'Arts' challenging and complementing current theories of 'Marketing'

This blog will critically review the understanding of arts, marketing and arts marketing. Depending on an individual, art may be perceived in many different forms. A consumers various motivations towards the art may vary depending on intellectual stimulation, sensual aesthetic satisfaction or their personal identification with the art form, therefore affecting the way they evaluate and look at art in a particular way (Uusitalo etal. 2012, p31). Figure 1 and Figure 2 shows an interactive art installation made from 6,000 light bulbs to create a cloud. This is how I perceive art; it is innovative, interactive and aesthetically pleasing to the eye. Others though may see this as a pointless art installation which they cannot identify with. 

Figure 1. An Interactive Cloud made of 6,000 Light Bulbs (Anon, 2012)

Figure 2. An Interactive Cloud made of 6,000 Light Bulbs (Anon, 2012)

On the other end of the spectrum, The Snail created by Matisse (Figure 3) is a semi-abstract piece of art work which to some may seem like art but personally I cannot relate with this. 

Figure 3. Modern Masters: The Snail (Anon, 2010)

Figure 4. V Festival 2012:
Get juiced up recharge tower (Anon, 2012)

For the purpose of this blog I feel it is more relevant to introduce marketing in the form of experiential. Keller (2003) cited Kirezli (2011) explores how ‘experiential marketing attempts to connect consumers with brands in personally relevant and memorable ways by promoting a product not only communicating functional attributes but also linking it with unique and interesting experiences’. Therefore it seems a more appropriate way to relate to marketing of the arts.V Festival is an ideal example of how a brand uses experiential marketing to connect with its audience. Not only did Virgin Media provide what it claims to be the most exciting line up for the 6^th year running as a sponsor, they wanted to go that little bit further to create the ultimate festival experience. Thanks to Virgin Media they installed superfast fibre optic broadband across the site as well as free recharge points for when your phone runs out of juice (Virgin Media, 2012). Grundey (2008) discusses how the world is constantly changing at a rapid rate, therefore traditional marketing simply does not work which is where experiential comes into play. I believe Virgin Media executes experiential in an effective way along with a 360 degree marketing campaign, which of course should not be ignored.   

Arts Marketing can be defined as ‘an integrated management process which sees mutually satisfying exchange relationships with customers as the route to achieving organisational and artistic objectives’ (Hill et al. 2003). The relationship between the art and marketing can be perceived in different ways. Marketing of the art, in the art, through the art, from the art and as the art are all angles of the relationship between the two which should be considered (Beadshaw, 2010 cited O’Reilly etal, 2010). Butler (2000) emphasises how marketers of the arts should think outside the box when it comes to the basic marketing mix. Looking at this basis of this tool is simply not enough to achieve marketing of the arts objectives. Below I explore three events which I feel have worked outside of the box and have had positive influences towards a range of different outlooks on the arts and the broad cultural audience which comes with this.

A key issue in the arts sector is introducing new consumers to performing arts. A report identified that introducing new audiences to the arts through performances in non-traditional venues is said to be less intimidating and formal for consumers (Mintel, 2012). The Life of Pi Screening in Paris is what I see as a perfect way to make something which is typically ordinary, extraordinary. Audience members were immersed in the spirit of the movie fulfilling mainly their social and esteem needs. It is said that these are the two common needs in Maslow’s Hierarchy which are filled by performing arts attendees (Andreea, 2012). Personally if I was to attend this screening my desire to spend time with like-minded people and the status of the unique event would certainly tick my boxes!

The story line is about a young Indian man who is shipwrecked in the ocean with a Bengal Tiger. Attendees sat in TSIMTSUM boats (like the film) in a swimming pool in Paris and watched the film in 3D (Billington, 2012). Figure 5 along with the YouTube clip shows how incredible the screening was and will make you really wish that you could have been there. This screening was a perfect digital opportunity and provided a platform perfect for online viewing. 'Relationships between producers and audience are undergoing a fundamental shift, with audience becoming increasingly more involved in the creative process' (Walmsley, 2011). Without this developing relationship and the presence of the audience this screening would not have provided the impact in which it did to attendees and online viewers, a publicity stunt which certainly went in the right direction. 

