The Extension of The Concept of Brand to Cultural Event Marketing

By Professor Neal M. Burns

Director, Center for Brand Research And

Esteban Ribero Planner/ TBWA/Colombo Suiza/M.A.Candidate

Department of Advertising The University of Texas at Austin

ABSTRACT

The work to be presented stems from a consideration of the ways in which a classical or traditional musical performing group may be described in terms of its attributes and the value of employing the concept of ”brand” in such message development. The primary target market is considered to be occasional attendees or those not opposed to such exposure. The research effort culminates in the development of a message strategy that is both descriptive of the offering as well as one that resonates with the intended audience. Equally important is promoting the concept of “brand”. The suggestion is made that for the classical music performing entity their brand reflect a business strategy that is relevant to the audiences for whom the message is intended and represents a consideration of the positive and restraining influences that impact the target market’s desire to participate. 1. Introduction There is evidence today to support a resurgence and renewed interest in classical performance art forms – as well as contrary evidence and examples that strongly suggest that symphonies, ballets, operas and chamber music concert attendance is declining. For example, a survey of public participation in the arts, conducted by the National Endowment for the Arts in association with the Bureau of the Census reported that the audience for opera has grown by 25 percent over the past two decades and has attracted younger audiences (1). On the other hand, in January 2003 the Tulsa Philharmonic in Oklahoma, facing $1 million debt, cancelled its remaining concerts for the season. Many U.S. non-profit performing arts groups face an uncertain future, according to a study of more than 850 arts organizations conducted by AMS Planning & Research Corp during early October of 2004 (3). Boards and marketing managers report

immediate deterioration in ticket sales compared to last year, lower revenues from corporate sponsorships, and the expectation of mid-term declines in philanthropic and government support. “We have not heard from our funders yet, but we are preparing for the worst,” said one dance company executive. In all likelihood both points of view may be supported and evidence for either position readily provided. This paper seeks to explore the relationship that the perception of a brand has to the perception of the cultural event or performance and the likelihood of attendance. Our focus in this study has been on opera, although the authors believe that the analysis holds for other “classical” music performances, cultural entertainment events and the venues in which they are held. In an advertising context “opera” can be considered to represent a category – or better perhaps a sub-category of the class of entertainment events known as music performances. Opera companies and performance venues may then be seen and understood as “brands”; in that context the questions of attendance and audience become amenable to quantitative and qualitative research techniques. 2. Research Objectives

We have chosen to approach the issues of entertainment, and Opera in particular, as a branding issue. Brands are the superstars of the performance, product and service worlds. In performance the brands may range from YoYo Ma to Kobe Bryant – in the service category from Nordstrom’s to Montgomery Ward -- and in products from Nike to Vioxx. Brands have shown themselves to be more enduring than patents and copyrights and need no translation in worldwide commerce. Brands do, however, require development and investment and are different than merely attaching a name to the item or activity being introduced or sold. Names become Brands with the intervention of a period of time and the occurrence of a series of events between the introduction of the name and the arrival of comprehension that the Brand exists. Brands, in this enlarged context, bring three dynamics into play.

First, there is the implicit promise of a Brand. A Brand does something for its adherents—and the perception of the opera Brand must be seen by its users as being desirable and delivering value. Entertainment is an anticipated deliverable of a cultural event.

• Secondly, a Brand by definition has a set of loyal customers that have used/frequented it repeatedly or for a period of time. That audience is an important part of the opera or cultural event Brand’s equity – targeted cohorts must identify with the loyal supporters of opera, frequently identified as season subscribers.

• Third, Brands have a position – they mean something not only to those who use them but to those others in society who see them being used. Brands have the ability to ‘speak’ and the resulting “conversation” tells

us something about the user. In examining the general position of opera in the entertainment domain of people’s lives, we will measure the attributes or equities of the “opera concept” to both generate premises for re-positioning the Brand and reorganize the perceptual framework of the targets of interest.

