of their space. The versatility allows for-profit organizations to offer a wide 85 variety of programs or events that appeal to different mass audiences. Scheduling Input For-profit organizations' marketing directors responded that the sizes of their respective marketing departments ranged from three and a half to seven and a half full-time employees. The marketing department sizes appeared to relate to the sizes of the venues. Some of the marketing directors reported having some input into the scheduling of a season's programming, while others said they had no input. As mentioned previously, there are many benefits in having a marketing director’s view heard, especially when they have past experience in marketing and advertising. Having a larger marketing department may add more bureaucracy to the decision-marking process. marketing Efforts If what has been shown in this research is true, all of the for-profit organizations in this study use press releases and paid advertising to reach current and potential audience members. These for-profit organizations rely heavily on paid advertising including print, television, 86 radio, and outdoor. Paid advertising does not require the utilization of personal relationships, but it does require a substantially larger budget than volunteer-driven and most non-profit organizations have at their disposal. None of the for-profit organizations use trade advertising, posters, or public service announcements. All of these methods are low cost options for marketing. They all also require the development and use of personal relationships, whether it is with the media or the community. This shows a direct relationship with the fact that two of the for-profit organizations say the resource they lack most is time and the resource they want more of is marketing staff. None of the for-profit organizations in this study make use of volunteers or donors. Instead of volunteers they have paid staff members in the positions of ushers, concession stand workers, and box office workers. Being as they are for-profit organizations, they are not an obvious choice for donations of any kind and perhaps that is why they do not solicit donors or volunteers. 87 Target.Market All of the for-profit organizations have identified a target market. For-profit organizations tend to identify a different target market for most of their programs and events. The need to appeal to a wide variety of target audiences is prompted by the large number of seats that need to be filled in order to make an event successful. These particular for-profit organizations all strive to appeal to as many niche markets as possible each season in order to fulfill their missions, which include the making of a profit. Overall Trends The major trend to note in for-profit performing arts organizations is the past marketing and advertising experience that marketing directors have. Although they are more experienced than the volunteer-driven organizations' marketing directors, they do not appear to do any more advanced research. This seems to be due to the lack of time and enough staff. The purpose of a for-profit organization is to make money. These for-profit organizations seem to be succeeding. 88 They have the money and the space to bring in high-profile events and programs. This gives them a high awareness and a tie to the surrounding community. This also gives them a larger radius to pull potential audience members from. A disadvantage of being a for-profit organization is that it is difficult to make use of donors and volunteers. For- profit performing arts organizations really rely on the strength of their programming schedule and the ability to market it well. NON-PROFIT PERFORMING ARTS ORGANIZATIONS Marketing'Directors Marketing directors for the participating non-profit performing arts organizations represent a mixed level of experience. All of them have previous experience in either public relations or marketing. unlike the volunteer-driven or for-profit organizations, most of the marketing directors do have past experience in arts marketing. Past experience in arts marketing allows these directors to have more insight and relevant past experience to draw from. 89 venues Non-profit organizations had the widest range in venue size. The participating organizations ranged in size from 250 to 7,800 seats. All six of these organizations have theatrical events. The larger of the non-profit organizations appear to act much like for-profit organizations in the types of programs and events that they offer. Again, they have more seats to fill and must appeal to a large number of consumers. Scheduling Input Some non-profit organizations' marketing directors are able to offer input into the choice of the season's programs and events. Others have no input into the scheduling. The size of the marketing departments in non-profit organizations also had the largest amount of variance, ranging from one to nine full-time employees. As stated above, there are many benefits in having a marketing director’s view heard, especially when they have past experience in arts marketing and public relations. Having a larger marketing department may add more bureaucracy to the decision-marking of the season's programming. At the same 90 time a larger marketing staff may allow for more time to build useful relationships and conduct research. Marketing Efforts If what was discovered in this research is true, then non-profit organizations rely on email lists, trade advertising, direct mail, websites, artist interviews, free ticket giveaways, paid advertising, and press kits in order to reach current and potential audience members. Non-profit organizations seem to bridge the gap between volunteer- driven and for-profit organizations by using both marketing efforts that do and don’t make use of the development and use of personal relationships with the media and community. Most non-profit organizations have solicited both volunteers and donors. The marketing efforts that are used to reach both of these targets really utilize personal relationships. The mentioned effective tactics were word of mouth, free ticket give-aways, personal calls, special receptions, and press releases. All of these methods are also somewhat low in cost. 91 Target.Market All of the participating non-profit organizations have identified a target market. A majority of the marketing directors use instinct to identify whom the target market should be for a particular program or event. The others actually completed research to identify target markets. One of the non-profit organizations does a well planned audience survey every couple of year. This particular organization is the most progressive with research of all the participating organizations. According to this marketing director, “The purpose behind this audience survey is to identify any changes that have occurred in the target market” (Appendix C, p. 134). Overall Trends The major trend in non-profit organizations is the past arts marketing and public relations experience that the marketing directors seem to have. With this combination of experience and insight into both the arts and marketing, non-profit marketing directors have the ability to make effective use of research and past experience. 92 Non-profit organizations tend to bridge the gap between volunteer-driven and for-profit organizations, using the best of both worlds. Non-profit organizations define their success in terms of whether or not they are adhering to their artistic mission statement, yet they realize that ticket sales and donations make this possible. By balancing the marketing efforts to these two target publics, non- profit organizations can continue to thrive in the arts world. LIMITATIONS There are a few notable limitations of the design and execution of this study. The limitations include the type of sampling frame that was used, the number of organizations in each profit sector, and the location of the organizations. These affect the generalizability of the findings. With hindsight it is also possible to determine what additional information should have been collected with the measurement instrument. Sampling Frame A convenience sample was used for this study by gathering from personal and professional connections with 93 marketing directors of performing arts venues. Convenience sampling does not offer any assurance that the characteristics of the sample are in any way representative of the larger universe. This is not a major limitation since qualitative research already cannot be generalized. It also would have been more proportionate sample if an equal number of marketing directors from non-profit, for- profit, and volunteer-driven