Figure 5. 'Life of Pi' Audience watches screening
in lifeboats from swimming pool (Anon, 2012)

                                             Figure 6. L'Odyssee de Pi: Cinema sur l'eau HD 
                                                                          (20th Century Fox France, 2012)

In the current competitive economic system it is important for companies to understand the consumer buying process accurately and by using modern marketing concepts developing a product which matches the consumer’s needs, motivations, attitudes and actions (Mihard, 2012). As part of ‘The world wakes up to a brighter morning with Tropicana’ campaign the brand made the sun rise two hours early in Trafalgar Square, London. The sun took over six months to create and was over 30,000 times bigger than a football. Its internal light source (60,000 light bulbs) made this a one of a kind installation shine as bright as the sun (Brady, 2012).This is a 'unique piece of art commissioned by Tropicana and created exclusively by the UK's leading public artists collective Greyworld' (Brady, 2012). As part of a 360 degree campaign the brand have clearly recognised the consumers’ needs and motivations to what gets them going in the morning. By involving those in an interactive campaign it gives their experience that personal touch. The ‘need for today’s organisations to create long-term, personal relationships with their ‘guests’ by appealing to their senses and creating a sense of occasion’ is key (Walmsley, 2011). If you missed the sun rise watch the YouTube clip below.

                                                            Figure 7. Spectacular man made sun brightens up
                                                                  London two hours early (Tropicana, 2012)

Figure 8. An Early Dawn for London,
Courtesy of Tropicana (Anon, 2012)

When they say ‘Secret Cinema’, that’s exactly what they mean. Attendees of the Shawshank Redemption screening were instructed to turn up at a initial location in suits but with the special request to wear long johns underneath. After a sentencing by a judge everyone was put onto a blacked out bus and driven to a secret location and this is where the journey began… (Macaulay, 2012). ‘As the competitive environment rapidly transforms, the potential for innovation is greater than ever’ (Prahalad and Ramaswamy, 2003). Is this something that the creators of Secret Cinema have recognised? The average cinema experience or stage performance may just not be enough anymore and I think Secret Cinema are certainly heading in the right direction. A new point of view was explored by Prahalad and Ramaswamy (2003) indentifying that innovation requires a comsumer to actively co-construct their own consumption of a product therfore co-creating their own unique value of experience. Co-creation must not ignore the traditional techniques for gaining advantage. Prahalad (2006) discusses in an interview how organisation must still be cost concious, offer high quality and respond rapidy and what co-creation does is simply change the route of innovation primarily though comsumer experience. 

Figure 9. Movie goers in costume at Secret Cinema's production of
The Shawshank Redemption (Anon, 2012)

A Telegraph film critic attended the screening, her point of view of the experience is really interesting and reflects the use of co-creation. ‘As audience members we became participants, immersed in both the theatre of the evening and the film itself. The implicit message of Secret Cinema seems to be that a trip to the cinema can be improved upon with role-play and dressing up. And thousands of attendees sign-up to see a film they haven’t chosen, on the promise of a unique, exotic experience’ (Macaulay, 2012). For co-creation to have a positive effect on attendees like it did with the Telegraph film critic it is important for the audience to be willing to participate. Marketers must recognise this challenge and understand which consumers are competent and if this target is willing to co-create (Vernette and Hamdi-Kidar, 2013).

                                               Figure 10. Movie goers in costume at Secret Cinema's production of 
                                                                 The Shawshank Redemption (Anon, 2012)

In conclusion the point I am trying to make is that art is not always what it seems. One person may see it as one thing where as another may not be able to relate. What you must ask yourself is how do you see art? Once you can answer this it will then lead you to challenge marketing as art and the problem marketers face in the industry. Is co-creation the answer to our problems? Giving consumers the chance to co-produce within the innovation of the arts? I personally think that with today's fast paced industry the arts needs to constantly adapt to its external environment, thinking outside the box, above and beyond traditional marketing concepts. 

References
20^th Century Fox France, 2012. L'Odyssée de Pi : Cinéma sur l'eau HD [video, online]. Available from: http://www.youtube.com/watch?v=6S2gbcsHhqQ [Accessed 22 October 2013].

Anon., 2010. Modern Masters: The Snail [picture]. UK: BBC. Available from: http://www.bbc.co.uk/bbcone/modernmasters/virtual-exhibition/matisse/12-the-snail.shtml# [Accessed 22 October 2013].

Anon., 2012. An Early Dawn for London, Courtesy of Tropicana [photograph]. New York: Advertising Age. Available from: http://adage.com/article/creativity-pick-of-the-day/early-dawn-london-courtesy-tropicana/232298/ [Accessed 22 October 2013].