In summary, our strategic focus is to better understand the ways in which messaging and brand advertising can be constructed to improve the promise of entertainment as well as awareness and attendance at cultural events. The results of this study will assist the discovery of the existing image of opera in comparison to other competitive options and also suggest new themes and imagery that can build the Brand.

3. Methodology for Entertainment Brand Study

The questions we sought to answer were selected from the wide range of variables that impact the development of an entertainment brand. We wanted to know –

• Why do they come to the opera or, conversely, why do they not come? • What is their expectancy of value delivered and their general perception of the category of entertainment event? • What other out-of-home entertainment do they select? How frequently do they attend and how are their favorite choices perceived?

In the earliest phase of our research we conducted a survey of Austin residents, to determine their interest and participation in the arts. The survey was administered both on-line and in person; the person-to-person interviews were conducted at University of Texas at Austin events. Our interest was in the entertainment events they tended to frequent. The slide that follows illustrates those results. In this small sample it was clear that or respondents go to the symphony more frequently than the opera or the ballet. Their attendance of the symphony is approximately twice as much as either the ballet or the opera. The most frequent entertainment choices described by this sample were outdoor activities, bars/clubs/dance halls and movies, in that order. The subjects’ ranking of entertainment activities (between symphony, opera, ballet and plays/musicals) was as expected. Plays/musicals was the top choice, and ballet was the least favored. Most people ranked opera #3, with a rank of 1 representing most likely to attend, and a rank of 4 meaning least likely. (It is interesting, however, that almost all respondents indicated an interest in attending opera if the tickets were “complimentary”.) These findings were than augmented with a series of focus groups to better identify the associations and decision making processes involved in choosing cultural events as entertainment options (Play Tape). Net, net the respondents were open to the arts and generally were positive about opera when asked – but did not see it as an entertainment option.

To understand and compare the strength of several cultural entertainment options the brand board game was presented to the respondents. The “brand game” that has been by the TBWA/Colombo Suiza advertising agency and one of the authors of this study used his familiarity with the technique to adapt it to our on-line process. The full description and representation of this tool is presented in the next section. Our survey next sought to use concept mapping (4,5) to understand the relationship between the terms “entertainment” and “opera”. In exploring the associations of the terms “entertainment” and “Opera” the cognitive structure of the respondent may help suggest more effective messages that will assist in brand building. The architecture of associative networks resembles a Mind Map in that it diagrams the association among the evoked attributes of the concepts. Generally speaking, when the maps are drawn there is a visual pattern where cognitive distance is represented. Thus, the layout has "flow", spatial awareness, and a representation of the entirety of the category – in this case entertainment. While mind maps often tend to be artistic the map we present is more symbolic and “mathematical”. Its organization is intended to help the reader/investigator conceptualize and integrate the category’s meaning and the ways in which behavior may be operationalized. The main data collection portion of the study was launched on line with the respondents asked to perform variety of tasks. (The length of the survey did result in some (seven percent) respondents terminating the session. The partial data received was used however and the median responses described in the results reflect those respondents as well as those completely finishing the survey. 4. Results The initial task of the respondents was to indicate their preference for a variety of entertainment options. Table 2 shows that data.

Table 2. First Choices in Entertainment

The respondents were then asked to describe the associations they had with the first choice they selected from the entertainment options. Table 3 describes those findings:

Table 3. First Choice Association Choices

It was also important to understand the degree of familiarity and the frequency of participation the respondents had with the entertainment choices. The data are shown in Table 4 and generally are representative of national statistics on this topic.

Table 4. Frequency of Attendance

Table 5: Opera Associations

The relatively low level of participation with the respondents concerning opera – with almost a third of our sample never attending (in fact somewhat better than national statistics) helps explain the nature of the positive and negative associations for the opera event (Table 5). The contrast between the Opera Associations and those for the First Choice (Table 3) are striking; there are – as one might expect – few if any negative associations for First Choice but several of significance for Opera. Interestingly enough, in a related survey on opera season subscribers completed as part of this effort, 11% of 3000 responses indicated that the cost of the tickets and preference for other forms of entertainment “kept them from attending.”

