毕业论文市场营销外文文献翻译.docx
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毕业论文市场营销外文文献翻译
Relationshipmarketingandservicemarketing:
convergencepointofCultureDepartmentofvaluecreation
ABSTRACT
Usingtherelationshipparadigmasatheoreticalframework,amanagementmodelforculturalservices(relationshipmarketingofculturalorganizations)isproposed,whatisanunprecedentedcontributioninthemarketingfield.Bybiningtwoconvergentperspectives–asrelationshipmarketingandservicesmarketing–,themodelisstructuredonthebasisoftwolargetypesofrelationshipsinthemanagementofaculturalorganization:
instrumentalrelationshipsandgrouprelationships.Thepaperisanin-depthstudyofrelationshipsregardingperformingartsaudience.Atheoretical/empiricalapproachwasapplied,includingfacetofaceinterviewsto1005performingartsconsumersandtelephoneinterviewstoasampleof2005individualsinSpain.
Keywords:
Culturalmarketingerformingartsservicesrelationshipmarketing
1.INTRODUCTION:
Themostrecentliteratureonmarketingmanagementisdemonstratingarevolutionarychangeinbothformandcontent,which,undoubtedly,willresultinseveralresearchprojectsintheshorttermaimedatsheddingsomelightonthisdilemma.Traditionalmanagementmodelsandparadigmsdonotadapttotherequirementsofnewproducts,astherearemoreandmoreexceptionsandquestionsonthemodelsdevelopedsofar(LovelockandGummesson,2004;VargoandLush,2004).Inthisplexcontext,thispaperaimstomakeanin-depthstudyofthefieldofculturalservicesmanagementbyusingtwoconcurrentperspectives–relationshipmarketingandservicesmarketing–,inordertocontributetothedevelopmentofthenewmarketingdomain:
culturalmarketing(Kotler,2005).Thisisafieldstillinitsdevelopmentphase,buthasprobablyfound,withthesenewtrends,therightmomenttogrowanddevelopmanagementstructuresandmodelsthatmeetitsparticularrequirements.
Fromtheverybeginning,contributionsmadetotheculturalsectorbythemarketingdisciplinehavebeenverydiverse.However,althoughtheyseemtohaveetoaconsensusinthescientificworldabouttheideathatthemanagementofculturalidentitiespresentssuchspecialcharacteristicsthatmakeitconsiderablydifferent(VossandVoss,2000;Colbert,2001;JohnsonandGarbarino,2001;ArtsCouncilofEngland,2003;KotlerandScheff,1997).Contributionsfromthemarketingmanagementareastilldonotsufficetoconstructaknowledgebasethatissolidenoughtocreateatheoreticalmanagementframeworksimilartotheoneotherdisciplineswithmoretraditioninmarketingresearchhave.
Inthiscontext,itisstatedthattherelationshipmarketingparadigmoffersasuitableframeworkfortheimplementationofculturalmanagementandthisresearchstudyhasfocusedontheperformingartsservicessector,asconsideringthatitisoneofthemostforgottensectorsbyscientificresearchersofmanagement.Furthermore,thedecreasingconsumptionofthisartforminEuropegoesagainstthetrendiftakingintoaccountthattimeandmoneyinvestedinleisureactivitieshasnotstoppedgrowingwithcountries’economicdevelopment.Inviewofthissituation,questionsasfollowingarerequired:
whatisthereasonforthislossofpetitiveadvantage?
whatisbeingdonewrongtobelosingimpactinamarket,which,intheory,isbeingmoreandmoreinclinedtoconsumeleisureactivities,suchastheperformingarts?
whichagentsareresponsiblefortheresults?
whichagentsareaffectedbytheresults?
whatcanbedonetoimprovethis?
Thesequestionsarethebasisforcarryingoutthisresearchstudy.
2.RELATIONSHIPMARKETING,SERVICESMARKETINGANDCULTURALMARKETINGASTHREECONVERGENTPERSPECTIVES:
Relationshipmarketinghasbeeoneofthemostimportantcontributionsinthedevelopmentofmodernmarketingscience(PayneandHolt,2001),andithasgeneratedarecognisedinterestinthefieldofscientificresearch.Whatismore,intheopinionofnumerousauthors,ithasevenbeenseenasanewparadigm(Gummesson,1999;Pecketal.,1999;Webster,1992;ShethandParvatiyar,2000;KothandaramanandWilson,2000).
WiththeconceptbyGummesson(2002)on“relationshipmarketingisinteractionsinnetworksofrelationships”asastartingpoint,themanagementofaculturalorganizationisunderstoodasbeingnecessarilydeterminedbyamultitudeofagentsinthemarket,beincludedintheorganization’splanningprocess,sincethevalueofthefinalproductisgoingtodependonthemtoalargeextent.Theroleoftheinterestgroupsintheplanningprocessoftheorganizationsisoneoftheleastcultivatedareasofrelationshipmarketing(Henning-ThurauandHansen,2000).PayneandHolt(2001)explicitlyrefertothisdeficiency:
“understandinglong-termrelationshipswithbothcustomersandotherstakeholdergroupshasbeenneglectedinthemainstreammarketingliterature;managingtheorganization’sinternalandexternalrelationshipsneedstobeeacentralactivity;thiscentralactivityisrelationshipmarketing”.Wearefaced,therefore,withanewscenarioinwhichone-to-onemarketinghasgivenwaytomany-to-manymarketing(Gummesson,2004);inotherwords,planningrelationshipswithindividualshasevolvedtoplanningrelationshipswithcollectives,withinteractionnetworks.