performing arts organizations were included in the study. Though the number of organizations included in each profit sector is very representative of the population of arts organizations in the United States. The locations of the performing arts organizations were centered in Michigan. Nine out of the 12 total participants were located in Michigan. .Measurement Instrument It would have been beneficial to have asked each participant about the mission statements of their respective performing arts organizations. This would have given insight into the underlying motives for promoting the organization. It would have also been beneficial to have asked the 94 marketing budgets that each organization has and how that number is determined. BEST PRACTICES One particular non-profit performing arts organization that participated in this study stuck out as a leader in their field. Many of their marketing tactics used are innovative. This organization realizes the need to appeal to minority and younger target audiences. They are using programs such as The Young Professionals Club to help draw those audiences in. This organization also recognizes the importance of reaching out to community schools for educational programs. Audience profile studies are done every year, helping to monitor the success of different marketing efforts. This organization uses a successful mix of public relations and advertising. They continue to be able to provide their community with both popular, well- known programs and lesser-known artistic expressions. This fulfills their artistic mission, as well as, keeps the money flowing in. 95 FINAL THOUGHTS The performing arts serve a great purpose in our culture. RAND (2001) research suggests three essential functions that the performing arts serve in society. They are as follows: I. The arts serve as a source of entertainment, enrichment, and fulfillment for individuals. 2. The arts serve as a vehicle for the preservation and transmission of culture. 3. The arts provide a variety of instrumental benefits for society. These benefits exist at the individual, community, and national level. The main instrumental benefit that the arts provide is to allow society to encounter many other cultures and life experiences through the eyes of another’s creation of art. More or less, performing arts offers society a window to the world through another’s eyes. No matter the profit status, performing arts organizations are valuable to society. Marketing in the performing arts helps to maintain their existence. Marketing in the arts is unlike other industries simply because art cannot, in a sense, be molded to fit the needs of the target market. Marketing in the performing arts seems to run contrary to the marketing 96 philosophy. Artistic creation cannot be made to fit the demands of an audience. Marketing in the arts is just as much about education as it is about stimulating purchase intentions of consumers. Performing arts organizations must realize that the education of the arts begins in children. Reaching out to local children with educational programs can help to develop the audience of the future. The knowledge of the program or event and a stimulated desire for the consumer to be a part of the event both need to be present for marketing of the arts to have succeeded. Marketing in the performing arts needs both the knowledge of marketing and performing arts. SUGGESTIONS FOR FURTHER RESEARCH After analyzing the implications and limitations of the current study, the same research could be conducted again with the suggested modifications to the sampling frame and measurement instrument as previously mentioned. Marketing in the performing arts in the United States is a topic on which little research has been completed. In 97 particular, there is a lack of generalizable research. Therefore, there are many ideas for further research in the marketing of the performing arts. Those ideas are as follows: e The same research conducted as a quantitative survey with a random sample throughout the United States. e Studying the reasons behind why audience members go to performing arts organizations and if the reasons vary according to whether they are frequent or occasional users. e A quantitative survey on the marketing and operating budgets of each of the three types of performing arts organizations. OQualitative research on how education and participation in the arts as a child affect arts attendance rates as an adult. 98 AppendiX'A For-profit Interview #1 How long have your worked in this position? Eight years . Where was your previous employment? Channel 10, Account Executive How big is your venue? (# of seats) 16,000 in basketball configuration, 11,000 for a typical concert, 5,000 for amphitheatre setting How many events to you hold annually? 10 concerts, 10 family shows, 20 misc. .How long is your season? School year mostly, some summer events here and there What type of events are held here? (dance, theatre, concerts, etc.) See number four. Is your organization considered for-profit, non-profit, or volunteer-driven? For-profit How many people work in your marketing/communications department? Full-time? 1 part-time, 1 full-time, 2 student interns 99 10 . Are you given the season’s schedule, or do you have input on what might appeal to the audience? We don’t set the schedule early, both the promoters and the marketing department call to set up shows. We really aren't given a lot of time to market an event or program. The marketing department does research on what appeals to the audience. Input is given but the ultimate decision is the Director’s. It is important to keep a finger on the market, understand the pulse of the public. .What public relations/marketing methods do you frequently use to reach your audience members? We set a mutually agreeable budget between the director and the artist’s contracting organization. Based upon the demo, the marketing department comes up with a marketing plan that is a combination of print, radio, TV, billboards (mobile, outdoor). We send a press release in a standard format for every event. Media sets up interviews with the artists, signing, etc. A website is also utilized to sell tickets. Community involvement helps to keep the name of the Breslin Center out there. (Chamber, Boards, Ad Club, etc.) 100 11.What public relations/marketing methods do you frequently use to reach your donors? We don't have any donors-we can solicit show sponsors if the show isn’t already nationally sponsored. 12.What public relations methods do you frequently use to reach your volunteers? We don’t have any volunteers; instead we utilize 400 paid student employees, 13.Which of these is the most effective? TV and Radio-radio is particularly relevant to the musical acts that are presented, we can really target the exact demo very easily. 14.Does it vary according to the programming? No, radio always seems to work the best for us. Especially in this market as it is cost effective. 15.How do you evaluate what works and what does not work? Seats sold, it has been a really long time since the audience has been surveyed here. It is difficult because our audience varies so much between shows. 16.Who is your target market? Does it vary according to the programming? How did you determine this? This can be determined by just being around in the market, becoming as familiar as possible with the 101 17 18 19 community. Instinct and experience can help to tell you what will work and what will not. Sometimes you just have to take a chance. Don’t blame yourself for your failures, as there are always factors that play a part that you have no control over, such as weather. .Have you seen any changes in the makeup of the audience since you have been here? It changes every show, such variety at a venue like this. We really want the entire community to be involved with the Breslin Center. .Do you feel that the budget you are allotted is adequate? No, marketing people never feel that they have enough budget. You become the “queen of making —do with what you have”. We require value-added promotion items from every organization we promote through. Trade/Leverage helps to stretch the dollars we have even farther. We are such a regular advertising buyer that they have to help with free bonuses. .What additional public relations/marketing tactics would you use if you had more resources? 102 Group sales efforts would be stepped up-getting out to schools, the girl scouts, rotary clubs, etc. The ones that you can’t access through mainstream media. 20.What resources do you lack the most? (Money, time, support, etc.) Help and support!! 