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Strategic Management In The Arts 1st Edition Lidia Varbanova - Solutions
=+• Analyse the four Ps of the marketing mix for the Exodos festival. Outline their strengths and weaknesses.
=+• Discuss the importance of regional and international collaboration and the multiplication effect of a festival’s know-how for similar organisations and venues.
=+• Recognize the elements of the marketing-mix concept in a practical case.
=+• Understand practical approaches to the elaboration of a communication and promotion plan for an arts organisation.
=+• Analyse the specificities of marketing strategies and tools in a nonprofit organisation and the importance of the SWOT (strengths, weakness, opportunities and strengths) analysis for the choice of a relevant strategy.
=+• Understand the importance of ongoing innovations and advances in artistic programming for an international festival.
=+• Do you have sufficient competences to implement innovative digital and online distribution channels?
=+How much would the planned distribution channels cost?
=+• How do you plan to mix online and offline distribution channels? How does this influence the cost-benefit analysis?
=+What are the opportunities and risks for each of them?
=+• Which distribution channels are best suited for your marketing strategy—direct or indirect ones?
=+• Are your current distribution channels and locations efficient? Why? Why not?
=+• What kinds of distribution channels do other arts and cultural organisations use? Can you develop a distribution strategy in partnership?
=+long-term objectives of your organisation?
=+• What are your primary online and offline locations? How would they change in relation to the
=+• Where do your audiences usually look to find information and purchase your products? Do you know enough about their purchasing and participating behaviour?
=+ What are the options and the risk factors?
=+• Could you offer some of the programmes or services for purchase online? What are the pros and cons?
=+• How will you diversify the price policy depending on the profiles of different target groups?
=+• How do the price strategies change for artistic and cultural offers during the weekends, for subscription schemes, seasonal tickets, and so on?
=+• How is it possible to connect the price with the production costs and the value-added benefits for the clients?
=+• Which method will you use to calculate the prices for the different programmes and products offered by your organisation? Why?
=+• What are the factors influencing the prices of the products and services offered?
=+• What exactly are your audiences (customers, clients) paying for? What do they get in return for the money spent?
=+• Which programmes, if any, might generate revenues? Which of them contain entrepreneurial elements (if any)?
=+• Which programmes, if any, are attractive to external donors? In what way? How could they be connected with the fundraising strategy?
=+• How will the new programming impact on the cost structure of the organisation?
=+• What are the requirements of the new programmes in terms of technical specifications and people involved?
=+• How would the organisation’s resources and capacities handle the future programming?
=+• Is the programme attractive and appealing to the targeted market segments?
=+• What are the innovative elements in your artistic programming?
=+• How does the creative programme correspond to the organisation’s mission and long-term goals?
=+7. Interpret the data and implement the results. What are the main conclusions from the research, and how could they be useful in the strategic management and decision-making process?
=+6. Collect primary data and data analysis. What is your targeted feedback, and how do you plan to improve audiences’ responses?
=+5. Distribute the questionnaire. Where and how do you plan to distribute the questionnaire?
=+How do you intend to use the results of the research in your management operations, as well as in the strategic organisational development?
=+What kind of questions do you plan to ask?
=+4. Prepare the questionnaire. Keep in mind that questionnaires are different for quantitative versus qualitative methods of research.
=+How do they match your resources and expected outcomes?
=+3. Decide on your research methods. What kinds of research methods do you intend to use?Why?
=+2. Identify and evaluate the resources needed. What is your current capacity? How much money and staff time do you have available to conduct the research process?
=+1. Define the reason for undertaking research. What are the current problems in your organisation? Why do you need to conduct audience research? How will the research results help in the decision-making process and revenue-generating strategy?
=+• Are there any elements of our programming that could generate profit and secure financial sustainability?
=+• How can we increase the public image of our organisation and the visibility of our programmes?
=+• What could be the most efficient ways to connect audiences’ expectations and motivations with the right communication tools?
=+• How can we create and apply the most appropriate ‘marketing mix’ (product, price, place and promotional strategies)?
=+• How can we ensure that we are selling the right programmes and projects to the right people, in the right place, at the right time, using the right communication tools?
=+• Are our artistic programmes and projects oriented towards the needs and expectations of our current and future audiences?
=+• What main methods should we use in the overall process of audience development and engagement in the creative programming?
=+• How can we better know, attract, satisfy and educate our audiences (buyers, clients) in the future?
=+• Do we know our audiences well? Why? Why not?
=+6. Elaborate the marketing section of a strategic plan for an arts organisation.