Ontheotherhand,eitherwhencontributionsinthefieldofculturalmarketingdonotrecordenoughstandardizationorvolumetobegroupedintrendsorschools,theydoshareavalue:
theimportanceofrelationshipsintheirmanagement.Contributionsmadeinthisareaareverydiverse,inmostcasesfocusingonrelationshipswithcustomers(relationshipswiththeperformingartsaudience).GarbarinoandJohnson(1999)usethestageofanoff-BroadwaytheatreinNewYorktoexplorethetransaction/relationshipcontinuumproposedbyGronroos(1995)toconcludethattheperformingartsaudiencehasdifferentbehaviouralprofilesdependingontherelationshipsdevelopedwiththeorganizationor,specifically,“inaconsumerenvironmentinwhichcustomersreceivehighlysimilarservices[...]therearesystematicdifferencesintherelationalismofdifferentcustomergroups”.Rentschleretal.(2001)alsoconsideredanempiricalapproachtorelationshipswiththeaudienceofperformingartsorganizationsinAustralia:
“whatartsorganizationsneedtoconsideriswhethertheexpenseofhavinghighsingle-ticketsalesissustainableand,ifnot,whattodoaboutit”.
3.THEPRODUCTANDRELATIONSHIPSWITHCUSTOMER’SSUGGESTIONSONAMODELFORTHERELATIONSHIPMANAGEMENTOFCULTURALSERVICES:
Relationshipswiththeaudiencearethecentralponentintheconfigurationoftherelationshipmarketingmanagementmodelforculturalorganizations.Thiscentralplaceissharedwiththeculturalproduct,whosegeneralmarketingmodelpresentsspecialcharacteristicsthatdifferentiateitfromtheclassicstructureofmarketing,as:
1.Marketingprocessstartsintheproducerorganization,andfromthisorigin(theculturalproduct)adecisionhastobemadeconcerningthepartofthemarketthatmaybeinterestedinconsumingit.
2.Oncepotentialconsumershavebeenidentified,thepanywilldecideontheremainingrelationshippolicies(instrumentalandgroup,whichwewillcoverbelow).
Therefore,wearefacedwithakindofmarketwhosemarketingprocessshowsa“product-to-client”typestructure.Theatypicalstructuretransformstherelationshippolicywiththeculturalcustomer,asitconsidersthatthecoreoftheproductisunalterable(Colbert,2001).
Thisstructureinvolvesthedevelopmentofawidevarietyofrelationships,whichhavetobeincludedinthevaluecreationprocessformingthemarketingofaculturalproduct.Theculturalofferingofacountry,aregionoradistrictisasourceofbenefitsforalargenumberofsocialsectors.Itisnotfornothingthattherecognitionofthe“needforculture”iswell-knowninvirtuallyalldevelopedcountries(CounciloftheEuropeanUnion,2004),andpublicorganizations,aswellasprivateentities,areinvolvedinsatisfyingthisdemand.Basedonthissituation,itislogicaltoassumethateachandeveryoneofthesecollectiveshastobeincludedintheorganization’splanninganda“win-winrelationship”needstobeimplementedinconnectionwiththem.
Performingartsorganizationswillhavetomanageamultitudeofrelationshipstoachievetheirobjectives.Theserelationshipswereformerlyclassifiedintotwolargecategories(Quero,2003):
a.Instrumentalrelationships:
thisfirstcategorygroupsthemarketingmixinstrumentsandincorporatesarelationshipfocus(i.e.,product,price,distributionandmunicationrelationships).
Thedifferentiationfactorcharacterizingthedesignofthesepoliciesisthattheyhavetobeplannedtakingasareferencethecreationofvalueforcustomersandforeveryoneoftheagentsinvolvedintheproductionprocessoftheculturalservices.
b.Grouprelationships:
thesecondofthecategoriesisrelatedtotheidentificationandplanningprocessofrelationshipswithcollectivesoragentsofinterest,astheperformingartsaudience,educationalcentres,publicorganizations,petition,suppliers,non-publicorganizationsandinternalrelationships.
Fromthispointofview,grouprelationshipsandinstrumentalrelationshipsareunderstoodasdifferentinnature,buttheyconvergeinstrategy;inotherwords,whilstsomeofthemrequireskillsconnectedwiththemanagementofrelationshipswithcollectives,othersrequireadifferentkindofskills,morevisibleforthecustomerandconnectedwithdecision-makinginspecificaspects,suchasprogrammedesigning(product),ticketsales(distribution),showvalue(price)orconveyingtheinformationtothemarket(munication).
However,t