Anon., 2012. An Interactive Cloud Made of 6,000 Lightbulbs [photograph]. Anon: Colossal. Available from: http://www.thisiscolossal.com/2012/09/an-interactive-cloud-made-of-6000-lightbulbs/ [Accessed 22 October 2013]. 

Anon., 2012. 'Life of Pi' audience watched screening in lifeboats from a swimming pool [photograph]. Anon: Entertainment Weekly. Available from:  http://insidemovies.ew.com/2012/12/06/life-of-pi-paris-premiere-lifeboats-swimming-pool/ [Accessed 22 October 2013]. 

Anon., 2012. Movie goers in costume at the Secret Cinema's production of The Shawshank Redemption [photograph]. UK: Telegraph. Available from: http://www.telegraph.co.uk/culture/film/filmreviews/9718783/Review-Secret-Cinema-presents-The-Shawshank-Redemption.html [Accessed 22 October 2013].

Anon., 2012. V Festival 2012: Get juiced up recharge tower [photograph]. Anon: Inkyjustice. Available from: http://www.inkyjustice.com/V-Festival-2012 [Accessed 22 October 2013].           

Andreea, C., 2012. Attending Live performing Arts experience. Why and How is The Decision Taken? Annals of the University of Oradea, Economic Science Series.

Beadshaw, 2010 cited O’ Reilly, D and Kerrigan, F., 2010. Marketing the Arts: A Fresh Approach [online]. Oxton: Routledge.

Billington, A., 2012. Check This Out: Unique ‘Life of pi’ Floating Boats Screening in Paris [online]. New York:

Firstshowing.net. Available from: http://www.firstshowing.net/2012/check-this-out-amazing-life-of-pi-floating-boats-screening-in-paris/ [Accessed 22 October 2013].

Brady, S., 2012. Here Comes the Sun: Tropicana Wakes Up London [online]. New York: Brandchannel.com. Available from: http://www.brandchannel.com/home/post/2012/01/24/Tropicana-Wakes-Up-London-012412.aspx [Accessed 22 October 2013].

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Grundey, D., 2008. Experiental Marketing vs.Traditional Marketing: Creating Rational and Emotional Liaisons with Consumers. The Romanian Economic Journal [online], 29 (3), 133- 151.

Hill, L., O’Sullivan, C and O’Sullivan T., 2003. Creative Arts Marketing. 2^nd ed. Oxford: Elsevier.

Keller, K L., 2003 cited Kirezli, O., 2011. Museum Marketing: A Shift from Traditional to Experiential Marketing. International Journal of Management Cases [online], 13 (4), 173-184.

Macaulay, R., 2012. Review: Secret Cinema presents The Shawshank Redemption [online]. UK: Telegraph Media Group Limited. Available from: http://www.telegraph.co.uk/culture/film/filmreviews/9718783/Review-Secret-Cinema-presents-The-Shawshank-Redemption.html [Accessed 22 October 2013].

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Mintel, 2012. Performing Arts – UK – July 2012 [online]. London: Mintel Group.

Prahalad, C K and Ramaswamy, V., 2003. The New Frontier of Experience Innovation. MIT Sloan Management Review [online], 44 (4), 12-18.

Prahalad, C K., 2006. The practice of co-creating unique value with customers: an interview with C.K. Prahalad. Strategy and Leadership [online], 34 (2), 4-9.

Tropicana, 2012. Spectacular Man Made Sun Brightens up London 2 Hours Early [video, online]. Available from: http://www.youtube.com/watch?v=k86xpd26M2g [Accessed 22 October 2013].

Uusitalo, L., Simola, J and Kuisma, J., 2012. Consumer Perception of Abstract and Representational Visual Art. International Journal of Arts Management [online], 15(1), 30-41.

Walmsley, B., 2011. Key Issues in the Arts and Entertainment Industry [online]. Oxford: Goodfellow Publishers Limited. 

Vernette, E and Hamdi-Kidar, L., 2013. Co-creation with consumers: who has the competence and wants to cooperate?. International Journal of Market Research [online], 55 (4), 2-20.

Virgin Media., 2012. V Festival [online]. UK: Maztec Ltd and Roseclaim Ltd. Available from: http://www.vfestival.com/v-info/sponsor/virgin-media [Accessed 22 October 2013].