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Master Thesis
Use of Expressive Social Media in Markets for Culture:
Case Study of the Dutch Non-Profit performing Arts
Erasmus University Rotterdam
School of History, Culture and
Communication
Student:
Linda Engels
Student number:
306344
March 2011
Erasmus University Rotterdam
School of History, Culture and Communication
Master Art and Culture Studies
Specialization: Cultural Economics and Cultural Entrepreneurship
Supervisor:
Phd C.W. Handke
Second reader:
Prof. A. Klamer
Linda Engels - 306344
[email protected]
Rotterdam / Tilburg, March 2011
2
Preface
This master thesis is written for the master’s program Cultural Economics and Cultural
Entrepreneurship of the master Art and Culture Studies of the Erasmus University in
Rotterdam.
Having written this master thesis means that my study period at the Erasmus University in
Rotterdam has come to an end. With a bachelor’s degree in Music, a bachelor’s degree in Art
and Culture Studies and with hopefully very soon a Master’s degree in Art and Culture
Studies I have fulfilled all my educational ambitions.
For the realization of this master thesis I would like to thank first of all Christian Handke who
has been my supervisor for the bachelor- and master thesis. Secondly I would like to thank
my parents Ad and Gerda Engels and my boyfriend Mark Jans for their tremendous support.
And last but not least the respondents of both surveys and the people that I have
interviewed.
Enjoy Reading!
Linda Engels
Tilburg, March 2011
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TABLE OF CONTENTS
1
Introduction
6
2
Theoretical framework
7
2.1 The performing arts sector ....................................................................................... 7
2.1.1 Non-profit performing arts organizations
7
2.2 The new economy ..................................................................................................... 8
2.3 Social media............................................................................................................... 9
2.4 Dynamics of innovation ........................................................................................... 11
2.5 What can social media mean for the performing arts sector? .............................. 13
2.5.1 Audience experience
13
2.5.2 Imperfect information
14
2.5.3 Market of lemons 15
2.5.4 Criticism 16
2.5.5 Cultural capital
21
2.5.6 Elitism
23
2.5.7 Network effects 24
2.6 Limitations to what social media can mean for the performing arts sector .......... 25
2.6.1 Digital Divide
25
2.6.2 Information overload
26
2.6.3 Privacy
26
2.6.4 Alternative model of communication
27
2.7 Non-profit performing arts marketing 2.0 .............................................................. 28
2.7.1 Non-profit performing arts marketing 28
2.7.2 Marketing 2.0
28
2.7.3 The conversation manager
29
2.7.4 Social media marketing strategy 30
2.7.5 Interviews 31
2.7.6 Consumer behavior
36
2.7.7 The Dutch and social media
37
3
Methods
41
3.1 Mixed method approach ......................................................................................... 41
3.2 Research Question .................................................................................................. 41
3.2.1 Sub Questions
42
3.2.2 Hypothesis 43
3.2.3 Theoretical concepts
43
4
Data Collection
46
4.1 Validity and credibility ............................................................................................. 48
5
descriptive data analysis survey supply side
51
6
Descriptive data Analysis Demand Side
64
7
Conclusion
78
7.1 The supply side ........................................................................................................ 79
7.1.1 Correspondence with the fluid phase
79
4
7.2
8
7.1.2 What social media can mean for the non-profit performing arts sector
82
Demand side ............................................................................................................ 84
7.2.1 Who needs to be on social media 85
7.2.2 Falsification of hypothesis two 85
Bibliography
87
Appendix A
90
Appendix B
98
Appendix C
106
Appendix D
111
Appendix E
127
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1 INTRODUCTION
This master thesis is on recommendation of my bachelor thesis supervisor C.W. Handke an
extension of my bachelor thesis which was about social media in the marketing strategies of
classical and popular performing artists, organizations and venues in The Netherlands. For
this master I have chosen to research why, how and to what extent expressive social media
are used in the marketing strategy of non-profit performing artists, organizations and venues
in The Netherlands (the supply side) and the extent to which expressive social media are
used by non-profit performing arts audiences in The Netherlands (the demand side).
This master thesis works with two surveys; for the supply side it reuses the data matrix of
the bachelor thesis of 2009 and for the demand side it uses a new survey. Additionally I have
done four interviews with non-profit respondents that use social media in the marketing
strategy to the highest extent and have gathered through interviews and the audience
survey information on privacy and social media, the future of social media, an alternative
model to participate in the public domain and on the return on investment (ROI).
By developing more insight about the usage of expressive social media in the marketing
strategy of the supply side and about the usage of expressive social media by the demand
side I aim to develop more insight on this subject as it hasn’t been a subject of much
scientific research yet. As the results of this master thesis can have some practical insight as
well I hope to contribute with this master thesis to the scientific discussion and to the
discussion on the ground floor as well.
The structure of this master thesis is as follows. I will begin with a theoretical framework in
chapter two. In chapter three discuss the methods used, the data collection in chapter four
and the analysis of the supply survey and demand survey in chapter five and six. In chapter
seven the conclusion can be found.
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2 THEORETICAL FRAMEWORK
2.1 THE
PERFORMING ARTS SECTOR
The performing arts sector differs from the plastic arts sector in the way that an artist’s own
body, face, and presence are used as a medium. In the plastic arts materials are used like
clay or paint that are molded or transformed into a physical art object.1 The performing arts
in this master thesis for instance include: dance, music, opera, musical, spoken word,
theater, cabaret and circus.
The non-profit performing arts sector consists of non-profit performing artists, organizations
and venues. With non-profit performing artists is meant in this master thesis artists who
perform their art live on a stage for a live audience. The artists either themselves, their
group, orchestra or company operate from a non-commercial interest, they aren’t focused
on making a profit and mainly depend on subsidies and funds. With non-profit performing
arts organizations are meant the organizations of groups of artists that perform their art live
on stage for a life audience. The organizations operate from a non-commercial interest,
aren’t focused on making a profit and depend mainly on subsidies and funds. Examples are a
theatre company, a ballet company, an opera company or an orchestra. With non-profit
performing arts venues are meant the stages where the performing artists and performing
arts organizations perform for a life audience. The stages operate from a non-commercial
interest, aren’t focused on making a profit and depend mainly on subsidies and funds.
2.1.1 NON-PROFIT PERFORMING ARTS ORGANIZATIONS
Dick Netzer defines in chapter 43 of the Handbook of Cultural Economics non-profit
organizations as: ‘organizations that have a formal structure and governance, which differ
greatly among countries but share the characteristics that (1) the managers of the
organization don’t own the enterprise or have an economic interest that can be sold to other
firms or individuals and (2) any surplus or revenue over expenditure may not be appropriated
1
http://en.wikipedia.org/wiki/Performing_arts, 05-11-2010
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by the managers of the organization, but must be reinvested in ways that further the stated
purposes of the organization’(Towse, 2003: 331).
A lot of performing arts organizations in The Netherlands are non-profit organizations
because of a so called ‘trust’ argument. Because many performing arts organizations receive
subsidies from the government or funds and because cultural goods have a public good
characteristic they need to be trustworthy. The non-profit form is according to Dick Netzer
well suited to deal with situations in which consumers are incapable of evaluating the goods
delivered or promised, because non-profit firms have little incentive to take advantage of
consumers’ (Towse 2003: 333).
2.2 THE NEW ECONOMY
Nakamura (2000) points out in his article ‘Economics and the New Economy: The Invisible
Hand Meets Creative Destruction, to the ‘new economy’, a buzzword that refers to a view
that high-tech innovations and globalization of world markets have changed the economy
and that we need to think about it and operate within it differently (Nakamura, 2000: 15).
Nakamura points out that from an economy largely consisting of production workers we
have moved towards a new economy consisting of merely creative workers. Nakamura
argues that the central paradigm of perfect competition economists have relied on to
describe capitalist markets in a time when the production of goods and services dominated
the work is not appropriate any more in an age where innovation is an important economic
activity and millions of workers are employed in creative activities such as designing,
inventing and marketing new products and are devoted to creating technological progress
(2000: 17).
Baumol (2006) argues that the revolutionary growth in economic prosperity and
technological change that underlie the new economy have profoundly affected the arts
(Ginsburgh and Throsby, 2006: 340). According to Baumol the new economy has stimulated
the exercise of creativity and facilitated dissemination and utilization of its products
(2006:341). The new economy has affected the arts on the field of new art forms,
preservation, international trade, superstars, copyright and finance. Baumol points out that
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the new economy has made all forms of art accessible to a degree beyond anything
previously experienced.
According to Kotler (2010: 5) technological advances have brought huge changes in
consumers, markets, and marketing over the past century. Production technology initiated
marketing 1.0, information technology initiated marketing 2.0 and now new wave
technology has initiated marketing 3.0. With new wave technology Kotler means technology
that enables connectivity and interactivity of individuals and groups that allows individuals
to express themselves and collaborate with others (2010: 5). According to Kotler one of the
enablers of new wave technology is the rise of social media.
2.3 SOCIAL MEDIA
Social media as we understand it today goes back to 1998 when Bruce and Susan Abelson
founded ‘Open Diary’, a social networking site that brought together online diary writers
into an online community (Kaplan and Haenlein, 2010: 60). The technique was already
available in 1979 when Tom Truscott and Jim Ellis from Duke University created Usenet, a
worldwide discussion system that allowed internet users to post public messages. The
growing availability of high-speed Internet access from 1998 on has further added to the
popularity of the concept according to Kaplan and Haenlein, leading to the creation of social
networking sites as My Space in 2003 and Facebook in 2004 (2010: 60).
The article ‘Users of the world, unite! The challenges and opportunities of social media’ by
Andreas Kaplan and Michael Haenlein published in 2010 in Business Horizons of The Kelly
School of Business points out that there is some confusion among managers and academic
researchers about what exactly should be included in the term ‘Social Media’ and about how
social media differ from the related concepts Web 2.0 and User Generated Content.