=+5. Analyse the opportunities and challenges when creating and managing an online space.
=+4. Prepare a ‘marketing-mix’ recipe for an arts organisation.
=+3. Understand the balance between creative programming and diverse marketing tools in an arts organisation.
=+2. Discuss how market research and audience segmentation help strategic decision-making.
=+1. Understand why marketing strategies and tools are needed and used in arts organisations.
=+• Suggest a set of innovative online methods for fundraising, sponsorship and increasing of ACM’s international visibility. Connect these methods with the current programmes and future strategic goals.
=+• Suggest ways to expand activities outside of the capital by using one of the programme-market strategies which is applicable in this case.
=+Help ACM to elaborate a strategy of collaboration with the Mongolian Tourism Board33 and other touristic agencies for broader visibility of its programming and fundraising internationally. Keep in mind the current creative programmes and uniqueness of the organisation.
=+• Discuss the types of strategies chosen by ACM for its next planning cycle. Give arguments for the strategic choices, connecting them with the results of the SWOT analysis.
=+• Elaborate the key elements of ACM’s capacity-building strategy and discuss connections with the functional strategies.
=+• How could the elements of innovation and entrepreneurship be embedded in the strategic development?
=+• Is the theatre managing growth in the right direction? Is it a viable idea to implement a future strategy of spinning off a new organisation, the ODA Institute? What are the potential results, consequences, risks and limitations for such a project?
=+• How would you define the optimal set of strategies for ODA Theatre? Why do you recommend these strategies? Give arguments, considering influencing external and internal factors.
=+• What are the missing elements of the external analysis as part of a strategic plan? What kind of research, data and analysis should the theatre undertake to elaborate them?
=+• Elaborate the main driving and restraining internal and external forces in ODA Theatre’s work, considering the results of the SWOT analysis and the internal theatre operations.
=+• Understand the concept of a ‘set of strategies’ for an organisation’s development.
=+• Analyse a practical example of a theatre company’s competitive advantage.
=+• Discuss the challenges of rapid audience development and managing organisational growth by maintaining the artistic quality of performances.
=+• Discuss the application of product (programme)-market strategies and the dilemma between maintaining high artistic quality and making the art accessible to broader audiences.
=+Analyse the connections between the results of the SWOT analysis, the choice of a general strategy and functional strategies in an arts organisation.
=+• How can we organize the internal processes and workflow more efficiently?
=+• How can we convince stakeholders and fund-givers?
=+• How can we increase audiences and supporters?
=+• What are the most effective ways to nurture creativity and innovation?
=+• How can we fully utilize our organisation’s unique features?
=+• How can we create, produce, present and/or sell better than others in our field?
=+• How can we use resources in the best way to achieve maximum effects?
=+• How can we avoid, or diminish, the expected negative influences of the environment?
=+• How can we use existing opportunities?
=+• Does your partner target similar clients or audiences?
=+• What is the public image and reputation of your potential partner?
=+• How would your partner’s competences match yours so that you achieve a more successful result?
=+• What are the legal status, credibility and financial situation of your potential partner?
=+• What are your partner’s past achievements, and what are their exact areas of expertise?
=+• Do your potential partner’s goals coincide with yours?
=+• Develop a risk plan to predict possible burdens and barriers that might occur during the implementation of the strategy
=+• Train your staff on how to implement the strategy—particularly if the implementation requires a new set of skills and competences.
=+• Explain to your board, staff and stakeholders what the essence of the strategy is about. Elaborate this in understandable, simple and straightforward language, emphasizing the future benefits of implementing the strategy.
=+• Mind that the chosen strategies should fit into the planning time frame.
=+• Consider the compatibility of the chosen strategies, if more than one, and make sure that they do not exclude or interfere with one another.
=+• Adapt the ‘standard’ strategies to your specific situation, and connect them closely with the results of analysis and the organisation’s identity, mission and objectives.
=+6. Elaborate the “Strategies: Options and Choices” part of a strategic plan.
=+5. Understand how to evaluate strategic alternatives to choose a strategy.
=+4. Analyse why strategies for integration, co-production and networking are very important for arts organisations.
=+3. Comprehend the essence of product/programme-market strategies and competitive strategies and their specificities in the arts.
=+2. Analyse the main strategies in arts and culture organisations.
=+1. Understand the main organisational strategies and how they can be applied to organisations in the arts sector.
=+• What are the success factors to consider when developing an online project in the field of the arts and culture? List and prioritize them.
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