103 For-Profit Interview #2 1” How long have your worked in this position? Two and a half years 2. Where was your previous employment? Self-employed ad agency 3. How big is your venue? (# of seats) arena---12 , 000 theater---2127 convention space—varies,up to 5000 4. How many events to you hold annually? 325 average events each season 5. How long is your season? All year long (L What type of events are held here? (dance, theatre, concerts, etc.) arena----sports (are run by another marketing department), concerts, family shows theater---Broadway, fine arts, etc Exhibit Halls, trade shows, conventions, concerts We have the versatility in space that we can offer events that many other venues cannot. Of course we want to take advantage of this fact. KM 7. Is your organization considered for-profit, non- profit, or volunteer-driven? We are city owned as a for-profit. £1.How many people work in your marketing/communications department? Full-time? 6 full—time 1 part-time 1 intern 9. Are you given the season's schedule, or do you have input on what might appeal to the audience? Basketball, Football and Hockey have set seasons in the Arena. Symphony, Opera, Ballet are set seasons in the Theater. The marketing department helps to program the rest, with the final decision being the director's. 10.What public relations/marketing methods do you frequently use to reach your audience members? An email database is working quite well. See the PCC VIP program via our website. Currently, it has about 3000 members. The cost is so low for this program it can’t really go wrong! The Broadway Theater Season Ticket holders are emailed to each year for renewal, and that works well too. 105 11. What public relations/marketing methods do you frequently use to reach your donors? We do not have any donors. 12. What public relations methods do you frequently use to reach your volunteers? The PCC has no volunteers. 13. Which of these is the most effective? The email program is free and growing rapidly. It really seems to work well and it is so cost effective. 14. Does it vary according to the programming No, at this point we email to all VIP's, although in the future there will be sorting. We are currently looking into the cost of such a program. Our audience changes for each show. We have to reach all the segments of the market with at least one program each season. We want to draw a mass audience, we have the space to fill and mass appeal events are the only way to do so. 15. How do you evaluate what works and what does not work? Ticket sales and response are the only ways in which we are able to evaluate what works and what doesn't. 106 16. Who is your target market? Does it vary according to the programming? How did you determine this? The target market varies by show. Broadway is 45 minutes any direction, bigger concerts like Cher are one hour. It is also determined by what’s available in outlying areas and what’s not. 17. Have you seen any changes in the makeup of the audience since you have been here? They are a bit younger for the Broadway patrons; otherwise it is all show dependant. 18. Do you feel that the budget you are allotted is adequate? Barely, of course I would always like more money to do more marketing with. 19. What additional public relations/marketing tactics would you use if you had more resources? I would do more branding of the facility, not the events or programs. 20. What resource do you lack the most? (Money, time, support, etc.) Time! 21. This venue is so much busier than people realize, with 3 buildings. It is difficult, even with the larger size 107 of our marketing department to keep track of everything that is going on at once. 108 For-Profit Interview #3 1” How long have your worked in this position? I started as Director of Marketing in Oct. 2000. 2. Where was your previous employment? I was an event coordinator at our other building (Grand Center/DeVos Performance Hall) since Aug. 1996 and before that I was Promotion Director at WKLQ for ten years. 3. How big is your venue? (# of seats) Capacity for hockey = 10,843; end stage concert = 12,098; basketball or circus = 11,668 4. How many events to you hold annually? In 2002 we held 27 concerts, 36 family shows, 51 total events Griffins/Rampage games, four sporting events, and 15 miscellaneous events (like graduation, banquets, etc.) 5. How long is your season? Our season is September through May. 6. What type of events are held here? (dance, theatre, concerts, etc.) KP 7 . 10. Please see number four. Is your organization considered for-profit, non- profit, or volunteer-driven? We are a for profit venture. How many people work in your marketing/communications department? Full-time? 1 Director of Marketing, 1 Marketing Manager, 1 Marketing.Assistant, and 1 receptionist full time. 2 part time receptionists and currently 2 interns 20 hours a week. We offer popular appeal programming. Most of this type of programming requires that we work with both the booking agent and the press agent to create a marketing campaign. This requires quite a few employees to keep up with .Are you given the season's schedule, or do you have input on what might appeal to the audience? Our general manager books the building and we work with the promoters that request marketing assistance. The Griffins and Rampage handle all of their own marketing. What public relations/marketing methods do you frequently use to reach your audience members? 110 We look at the demographics and use the input from promoters to choose the advertising. We email to approx. 2,600 patrons that have signed up on our web site and we send out news releases to over 100 Michigan media outlets for every show before it goes on sale. We put the information on our web site and on the marquee in front of the Van Andel Arena and Grand Center. In addition to that, we talk to our media partners on a daily basis to see what we can squeeze out of them in addition to our paid schedule. Good relations with those media partners are important. 11” What public relations/marketing methods do you frequently use to reach your donors? We don't have any donors, but I work on obtaining sponsorships to offset costs for some of our shows. That's all networking, personal calls, and follow up; again those personal relationships come into play. 12.‘What public relations methods do you frequently use to reach your volunteers? We don’t use volunteers at all. 13. Which of these is the most effective? Our work pays off with a combination of all of the above. 111 14. Does it vary according to the programming? It varies according to popularity of the event. Some are incredibly easy and others are painful to work on. 15. How do you evaluate what works and what does not work? Ticket sales are the only method that we currently have available to monitor attendance. lit Who is your target market? Does it vary according to the programming? How did you determine this? It depends on what the event is, our audience varies so much. :rI.Have you seen any changes in the makeup of the audience since you have been here? No, I haven't noticed any changes. 18. Do you feel that the budget you are allotted is adequate? It depends on what the event is but, in general, there never seems to be enough money. 19. What additional public relations/marketing tactics would you use if you had more resources? I would really be interested in have a street team for sales and sponsorship, a group sales department, focus groups for research. We don’t do enough research about our audiences. 112 20. What resources do you lack the most? (Money, time, support, etc.) Money, you can do everything with more money! 113 10 Appenidx B Volunteer-driven Interview #1 How long have your worked in this position? 25 years . Where was your previous employment? Kindergarten teacher for 33 years, also I was president of the local arts and crafts center . How big is your venue? (# of seats) 230 seats How many events to you hold annually? Around 25 events each season . How long is your season? September-May . What types of events are held here? (dance, theatre, concerts, etc.) Music events, lectures, travelogues, some dance Is your organization considered for-profit, non-profit, or volunteer-driven? Volunteer-driven How many people work in your marketing/communications department? Full-time? We have four part-time volunteers. Are you given the season’s schedule, or do you have input on what might appeal to the audience? The “Friends of the Opera House” -which is a volunteer board put together the program focusing on variety and what has been successful in the past. They like to have both local community talent and national talent. .What public relations/marketing methods do you frequently use to reach your audience members? 114 11. 