The term web 2.0., a term first used in 2004, is about a new way in which software
developers and end-users started to utilize the World Wide Web as content and applications
where no longer created and published by individuals but continuously modified by all users
in a participatory and collaborative fashion (2010: 61). Web 2.0 consists of a set of basic
functionalities that are necessary for its function. These functionalities are Adobe Flash, RSS
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and AJAX. Adobe Flash is a popular method for adding animation, interactivity and audioand video streams to web pages (2010: 61). RSS, Really Simple, Syndication, is a family of
web feed formats used to publish frequently updated content in a standardized format
(2010: 61). AJAX, Asynchronous Java Script, is a technique to retrieve data from web servers
a- synchronically, allowing the update of web content without interfering with the display
and behavior of the whole page (2010 61). The writers consider Web 2.0 as the platform for
the evolution of social media.
The term User Generated Content (UGC), which achieved a broad popularity in 2005 is
according to the writers usually applied to describe the various forms of media content that
are publicly available and created by end-users (2010: 61). The writers point out that UGC
are the sum of all ways people can make use of social media.
Based on Web 2.0, UGC Kaplan and Haenlein define social media as a group of internetbased applications that build on the ideological and technological foundations of Web 2.0,
and that allow the creation and exchange of User Generated Content (2010: 61)
There however doesn’t exist a single definition of social media; ‘a common thread that runs
through all definitions of social media is a blending of technology and social interaction for
the co-creation of value.’2
Social media are for example defined on Wikipedia as a collective noun for all internet
applications that make it possible to share information (news, articles, podcasts, music,
games, photography and video) with each other through social media websites.3Social media
belong to the group ‘new media’, which refer to all digital media. Examples of social media
websites that come back in both parts of my Master thesis are: Hyves, Facebook, MySpace,
Twitter, Flickr, YouTube, LinkedIn, and BlogSpot. As Wikipedia points out there are even
more social media websites like Google Groups (reference, social networking), Wikipedia
(reference), Last.fm (personal music) and Second Life (virtual reality).4
The term Expressive Social Media that I use in this research comes from Philip Kotler (2010)
who divides social media in expressive- and collaborative social media. With expressive
2
http://en.wikipedia.org/wiki/Social_media, 20-01-2011
http://www.social-media.nl/, 9-07-2009
4 http://www.social-media.nl/, 9-07-2009
3
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social media he means: social networking sites, blogs and photo- and video sharing websites
and with collaborative media he means media, often open sourced, that facilitate
collaboration, like Wikipedia.
Kaplan and Haenlein provide me in their article with definitions of blogs, content
communities and social networking sites, which I will cite. Regarding blogs they point out
that they are special types of websites that usually display date-stamped entries in reverse
chronological order and present the earliest form of social media (2010: 63). They point out
that blogs are an equivalent of personal web pages and can come in a multitude of
variations, from personal diaries to summaries of all relevant information in one specific
content area (2010: 63). Blog websites used in my surveys are: Blogspot, Blogo, Blog.nl,
Web-log.nl. I also use two micro blogs namely Twitter and Numpa.nl.
Regarding content communities they point out that their main objective is to share content
between users. They point out that you have content communities in a wide range of
different media types like photo, video and power point slides. Content communities carry
the risk of being used as platforms for the sharing of copy-right protected materials,
according to the writers (2010: 63). The content communities used in my surveys are the
photo communities Flickr, Yo2 and Mobypicture and the video communities YouTube, Zideo,
Zie.nl, Dik.nl.
Social networking sites are according to the writers ‘applications that enable users to
connect by creating personal information profiles, inviting friends and colleagues to have
access to those profiles, and sending e-mails and instant messages between each other
(2010: 63). The writers add that these personal profiles can include any type of information,
including photos, videos, audio files and blogs. The social networking sites used in my
surveys are Hyves, Facebook, Netlog, MySpace and LinkedIn.
2.4 DYNAMICS OF INNOVATION
According to Utterback (1996) technological change is very important in the course of an
enterprise. As a creative force in the growth of corporations and as a destructive force
making these same corporations vulnerable to competitors’ (p. xiv). As competiveness
hinges on the ability to develop or adapt new technologies in products, services and
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processes, understanding the dynamics of industrial innovation and change is essential for
survival and success’ according to Utterback (p. xiv).
As this master thesis will point out to what extent social media are used in the marketing
strategy of the supply side, it is of great importance for the understanding of the results to
know to which phase of innovation social media as a product are in.
I use Utterback and Albernathy’s model of product and process innovation developed
between 1975 and 1978 for understanding the dynamics of industrial innovation and
change, see fig. 2.4. This model divides product and process innovation in three phases
namely: The Fluid Phase, The Transitional Phase and The Specific phase.
Figure 2.4, Utterback and Albernathy’s model of innovation (1996: xvii)
Rate of
Product Innovation
Major
Process Innovation
Innovation
Fluid Phase
Transitional Phase
Specific Phase
The formative years are called the Fluid Phase in which the rate of product innovation is
highest in an industry. In this phase a great deal of experimentation with product design and
operational characteristics takes place among competitors (1996: xviii). Less attention is
given to the process by which products are made; there are not dictated standards, standard
designs for satisfying the need (1996: xviii). In the transitional phase the rate of major
product innovations slows down and the rate of major process innovations speeds up;
standard designs come and the pace of innovation in the way it is produced quickens (1996:
xviii). In the specific phase the rate of major product- and process innovations decreases,
innovation happens in small, incremental steps and the industries become extremely
focused on costs, volume and capacity (1996: xviii).
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2.5 WHAT CAN
SOCIAL MEDIA MEAN FOR THE PERFORMING ARTS SECTOR?
2.5.1 AUDIENCE EXPERIENCE
The Audience Experience: Measuring quality in the performing arts is an article published in
the International Journal of Arts Management in 2009 and written by Jennifer Radbourne,
Katya Johanson, Hilary Glow and Tabitha White. This article is about an Australian research
that investigated whether audience experience is an appropriate and important measure of
quality in the performing arts, especially for re-attendance. This research connects to my
survey in the way that I research whether social media can have an influence on the
audience experience regarding the four components of the audience experience namely
knowledge, risk, authenticity and collective engagement before, during or after a
performance. In other words whether social media can have an influence on the quality of
the performing arts from an audience’s perception and therefore on re-attendance.
The researchers have done in depth interviews with audiences directly after a performance.
Radbourne already argued in 2007 that audiences will be fiercely loyal if they can experience
fulfillment and realization in the arts experience because she found a significant correlation
between the intention to re-attend and the statement ‘a musical performance evokes an
emotional response in the audience’. She also found out that the new arts consumer is on a
quest for self-actualization where the creative or cultural experience is expected to fulfill a
spiritual need that has very little to do with the traditional marketing plan of an arts
organization (Radbourne, 2009: 16).
Quality measurement is very important in the performing arts, especially for policy-makers,
government funding agencies, foundations and sponsors who have to choose whom to
support. This article points out that mainly quantitative indicators have been used for quality
measurement in the performing arts like: awards, attendance levels, number of
performances, number of subscribers, number of new productions and earned income. The
audience role has however changed in literature from a passive role to a contributor to the
co-creation of value as a research of Sauter (2000) mentioned points out: ‘Theatre is the
communicative intersection between the performer’s actions and the spectator’s reactions.’.
Audiences also increasingly want to shape their own experience therefore marketing
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strategies should be refocused on empowering audiences not targeting them according to
this article.
This research focuses on four components of the audience experience: Knowledge, risk,
authenticity and collective engagement. Knowledge is about providing the audiences with
information to enable a better understanding or perspective on the performance they are
experiencing, this includes programming, self-interpretive aids like a website and
interpretive assistance within the performance (p. 19). Risk as a component of the audience
experience is divided into four types of risk namely: Economic risk, psychological risk, social
risk and negative risks. Risk is about the possibility of loss or gain; with economic risk is
meant the costs that make the decision process more complicated, with psychological risk is
meant that the product can pose a threat to the consumer’s desired self-image, with social
risk is meant how the consumer wishes to be perceived and with negative risks is meant the
fear of confrontation (p 20). Authenticity as a component of the audience experience consist
of two components: the authenticity of the performance and the audience’s emotional
perception. Authenticity in the performing arts is about reality, truth and believability
according to the article, yet these qualities mean different things to different consumers.
The fourth and last component of the audience experience is collective engagement.
Collective engagement is according to the article the audience member’s sense of being
engaged with the performer(s) and the other audience members and / or with discussions
before and after the performance. This research concludes that audiences have shown that
if their expectations with respect to knowledge / transfer of learning, risk-taking,
authenticity and collective engagement are met, they are likely to return to that arts
organization, the results of the research go some way into validating audience experience as
a measure of quality in the performing arts.
2.5.2
IMPERFECT INFORMATION
Many cultural goods have certain characteristics, that make these goods work imperfect in a
perfect competitive market. Caves (2000) points out that there is a great uncertainty about
how consumers will value a newly produced creative product and that even ex post the
success can seldom be explained by the satisfaction of some preexisting need, because the
satisfaction will be a subjective reaction (p. 2,3). Cultural goods are often experience goods
and consumption very much depends on the tastes of consumers. There is also imperfect
14
information as Caves points out as the consumer cannot accurately access the qualities of
the individual cultural good before committing to consume it (p.179). This section focuses on
imperfect information as I discuss what the implications in the market for cultural products
are when pre-purchase information on cultural products becomes widely available. Due to
the Internet and especially web 2.0 technologies like social media pre-purchase information
on cultural goods are becoming widely available.
2.5.3 MARKET OF LEMONS
Akerlof (1970) points out to the existence of asymmetrical information in markets; when for
instance a seller has more knowledge about a product than a consumer or the other way
around. Akerlof gives the example of the car industry where a seller sells a bad car, a lemon,
for the same price as a good car to a not knowing buyer. Asymmetrical information becomes
a problem when the seller or the consumer prevails profit maximization above honesty.
When pre-purchase information becomes widely available information inequality can to
some extent be overcome. Bad reviews about a car dealer on the internet can warn you in
advance, or reviews about a certain car can change your mind about buying that type of car.
People need to have a certain level of media literacy to understand what is true and false
when it comes to reviews and information on the internet. So buyers need to have build up
enough media literacy on the internet to be able to take full advantage of the information
and knowledge that is available on the internet. Pre-purchase information becoming widely
available looses ground when buyers don’t have enough media literacy to separate truth
from fiction on the internet. Useful pre-purchase information can in that case be mixed up
with advertisements of lemons. So pre-purchase information can solve a part of the
inequality of information due to the information and knowledge available on the internet,
but only when a buyer has build up enough media literacy to be able to separate good
information from bad information on the internet and has build up the skills to find the
necessary information and has the capacity to understand the necessary information.
