Mercadotecnia Social

1
Mercadotecnia Social

• Francisco J. Núñez de la Peña
• León, Gto. 24-25 de mayo de 2002

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Ascertaining the pattern of demand for art
(Layton, capítulo 1)

• Segmenting your market
• Qualitative vs. quantitative segmentation
• Competition
• Fine art substitutes
• Economic factors
• Social factor
• Political factors
• Technological factors

• Method of art creation
• Product availability
• Pricing
• Business operations
• Stage of product life cycle
• Your skills
• Financial resources
• Distribution structure
• Your situation analysis

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Ascertaining the pattern of demand for art ...

• Who is (will be) your typical customer, the type
  of person, business entity, or museum most likely
  to acquire your work?

• What do your customers primarily acquire? What is
  most popular now? Which types of art are becoming
  more popular these days that you might want to
  investigate?

4
Ascertaining the pattern of demand for art ...

• Why do (will) people buy from you? Is it the
  personal relationships youve been able to
  develop over the years? Or is it your pricing
  policy, assuring them of a good value on whatever
  they buy? Or is it your impeccable service,
  making them feel at ease in their dealings with
  you? What makes you or your gallery special to
  your clientele?

• Where do people generally purchase fine art in
  your area? Is it from galleries, small retail
  shops, auctioneers, artists studios? Based on
  this information, are collectors more likely or
  less likely to buy from you in your present
  situation? Is there anything you should do to
  improve your location or situation?

5
Ascertaining the pattern of demand for art ...

• When do people buy fine art? Is there a
  particular stage in life when people are more
  likely to buy your art? Is there an occasion when
  people are more likely to buy from you than at
  other times in their lives or during the year?

• How are purchases made? Do (will) clients come to
  you or do (will) you seek them out? How is their
  decision made regarding what to buy? Can you help
  your customers in this decision-making process?
  How?

6
Ascertaining the pattern of demand for art ...

• Identifying groups of people who have similar
  characteristics or buying habits is called
  segmenting the market. ... Segmentation can
  help you develop marketing programs for different
  groups of people that communicate the benefits of
  working with you, with the marketing message
  changing to fit the needs of each group.
• ... when consumers are interested in making a
  purchase, they begin to collect information about
  all their purchase options.

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Ascertaining the pattern of demand for art ...

• Factors which may be used to segment art
  collectors
• Age
• Family life cycle
• Geographic location
• Active collector or infrequent purchaser
• Nature of the acquisition process (who is
  involved in making the purchase?)
• Usage

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Ascertaining the pattern of demand for art ...

• Artist - segments
• Individual collectors
• Corporate collectors / consultants
• Art dealers

• Gallery - segments
• Very wealthy clients
• Early career consumers
• New homeowners/ families
• Mid-career consumers
• Retirees and older consumers
• Organizations and businesses

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What you can learn from market research (Layton,
capítulo 15)

• Results vs. objectives
• Awareness building
• Lead generation
• Increasing sales
• Success breeds success
• Identifying effective promotional tools

• Potential uses of information
• Identifying potential new markets
• Identifying customer needs and wants
• Evaluating customer satisfaction
• Assessing artist awareness
• Monitoring market trends
• Identifying effective communications tools
• Tracking competitor tactics

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Teatro Melodrama en tres actos (Expansión, 28 de
agosto de 1996)

• Pero no es el incremento de público lo que ha
  propiciado el engrosamiento de la oferta teatral
  que, como expresa Rascón, hace que la misma
  supere a la demanda. La razón, dice, está en la
  necesidad de escribir, actuar y dirigir de los
  teatristas es lo que nos lleva a tocar puertas,
  a abrir espacios y a correr riesgos.
• Las fuentes que podrían proporcionar ciertos
  datos, como la Sociedad General de Escritores de
  México (Sogem) que recibe por pago de derechos
  de autor el 10 de las entradas en cada una de
  las salas, la Asociación Nacional de Actores
  que cuenta con tabuladores para el pago de
  éstos, o el Instituto Mexicano del Seguro
  Social, que arrienda distintos teatros de su
  propiedad, se niegan a proporcionarlos.

