2.5 Social media marketing usage by the Performing Arts Centers
Analyzing the literature several objectives in development of social media marketing by PACs were
revealed. The most general objectives of PACs are increasing brand awareness, promoting upcoming events,
and building relationship with fan community.
Most studies conducted sought to identify the key factors of the success of organizations within the not-
for-profit sector. These studies identified the relationship marketing to be an advantageous approach over the
product-oriented approaches (Rentschler, 2006). Establishing a long-tem relationship with the target
audience and increasing patronage would inevitably lead to stronger ties between PACs and consumers and
would gradually form strong collaboration with all stakeholders. The ability to deliver the desired customer
experience tailored to their changing needs and preferences enhances the likelihood to build the customer
loyalty. Visitors’ loyalty is a strategy that can be used by PACs to respond promptly to current business
challenges of the non-profit sector (Passebois, 2003).
Other research aimed to explore the affect of the relationship marketing on the guests’ retention revealed
that the positive relationship with customers of a hotel leads to the further purchase commitment and
willingness to spread the positive word about the company (Kim, 2001). This implies that interaction with
the target audience was an integral part of building customer loyalty. Loyal customers may become brand
promoters who would generate buzz around the concert and attract more visitors. Marketing strategies
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focusing on the audience and building long-term relationships could ensure sustainable business
development of PAC’s (Conway and Whitelock, 2003).
Key groups of consumers are needed to develop relationships to ensure success of promotional strategy.
Figure 1 illustrates the conceptual model of relationship development of a theater as a part of strategic
marketing. There are four major groups of partnerships: supplier, lateral, internal and buyer partnerships.
Within the subsidized context suppliers refer to the companies dealing with all the suppliers. Lateral
partnerships include interaction with competitors, Art Council and local administration. Internal partnerships
refer to all interactions with internal stuff and all the departments. Lastly, buyer partnerships comprise
developing relationships with both funds organizations (commercial subsidizers and sponsors) and concert
visitors. Establishing and maintaining relationship with the key stakeholders can lead to a more strategic
focus and ensure an effectiveness of promotion. The results of the empirical research of subsidized
Performing Arts in the North West of England conducted by Conway and Whitelock (2003) demonstrated
that strong relationship with all key stakeholders was a major factor of the success of the studied
organizations (Conway and Whitelock, 2003).
Figure 1: Conceptual model of relationship development of a theater(Conway and Whitelock, 2003)
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While the development of a long-term relationship was limited by mail opportunities to reach people,
e.g. sending booklets, brochures, letters, etc, or organizing live events to get together visitors, Internet
technologies widened these opportunities and help to develop relationship with the target audience. Social
media tools create conditions to build strong relationship with the target audience ensuring customers loyalty
and retention (New Media Age, 2009). Nonprofit community reports show that nonprofit organizations
create programs with a purpose of developing relationships through Internet platforms in 2010 (Business,
2010). Being driven by current state of economy and seeking to make their business more efficient,
nonprofits may tend to resolve issues using Internet technology to the higher extent in the future. Non-
profits make their websites more welcoming to users by telling the stories about the company and events to
enlarge the audience. As well, nonprofit professionals are seeking to embrace new technologies including
Web 2.0 to facilitate the integration of the traditional marketing and communication channels (Business,
2010).
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A growing number of PACs have started using social networking websites to interact with and engage
customers (GMA’News.TV, 2009). Web 2.0 innovations are making it affordable and much easier for PACs
to create and manage online communities, distinguish customer values and needs, and interact through
personalized channels. Moreover, this creates a means to capture visitors’ contact data (Rothschild, 2009).
Michael Rapino, Live Nation CEO, underlines the importance of providing functional online space to
customers offering not only concert lists, but also music blogs, fan message boards, and other new Web 2.0
features and services, promising positive effects on the concert experience. When people socialized with
other fans about news and upcoming events it can provide a more vivid experience (Whitperson, 2007).