Regarding cultural goods I think the problem of buying lemons will to a great extent be
solved for people active on the internet and social media when pre-purchase information
becomes widely available. Trailers of books are being made and on social media you can
read reviews of other people that have bought the book. You can also compare prices online
and go for the best deal. Through the internet and social media the consumer can to a
15
certain level access the qualities of the individual cultural good before committing to
consume it, this solves the problem of the experience good characteristic to some extent.
A restriction to generalize the implications of pre-purchase information for a market of
cultural goods is the existing digital divide in society. People that are not very active on the
internet and haven’t build up media literacy on the internet can’t take full advantage of prepurchase information becoming widely available on the internet and social media.
Sometimes the necessary information is not a matter of an internet search but a matter of
educational capital build up over years. So the necessary information to overcome
asymmetric information can’t always be covered by pre-purchase information.
2.5.4 CRITICISM
Cameron (2003) points out that in a market that comes close to the idealized perfect
competition there would be no need for critics. The existence of a need for critics points out
to some efficiency problems in the market for cultural goods according to Cameron. These
efficiency problems are partly caused by knowledge problems in the arts sector due to the
uniqueness of many products according to Cameron. There is no guarantee that the next
videogame will provide benefits that sufficiently exceed the costs of the ticket. This is why
Cameron explains that a principal-agent model exists in the arts where specialized critics,
agents, consume plays, records, films and books on behalf of the principals in order to try
them out (Caves, 2000: 162). Cameron points out that the fundamental economic notion of
criticism is as a source of information.
Cameron points out that criticism, making value judgments, is normative and that tastes
differ but that in an efficient market consumers would be able to identify critics whose
tastes are similar to their own or different. However as Cameron points out the market
doesn’t work efficient; he points out that newspapers hire critics with the same preferences
and that in a monopolistic market as the music- and print industries independently looking
magazines are spread that express no independent views. The role of criticism has been
researched to some extent by cultural economists, Hirschmann and Pieros came in 1985 to
the conclusion that a positive review may have a negative impact on attendance, as people
noticed an elite point of view in much criticism.
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Technological developments and primary the spread of the internet have democratized
criticism in a way that equates the notion of the ‘global village’ of Marshall Mc Luhan,
according to Cameron. In contrast to television and newspapers, which exhibited a high
degree of monopoly power for the individual critic with an established reputation, the
internet has provided a place for people where information and values can be shared on a
global scale instantly. Through the internet word-of-mouth and product sampling have been
greatly enhanced. All the information that is available on the internet has made the role of
the individual critic with an established reputation of less value as it has been replaced by
word of mouth and product samples on review sites, blogs and social media like for instance
YouTube. It remains a subject for further research whether the role of criticism is growing or
decreasing in importance in the arts sector due to a growth in pre-purchase information
caused by technological developments. Although you would expect that a growth in prepurchase information would lead to a diminishing importance for critics and criticism, I
experience that reviews about products are becoming increasingly important in the value
judgments of consumers, as word of mouth is valued most credible by consumers. Cultural
goods are consumed in a social context and therefore opinions of other people are very
important. When this need can be fulfilled to a higher extent, people may take full
advantage of this development.
There is obviously a need for critics and criticism, consumers opinions expressed on the
internet have become more powerful than advertisement campaigns. That there is still a
need for criticism and critics in the cultural industries also when pre-purchase information
becomes widely available means that pre-purchase information can’t solve the problem of
imperfect information. This means that pre-purchase information is only a part of the
problem of imperfect information. The implications of pre-purchase information will
therefore be limited in solving the problem of imperfect information in the arts.
2.2.6 WORD OF MOUTH
Caves pointed out that cultural goods are consumed in social contexts, which makes ‘word
of mouth’ important for the ultimate success of cultural goods (p.173). A lot has changed
since Caves wrote his book ‘Creative Industries; contracts between arts and commerce’ in
2000; as word-of-mouth came in a rapid flow in the social face of the Internet. Tyler Cowen
(2008), a well-known writer in cultural economics, points out how much the world has
17
changed since 2003 and in what pace it is changing due to technologies such as the internet,
the iPod, the cell phone, blogs, computer games and virtual realities. Out of all these
technologies he finds social networking services most important for shaping today’s culture,
as he points out that culture is something fundamentally social. According to him social
networking services have brought a revolution in cultural markets in terms of steering and
shaping cultural distribution; what is consumed, how it’s consumed, how it’s enjoyed and
how it spreads (p.262).
Caves (2000) explains that the consumption of cultural goods depends very much on tastes,
and that people are willing to invest in developing and refining their tastes but that because
of the time and money involved they are receptive to recommendations of critics and
independent advisors of other sorts (p.173). Economics however has taken the proposition
that it is fruitless to try to explain tastes, therefore in order to understand why people
choose to consume what they do we need to look at the sociologists perspective for answers
as cultural goods are consumed in a social context (p.175).
A very interesting book on word of mouth is ‘The Tipping point’ of Malcolm Gladwell. In this
book Gladwell points out that the famous six steps of separation of Stanley Milgram don’t
mean that everyone is linked to everyone else in just six steps but that a very small number
of people are linked to everyone else in a few steps. These small number of people are called
connectors; an intensively social person that knows a lot of people as he manages to occupy
many different worlds and subcultures and niches (Gladwell, 2000: 48). Word of mouth is
therefore not one friend telling something to another friend but begins when someone
along that chain tells a connector.
A study of 1974 of mark Granovetter called ‘getting a job’ has pointed out to the importance
of weak ties over strong ties for getting a job, new information and or new ideas, as strong
ties occupy the same world (2000: 54). These connectors master the ‘weak tie’, a friendly yet
casual social relationship, as they make time for acquaintances and see value and pleasure in
a casual meeting (2000: 46). Gladwell points out that the closer an idea, product or
someone is to a connector, the more powerful and the wealthier or the more opportunities
it, he or she gets (2000: 55).
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Another type of person that is important for word of mouth is a maven. A maven is a person
who has information on a lot of different products, prices and / or places (2000: 62). Mavens
differ from experts in the way that they are not persuaders, their motivation is to educate
and help (2000: 69). Important for word of mouth is that a maven wants to initiate
discussions with consumers and want to respond to requests (2000: 62). Mavens connect
people to the marketplace and have the inside scoop on the market place (2000: 62).
The third person the book describes as important for word of mouth are salesmen. Salesmen
have a powerful or persuasive personality that draws others into their own rhythms and
dictates the terms of interaction (2000: 83). As in communication little things can make as
much of a difference as big things, nonverbal cues are as or more important than verbal cues
and persuasion often works in ways that we do not appreciate according to Gladwell. Some
people can therefore have an enormous influence over others when they are very good at
expressing emotions and feelings, when they are more emotionally contagious than others
(2000: 78-85).
This book points out that regarding word of mouth the focus of the performing arts sector
on social media should lay on finding and communicating with connectors, mavens and
salesmen.
2.5.4.1 Herd behavior
Caves points out that due to information problems in the creative industries consumers are
responsive to the behavior of other consumers and to the opinions of critics and certifiers.
However these opinions can fall short in solving the consumer’s information problem,
according to Caves.
A problem with an information cascade is, is that a buyer doesn’t know exactly what the
hunch of the previous buyer was for buying or not buying the product and which percent of
the buyers liked or didn’t like the product afterwards. A buyer is likely to trust a product
when a certain amount of people have bought the product previously, although he doesn’t
know whether previous consumers have bought the product based on a good evaluation
about price and quality or based on the number of previous buyers before them. This can
lead to making the wrong buying decision.
19
With review sites on the internet the hunch of previous consumers can be more accurately
determined. This means that consumers can be informed about evaluations of consumers,
critics and certifiers who have tested or bought the product. This means that the information
cascade can be stopped from going in the wrong way and that conformist behavior of
consumers due to poorly informed rational decision making decreases. A limitation to this
process is that there are numerous reviews on sites, in newspapers and magazines that
make the information decentralized. The information in the review can also be incomplete.
The tastes may not reliably align to consumers tastes and the independence of the critics
may be compromised. The consumer also may not want to invest the cost in time and
money to access the review (Caves, 2000: 180).
Therefore the extent to which widely available pre-purchase information can influence the
herd behavior positively in the cultural industries depends very much on the investments
consumers in the cultural industries are willing to make to access reviews. An influence on
this access is whether the consumers are active on the internet and have the necessary
media literacy to find reviews reliably aligned with their tastes on the internet, in
newspapers and in magazines.
2.5.4.2 Superstar effect
According to Caves word-of-mouth is a far more powerful transmitter of information on
creative goods than on goods that lack their cachet as a social catalyst (2000: 181). Caves
points out that people like to discuss about creative goods and that herd behavior fulfills a
conversational need too.
A buzz, a critical mass of involved discussion, is very important in the promotion in the
cultural industries as caves points out; a buzz gives insight into the judgments of many
involved persons, it fulfills a conversational need, it intensifies the superstar effect in a way
that being able to participate in a discourse is more important for a consumer than liking the
creative good. Caves explains the consumption of celebrities in the way that consumers gain
from the interchange op opinions and attitudes towards cultural goods and that
contemplating idols pleases consumers more when others share their admiration (2000:
183-184).
20
The existence of a superstar effect can have two implications for markets of cultural goods
when pre-purchase information becomes widely available. One implication can be that
tastes will become more homogeneous when consumers participate in global discourses on
the internet, this will intensify the superstar effect. Another implication can be that tastes
will become more differentiated as there are so many people on the internet which would
decrease the superstar effect. Research on this matter is necessary to point out what the
implications will be of widely available pre-purchase information on the superstar effect.