12 13. Posters are distributed in various places including: schools, churches, libraries, convention. Ibureaus, historical societies, music teachers, etc. Press releases are sent to up to 50 newspapers depending on the event. PSAs are utilized. We are aware that public service announcements won't play' during any prime air time, yet some one some where sees them. It can't hurt. A mailing is sent twice a year with the schedule-you sign up for the mailing at an event, a website, Public Radio ticket give-aways, as well as some local radio give-aways. Three local businesses also help us to sell tickets. What public relations/marketing methods do you frequently use to reach your donors? Both. individuals and. corporations are solicited. for major projects such as chairs, tables, painting, tech. equip., garden, etc. They get names for people who are involved in rotary, chamber, historical society, etc. They do make both mailings and personal calls to solicit donations when needed. .What public relations methods do you frequently use to reach your volunteers? Volunteers are gotten from the chamber of commerce. Because they share space with them, all incoming volunteer calls are sent directly to the Opera House. Word of mouth works best for us. Word of mouth is cheap and effective. People will trust their friends and relatives before they will trust an advertisement or letter. Which of these is the most effective? 115 14 15. 16. 17 18. Press releases, word of mouth and the performers them selves .Does it vary according to the programming? Yes, depends on the performers draw as to how far they will promote the concert, all depends whether it is MSU related, Music teachers, organs, churches, etc. How do you evaluate what works and what does not work? The seats are filled! The same people coming back. Who is your target market? Does it vary according to the programming? How did you determine this? Our typical target market is 40+, but it does vary slightly' depending' on. the event. This is our core audience, but specialized events require specialized promotions. .Have you seen any changes in the makeup of the audience since you have been here? Our audience has grown over the years. Not very much change has been seen. Some events do tend to draw more students than they use to. Do you feel that the budget you are allotted is adequate? Not much money is spent at all. There is no set budget, they do what they can for free or trade. 19.What additional public relations/marketing tactics would you use if you had more resources? Paid advertising would be so easy and effective to use. Earned media is such hard work and time consuming. We would also hire someone to do the marketing for us, someone with more experience and expertise. 20.What resources do you lack the most? (Money, time, support, etc.) Money 116 Volunteer-driven Interview #2 1. How long have your worked in this position? 2 years 3. Where was your previous employment? I was a University of Michigan student at the same time that I volunteered for the theatre. 3. How big is your venue? (# of seats) 250 seats, first start using middle school and high school auditoriums By using the local school auditoriums this helps to keep us tied to the local community. 4. How many events to you hold annually? Four events, each two or three week long runs 5. How long is your season? Year—round-adult theatre, our actors wanted to participate in it year round £L.What type of events are held here? (dance, theatre, concerts, etc.) We only perform adult theatrical plays. Plays are the only type of events that we present because of the space we have, they are also cost effective, and we have the talent available to produce them. '7.Is your organization considered for-profit, non-profit, or volunteer-driven? Volunteer—driven EL.How many people work in your marketing/communications department? Full-time? Just myself, a part-time volunteer. I was made aware of the need to have someone handle the marketing of the 117 company and I was the only one who had any background remotely related to marketing. 9.Are you given the season's schedule, or do you have 10 11 12 13 input on what might appeal to the audience? Board of directors bases the decision on how much the copyright fees where and how familiar the public would be with the show. The marketing person was on the board of directors so they could offer insight and had an equal vote in deciding. .What public relations/marketing methods do you frequently use to reach your audience members? Some print-local newspaper ads, use press releases to reach radio and print media—these two proved that they would frequently come out and do some sort of a story on the plays. Relationships with the media are very important. Without one it is hard to get anything in the news, without a budget to work with. Had a news letter that was sent to audience members on a semi- annual basis. We are not sophisticated enough at this point in time to set up and use an email mailing list. .What public relations/marketing methods do you frequently use to reach your donors? None-ticket sales funded the entire organization .What public relations methods do you frequently use to reach your volunteers? Volunteers were recruited by word of mouth. Usually they were friends or relatives of someone already involved in the show. The paper ran a free ad when actors were needed; actors were also recruited using person one-on-one methods, personally recruited. .Which of these is the most effective? 118 Reviewer in the local paper-they would usually publish a story and a picture, also participating in festivals or carnivals doing just a small portion of an act or scene as a teaser was very effective (and free) 14.Does it vary according to the programming? No, we don’t have the money or time to vary our methods very much, once we find something that works we stick with it. 15.How do you evaluate what works and what does not work? If the seats are filled, it worked. We also take a small survey when collecting audience members contact information. 16.Who is your target market? Does it vary according to the programming? How did you determine this? It is very limited by the immediate local community. We focused on older adults. We determined this because of the nature of our shows, they were appropriate for this audience. 17.Have you seen any changes in the makeup of the audience since you have been here? The audience is mostly made up of repeat customers. We would see the same patrons again and again. If anything the audience may have gotten a little bit older while I was there. 18.Do you feel that the budget you are allotted is adequate? No budget to work with at all. My job was to see how many things I could do for free. Public relations was our main way of getting in touch with the audience. We had to build relationships with our local media and hope they would pity us and help us out with a little blurb or review. 119 19.What additional public relations/marketing tactics would you use if you had more resources? More advertisements-this would create a cycle for us resulting in an increased audience which produces more money, which would have allowed us to hire one part time person to work on marketing efforts. 20.What resources do you lack the most? (Money, time, support, etc.) Money!! 120 Volunteer-driven Interview #3 1. How long have your worked in this position? Four years. 2. Where was your previous employment? I am currently a high school teacher in Bath. 3. How big is your venue? (# of seats) Around 250 seats, we usually use the local high school’s auditorium. 44.How many events to you hold annually? We perform 10-12 plays each season. 5. How long is your season? We have a year-long season. EL What type of events are held here? (dance, theatre, concerts, etc.) Theatre only, we only do plays for a couple of reasons; we know the space we have will accommodate plays, the musical and dance talent we have is limited, and plays are fairly cheap to purchase the rights to. '7.Is your organization considered for-profit, non-profit, or volunteer-driven? Volunteer-driven-all of the people involved in the Bath Theatre Guild are volunteers. Most have other jobs and this is just something they do because they love the arts. £L.How many people work in your marketing/communications department? Full-time? I am the only one who works on any of the marketing tasks. I volunteer when it is needed or I have the time available. 121 EL.Are you given the season’s schedule, or do you have 10. 11. 