The methodology next employed a “brand game” that has been used with considerable success by the TBWA/Colombo Suiza advertising agency in Bogota, Colombia. Essentially the respondent’s task is to place or position well known brands on a numbered “checkerboard” with 100 spaces. The extreme positions – Space 1 and Space 100 are adjacent to contrasting statements that can be applied to the brands being presented. Three brand game boards were presented to the on-line respondents. The opposing statement sets follow.

Blue Board: I generally know what they’re going to tell me <-> I would be surprised every time I meet them. Green Board: It would be boring to meet them <-> I would have a great time with them. Yellow Board: I would forget them easily <-> I would remember them after meeting them.

There is a high degree of correspondence among the three boards that follow. The consistent strength of the Apple (Mac) brand is apparent. It is not unexpected (particularly given the huge I-pod success) and consistent with our hypotheses that the well known venues will be rated highly.

Figure 1: Brand Excitement Level

The brand identified as the Metropolitan Opera on all boards fares much better than several other brands and clearly surpasses The Dallas Opera. In the case of “the Met” the investigators intended it to refer to the opera company but the physical structure of the Lincoln Center is also often called the Met. In any case the equity of the Metropolitan Opera brand is clear in the results of this exercise. In all three boards one of the most well-known and highly recognizable logos, apparently leaves little new to be discovered or understood. The brand Coca-Cola generally well understood (Fig. 1), is only surpassed in the lack of interest it evokes by The Dallas Opera (Fig. 2) and, of course, is memorable and one of which our respondents were well aware Fig. 3).

Figure 2: Brand Interest Level

Figure 3: Brand Memorability/Awareness

It was from these observations and our survey described earlier in this section

that the mind maps and associative networks were constructed.

Figure 4: Associative Network: Entertainment

Figure 5: Associative Network: Opera

Figure 6: Associative Network: Preferred Entertainment and Opera

Figure 7: Associative Network: Entertainment and Opera

Figure 8: Associative Network: Strategic Option

4. Summary and Conclusions

Opera has become infused into and reflects popular culture. Groups like The Three Tenors, composed of Luciano Pavarotti, Jose Carrera and Placido Domingo, have sold millions of records and taken opera to totally new venues. Yet, while the superstars have tremendous appeal and the classic reputation of the Met continues its public perception as an entity of interest, memorability and excitement other opera companies and classical performing groups languish in a state of public non-involvement. An Opera company can be perceived and presented as a Brand. Just as a strong brand identification is developed for beer or running shoes – the authors believe Opera companies deserve no less. In our studies we find that each of the market segments of interest currently has a generalized perception of the Opera and the experience such performances deliver. This perception and anticipation functions as a definition for Opera. While those generalized perceptions may not be the Brand definition or set of equities the management of an Opera company might have chosen – it is the Brand definition their target audience currently embraces. We believe that there are three major components to the “opera” concept; the content, the venue and the company. In the aggregate these three components generate the response to the “opera” or