2.5.5 CULTURAL CAPITAL
Demand for cultural goods in the high culture is decreasing and increasing for popular
culture. The main explanation for the shift from the high to the low arts is according to
Abbing (2006) the increasing lack of knowledge and understanding of the behavioural
conventions involved in the consumption of high art performances (p.10). Marjolein Fischer
(2009) comes in her master thesis ‘Music Lovers and Money’ to another conclusion: ‘Abbing
might be right with his statement that classical music is a dying breed, but that his proposed
solution to the problem does not suffice: not the old-fashioned habits and customs in the
concert hall will wring the classical sector’s neck, but the lack of information and knowledge
amongst people most certainly will’ (p.6).
Education is an important factor for cultural competence according to SCP (2000). Caves
(2000) points out that rational addiction is important in the consumption of creative goods.
Rational addiction is the effect of experience and training on one’s benefit from consuming
creative goods (p.175). Caves points out that a person’s interest and attendance increases
with her income and amount of education. Education is more important than income as
teachers and students that study a particular creative activity are the leading attendees at
cultural events. Teachers and students don’t have high pecuniary wages, so less pecuniary
income is lost by every hour spend on arts consumption, this is compensated by a lot of
general education capital (p.178).
The ‘Mammoetwet’ changed the Dutch educational system in the late 1960s in such a way
that the majority of university students don’t know the classics anymore. Also are higher
educated people coming more and more from lower social classes and are not familiar with
21
art and cultural etiquettes. Also Universities have changed, the ‘Bildungsideale’ of the
academic elite educational system in the past like expertise, eloquence, and knowledge of
cultural canons is replaced by higher education to the masses with a professional status
based on social application. This all decreased the cultural competence of middle to higher
educated people which partly explained the decrease in visitations to high cultural venues
(SCP, 2000: 204).
Another development in the 1960s was that social relations started to equalize. Students
started to get a voice in school boards and in their own families and started their own
culture. They started to question the norms and values of the establishment. The authority
of the high culture and personal development through high culture lost credibility. Since the
1970s people study longer and are over a longer period of time influenced by the tastes of
other young people. The coming of the gramophone and record discs made it even more
possible for the youth to isolate from adults. For generations born after 1955 traditional
culture no longer appeals to some ideal, the interest in pop culture increased after this
generation SCP, 2000: 205).
The research of SCP (2000) confirms that the interest for traditional culture of people born
after 1950 goes more and more in hand with interest in popular culture, this in contrast to
the older generations. This research concludes that younger generations are decreasingly
grown up with respect for high culture and that the multicultural society from the 1980s has
given this cultural relativism a new pulse (p.214).
This problem in demand for high culture that is caused by an increasing lack of knowledge
and understanding of the behavioral conventions involved in the consumption of high
culture, an educational lack of information and knowledge amongst people about the high
culture due to a different educational system and the fact that younger generations are
decreasingly grown up with respect for high culture, can’t be compensated only by prepurchase information. Pre-purchase information like advertisement, word of mouth and
product samples can effect a person only to some extent. Pre-purchase information
therefore doesn’t cover imperfect information. It is a subject for further research to know to
what extent the lack of information and knowledge can be overcome with pre-purchase
information.
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2.5.6 ELITISM
Statement: Elitism in the arts perpetuated by the need to break even.
According to the Oxford dictionary elitism is the belief that a society or system should be run
by an elite.5 If you specify the arts as the high arts this statement gets more meaning. The
high arts are namely still subsidized because the elite thinks that they have a merit good
characteristic; the government thinks that the high arts is good for everyone and that
everyone should be able to visit the high arts. But the high arts are not very popular among
lower social classes; the upper middle, the middle and lower middle classes are more active
in almost all types of arts participation than the working class ( Hill et al., 2008: 45-46).
therefore the high arts struggles with breaking even based on audience attendance. The high
arts attract mainly woman of 35-54 years of age, highly educated with a high income (Hill et
al., 2008: 46-47). Therefore there are numerous educational programs in schools to
stimulate the appreciation for the high arts among the youth. Hall et al. (2008) stress that it
is empirically shown that an arts event is closely related to the age at which full-time
education was completed and that therefore cultural education cannot be underestimated
(p.47). Because the high arts need subsidies to break even you can say that they need elitism
to survive.
Cons:
The statement as presented is too broad and too unspecific to agree with. But also if you
narrow it down to the high arts and give elitism a definition you struggle with the causality
between elitism and breaking even.
Bourdieu (1984), a French sociologist, wrote a ‘distinction’ theory. He argues that social
groups vary in economic, social and cultural capital. Where cultural capital involves
knowledge about high art and culture, a high degree of sophistication and of know-how,
and an appreciation of knowledge in general and of speaking knowledgeably (Alexander,
2003: 228-229). As Alexander refers to him the elites in society are able to use this capital to
maintain an invisible boundary between themselves and lower classes and to perpetuate
class distinctions intergenerational (p.229).
5
http://www.askoxford.com/concise_oed/elitism?view=uk, 28-01-2010
23
Bourdieu demonstrates that there are differences in tastes of people based on their social
class, he also showed that people’s knowledge of art in general was related to taste and
social class. This would suggest that elitism is not perpetuated by the need to break even but
by differences in taste, cultural capital and social class. The distinction between high and
low art is socially constructed. Alexander gives the example of the Boston Museum of Fine
Arts (1870). The social and political elites of the city faced a political challenge of numerous
immigrant groups. As they lost political power they asserted a cultural basis for their higher
power through establishing the Boston Museum of Fine Arts and the Boston Symphonic
Orchestra (1881). They asserted that these forms of art where better than the ones preferred
by the immigrants and an explicit purpose of these institutions was to educate the masses
(Alexander, 2003: 235). This means for the statement that there are more arguments than
that elitism in the arts is perpetuated by the need to break even.
The critique of Alexander on Bourdieu’s distinction theory is that it connects cultural capital
with habitus. This habitus, the way people think, will according to Bourdieu always betray
people’s social origins regardless of where they end up (p.231). Alexander refers to other
research that has done which also provides for arguments that people can learn different
cultural repertoires and that cultural omnivores have replaced the so called ‘high brows’.
This would suggest that there is a way in which elitism can be replaced by cultural omnivores
with adequate marketing techniques and educational programs.
2.5.7 NETWORK EFFECTS
Jan van Dijk points out that the most popular concept to indicate the type of society that
evolves under the influence of ICT is the information society. The information society is
marked by a high level of information exchange and use of information and communication
technologies. Michael Hutter points out that in the information economy production often
takes place in networks and consumption depends much on the community context within
an individual acts (Towse, 2003: 263)
According to Michael Hutter the information economy has three effects on the consumption
side namely the effect of network externalities, a social contagion effect and a community
effect. The effect of network externalities is when a user can reach a growing number of
communication partners, the utility of the network is likely to grow. The social contagion
24
effect is that social contact, communication between individuals, determines preferences.
The third effect according to Michael Hutter is the emergence of communities. The
community effect is that through linking the members of a loosely connected scene into a
team or an ensemble the distinction between producer and consumer fades away (p.267). In
this master thesis I research the existence of the effects regarding social media.
2.6 LIMITATIONS TO WHAT SOCIAL MEDIA CAN MEAN FOR THE PERFORMING ARTS SECTOR
2.6.1 DIGITAL DIVIDE
The digital divide is the unequal access to digital technology in society. There are several
resources for the digital divide; material resources such as income and the possession of
equipment, temporal resources like having the time to use new media, mental resources like
sufficient technological knowledge, social resources like networks and ties that help to attain
access and cultural resources like the status and other cultural rewards that motivate people
to get access (Van Dijk, 2006: 178). See figure 2.4.1 People that already have developed a
large and dense social network through face-to-face communication are more likely to
extend this network with internet use than those who have a small network even though
they also use the internet (Van Dijk, 2006: 169).
Figure 2.4.1 Four stages of access to digital technology6
Usage Access
(different applications)
Skills Access
-Strategic
-Informational
-Operational Digital Skills
(c
Motivational Access
Material Access
Computer /internet
possession)
Next Innovation
The consequences of the digital divide are that those without access will be isolated in
future society. Jan van Dijk points out that access to new media is necessary for an
6
(Dijk, 2006: 179)
25
increasing number of jobs , for making progress in every career on the labor market and to
start one’s own business.
2.6.2 INFORMATION OVERLOAD
When too much information is produced in relation to its use, there is an information
overload. At a certain level of information the law of diminishing returns takes effect when
the glut of information no longer adds to the quality of life, but cultivates stress, confusion
and even ignorance (Van Dijk 2006: 200).
Information overload becomes a problem for people when they are forced by their
environment, outside these situations people don’t perceive the surplus of signals because
we have several mechanisms to prevent signals from coming into our minds. Two reactions
on an information overload can be one that these coping mechanisms will work stronger till
they break down and nothing at all is recorded any more, two that there will be spend less
time on each input as low-priority signals are ignored. This can lead to the situation that
documents and programs are ignored and not used anymore (Van Dijk 2006: 200). According
to Jan van Dijk in ‘The Network Society’ technological solutions to the information overload
are being developed and introduced rapidly and will become essential in the information
society.
2.6.3 PRIVACY
I have done an interview with Zusan Titulaer who works as a privacy consultant for Privasee,
on the 27th of may 2010. Zusan Titulaer has a background in law and was the first
functionary of data protection in The Netherlands at the Ministry of Transport, Public Works
and Water Management.
Regarding privacy and social media Zusan Titulaer points out that there is no privacy on the
internet and that the privacy guidelines we have established in Europe are not world
surpassing as the internet. Regarding social media she points out that you need to be aware
that you go on a contract and that you in that way agree with the privacy statement in
which, especially regarding American sites, you give them a worldwide license to use your
content which also counts for everything you put on the social media website in the future.
26
She points out that the content is mainly used for advertisement goals. Zusan Titulaer
however points out that when you know this and take this into account that this it doesn’t
have to be a problem, she is even very enthusiastic about the benefits for artists. Zusan
Titulaer advises the artists, organizations and venues to protect the privacy of their
employees and customers as good as possible and to make the necessary investments.
2.6.4 ALTERNATIVE MODEL OF COMMUNICATION
I have done an interview with Jeroen Loeffen of Villa Koopzicht on the 14 th of June 2010.
Jeroen Loeffen who has studied photography and film at the art academy started his career
in computer graphics. In 1993, when the pioneering time in computer graphics was over and
the big guys came in he made a career move into the callcenter branche of which he thought
would have a massive impact. This one-to-one only communication worried him and in 2000
he decided to try to develop an alternative model for public communication in which he
after some research succeeded. Jeroen Loeffen is also in the commission ‘New Media’ of the
Amsterdam Arts Council.