12 13 14 input on what might appeal to the audience? As a group the board of directors sit down to decide on the season's plays, we like to take into account what are performers would like to do, the cost, and the familiarity our audience will have with the play. What public relations/marketing methods do you frequently use to reach your audience members? Press releases, posters, go to other community organizations to ask for support, try to get local reporters to write small stories and reviews. We also use trade advertising. We have no budget for advertising so trade advertising is our way of getting our name out there. We have to do so. What public relations/marketing methods do you frequently use to reach your donors? We do not have any donors. .What public relations methods do you frequently use to reach your volunteers? We use word of mouth to get more volunteers. All of our new volunteers are friends or relatives of our current volunteers, almost everyone who acts in the plays volunteers in other ways as well. .Which of these is the most effective? Local community newspaper coverage really helps to advertise our plays. Most of our audience reads that paper. .Does it vary according to the programming? No, our audience is very local and probably always will be. There is no need to change or expand beyond where our audience lives. 122 15. 16. 17 18 19. 20 How do you evaluate what works and what does not work? We evaluate by how many tickets sell. Who is your target market? Does it vary according to the programming? How did you determine this? Our target audience is the older community members; we rarely draw any audience members from more than 15-20 minutes from Bath. That is just the way it has always been and it doesn’t vary from show to show. .Have you seen any changes in the makeup of the audience since you have been here? No, possibly a little growth in size as we have become more well known. .Do you feel that the budget you are allotted is adequate? We don't really have any sort of budget. What additional public relations/marketing tactics would you use if you had more resources? We would love to find a way to trade or pay for some local print advertising, like the Lansing State Journal. .What resources do you lack the most? (Money, time, support, etc.) Money could really help us to do so much more than we do now. Not having money really forces us to be very creative in how we promote our plays. 123 Appendix C Non-Profit Interview #1 . How long have your worked in this position? 3 years . Where was your previous employment? Big Apple Circus promoter, Booking Agent-sold Broadway shows to venues . How big is your venue? (# of seats) Great Hall-2500, Pasant-600, Fairchild-700, The Auditorium- 4,000 . How many events to you hold annually? Varies, approx. 300 performing nights a year, five week long Broadway shows, five-10 jazz, four to five dance, five-10 classical . How long is your season? September-May (school year) The reason behind this being we really need our student employees to help up run the events. Students work as ushers, ticket takers, box office personnel, and concession stand workers. Also, our audience really revolves around the university employees, staff, and faculty. . What types of events are held here? (dance, theatre, concerts, etc.) All Is your organization considered for-profit, non-profit, or volunteer-driven? Non-profit How many people work in your marketing/communications department? Full-time? Five people full-time 124 10 11 12 13 Are you given the season's schedule, or do you have input on what might appeal to the audience? The Director considers our input, but his decision is final. We are a very team oriented department. .What public relations/marketing methods do you frequently use to reach your audience members? Local TV, LSJ, Cable, Local Radio, Press Releases, community outreach events, direct mailing, website .What public relations/marketing methods do you frequently use to reach your donors? Priority system-they are the only venue that does this in the country, you have to give a certain level and have been a season subscriber for a certain amount of time to get first priority is seating and ticket sales. There are four different levels. These people are recruited through the use of direct mail, website, curtain call (their playbill) .What public relations methods do you frequently use to reach your volunteers? The Wharton Inner Circle-mostly retired women, they pay 25 dollars to be members, they help with ushering, school programs, gift shop, box office, mailings. 270 people are members right now. It is hard to find enough work for them to do at times. These people are recruited through word of mouth, house programs, and other volunteer organizations. .Which of these is the most effective? Word of mouth, TV in this market is the most cost effective, but print offers the take it with you effect. 125 14. 15 16 17 18 19. Does it vary according to the programming? Yes, it is based on the draw of the show. .How do you evaluate what works and what does not work? Simply when the seats are full we know something worked. We are getting a new ticketing system that will allow us to pull more reports. We are not able to analyze very well at the moment. We look at ROI, what we spent, what we gained. .Who is your target market? Does it vary according to the programming? How did you determine this? Older market-those with interest, time and money, evaluated by history in market, sales #8, talking other staff, media partners .Have you seen any changes in the makeup of the audience since you have been here? I would really like to see a shift to a younger market, and to overcome the elitist feeling and the ethnic profile does not match that of the community. For the most part the audience has remained the same but, does vary according to that year’s programming .Do you feel that the budget you are allotted is adequate? Every show gets 10% of estimated gross revenue. This is usually not the amount that I would like to have. What additional public relations/marketing tactics. would you use if you had more resources? We would like to broaden the radius of the reach of advertising currently used, outside of Detroit we are the only ones in the state who do what we do. 126 20.What resources do you lack the most? (Money, time, support, etc.) Always fighting time- more help would create more time, but they are really happy with the staff they currently have-with marketing there is always more work that can be done and hindsight is always 20/20. Annual Revenue 8% Sales 5% Rentals 6.5% University 15% Donations 65% Tickets 127 Non-Profit Interview #2 I” How long have your worked in this position? One and a half years 2. Where was your previous employment? Ann Arbor Summer Festival-97-01 3. How big is your venue? (# of seats) 400 seats-do present at some other venues in Ann Arbor 4. How many events to you hold annually? 300 shows 5. How long is your season? Year long, never ending! EL What types of events are held here? (dance, theatre, concerts, etc.) Ethnic and folk concerts, some plays, story telling festival '7.Is your organization considered for-profit, non-profit, or volunteer-driven? Non-profit £1.How many people work in your marketing/communications department? Full-time? 1 full-time person 9.Ame you given the season’s schedule, or do you have input on what might appeal to the audience? The program director has final say in the schedule. My job is to bring in the marketing perspective, looking at past sales v. the artist’s fee. My input is considered. The Ark does use the Ann Arbor Folk Festival to break in new artists. 10.What public relations/marketing methods do you frequently use to reach your audience members? 128 Direct Mail to 13,000 previous and current customers, minimal advertising done in print and radio. Email newsletters to 2,600 subscribers, website, discounts offered in the email promotions, press releases, 90 press kits go out monthly with schedule and information. 11.What public relations/marketing methods do you 12 13 14 frequently use to reach your donors? Development director is in charge. In order to drink any alcoholic beverages at the Ark you need to be a member. Tables are set up at the events and mention is made in the newsletters and emails. You can become a member for as little as $5. There are some in-kind donations made by corporations, sound equipment, massage therapist, etc. They receive signs in the Ark or mention in the newsletters with logos. .What public relations/marketing methods do you frequently use to reach your volunteers? Website, email, recruits through chamber, must volunteer at least once a month and do receive free tickets in exchange for volunteering. They have an abundance of volunteer labor available and often don’t have enough tasks for all of those who wish to help. .Which of these is the most effective? Direct Mail-though it is really slow. Word of mouth is not an issue for the Ark because at most an artist has two shows. Not enough time for word of mouth to work. .Does it vary according to the programming? Yes, varies by who audience is, how far the artist will draw from. 15.How do you evaluate what works and what does not work? 129 Seats sold-how quickly they sell after a marketing effort hits. 16.Who is your target market? Does it vary according to 17. 