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Teatro Melodrama en tres actos (Expansión, 28 de
agosto de 1996)

• Entre las pocas estadísticas confiables que
  existen están las de los Bianuarios El Teatro en
  México, editados por el Centro de Investigación
  Teatral Rodolfo Usigli (CITRU), del Instituto
  Nacional de Bellas Artes (INBA). Allí se informa
  sobre la producción de este arte en los últimos
  cuatro años en el Distrito Federal.
• ... las puestas en escena institucionales
  realizadas por dependencias estatales, como la
  UNAM, el IMSS o el propio INBA, privadas y
  mixtas, sumaron 317 producciones en 1992. ...
  en 1993 hubo 219 producciones en 1994, 260, y el
  año pasado, 256.
• Un estudio del CITRU ... destaca que en los
  espacios destinados al teatro comercial con un
  promedio de 750 butacas, la asistencia media es
  de 27.8 donde se presentan obras de producción
  institucional (370 butacas), es de 20 y en los
  dedicados a montajes independientes (140
  asientos) la cifra se eleva a 26.

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www.museummarketingtips.com

• Our Mission
• is to build the Web's most comprehensive
  collection of museum marketing tips, tools and
  resources -- practical information you can begin
  using right away to increase visitation, attract
  more members, donors and volunteers, build more
  community awareness of your institution and
  market your mission more effectively.

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www.museummarketingtips.com

• Do you need...
• Increase visitation and membership?
• Attract more media attention?
• Develop a marketing plan?
• Book more adult and student groups?
• Produce more effective marketing materials?
• Get better results from your website?
• Receive more support from your board, staff and
  volunteers?
• Beat the "not enough money, not enough staff to
  do real marketing" blues?
• MuseumMarketingTips.com can help you do all that
  . . . and more.

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www.museummarketingtips.com

• "What is Marketing?" Is Your Museum's Definition
  Inside-out?
• Marketing and Management Tips for Tough Times
• The Keys to Sustainable Audience Development
• Quick Quiz What's Your Museum's Most Important
• E-mail Press Releases Six DOs and DON'Ts
• 10 Press Release DOs and DON'Ts
• Nine Common Marketing Mistakes Museum Websites
  Make
• The Biggest Marketing Mistake Museum Websites
  Make
• Offline Website Promotion Checklist
• How to Turn Travelers Into Visitors
• Is Your Museum Missing the Bus?
• 10 Ways to Make Your Museum More Group Friendly

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www.museummarketingtips.com

• Knowing, Respecting and Responding
• Knowing, respecting and responding to audience
  wants and needs is the key to effective marketing
  for museums. As Phillips says, "The audience
  requires as much respect and consideration as the
  objects museums so lovingly manage."
• That reality, however, can be a bitter pill for
  some in the field to swallow. Don't we all know a
  few curators who secretly (and sometimes not so
  secretly) wish that museums were open only by
  appointment? And at least a guide (or two) who
  honestly believes that visitors with little
  knowledge deserve withering replies to "dumb"
  questions? And what about board members whose
  greatest pride is in their ability to keep the
  institution "the way it's always been"?
• Developing a marketing mindset requires us to
  look at our audiences as customers, to see our
  museums through their eyes, and to adapt our
  facilities and programs to meet their needs and
  wants.

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www.museummarketingtips.com

• "Audience" Doesn't Just Mean Visitors
• Effective museum marketing requires us to
  integrate our own needs and desires with those of
  our audiences -- all of our audiences -- in order
  to create exchanges that satisfy both their goals
  and our own. But many institutions make the
  mistake of equating the term audience only with
  visitors. In actuality, though, members, donors,
  staff and volunteers are audiences too. Looking
  at them in that way -- as customers -- allows us
  to be more mindful of the exchange nature of the
  relationship. And it also paves the way for
  marketing to become a museum-wide function.
• K. Khalife, What is marketing? Is your museums
  definition inside out?