Jeroen Loeffen of Villa Koopzicht has developed an alternative communication model called
the ‘Community Communication Manager’. This model is a reaction to the mass
individualization that started in the 1990s and makes it possible to communicate on a peer
group level and to gather whole new insights on how an organization can be a part of society
without searching for a customer’s profile or that the company needs to depend on other
people’s networks. He criticizes the people that are on social media as he points out that
people are only for personal gain on social media and never ever for a collective gain. He
therefore claims that it is necessary to develop other models to participate meaningfully in
the public domain. He points out that companies need to think twice before using social
media because social media are not the same as the social agenda of a company because it
can’t do much more than meet prospects and some customers. According to Jeroen Loeffen
the arts sector should not be on social media because the challenge for the arts sector as he
explains is not recruiting but getting the unmotivated person in the theatre. Jeroen Loeffen
expects the arts sector that uses social media to quickly bump into their own profile and to
reach their limits. He is also critical about the numbers of hits and followers because in his
opinion those figures don’t tell implicitly what the activities have been or if there has been
27
participation and what the meaning of this participation was. Quality instead of Quantity is
according to Jeroen Loeffen much more important as he points out that it is about the
substantial added value through which other people are influenced.
2.7 NON-PROFIT PERFORMING ARTS MARKETING 2.0
2.7.1 NON-PROFIT PERFORMING ARTS MARKETING
In traditional marketing a company fulfills an existing need among consumers in order to be
successful, the marketing process however in cultural enterprises starts with the product
itself and then the company will decide about Price, Place and Promotion as Francois Colbert
points out in chapter 38 of the ‘Handbook of Cultural Economics’ edited by Ruth Towse.
This product-to-client approach is according to Colbert very typical for the non-profit arts
sector. Liz Hill et al. however point out that there are more similarities than differences
between commercial- and arts marketing as they argue that ‘both need to balance
organizational and customer needs, both need to take into account a wide range of
stakeholders alongside the customer and both are focused on creating and maintaining longterm relationships of mutual value’ (Hill et al., 2003: 4). They therefore define arts marketing
as ‘an integrated management process which sees mutually satisfying exchange
relationships with customers as the route to achieving organizational and artistic objectives’
(p.1).
2.7.2 MARKETING 2.0
Philip Kotler points out in his book ‘Marketing 3.0: From Products to Customers to the
Human Spirit’ of 2010 that we are now witnessing the rise of marketing 3.0. Marketing 3.0 is
about collaborative, cultural and spiritual marketing, touching consumers on a higher level
as companies see them as whole human beings with minds, hearts and spirits and have
bigger missions, visions and values to contribute to the world aiming to provide solutions toand address problems in the society (p.4).
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Kotler points out that many of today’s marketers still practice marketing 1.0, some practice
marketing 2.0 and a few are moving into marketing 3.0 (p.3). As many Dutch non-profit
performing artists, organizations and venues are still in the transitional phase of going from
marketing 1.0 to marketing 2.0 this master thesis focuses on the extent to which non-profit
performing artists, organizations and venues are in the phase of marketing 2.0.
The central thought of marketing 2.0 is that marketing should be more about the dialogue
with customers and has in that way commonalities with relationship management. It is
about having a dialogue and building a relationship, this can involve co-creating a product to
thinking along with new products and services. Marketing 2.0 is about the new vision and
application of marketing by an organization and is therefore not fixed to web 2.0
technologies.7
2.7.3 THE CONVERSATION MANAGER
The Flemish book ‘De Conversation Manager’ of Steven van Belleghem, published in 2010, is
about how the change of the internet from a static platform to a social platform has
impacted the way consumers communicate and make buying decisions and describes how
marketers have to change from advertisers to conversation managers.
Belleghem points out that the advertiser as a person that prepares messages and yells them
to the customer needs to change into a person that talks with the customers about their
brand. This person who listens and talks to consumers is called a conversation manager. A
conversation manager masters all new communication techniques and helps the consumer
to talk about their brand (p.59).
Marketers use traditionally the AIDA-Model of Attention-Interest-Desire-Action where the
marketer wants the consumer to follow this pattern for buying a product. This means that
the consumer needs to know the product first than interest and desire needs to be provoked
and then a call-to-action is necessary so that the consumer becomes motivated to buy the
product. According to Belleghem this model is outdated.
7
http://nl.wikipedia.org/wiki/Marketing_2.0, 07-11-2010
29
The AIDA-model has to be changed into a BAC-model, which stands for Brand, Activation and
Conversation. The conversation manager sees the brand as the oven the advertisements as
the fire and the conversations as the oxygen (p.71). Activation is successful when the right
consumers spread the message about the brand or product of the champagne with the right
motivation. The message has to be brought as a trustworthy, surprising, simple, emotional
and concrete story to be easily remembered by the consumers (p.124).
The conversation manager manages the conversations by observing, facilitating and self
participation. The conversation manager has a structure to provide him a regularly detailed
overview of the discussions held by his consumers by looking for and listening to what
consumers think and say about his product and sector. A conversation manager also
facilitates the platforms on which consumers freely give their opinion about their product or
brand. The last step is participation, this is most difficult as a manager needs to
communicate as a human being and not as a company (p.146).
2.7.4 SOCIAL MEDIA MARKETING STRATEGY
As with the definition of social media there is not a dominant social media marketing
strategy. I want to discuss a social media strategy to which I was pointed out during an
interview with Jasper van Bladel, business development manager at WDM Nederland, on the
9th of june 2010. WDM is one of the leading direct marketing services in Europe in the field
of consumer data, data intelligence, e-mail marketing and database services.
The social media strategy WDM uses and advises is a seventeen step social media strategy of
Mischa Coster, a Dutch media psychologist. These seventeen steps consists of: 1) determine
your goals, 2) think about why you want to use social media, 3)define your target group, 4)
Investigate how your target group uses social media, 5) think about what your image is, how
the target group sees you.86) what is your value position; how does your target group
benefit from your presence on social media?, 7) determine your budget to know what the
investment has been with measuring the ROI in step 17, 8) develop a follow system to keep
up with your target group and follow what is said about your brand or product, 9) make your
presence complete, have a coherent presence without differences in identity and intention,
8
http://www.marketingfacts.nl/berichten/20100217_social_media_strategie_in_17_stappen_stap_1_5/,07-11-2010
30
differentiate only in form and content, 10) develop a publication system to publish with less
effort the same content on different social media. Use existing coupling systems,
Twitterfeed.com and Twitthat.com, 11) go sharing, but think of a content strategy first; what
kind of information do you want to share and what adds value to your target group?9, 12)
engage; invite people and go in dialogue, 13) Call To Action, is a textual or visual trigger to
come to action like a link. For social media reciprocity is very important; I do something for
you, you do something for me, 14) measure the result of the effort, for instance through
web statistics, weblog statistics, social capital, free publicity, mention maps, or deduction in
marketing costs, 15) adjust, look at the critical success factors; describe the situation and the
approach, 16 when you are less than six months busy with it go to step 11, 17) determine
the ROI, you can measure the conversion but determining its value is not possible yet.10
2.7.5 INTERVIEWS
In this section I will summarize six interviews that I have done with four respondents that
belong to the top 10 respondents spending most hours per week on social media. First
follows an introduction on the people that I have interviewed.
I have done an interview with Kiki Raposo de Haas, the manager of the string quartet
‘Matangi Quartet’, on the 28th of may 2010. Kiki Raposo de Haas has a conservatory
background combined with musicology and ten years experience as a manager of different
ensembles. The Matangi Quartet, existing ten years this year, is a relatively young
professional Dutch string quartet. The quartet receives structural subsidy since 2009, their
income comes out of the concert practice, subsidies and out of special projects.
I have done an interview with Petra van der Meer, head of the publicity and marketing of
the theatre company ‘Noord Nederlands Toneel’, on the 11 th of june 2010. The Noord
Nederlands Toneel situated in Groningen receives structural subsidy from the government
9
http://www.marketingfacts.nl/berichten/20100223_social_media_strategie_in_17_stappen_stap_6-11/ 07-11-2010
http://www.marketingfacts.nl/berichten/20100301_social_media_strategie_in_17_stappen_stap_12_-_17/, 07-11-2010
10
31
and became in the basic infrastructure in 2009 after being appointed as the city company of
Groningen.
I have done an interview with Jan Veering, online marketer of the three foundations ‘Het
muziektheater’, ‘De Nederlandse Opera’ en ‘Het Nationaal Ballet’ on the 24th of june 2010.
Jan Veering has a background in law with a specialization in intellectual property and in
theatre studies with a minor in musicology and has worked for Endemol, Google in Dublin
(Ireland) and for Google in Silicon Valley (San Francisco). ‘Het Nationaal Ballet’ and ‘De
Nederlandse Opera’ both receive structural subsidy from the government.
I have done an interview with Marleen van Amerongen, commercial manager of ‘Parktheater
Eindhoven’ and responsible for marketing, communication, ticket sale, IT and reception on
the 10th of June 2010. ‘Het Parktheater’ receives subsidy from the local government and for
special events sponsorship comes into play. The subsidy is 30-35% of their total income.
2.7.5.1 Why are social media used in the marketing strategy?
If you compare the reasons for why social media are used in the marketing strategy the most
named reason is to find and attract new audiences. Kiki Raposo de Haas, representing nonprofit performing artists, uses social media because the quartet wants to present
themselves in a broad manner and is looking for new public. Kiki Raposo de Haas points out
that social media fit our time because the personal is becoming more important and that
this is easily realized with social media. Social media can lead according to Kiki Raposo de
Haas to new public and to the maintenance of existing public. She also thinks that social
media can play a role in the before and after experience of a concert.
Jan Veering and Petra van der Meer, both representing a non-profit performing arts
organization, use social media for finding and attracting new audiences. Jan Veering adds
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that he uses social media also to be able to communicate interactively with the audience
and to maintain a relationship with the target group. According to Petra van der Meer social
media can lead to building and maintaining a relationship with young people. She
acknowledges that the information on social media can trigger people to come to the
performance but she questions whether it generates new public because a certain kind of
familiarity is requested. She also uses it because social media are becoming more and more
popular.