18 19 20 the programming? How did you determine this? 40-65+ A repeat audience, mostly white, a core audience that grew up with the Ark, which opened in 1965. Have you seen any changes in the makeup of the audience since you have been here? Developed a younger audience, artists have bridged the gap between pop and folk draw the 18-45 age group, mostly white. .Do you feel that the budget you are allotted is adequate? No—not at all reasonable, I average spending 3-4% of show expenses for marketing, if I spend anything over $200 it has to be approved by the director. Most places receive 15% of show expenses for marketing. .What additional public relations/marketing tactics would you use if you had more resources? More staff to help start a community outreach program to help bring in a younger, ethnic demographic. .What resources do you lack the most? (Money, time, support, etc.) Human Resources-more staff 130 Non-Profit Interview #3 1” How long have your worked in this position? Three years. 2. Where was your previous employment? McCarter Theatre in Princeton 3. How big is your venue? (# of seats) 375 seats on main stage, block box space (George 99) 4. How many events to you hold annually? Six main-stage plays, eight shows a season, each runs for four or five weeks. 5. How long is your season? September-end of April, summer camp program, solo performance festival £L.What types of events are held here? (dance, theatre, concerts, etc.) Plays only-it is rented to a few dance companies over the summer when we are dark. '7.Is your organization considered for-profit, non-profit, or volunteer-driven? Non-profit £L.How many people work in your marketing/communications department? Full-time? Four full-time marketing and PR, patron services has 2 people. 9.Ame you given the season's schedule, or do you have input on what might appeal to the audience? I do have input because I have a good relationship with the director of operations. Feedback is given and he makes the ultimate decision. We work six months ahead, 131 specifically we like to have new works. We are known for helping new artists to develop works. 10.What public relations/marketing methods do you frequently use to reach your audience members? Combination of direct mail and advertising both radio and print, promotion-everything we can to get features in the paper, e-marketing to specific people who join on the website, direct mail list is people who have made a ticket purchase in the past or called in to be added. Twice a year I work with a list company out of New York to broker other people’s lists. (theatres, publications that connect) 11.What public relations/marketing methods do you 12 frequently use to reach your donors? That isn’t part of my job, but they are on the mailing list, solicited in programs, newsletters, flyers, website, special events for certain publics. ( a senior prom) We like to make our donors feel more appreciated than our normal patrons. We treat them with special receptions and make sure to use person-to-person contacts with them. It really helps that we have a special department that just focuses on donor relations. .What public relations methods do you frequently use to reach your volunteers? A volunteer guild to be ushers, use to be more active, but at this point the needs are for them to be ushers. They are recruited using press releases, word of mouth, and get to see the show for free because they are ushering. 13.Which of these is the most effective? 132 14 15 16 17 A layering effect, we were faced with advertising budget cuts, print in particular is importantmconstant mention, remembering it and seeing it out there in a few different places. We do have tracking methods, dollars off if you mention an ad.2 We see a direct correlation in sales and advertising. What people say they hear you on, word of mouth is certainly important, tell a friend type of thing. Discounts for subscribers to get discounts for friends are important. .Does it vary according to the programming? Yes, what you are selling makes a difference, a brand new work v. something well known-the type of things that connect with that type of show are different from another. .How do you evaluate what works and what does not work? Sales, seats sold for the most part. .Who is your target market? Does it vary according to the programming? How did you determine this? So many targets, most of our patrons A45-65 and live within a 50 mile radius or so. Average arts buyer, a little more money, education. Always want to grow your audience, reaching out to Rutkers students. I know this by observation. .Have you seen any changes in the makeup of the audience since you have been here? Get more young professionals in, developing the audience for the future, offering a senior discounts and bus trips. Makes my department stretched so far. We always want to get everyone. Subscriber program has decreased over the past 10 years. Time commitments and perceptions of lack of time are reasons for this. 133 Single tickets have increased. We aren't a generation that stays with the same company, in the same place, etc. We find we need to be more flexible, offer different packages. Renewal rate was the best ever. New subscriptions have been extremely difficult this year. Economic uncertainty plays a big part. 18.Do you feel that the budget you are allotted is adequate? Extreme budget cuts have been made this year. We don't have near enough money to do what we would like to do. 19.What additional public relations/marketing tactics would you use if you had more resources? Another person in the department, we had a separate publicist for the past couple of years, now I do everything. 20.What resources do you lack the most? (Money, time, support, etc.) Money and staff, one cut this past year Cut back on money and person who was doing PR, we took a double hit on that, less money equals more creative, more time, it is very easy to buy advertising, we have to come up with nutty things, dress like Mae West contest, they are fun and generate press, a buzz, but it took a whole lot more time. EM Non-Profit Interview #4 I” How long have your worked in this position? Three weeks, I took this position because of the freedom that it allowed me. The arts seemed to be a less structured environment that I would have more flexibility in promotion efforts and the decisions that had to be made. 2. Where was your previous employment? Privately held PR/Marketing firm 2. How big is your venue? (# of seats) Approx. 3,500 3. How many events to you hold annually? We buy and promote around 15 shows each year. We also house Symphony Orchestra concerts and local/campus-sponsored events throughout the year. 4. How long is your season? Approx. 8 months 5. What types of events are held here? (dance, theatre, concerts, etc.) dance (ballet to contemporary), opera, theatre, musicals, symphonies, jazz concerts & country concerts 6. Is your organization considered for-profit, non-profit, or volunteer-driven? Non-profit 7. How many people work in your marketing/communications department? Full-time? 1 person, full-time 8. Are you given the season’s schedule, or do you have input on what might appeal to the audience? I have a small amount of input. We have a committee that discusses options as well. For the most part, our Director chooses shows for the season. 9. What public relations/marketing methods do you frequently use to reach your audience members? Print, 135 10 11. 12. 13 14. 15. 16. 17. 18 radio & TV mainly. We also use direct mailers, email blasts to campus employees & press releases. .What public relations/marketing methods do you frequently use to reach your donors? Direct mail, reception invitations w/complimentary tickets, phone calls, etc. What public relations methods do you frequently use to reach your volunteers? We have few volunteers, mostly student employees. Which of these is the most effective? Print seems to reach a majority of our patrons. .Does it vary according to the programming? Yes How do you evaluate what works and what does not work? Unfortunately, we have very little in place currently to monitor efforts. Who is your target market? Does it vary according to the programming? How did you determine this? Target market varies for each show. Locals usually appreciate country concerts. Students enjoy the musical and theatre series, for which they receive free tickets. Have you seen any changes in the makeup of the audience since you have been here? Not really here long enough. Do you feel that the budget you are allotted is adequate? Usually no, for some of the less popular shows, we could use more dollars to make people aware of what it is and why they should attend. .What additional public relations/marketing tactics would you use if you had more resources? I would employ more direct mail and email blasts to reach those who do not read newspaper or watch TV. The biggest 136 complaint is that people don't know what’s going on out here, they are unaware. 