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Fund raising (Byrnes, capítulo 13)

• Why do people give?
• Fund raising and the arts
• Fund-raising plans
• Preparing fund-raising plans
• Strategic planning
• Profile and audit
• Funding pyramid
• Marketing and fund raising
• Fund-raising management

• Background work
• What does the organization do?
• Staff and board participation
• Data management
• Fund-raising costs and control
• Fund-raising techniques and tools
• Individual donors
• Corporate giving
• Foundation
• Government funding

18
The gift that keeps on giving (Lowell, Silverman
y Taliento)

• With some 1.3 million organizations accounting
  for 350 billion in annual spending, the
  nonprofit sector is the third-largest contributor
  to the US gross domestic product. Its social,
  cultural, educational, and spiritual
  contributions are even greater. Yet at a time of
  government retrenchment, when even
  more is expected of the nonprofit sector,
  nonprofits face daunting challenges. Upward of 40
  percent of these organizations are tiny, with
  budgets of less than 100,000. Many lack adequate
  organizational support, compete for the same
  funds, duplicate the efforts of others, and can't
  expand or replicate successful programs.

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The gift that keeps on giving ...

• Nonprofit managers and funders alike must take a
  new, long-term perspective. By developing
  transparent performance metrics focusing on
  outcomes and outputs, nonprofits can demonstrate
  their effectiveness. They will then attract more
  sustained funding, which in turn will allow
  organizations to invest in information technology
  systems and in management and staff-development
  capacityand thereby achieve long-term results.

20
The gift that keeps on giving ...

• Ensuring that this money is used to achieve the
  greatest social impact will require collective
  effort.
• Philanthropists must take the perspective of
  long-term investors, building nonprofit
  capabilities and rewarding performance.
• Nonprofit organizations themselves must focus
  more on building their financial and
  organizational strength.
• Funders and nonprofits will have to work together
  to develop appropriate measures of social impact
  and to ensure that such measures are available to
  all.

21
The gift that keeps on giving ...

• Some changes are already beginning to happen. The
  David and Lucile Packard Foundation, for example,
  has set aside funds to improve the management,
  staff, and planning processes of nonprofits, and
  the Edna McConnell Clark Foundation has refocused
  its grants on institution building.
• Many new-economy philanthropists are bringing to
  their philanthropic efforts the same
  businesslike, entrepreneurial mind-set that made
  their own companies successful. ... these
  "venture philanthropists" make multiyear
  financial investments in nonprofit
  organizationsinvestments that are accompanied by
  management support. In return, they demand
  results, measure performance, and then reward
  strong performance with additional support.

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Measuring what matters in nonprofits (Sawhill y
Williamson)

• Most nonprofit groups track their performance by
  metrics such as dollars raised, membership
  growth, number of visitors, people served, and
  overhead costs. These metrics are important, but
  they don't measure the real success of an
  organization in achieving its mission.
• Nonprofit missions are notoriously lofty and
  vague.
• CARE USA exists "to affirm the dignity and worth
  of individuals and families living in some of the
  world's poorest communities." Try to measure
  that. Well, perhaps one can though nonprofits
  will never resemble businesses that can measure
  their success in purely economic terms, McKinsey
  has found several pragmatic approaches to
  quantifying success.
• The American Museum of Natural History is
  dedicated to "discovering, interpreting, and
  disseminatingthrough scientific research and
  educationknowledge about human cultures, the
  natural world, and the universe." But though the
  museum carefully counts its visitors, it doesn't
  try to measure its success in discovering or
  interpreting knowledge. How could it? The pace of
  scientific discovery hardly depends on the
  activities of a museumeven one as prominent as
  this.