Marleen van Amerongen, representing a non-profit performing arts venue, points out
several reasons for why they use social media namely: to be innovative as a venue in a high
tech area, because it contributes to the experience of the performance apart from the
performance, they are focused on word of mouth which they try to stimulate, because they
are convinced that people at a younger age about a year of twenty-five communicate in a
total different way than people older than that and although not everyone is on social media
it remains a fact that is the fastest spreading medium there is, because the biggest growth in
people on social media at this moment is the group of 50-65 years of age and to be there
when something bad about the venue is said on social media.
2.7.5.2 How are social media used in the marketing strategy?
Social media are mainly used to spread information but than in a lighter way.
Kiki Raposo de Haas, representing non-profit performing artists, combines informal and
formal information on social media: ,,It may not be all informal information in order to work
good as a marketing instrument, with a cross-pollination between formal information and a
personal approach social media work best as a marketing tool.”The Matangi Quartet of Kiki
Raposo de Haas spends eight till ten hours per week on social media. Marketing activities are
fully integrated in the quartet. Marketing is taken into account in the budget but is not fixed,
because it remains a question what the income will be. They don’t have a different approach
for each social medium. She points out regarding knowledge about social media that they
are learning by doing and that they wish to work with a professional but that it is a matter of
money and a question whether it will pay off.
33
Jan Veering, representing a non-profit performing arts organization, is for as well as the
opera as the ballet on Facebook, Hyves, Twitter and YouTube. ‘Het Muziektheater’ has a
LinkedIn profile that is used for business to business contacts and for sponsorship goals.
Moby Picture is used in the way to easily share photo’s with Facebook and Twitter. He
spends five hours per week on social media for all the organizations and measures all results
with different online tools. Marketing is not an integrated part of the organization. Jan
Veering focuses on everyone and doesn’t make a difference between age groups. He uses
easy language and many images to keep it accessible for everyone and by creating an
awareness through social media he tries to remove ballet and opera from its old and dusty
image that it doesn’t have to be expensive or elite. He informs himself about social media
through blogs.
Petra van der Meer, representing a non-profit performing arts organization, uses social
media as a publicity instrument as it hasn’t find its place as a community platform within the
organization yet. The theatre company has a Hyves and Facebook page and a Twitter
account and uses YouTube. Petra van der Meer points out that they spent five to six hours
per week on social media. Marketing is to some extent hierarchically integrated in the
organization as it is a job of the management, the A team consisting of four actors, the
stage-manager, the designer and the writer and the marketing staff. The organization works
with a general marketing budget and a performance marketing budget. She approaches
different social media differently based on age groups. The organization has not the
intention to focus only on online marketing as she beliefs that receiving something per post
of the organization feels differently as opening the next e-mail. Petra van der Meer has done
a course on social media called ‘Theater Marketing 2.0’ where she made a plan with social
media.
Marleen van Amerongen, representing a non-profit performing arts venue, uses social media
most professionally in the way how she is using social media partly as an interactive
medium, however she also mainly uses it for spreading information but than in a more
lighter way. The venue uses Blogs, video sharing, wiki and in less extent collaborated ranking
in the marketing strategy for everyone. Social networks like Hyves, LinkedIn and Twitter
however are specially used for reaching the early adopters, younger of age, although the
older group is growing fast. Van Amerongen points out that they spend more than ten hours
34
per week on social media without a marketing budget as their device is that every euro
spend on marketing needs to generate more than that euro. Marketing is an integrated part
of the organization as people from sales to technique are on social media. She points out
that they use different tones of voice on different social media related to the different target
groups on these media. Activities to increase the knowledge about social media are:
Everyone from ICT, sales and marketing is given an IPhone or Android, news about it is
spread through newsletters, there is an education budget for it and one week courses where
always someone from marketing and ICT go together are preferred above congresses.
2.7.5.3 Digital divide
The people that I have interviewed point out that they are aware of the digital divide and
therefore maintain the traditional media in the marketing strategy. As Marleen van
Amerongen points out: ,,In our loyalty system there are still 300 out of 3500 that receive
everything by post, that is very costly but I am convinced that this group will extinct and till
then you have to be there for your customer.”Jan Veering and Petra van der Meer point out
that the digital divide is also caused by a difference in interest of people in new technologies
and is not per se bounded to age. As Jan Veering points out: ,,I focus myself on everyone who
wants to follow me, I don’t make a difference between age groups. It is an interesting subject
to think about and to do something with. The limitation is that I only have one Facebook
page and can’t send a message for everyone and that I can explain on the website how to
find us on Twitter but not how to use it. You have people that are very active with it and
people that don’t like it at all. I experience that few people of the Opera use Twitter even my
colleagues from the opera don’t.”
2.7.5.4 Privacy
The people that I interviewed are very much aware of the privacy problems with social
media. Jan Veering hopes that regulations are going to be sharpened as it is in his opinion
not possible to avoid Facebook. Marleen van Amerongen points out that it is difficults as a
small organization to keep yourself informed about everything as she explains: ,,As a little
organization you try to inform yourself about everything but things are going fast,
information that you get from branch organizations is often incomplete or too late, we then
contact people we know. It is not that luxurious as with Unilever where you ask the legal
department and receive a rapport on it two weeks later.”
35
2.7.5.5 Future of social media
Regarding the future of social media the people that I have interviewed expect social media
to grow in importance and in possibilities, there is also a big role in this expected for mobile
phones. Only Jeroen Loeffen is negative about the future of social media as he points to big
privacy violations that are going to occur. Marleen van Amerongen points out that social
media and everything around it are going to play a huge role in the future, it will all be about
word of mouth advertisement that you have to facilitate in the right way. Jan Veering beliefs
that more applications will come and more things will be possible on social media and that
the importance of the mobile phone will increase. Jasper van Bladel expects consumers to
stay in control and that the expenditures on social media will increase especially when it will
become measurable. He expects the mobile phone to be the social media platform of the
future. Jeroen Loeffen thinks it is inevitable that some big cases of privacy violation will
occur and that people feel not safe on profile websites anymore. This will sharpen
regulations but also lead to other ways next to his way that separate the public domain
differently and in which we all get another role. Zusan Titulaer doesn’t believe that there
will come an end to social media websites because it fulfills a social need. She points out that
more and more things can be technical regulated as she thinks of certain adjustments made
to the browser that make it possible to allow access in different levels.
2.7.6 CONSUMER BEHAVIOR
The impact of expressive social media on marketing is according to Kotler (2010) that the
influence that corporate advertising has on shaping buying behavior is diminishing as
consumers increasingly influence other consumers with their opinions and experiences (p.
8).
According to the book ‘The Future of Competition’ written by the professors Prahalad and
Ramaswamy of the business school of Michigan University consumers role is changing from
passive recipient to active co-creator. ‘They argue that customers no longer receive value
through the purchase of products and services alone as customers are interacting with a
network of firms and consumer communities in order to satisfy their unique preferences.
They point out that the value customers obtain comes from the total sum of those personal
36
experiences. According to these professors companies need to fundamentally alter their
value creation infrastructures to compete in this developing market place. They have to
make information and operations transparent and accessible to all collaborators, and
transform their interactions with customers from transactions to meaningful dialogues.’11
2.7.7 THE DUTCH AND SOCIAL MEDIA
if marketers want to start using social technologies they have to have an understanding of
where the target market is focusing their activities at and where they are likely to develop
their interest in the future.
Charlene Li of Forrester Research, an independent technology and market research company
with an office in the USA and in England, has written a study in 2007 called ‘Social
Technographics’. The research is called Social Technographics because it extends the idea of
Technographics, which refers to an analysis of consumers’ approach to technology in this
case the social computing world. In order to understand the social computing adoption
Charlene Li has benchmarked consumers by a ladder of six levels of participation in social
computing behaviors. Recently this ladder has been added with a seventh level of
participation. For this ladder see figure 2.5.9 The researcher points out that a social media
marketing strategy has to start with knowledge about the target audience and what kind of
relationship you want to build with them and what they are ready for.
I have used this ladder of seven levels of participation in computing behavior in my survey of
the non-profit performing arts audiences in The Netherlands to measure the computing
behaviors of the respondents, see appendix B question 22 till 25. This ladder with seven
increasing levels of participation in computing behavior consists of creators,
conversationalists, critics, collectors, joiners, spectators and in-actives.
With creators Charlene Li means online consumers who publish blogs, maintain web pages
or upload videos to sites like YouTube at least once per month. Conversationalists are
Twitter members, people that update their social network status to converse and participate
in at least one of the indicated activities weekly. With critics she means online consumers
11
http://www.businesstraining.com.mx/egaii/docs/The%20Future%20of%20Competition.pdf, 20-01-2011
37
who comment on blogs and/or post ratings and reviews on sites like Amazon.com. Charlene
Li points out that this level of participation isn’t nearly as intense as being a creator.
Collectors are the online consumers that save URL’s, tag photos and use RSS feeds, they
collect and aggregate information. Charlene Li points out that collectors play a vital role in
organizing the tremendous amount of content being produced by creators and critics.
Joiners use a social network site. Spectators read blogs, view videos, listen to podcasts.
Charlene Li points out that spectators are an important audience for the social content made
by everyone else. In-actives are the persons that do not participate in all computing
activities.
Figure 2.5.9 The Social Technographics ladder of seven levels of participation in computing
behavior.12
The Social Media Barometer of WDM, one of the leading direct marketing service providers
in Europe on consumer data, data intelligence, e-mail marketing and database marketing
services, of 2010 points out that Hyves is the biggest social network in The Netherlands but
is not valued more than Facebook by half of the respondents, that for the Dutch privacy of
12
http://webtools4u2use.wikispaces.com/Webtools4U2Use, 26-10-2010
38
information is important, that although LinkedIn is the largest and best known social
business network in The Netherlands that the majority of the Dutch point out that they don’t
gain business advantages from social networks. Another highlight is that cultural
intellectuals are not (yet) active on social media.