19.What resources do you lack the most? (Money, time, support, etc.) Parking space hurts us. Community support is also a little lacking. 137 Non-Profit Interview #5 1” How long have your worked in this position? Two seasons :L.Where was your previous employment? Arizona Theatre Company (4 years) :3.How big is your venue? (# of seats) We perform in three theatres during our season. 699-% thrust, 460 -in the round and 250 -proscenium 4. How many events to you hold annually? 461 5. How long is your season? October to June EL What type of events are held here? (dance, theatre, concerts, etc.) theatre ’7.Is your organization considered for-profit, non-profit, or volunteer-driven? Non-profit (I.How many people work in your marketing/communications department? Full-time? Nine Director of Communications, Press Manager, Audience Development, Production Manager, Group Sales Manager and Group Associate, Telemarketing Manager and Associate, Front of House Manager. 9.Aae:you given the season's schedule, or do you have input on what might appeal to the audience? Given the season. 10.What public relations/marketing methods do you frequently use to reach your audience members? Press releases, interviews, reviews, direct mail, TV, radio, outdoor, e-communications 11.What public relations/marketing methods do you frequently use to reach your donors? N/a 138 12 13 14 15 16 17 18 19 20 .What public relations methods do you frequently use to reach your volunteers? Press releases, direct mail, e- communications, phone .Which of these is the most effective? E-communications are so cost effective for us. We are able to reach a large number of people effectively. .Does it vary according to the programming? Yes .How do you evaluate what works and what does not work? By sales, audience response. .Who is your target market? Most loyal following are subscribers (90,000 seats per year). Single tickets vary with programming. Does it vary according to the programming? yes How did you determine this? Research surveys show audience average age is 40-60. We do an audience survey every couple of years to identify any changes that have occurred. We’re trying to reach the 30 and under crowd with a Young Professional Series this year and discounted tickets. .Have you seen any changes in the makeup of the audience since you have been here? Yes .Do you feel that the budget you are allotted is adequate? We can always use more. We never seem to have enough money to do what we would ideally like to do for a campaign, but we make do. This is a vital skill for any arts marketer to have. .What additional public relations/marketing tactics would you use if you had more resources? Networking, I just don’t have enough time to build those all important relationships the way that I would like to. .What resources do you lack the most? (Money, time, support, etc.) Time 139 Non-Profit Interview #6 . How long have your worked in this position? One year . Where was your previous employment? MSU journalism degree, and East Lansing PR firm for one year . How big is your venue? (# of seats) 250 comfortably . How many events to you hold annually? Six main-stage productions-five traditional plays and one musical, two children’s’ plays-one for middle school and one for elementary ages, Darknight Series- second cast actors due four-five productions a year . How long is your season? September-June summer kids program and workshops .What type of events are held here? (dance, theatre, concerts, etc.) Theatre-musicals and plays . Is your organization considered for—profit, non-profit, or volunteer-driven? Non-profit .How many people work in your marketing/communications department? Full-time? One full-time and one part-time and one intern here one day a week ..Are you given the season’s schedule, or do you have~ input on what might appeal to the audience? Artistic director decides the schedule-tries to schedule at least one familiar play or actor. 140 10.What public relations/marketing methods do you frequently use to reach your audience members? Press releases for each show-sent to local paper, TV and radio stations. She has built relationships with the media. Email newsletters to current audience members-sign up for at a show or on the website, some paid advertising-a live remote-usually done in exchange for ad placement in the program guides as a season or show underwriter. 11.What public relations/marketing methods do you frequently use to reach your donors? In the off-season/summer we recruit corporate donors using personal calls, visits, and receptions. Most of these are in-kind donors—meaning that they give us a product or service, as opposed to money-most contribute costumes, mailing, advertising. Individual donors are solicited from the news letters and the first two shows have program inserts about support. I do not handle the marketing to them. We also do a level of giving plan-friends, members, gold, silver, etc. 12.What public relations methods do you frequently use to reach your volunteers? Volunteers usually work as ushers, concession stand workers or help with office tasks. Most volunteers come from the Retired Volunteers Service Program. They receive two free comp passes to a show for a days work. 13.Which of these is the most effective? I find word of mouth of any type to be the most effective, comp passes are given to local D.J., news anchors, reporters. These people talking and/or writing about the shows really helps to promote. 141 14 15. 16 17. 18 .Does it vary according to the programming? Yes, it varies according to who the target audience is. How do you evaluate what works and what does not work? Number of seats filled-it is hard for us to monitor what works the best. We haven’t researched that. We do know that the live remote we did with WFMK brought in many new audience members because we had each person register for a give-away (which was a ring from Lapis Jewelers) .Who is your target market? Does it vary according to the programming? How did you determine this? Middle age-Senior citizens, mostly women are our target market. We all read the scripts and it is a staff decision on who to market to. We also look online to other theatres that are promoting the same play to see who they are targeting. Have you seen any changes in the makeup of the audience since you have been here? Fewer and fewer people are buying season subscriptions. We have seen more of a trend towards show by show ticket buyers. People are not planning as far in advance. .Do you feel that the budget you are allotted is adequate? The budget we have to work with is the biggest hurdle. 19.What additional public relations/marketing tactics would you use if you had more resources? Office resources-a new computer and programs that are in sync with each other. If I want to send an email to our budget operator she can’t open it because we are working on different versions of Microsoft. 142 20.What resources do you lack the most? (Money, time, support, etc.) office support-be it man power, technology or space to work in. 143 BIBLIOGRAPHY Ardery, Julie (2001), “Art and Fellowship. The American Prospect,” 12, 53-55. Adams, Rebecca (2002),”Arts Funding On Upswing After NEA Adopts Changes,” CQ weekly, 60, 1916. Ackermann, Matt (2002, February 21), “Charitable Gifts Seen Steady Despite September, 11, Recession,” American Banker, 167, 8. Anonymous (2002),”Small Is Different: Researchers Look At Public Relations Practices In Micro-organizations,” COmmunication world, 19 (February/March), 6-7. Arts Extension Service (1987), “Enndamentals of Arts Management,” Amherst: Arts Extension Service. “Arts Organizations Relying More On Private Donations,” (2001), Fund Raising.Management, 32, 15. “Attacks, Recession Take Slight Toll On Charitable Giving,” (2002), Association Management, 54, 10-25. “Baby Boomers Aren’t Filling Charity Gap,” anprofit Wbrld, 18, 10-11. Barnes, Brook (2002, July 19), “Museums' New Mantra: Party On!...Renting Out Gallery Space Raising Funds,” Wall Street Journal, W4. Baxter, Kathleen (2002), “The Business of Art,” American Artists, 66 (March), 58. Bernt, Joseph (2000),”Creating the Corporate Soul: The Rise of Public Relations and Corporate Imagery in American Big Business," JOurnalism History, 25 (Winter), 157- 158. Boag, David A. and A. Dastmalchian (1988), “Market vulnerability and the Design and Management of the Marketing Function in Small Firms,” Journal of Small Business Management, (October), 37-43. 