classical performance concept. The following discussion addresses each of these classical performance components. Equally important as the brand of “opera” is redefined is to increase the association with “opera” and other classical performance events with the considered set of activities generally known as “entertainment”. A major finding here is that such is not the case currently. The associative network results just shown describe the disconnect that exists between the concept of entertainment and Opera. The presence of negative associations with the “opera” concept represents barriers that need to be understood and then overcome. The positive evoked activities that are associated with “entertainment” clearly illustrate the views that correspond with attendance figures and the conventional wisdom. In examining “opera” and its associations however, in addition to the obstacles that need to be overcome some significant personal and relevant message possibilities emerge. The sense that “opera” delivers emotional content and insight that may serve as metaphors for the listener’s contemporary life is a strong direction for message direction. The promise of an “enriching experience” (Figure 7) is a strong promise for any brand. Jealousy, desperation, joy, hope and the other associations mentioned in figures 5,6 and 7 are frequent themes in classic opera as well as the work of today’s composers (e.g., Dead Man Walking, Nixon in China). Brands develop followings because what they deliver is considered relevant to their audience/adherents. The message building suggested from this study is that audience increase will occur as those members of their public somewhat curious regarding opera – or persuadable – realize that opera is about their world. Early in our study we reported that those respondents that had never gone to the opera were interested in seeing a performance – albeit with a free ticket. Yet, such a response may be interpreted as a willingness to explore this aspect of entertainment. Finances for brand development are critical and sustaining the brand and the addition of a contemporary marketing and advertising program will help produce well attended seasons and also help attract funding from enterprises previously un-approached. Strengthening community involvement and visibility helps build and maintain the brand’s presence. Clearly the education and community programs initiated by many operatic and symphonic companies have addressed the “hard to understand” association “opera” frequently elicited in our study as well as helping to build an appreciation for the art form and increase audiences. In this fashion opera and classical performing groups address the “content” aspect of their “brand”. The “dark’ non-performing periods associated with an opera “season” need to be augmented and used to give exposure to the Hall (performance venue) and the performing entity. The development of the Internet offers a new opportunity to reach young and adult audiences with educational material that helps them to enjoy opera, regardless of their level of experience.

Finally, not only does the existence of a brand means something to the enterprise itself, but it can, under some circumstances, serve to revitalize the enterprise’s volunteers and staff. Re-positioning the entertainment value and breadth of appeal of Opera in a visible and exciting fashion will serve to energize all those who administer and help deliver the product. The sense that “things are different” will call for new and energetic attitudes from those working with Opera. Their sense of pride and accomplishment and the increased public appreciation and respect they will receive are important components of the success of the proposed program. That staff pride is also one of the benefits of brand development. In conclusion, the brand – Opera – in all aspects must be perceived as entertainment. A “good time” is integral to the entertainment experience – the event and its anticipation are to be evocative of enjoyment – from valet parking (an amenity to be considered when possible) to the program itself. It is, as our data shows, part of the definition of entertainment – and, a good time is not in conflict with the intellectual and emotional connections and rewards Opera delivers. It is all part of entertainment. .

Bibliography 1. American Participation in Opera and Musical Theater. National

Endowment for the Arts, Research Division, 32. Seven Locks Press, 1995.

2. American Participation In Theater National Endowment For The Arts, AMS Planning & Research Corp., Seven Locks Press, 1996.

3. 2002 Survey of Public Participation in the Arts. AMS /National Endowment For The Arts, Research Division, 46. 2004.

4. http://www.peterussell.com/mindmaps/mindmap.html

5. Buzan, T. The Mind Map Book: How to Use Radiant Thinking to Maximize Your Brain's Untapped Potential, Penguin Books, New York.

APPENDIX 1 On –line Survey Instrument

1. Please rank [place the number of your choice, 1=first choice, etc in the box] the three (please select only three) out of home cultural activities that you consider the most entertaining from the list below.

Going to hear a band

Attending a classic music concert

Attending a ballet

Going to watch a movie

Going to a party

Going to an art exposition

Going to a play

Attending an opera

Going to a good restaurant

Dancing

Going to a bar

Traveling

Shopping

Attending a sports event

2. Now, please rank from the following list the three (again, please select only three) attributes that you consider are most descriptive of your first choice from the list of cultural activities above.

Envy

Hard to understand

Enjoyable

Complex

Stimulating

An enriching experience

Distant

Emotive

Joy

Excitement

Rage

Boring

Love/Passion

Hope

For older people

Desperation

Jealousy

Terribly expensive

3. Now, please select from the following list the three (again, please select only three) attributes that you consider are most descriptive of your experience - or anticipated experience – in going to the Opera.

Envy

Hard to understand

Enjoyable

Complex

Stimulating

An enriching experience

Distant

Emotive

Joy

Excitement

Rage

Boring

Love/Passion

Hope

For older people

Desperation

Jealousy

Terribly expensive