About the group ‘Creators’ WDM concludes that 6% writes a blog or maintains a website and
that 22% upload music, videos and or presentations. WDM points out that 17% of the Dutch
maintain their profile frequently and that 3% of the Dutch post regularly a message on
Twitter. About the group ‘Critics’ WDM points out that 14% of the Dutch reacts on Blogs,
forums and Wiki’s. 7% of the Dutch write judgments about products and services. About the
group ‘Collectors’ WDM points out that only 4% of the Dutch use RSS feeds. WDM points out
that 7% of the Dutch add tags and/or votes to photos and/or websites. When you tag a
photo or a website you label the information. About the group ‘Joiners’ WDM points out that
of all the types of social media, social networks are most used. 55% of the Dutch say that
they use social media networking sites. About the group ‘Spectators’ WDM points out that
28% of the Dutch reads a blog, that 21% watches and/or listens to podcasts or videos added
by others, that 40% of the Dutch reads judgments about products and/or services and that
6% of the Dutch follow someone on Twitter. Almost a quarter (24%) of the Dutch use social
media for comparing prices in the buying process of products and services as WDM points
out. 14% of the Dutch use ratings and reviews for buying decisions. With the statement of
WDM: ‘For a big buying decision online reviews are my main guidance’, 43% of the Dutch
totally disagree and 4% totally agree. 30% of the Dutch mostly and partly agree with the
statement so for 30% social media play a role in the consideration. About the group ‘Inactives’ WDM points out that 26% of the Dutch belong to this group. So almost 75% of the
Dutch are using social media, WDM points out that this was only 40% in 2007.
WDM points out that more than 55% of the Dutch have big concerns about the privacy of
their information and that 34% mainly have no concerns or any at all. WDM therefore argues
that there is a dichotomy in The Netherlands about this theme. WDM however also points
out that more than 67% of the Dutch don’t want to share their personal information with
people they don’t know.
39
WDM points out in their summary that Euro commissioner Neelie Kroes is going to take
stronger actions against social network sites that violate the privacy of their users. WDM
also points out that DDMA (Dutch Dialogue Marketing Association) is busy with a behavioral
code for social media marketing with the aim to keep social media marketing ethically
justified and successful now and in the future.
40
3 METHODS
3.1 MIXED METHOD APPROACH
I have approached this master thesis from a post positivist/empirist and a social
constructivism/ interpretive perspective in the way that knowledge is a mixture of data,
evidence and rational considerations and an understanding of the context or setting of the
participants through visiting this context and gathering information personally.13 I have
chosen for a sequential process, a mixed method strategy where a qualitative research
follows upon a quantitative research.14
Quantitative research methods are used to analyze numeric data or data that can be
reduced to numeric data, experiments and surveys are an example of which I use a survey.
Qualitative research methods are methods that describe, interpret and explain behaviors,
experiences, perceptions and products by an approach that disturbs the natural
surroundings as little as possible, of which I have used the interview as a qualitative research
method.15
Recognizing with other researchers that all methods have limitations and that biases
inherent in any single method could neutralize or cancel the biases of other methods I
combine a quantitative research with a qualitative research.16See for the survey of
performing artists, organizations and venues appendix A and for the results appendix B. See
for survey of the performing arts audiences appendix D and for answers appendix E. The
interview questions can be found in appendix C and the results in 2.4.5.
3.2 RESEARCH QUESTION
Why, how and to what extent are non-profit performing artists, organizations and venues in
The Netherlands using social media in their marketing strategy? And To what extent are nonprofit performing arts audiences in The Netherlands using social media?
13
Creswell, J. 2003: Research design; qualitative, quantitative and mixed methods approaches, second editition, Sage publications, page 8,9
Creswell, J. 2003: Research design; qualitative, quantitative and mixed methods approaches, second editition, Sage publications, page 10
15 Hart, ’t, H., Boeije, H., Hox,J. , 2006: Onderzoeksmethoden, Boomonderwijs, page 253
16 Creswell, J. 2003: Research design; qualitative, quantitative and mixed methods approaches, second editition, Sage publications, page 15
14
41
3.2.1 SUB QUESTIONS
Related to the survey of the artists, organizations and venues.
To what extent:
1) to what extent do they focus on offline or online marketing?
2) How many hours per week are they spending on social media in the marketing strategy?
3) How much budget and time is spend on social media in the marketing strategy?
4) On how many social media platforms are they active?
5) How do they value their knowledge about using social media for marketing goals?
Why:
6) for which marketing goals are social media used?
7) which social media are experienced most effective for building and maintaining a
relationship with the target group and which are experienced most effective for building and
maintaining business contacts
8) what are the advantages and disadvantages of social media experienced?
How:
9) How do they use social media for marketing goals?
10) for which age groups are social media used in the marketing strategy?
Related to the survey of the arts audiences
1) Which social media do they prefer and why?
2) What do non-profit performing arts audiences in The Netherlands want Dutch non-profit
performing artists, organizations and venues to do on social media?
3) Who needs to be on social media; the artists, the organization or the venue?
Question in the survey: How do non-profit performing arts audiences in the Netherlands
value the presence of Dutch non-profit performing artists, organizations and venues on
social media? With whom are they friends or followers?
4) What can be the ROI (return on investment) of social media for the supply side?
42
Questions in the survey are: What kind of role can social media for play before, during or
after a non-profit performing arts performance? To what extent do non-profit performing
arts audiences in the Netherlands visit performing arts performances based on what read,
hear, undertake and see on social media? Is social media capable of changing an attitude or
behavior towards products and services? To what extent do non-profit performing arts
audiences in the Netherlands buy products and services based on what they read, hear,
undertake and see on social media? As a hypothesis: The more people that use social media
the more utility social media get for me.
3.2.2 HYPOTHESIS
Hypothesis 1: The usage of social media in the marketing strategy of non-profit performing
artists, organizations and venues in The Netherlands is in the fluid phase of the Utterback
and Albernathy’s model of innovation.
Hypothesis 2: The extent to which the non-profit performing arts audiences in The
Netherlands belong to the seven levels of computing behavior of Forrester Research 2009
differs significantly from the extent to which people in the USA in 2009 belong to the seven
levels of computing behavior.
Hypothesis 3 : The more people that use social media the more utility social media get.
3.2.3 THEORETICAL CONCEPTS
With extent in the supply survey is meant the number of social media used, the importance
of social media in the marketing strategy, the number of hours spent on social media per
week and the percentage of the marketing budget and of the marketing time spent on social
media.
With extent in the demand survey is meant the number of respondents that use social media
and the number of platforms that they are on and how much of the respondents are
creators, conversationalists, critics, collectors, joiners, spectators or in-actives. With extent in
43
the survey questions is meant the indicators: never, less than once a year, a couple times a
year, a couple times a month, a couple times a week and every day.
With non-profit performing artists are meant artists who perform their art live on a stage for
a live audience. Either themselves, their group, orchestra or company operates from a noncommercial interest. They aren’t focused on making a profit and depend mainly on subsidies
and funds.
With non-profit performing arts organizations are meant the organizations of groups of
artists that perform their art live on stage for a life audience. The organizations operate from
a non-commercial interest, aren’t focused on making a profit and depend mainly on
subsidies and funds. Examples are a theatre company, a ballet company, an opera company
or an orchestra. With non-profit performing arts venues are meant the stages where the
performing artists and performing arts organizations perform for a life audience. The stages
operate from a non-commercial interest, aren’t focused on making a profit and depend
mainly on subsidies and funds. With non-profit performing arts audiences is meant Dutch
audiences of the Dutch non-profit performing arts sector.
Social media are a group of internet-based applications that build on the ideological and
technological foundations of Web 2.0, and that allow the creation and exchange of User
Generated Content.17
With a marketing strategy is meant the direction in which marketing activities take place to
reach certain goals. With arts marketing is meant an integrated management process which
sees mutually satisfying exchange relationships with customers as the route to achieving
organizational artistic objectives.18
With online marketing is meant the marketing of products and services over the internet.
With offline marketing is meant the marketing of products and services offline, not over the
internet.
17
Kaplan, A., Haenlein, M., 2010: Users of the world, unite! The challenges and opportunities of social media, Business Horizon vol. 53 issue
1 (59-68), page 61
18
Hill, L., O’Sullivan, C., O’Sullivan, T., 2003: Creative Arts Marketing, Butterworth Heinemann, England, page 1
44
With building and maintaining a relationship is meant that on social media non-profit artists,
organizations and venues can meet new potential audiences through its networking system
and that social media can grow and keep up the relationship with customers based on the
possibilities of social media. With building and maintaining business contacts is meant that
on social media non-profit artists, organizations and venues can meet new potential
business contacts through its networking system and that social media can grow and keep
up the relationship with business contacts based on the possibilities of social media.
With target group is meant the primary group of people that with marketing activities is
aimed at appealing to.19
With marketing goals are meant the goals that are achieved by the marketing strategy.
With value is meant in the survey the indicators: necessary, desired, neutral, unnecessary
and no opinion. With role is meant the function which social media can play in the audience
experience prior, during and after a non-profit performing arts performance. With attitude
and behavior are meant a positive or negative feeling about a product or service and the
action upon this feeling of buying or not buying it. With products and services are meant
tangible and intangible goods.
19
http://en.wikipedia.org/wiki/Target_audience, 12-11-2010
45
4 DATA COLLECTION
For the supply side I have reused the datamatrix of my bachelor thesis of 2009. I have used
the database AdresData of EM-Cultuur. AdresData is an online database of the art-, culture-,
leisure- and tourism sector with 10.000 organizations and more than 15.000 contacts. My
first selection was based on selecting classical and popular disciplines in the performing arts.
I chose: Theatre/ Concert halls, Pop stages, Jazz, Classic, Performing artists and Companies,
Amusement, Cabaret, Dance, Youth Theatre, Theatre, Mime, Music Theatre and Music. My
second selection was based on the quantity of the population. I chose to send the survey by
chance to one third of the artists, groups of artists and arts organizations of each discipline
this resulted in a mailing list of 659 classical and popular artists, groups of artists and arts
organizations. Hoping for a response of 10%, 66 respondents, 105 respondents filled in the
survey so a response of almost 16% was reached. The survey was send by e-mail with a link
to the survey on www.thesistools.com. For the master thesis I have only used the 66 nonprofit performing artists, organizations and venues.