144 Brudney, Victor (2002), “Corporate Charitable Giving," The university of Chicago Law.Review, 69, 1191-1218. Capps, Susan G. (2002), “What Is Charitable Giving?” Resource, 9, 22. Cardullo, Bert (2001), “Theater In America: An Interview With Stanley Kauffman,” The Antioch Review, 59, 526- S35. Carson, David J. (1985), “The Evolution of Marketing in Small Firms,” European Journal of Marketing, 19:5, 7- l6. “Charitable Giving Enters a New Age," (1999), Association Management, 51, 20. Cobb, Nina Kressner (2002), “The New Philanthropy: Its Impact On Funding Arts and Culture,” JOurnal of Arts .Management Law and Society, 32, 125-143. Cooper, Kenneth C. (2002), “The Relationship Enterprise,” New York City: American Management Association. “Corporations Say Arts Support Will Be Stable," (2002), Art in America, 90, 37-39. Cutlip, Scott M., Allen H. Center, and Glen M. Broom (2000), “Effective Public Relations,” Upper Saddle River, NJ: Prentice-Hall, Inc. Davis, Joel J. (1997), “Advertising Research Theory and Practice,” Upper Saddle River, NJ: Prentice-Hall, Inc. Denzin, Norman K. and Yvonna S. Lincoln (2000), “Handbook of Qualitative Research,” Thousand Oaks, CA: Sage Publications. DiMaggio, R. (1985),”When the Profit Is Quality: Cultural Institutions In the Marketplace,” MUseum.News, (June), 28-35. 145 Dorst, John (1999), “Advertising Progress: American Business and the Rise of Consumer Marketing,” JOurnal of Communication, 49 (Autumn), 223-227. Dunning, Jennifer (2001), “People Aren't Born Loving Pas de Deux, So the Art of Persuasion Is Complex,” New YOrk Times, July 16, E1. “Experts Cite Growing Reliance On Outside Fund—Raising Experts,” (2000), Fund Raising Management, 31, 42-28. Fitzhugh, Lynne (1983),”An Analysis of Audience Studies for the Performing Arts in America. Part I: The Audience Profile,” The JOurnal of Arts Management, Law and Society, 13 (Fall), 49-83. Fitzhugh, Lynne (1983),”An Analysis of Audience Studies for the Performing Arts in America. Part II: Market Behavior,” The Jburnal of Arts Management, Law and Society, 13 (Fall), 5-29. Garbarino, E. and Mark S. Johnson (1999),”The Different Roles of Satisfaction, Trust and Commitment In Customer Relationships,” The Journal of Marketing, 63 (April), 70-87. Gascoigne, Laura (2001, November 17), “How To Pick Up a Sponsor,” The Spectator, 287, 59-60. Gingold, Diane (1999), “Art and Business: An International Perspective on Sponsorship,” Journal of Arts Management, Law and Society; 29, 142-143. Harris, Paul (2002), “Boosting Arts Participation,” variety, 387, 45. Higgins, Barry (2002),”Formulas For Success With Small Business Owners,” National underwriter, 106 (September), 4-5+. 146 Johnson, M.S. and E. Garbarino (2001), “Customers Of Performing Arts Organisations: Art Subscribers Different From Non-subscribers?” International JOurnal of Nonprofit and vo1untary Sector Marketing, 6 (February) 61-77. Kalawsky, Keith (2001), “Size Counts,” Canadian Business, 74 (March), 103-104. Kotler, Philip (2000), “Marketing.Management: The.Millennium Edition,” Upper Saddle River: Prentice-Hall, Inc. Kotler, Philip (1997), “Standing Room Only: Strategies for Marketing the Performing Arts,” Boston: Harvard Business School Press. McCarthy, K., A. Brooks, J. Lowell, and L. Zakaras, (2001),”The Performing Arts In a.New Era,” RAND Distribution Services (http://www.rand.org/publications/RB/RB2504.) Mack, R. Walker (1999), “Event Sponsorship: An exploratory study of small business objectives, practices, and perceptions,” JOurnal of Small Business management, 37 (July), 25-30. Mason, Kate (2001), “Cultured Consumers,” Target Marketing, 24 (December) 55-56. Mason, Tania (2002),”Marketing For a Better World?” Marketing; London, 11. McLean, F. (1994), “Servies Marketing: The Case of Museums,” Service Industries Jburnal,(April), 190-203. McDonald, Heather (2002), “The Marketing and Public Relations Practices of Australian Performing Arts Presenters," International JOurnal of Nonprofit and voluntary Sector Marketing, 7 (MaY), 105-117. 147 Mulcahy, Kevin V. (2002), “The State Arts Agency: An Overview of Cultural Federalism In the United States,” JOurnal of Arts Management, Law and Society, 32, 67-80. Munson, Michael (2001), “Corporate Sponsorship: Increasing Your Slice of the Pie,” Fund Raising.Management, 32, 28-30. Olkkonen, Rami and Henrikki Tikkanen (2000), “Sponsorship As a Relationship and Networks: Implications For Research,” Cbrporate COmmunications, 5, 12-19. National Endowment For the Arts (1998),”1997 Survey of Public Participation in the Arts: Half of 0:5. Adults Attended Arts Performances or Exhibitions,” Washington DC: The Nancy Hanks Center. Parpis, Eleftheria (2001), “The Little League,” Adweek, 42 (November), 16-18. Peithman, Stephen (2002), “Thing They Never Taught You In Drama School,” Stage Directions, 15, 56-63. Permut, Steven E. (1980), “A Survey of Marketing Perspectives of Performing Arts Administrators,” Marketing the Arts, New York: Praeger. 47-58. Peter, J.P. and J.C. Olson (2001), “consumer behavior and marketing strategy)” New York City: McGraw Hill Companies, Inc. Peterson, Robin T (1989), “Small Business Adoption of the Marketing Concept VS. Other Business Strategies,” JOurnal of Small Business Management, 27, 38-46. Pick, John (1980), “Arts Administration,” New York: E. & F.N. Spon Ltd. Pogrebin, Robin (2002), ”Uncertain Times: Impulse Buyers Replace Ticket Subscribers,” The.New YOrk Times, October 16, B1. 148 Prosek, Jennifer (2002),”Beating the titansmHow your small firm can compete and win,” Public Relations Quarterly, 47 (Spring), 45-48. RAND Corporation (2001), “The Performing Arts in a New Era,” Retrieved on September 15, 2002 from http://www.rand.org/arts_area/ Reiss,.Alvin H. (1979), “The.Arts Management Reader,” New York: Marcel Dekker, Inc. Reiss, Alvin H. (1992), “Arts Management," Maryland: Fund Raising Institute. Reiss, Alvin H. (2001), “Arts Funding Concerns Are Worldwide,” Fund Raising Management, 32, 47-48. Reiss, Alvin H. (2001), “Partnerships a Key To Future Arts Development,” Fund Raising Management, 32, 33-34. Reiss, Alvin H. (2000), “Corporate Sponsorship a Growing Area of Arts Concern," Fund Raising Management, 31, 46- 47. Reiss, Alvin H. (2001), “Graduate Arts Management Programs Grooming New Generation Of Arts Fund Raisers,” Fund Raising Management, 32 (June) 27-29. Radbourne, J., R. Rentschler, R. Carr, and J. Rickard (2002), “Relationship Marketing, Audience Retention and Performing Arts Organisation Viability,” International Journal of Nonprofit and voluntary Sector Marketing, 7 (May) 118-130. Radbourne, Jennifer (1998),”The Role of Government in Marketing the Arts,” The Journal of Arts Management, Law and Society, 28 (Spring), 67-96. Rentschler, Ruth (2002),”Museum and Performing Arts Marketing: The Age Of Discovery," Journal of Arts Management, Law, and Society; 32 (Spring) 7-14. 149 Rentschler, Ruth (1999),”Innovative Arts Marketing,” St. Leonards NSW Australia: Allen & Unwin. Rentschler, Ruth (1997), “Museum and Performing Arts Marketing: A Climate of Change,” Journal of Arts Management, Law; and Society, 28 (1) 83-96. Roth, Rob (1999),”Don't Just Yell Louder, Find Your Voice,” Public Relations Quarterly; 44 (Spring), 27. Sherman, Jean C. (Guest),(2002), “The Today Show” (Television series). New York: NBC Smith, Ralph A. (2001), “The Arts Endowment and Arts Education: Ideally, What Can Be Done?” Arts Education Policy Review, 103, 15-19. Strout, Erin (1999), “The Benefits of Public Relations,” Sales and Marketing Management, 151 (August), 20. Soutar, G. and H. Close (1997), “Marketing the Arts: A Study of Marketing and Audience Development by Australian Arts Organisations,” council for the Arts, Sydney, Australia. “Study Shows Gender Differences In Charitable Giving," (2001), Fund Raising Management, 32, 16. Sullivan, John (2002, July 28), “For State Arts Groups, A Costly New Season,” New York Times, 14NJ, 9. Sutcliffe, Tom (2002), “A Business Approach To Opera,” The Spectator, 289, 38-39. Wichmann, Henry (1987), “Accounting and Marketing-Key Small Business Problems,” American Journal of Small Business, 7, 19-29. “Women and Philanthropy,” (2001), Journal of Family and consumer Sciences, 93, 16. 150 Zaniello, James (2002), “Fundraising Gets Tough,” Association Management, 54, 56-61. 151