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Measuring what matters in nonprofits ...

• Every nonprofit organization, no matter what its
  mission or scope, needs three kinds of
  performance metrics to measure
• its success in mobilizing its resources,
• its staff's effectiveness on the job,
• and its progress in fulfilling its mission.

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Shall we dance? (Klintsov y Von Löhneysen)

• After centuries of artistic excellence in a
  protected environment, Russia's Bolshoi Theater
  is struggling as the country's economy is
  transformed. The acclaimed ballet troupe ...
  must find ways to compete for funding and talent
  during the transition to a market economy.
• A big problem inherited from the old distribution
  system was the fact that about a third of the
  ticketsusually the bestcould be reserved for
  artists, theater managers, and state bureaucrats.
  More often than not, these tickets were sold to
  the pillar people for a small fraction of their
  market price.
• By cutting the number of reserved tickets and
  creating a pricing structure based on acoustics
  and sight lines, the theater has begun to realize
  the true value of its seats. Prices for tickets
  in the very cheapest zone, accounting for about
  300 of the Bolshois 1,847 seats, were reduced
  under the new scheme and, at 10 to 20 rubles (34
  to 68 cents) apiece, are well within reach of
  students and other low-income citizens.

25
Shall we dance? ...

• Starting with a sharp look at fund-raising
  efforts and ticketing policies, a new management
  at the theater is meeting this challenge by
  taking steps that have included tapping the
  pricing expertise of the scalpers, or "pillar
  people," who congregate under the theater's
  neoclassical columns.
• The Bolshoi identified nine other variables that
  could affect ticket prices, including whether
  headliners were in the cast, a ballet or an opera
  was being performed, and an individual or a group
  had booked the seats. Few theaters incorporate
  all of these factors into their pricing policies,
  but by doing so the Bolshoi can more easily
  predict demand for tickets and set appropriate
  prices for the upcoming season.

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Shall we dance? ...

• This new ticket-sales system increased ticket
  revenue by 82 percent in its first month. Further
  price increases, made possible by a new
  distribution system with many sales points,
  should push up ticket revenue to 10
  millionalmost three times higher than last
  years figuresin the 200102 season. This could
  be one revolution the pillar people wont
  survive.
• But the overhaul of ticket prices is just part of
  the story. As a result of the economic changes of
  the past decade, the theater has had to rely
  increasingly on private donations. Last year, it
  raised about 400,000, a minuscule amount
  compared with the sums raised by other theaters
  around the world. In recognizing fund-raising as
  a top priority, the Bolshoi has established a
  board of trustees comprising members of the
  countrys political and business elite and also
  has installed a professional fund-raising team.

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Fund Raising Management

• Alvin H. Reiss, a noted arts writer, lecturer and
  journalist, is the editor of Arts Management.
  Reiss' seven books include Don't Just Applaud,
  Send Money The Most Successful Strategies For
  Funding and Marketing the Arts (Theatre
  Communications Group) and CPR for Nonprofits,
  Creative Strategies for Successful Fundraising,
  Marketing, Communications and Management
  (Jossey-Bass Publisher). His On The Arts column
  has been an asset to Fund Raising Management
  since 1985.
• Fund Raising Management is the property of Hoke
  Communications Inc. (Long Island, NY)

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Preguntas para un debate acerca del apoyo
gubernamental a las artes en México

• Cuál es el universo?
• Instituciones
• Privadas y públicas
• Lucrativas y no lucrativas
• Personas
• Artistas
• Otras
• Cuáles artes deben ser apoyadas?
• El gobierno debe producir y organizar o sólo
  apoyar?
• Qué clase de apoyos?
• Información, investigación, educación
• Transferencias de ingresos a las instituciones y
  personas
• Compra o comisión de obras
• Exenciones de impuestos a instituciones y
  personas
• Cómo debe medirse la éxito de los apoyos
  gubernamentales?