As an example, the Royal Scottish National Orchestra (RSNO) provided an opportunity to their
customers to download music that they heard at the concert. Customers were provided with passwords to
enjoy the music after they attended the concert. The concerts became more accessible online to the audience
members. It was noted that more than 6,700 music files were downloaded after two concerts. The company
received positive feedback from visitors that it was very enjoyable to watch concerts many times after the
concert (Plommer, 2009). This example illustrates how Web 2.0 innovations widen the opportunity for the
PACs to build stronger relationship with patrons
Social media marketing is used by PACs to increase brand awareness. Word of mouth is marketing tool
used to increase brand awareness. Word of mouth can be used to reach an enormous number of customers
and bring their interest to the brand. Theoretically, it is presented as an effective option, but, practically, it is
hard to implement. Still, there is little study in a marketing literature depicting how to effectively leverage
this marketing tool to the maximum extend. Scott (2007) implies that it is not an easy task to go viral
“artificially”. He believes that it usually happens spontaneously and almost uncontrollable. Many marketing
companies who attempt viral marketing do not succeed and often fail (Scott, 2007). However, gaining
expertise and techniques of social web marketing practices, it is certainly possible to go viral. However, to
achieve desired results social media marketing has to be well planned and monitored (Chapman, 2008).
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Providing valuable content to be shared and syndicated can result in a strong word-of-mouth campaign.
The content of the viral message can be designed not only in the form of text but also as pictures,
photographs, video clips, cartoons, songs, ringtones, etc. Creating video/audio content is different from
messages in a text format and requires a certain skills set. It, also, needs special technology such as software
and hardware, including microphones, video cameras, and others (Scott, 2007, Anonymous, 2009).
Dobelea suggests the following characteristics of the content to make a message engaging and inspire
people to pass it to others. A viral message should capture the attention by being fun and intriguing. Also, the
message should be attached to a product that is easy to use. The source presenting the message should be
credited. Lastly, launching viral message should be implemented using technologies that ensure high
visibility and fast diffusion among Web users. Social media applications enable exposing and exchanging
information via online platforms (Dobelea, 2005). A good example of using social media application on
Facebook to stimulate word-of-mouth referrals is the Brooklyn Museum application, Artshare. The users of
this application can select and display museum’s objects’ images on their profile. Each image is linked to the
Brooklyn Museum catalogue that holds information and resources about the selected object. An additional
feature of this application enables artists to upload their own images” (Digital, 2009).
Hughes underlines “the six buttons” to push the conversation (Hughes, 2005). There are several topics
that will always capture attention of people. Taboo themes represent the very unusual, the hidden, the
amusing, the remarkable, or secretive. These can attract and inspire people to open the information and get
the consumers to talk about your content. By nature people are not allowed to talk about taboo. Introducing,
e.g. taboo theme, customers naturally become interested in these kinds of conversations and generate buzz
around it. The main reason for the success of these themes is that people want to be entertained. The listed
buttons refer to fun or intrigue and can be used as a central part of human interest theme and entertainment
(Hughes, 2005). Information should be interesting to the customers. Bernstein and Kotler (2007) suggest
taking the customers behind the scene to show backstage. It is always exciting for people to know what is
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“hidden behind the veil.” Bernstein and Kotler (2007) stress that, “People love hearing about any human
drama that takes place in the creation of your show, not only the drama unfolding the stage.”
Content of the viral massage should be designed in “the buyers’ words.” An effective marketing
message requires understanding what “language” the customers use. In other words it is necessary to
distinguish what words, phrases, expressions the customers use to communicate. This knowledge would be
essential to formulate key words for search engines. Being aware of what key words are used most in search
engines paves the way to reach the target audience. One of the ways to determine the common words and
phrases used by customers is to examine their publications in blogs, comments and reviews, statuses,
agendas, topics, online social network sites and web resources. The list of the phrases will help in
communicating with customers, but also make the websites appear in the search engines (Scott, 2007, Weber,
2009, Social, 2009).
Word-of-mouth referrals based on intrigue story around an event were a foundation of promotional
strategy for
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