Friends Schemes in Arts Marketing : Developing Relationships in British Provincial Theatres
Friends Schemes in Arts Marketing : Developing Relationships in British Provincial Theatres
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艺术营销之友计划:在英国省级剧院发展关系
DOI：
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发表时间：
2006
期刊：
影响因子：
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通讯作者：
D. Forbes
中科院分区：
文献类型：
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作者：
H. Bussell;D. Forbes
在商业世界中，市场营销在获得和留住客户方面的作用早已得到认可。在非营利部门采用营销方法的时间更长一些（Bruce, 1995）。然而，越来越多的证据表明，营销理念和营销技术的使用被视为非营利组织战略的一个可接受的重要组成部分（Balabanis， stabes和Phillips， 1997）。在艺术方面，人们逐渐意识到营销是一种管理工具（Rentschler, 1998; Jones, 2000），有证据表明，人们对营销价值的态度发生了变化（Rentschler et al., 2002）。对于面临日益激烈的资金竞争的英国省级剧院来说，重要的是找到其他收入来源来补充艺术委员会的拨款（希克林，2003年），并制定营销策略来吸引资源。艺术部门的许多研究集中于观众和参观者研究（Yorke和Jones， 1984年；Screven， 1993年）。虽然观众和参观者对博物馆和表演艺术组织的运作至关重要，但德鲁克（1991）指出，这些组织有“众多的支持者，必须解决与每个人的关系”（第83页）。Kotier和Andreasson（1996）强调了这一客户群对营销人员的重要性。不同的客户群体需要不同的策略。Bruce（1995）将这些客户分成四组：受益者、支持者、利益相关者和监管者。在支持者中，他列出了捐赠者和志愿者（在一些组织中，他们被称为“筹款人”或“工作人员”）。这些在大多数非营利组织中都很明显。Wymer（1997年）确定了可以找到支持者的六个关键部门：艺术和文化、教育、卫生、人类服务、宗教和青年发展。对志愿者（Bussell and Forbes, 2002）和其他支持者团体进行了大量研究，但令人惊讶的是，关于这些艺术团体的研究很少，尽管Wymer和Brudney（2000）已经表明，艺术和文化志愿者是不受欢迎的
role of marketing in gaining and retaining customers has long been recognized in the commercial world. The adoption of a marketing approach in the not-for-profit sector has taken somewhat longer (Bruce, 1995). Nevertheless, there is growing evidence that a marketing philosophy and the use of marketing techniques are being seen as an acceptable and important part of a not-for-profit organization s strategy (Balabanis, Stables and Phillips, 1997). In the arts, people have gradually become aware of marketing as a management tool (Rentschler, 1998; Jones, 2000) and there is evidence to suggest a change in attitude concerning the value of marketing (Rentschler et al., 2002). For provincial theatres in the United Kingdom facing increased competition for funding, it is important that alternative sources of revenue be found to supplement grants from the Arts Council (Hickling, 2003) and that marketing strategies be developed to attract resources. Much of the research in the arts sector has centred on audience and visitor studies (Yorke and Jones, 1984; Screven, 1993). While audiences and visitors are essential to the functioning of museums and performing arts organizations, Drucker (1991) points out that such organizations have a "multitude of constituencies and have to work out the relationship with each of them" (p. 83). Kotier and Andreasson (1996) highlight the importance for marketers of this array of customers. Different strategies are required for each different customer group. Bruce (1995) organizes this collection of customers into four sets: beneficiaries, supporters, stakeholders and regulators. Amongst supporters he lists donors and volunteers (who in some organizations are labelled "fundraisers" or "workers"). These are evident in most not-for-profit organizations. Wymer (1997) identifies six key sectors in which supporters can be found: arts and culture, education, health, human services, religion and youth development. Much research has been undertaken on volunteers (Bussell and Forbes, 2002) and other supporter groups, but surprisingly little is available on these groups in the arts, despite Wymer and Brudney s (2000) having shown that arts and culture volunteers are dis-