I have made a top 10 list of the non-profit performing artists, organizations and venues that
use social media the most based on the hours spent per week on social media. I have chosen
this as a criterion because budget spent on social media doesn’t say that much because it is
partly free of costs. A second criterion with sending the mails was that I wanted to interview
at least one performing artist or group of artists, one performing arts organization and one
performing arts venue, which I managed to do. It was possible to interview two of the three
respondents that said to be spending most on social media namely over 10 hours a week.
This resulted in an interview with Petra van der Meer, a marketing and publicity employee of
the performing arts organization ‘North Dutch Drama’ and with Marleen van Amerongen a
commercial and marketing manager of the performing arts venue ‘Parktheatre Eindhoven’. It
was also possible to interview two of the six respondents that said to be spending 8-10 hours
per week on social media. This resulted in an interview with Jan Veering, online marketing
manager of the performing arts organizations ‘The Dutch Opera’, ‘The National Ballet’ and
the performing arts venue The Music Theatre’ and with Kiki Raposo de Haas manager of the
string quartet ‘Matangi Quartet’.
46
I have been this year to several congresses to inform myself about social media in the
marketing strategy. This has resulted in some sub questions and some interviews with
people who spoke on these congresses. The congresses that I went to were the ‘Social
Media Congres’ in Amsterdam on the 18th of febraury 2010, the ‘Dialoog Marketing
vakbeurs’ in Utrecht on the 28th of april 2010 and the ‘LCB Congres’ on the 11th of may 2010
in Tilburg, a national congress of public administration about the state of privacy. This has
resulted in three interviews namely with privacy consultant Zusan Titulaar about the state of
privacy regarding the internet and social media, with Jeroen Loeffen of Villa Koopzicht who
has come with an alternative model where profile information is not the key to
communication and with Jasper van Bladel of WDM about the impact of social media on
marketing.
For sending out the demand survey I have asked Kiki Raposo de Haas, Marleen van
Amerongen, Petra van der Meer and Jan Veering to help me distribute a link of the survey on
Thesis Tools.com to non-profit performing arts audiences in The Netherlands. Marleen van
Amerongen, Petra van der Meer and Jan Veering were willing to cooperate. Petra van der
Meer has send the survey to 750 e-mail addresses. Marleen van Amerongen has posted a
link to my survey on Twitter and Hyves. Jan Veering has posted a link on Facebook and
Twitter of the National Ballet and The Dutch Opera, he also included the link to my survey in
an e-mail message for the National Ballet and Dutch Opera on Hyves. All these efforts
resulted in 48 respondents from the North Dutch Drama, 16 respondents from Parktheatre
Eindhoven, 15 respondents of The Dutch Opera and 13 respondents of the National Ballet, a
total of 92 respondents.
Because of the slow growth in the number of respondents I have contacted other stages in
The Netherlands that had filled in the supply survey. This resulted in 4 respondents of the
Music centrum ‘de Toonzaal’ who used Twitter, Facebook, Hyves and LinkedIn for
distribution of my link to the survey, 4 respondents of Meervaart Theatre who have
published the link of the survey on their website, 4 respondents of ‘Concert- and Congress
building ‘De Doelen’, 4 respondents of Opera South, 4 respondents of Theatre Tilburg who
have send my link also through their social media channels and 2 respondents from
‘Danceworks Rotterdam’. This resulted in a total of 114 respondents. There were also 9
respondents that have filled in the survey because they came in touch with it on social
47
media, there is one respondent coming from the Erasmus University and one respondent
that has received the survey through me, there is also one respondent that came in touch
with the survey through thesis tools. The total respondents of the survey are 123
respondents, see the overview below.
Overview
National Ballet
13
(10.6%)
The Dutch Opera
15
(12.2%)
Opera South
4
(3.3%)
North Dutch Drama
48
(39%)
Parktheatre Eindhoven
16
(13%)
Music centrum de Toonzaal
4
(3.3%)
Concert- and Congress building De Doelen 4
(3.3%)
Theatre Tilburg
4
(3.3%)
De Meervaart Theatre
4
(3.3%)
Dance Works Rotterdam
2
(1.6%)
Different
9
(7.3%)
Due to the way the respondents are reached the results of the survey are limited to nonprofit performing arts audiences in The Netherlands that use social media. So this survey and
therefore this research can only say something about the extent to which social media are
used by non-profit performing arts audiences in The Netherlands that use social media.
4.1 VALIDITY AND CREDIBILITY
The quality of the conclusions depend on the quality of the observations. Two important
questions are whether the observations are based on luck (credibility) and whether the
observation covers the truth (validity).20
Credibility of the survey of artists, organizations and venues: The research methods used are
acknowledged as appropriate for a social science research. Through a survey send out to a
part of a professional cultural database of EM-cultuur I have reached 105 classical and
20
Hart, ’t, H., Boeije, H., Hox,J. , 2006: Onderzoeksmethoden, Boomonderwijs, page 161
48
popular respondents of which 66 working in the non-profit sector. The 66 respondents
represent to a high extent the main performing arts organizations and venues in The
Netherlands. There are 30 non-profit performing arts venues, 24 non-profit performing arts
organizations and 12 non-profit performing artists. In depth interviews are done with one
performing artist, two performing arts organizations and one performing arts venue that use
social media to the highest extent. The mixed method approach has limited the amount of
luck considerably. In my theoretical framework I have provided a solid fundament on which
my research is built.
The audience survey has 123 respondents and consists of a wide variety of performing arts
audiences in The Netherlands including theatre-, cabaret-, pop music-, musical-, dance
theatre-, classical music-, opera- and ballet audiences. The fact that I have reached nonprofit performing arts audiences of different provinces in The Netherlands to fill in the
survey limits the amount of luck, see the overview above. I have chosen to reach non-profit
performing arts audiences through non-profit performing artists, organizations and venues
that have filled in the survey of the first part to really be able to reach non-profit performing
arts audiences. Questions in the survey are based on a theoretical framework. In my
theoretical framework I have provided a solid fundament on which my research is built.
Limitations to the credibility of the survey of artists, organizations and venues: The number
of non-profit performing artists is limited and the credibility of the outcome for this category
therefore too. The group non-profit performing artists initially consisted of three categories,
but because there is only one non-profit performing artist, only 5 performing artists working
in a group or company and 6 performing artists that do both, the results came too close to
luck and the three groups were combined to 12 non profit performing artists. Although 12
non-profit performing artists is not much, they make up almost 18.2% of the total non-profit
respondents which gives relatively a better picture, however limited. Also the rapid
developments around this research topic due to technological change and a still increasing
interest in the usage of social media in the marketing strategy in The Netherlands makes this
survey of 2009 limited in actuality.
The number of respondents of the audience survey is limited; 123 respondents is not much if
you want to generalize non-profit performing arts audiences in The Netherlands because
49
they not even represents the seats of one concert hall or theatre. Also the rapid
developments around this research topic due to technological change and a still increasing
interest in the usage of social media in The Netherlands makes this research of 2010 limited
in actuality.
Validity of survey of artists, organizations and venues: With the usage of a survey as a
method there is always a risk that respondents make mistakes in filling in the survey but
these faults are not systematic. The basis for the four interviews with non-profit artists,
organizations and venues has been a fixed questionnaire so no systematic faults have been
made there, the interviewed people had also already filled in the survey so the information
they provided was an extension of what they said in the survey. I have also written down all
the interviews so no miss interpretation could exist. I have let the people that I have
interviewed eventually check the part that is adopted in this master thesis on mistakes or
misinterpretations.
Although there are some limitations to the credibility of the survey of artists, organizations
and venues the validity of this survey has no limitations.
Validity of the audience survey: Most respondents are persons of twenty, to make sure that
the results of this survey represent the truth I have added a social media barometer of WDM
in the theoretical framework to see in the conclusion whether my results match a Dutch
research on the use of social media in The Netherlands on a far larger scale. The answers of
some old respondents can differ from the truth because it is possible that they have
misinterpreted some social media concepts. The number of old respondents is however very
limited so that will not have a real influence on the outcome. There were also some
respondents from the organizations and venues themselves that may have influenced the
results not knowing whether they have filled in the survey as consumers or as people from
the supply side. This may have influenced the result to a little extent about the value of nonprofit performing artists, organizations and venues on social media and the way the
respondents want non-profit performing artists, organizations and venues to behave on
social media.
The audience survey has both some limitations in credibility and validity.
50
5 DESCRIPTIVE DATA ANALYSIS SURVEY SUPPLY SIDE
5.1 COMPOSITION
The survey has 66 respondents, mainly women (56.1%), of which most belong to non-profit
performing arts venues (30=45.5%). Dutch non-profit performing arts organizations come in
second (24=36.4%) and on the third place the survey consists of 18.2% (12) Dutch non-profit
performing artists whether working alone (1=1.5%), within a group (5=7.6%) or both
(6=9.1%). See graph 1.
In table 1 the cultural sectors to which the respondents belong are presented in relation to
their profession. Most respondents (33%) are from the theatre sector. The music sector
comes second (18=27.3%). There were also quite some performing artists, organizations and
venues representing more cultural sectors than one, they are represented in the column
‘mixed’ and share the second place with music. The dance sector comes fourth with almost
10% (6=9.1%). 3% (2) haven’t filled in their name or the group or company they work for,
they are presented in the column ‘unknown’.
Table 1: Composition of the survey based on cultural sector
Profession
Theatre
Music
Dance
Mixted
Unknown
Total
1. Performing artists 5
alone or in a group
or company
3
1
1
2
12
2. Marketing staff of
12
7
4
1
24
5
8
1
16
30
33%
27.3%
9.1%
27.3%
a performing arts
organization
5. Marketing staff of a
performing arts venue
Total
3%
66
Most of the performing arts organizations (12=50%) and performing artists (5= 41.7%)
belong to the theatre sector. Most of the performing arts venues (16=53.3%) belong to the
51
‘mixed’ sector. A quarter of the performing artists (3=25%), the performing arts
organizations (7=29.2%) and the performing arts venues (8=26.7%) belong to the music
sector. The dance sector is the least presented sector with the lowest percentage in
performing arts venues (1=3.3%) and in performing artists (1=8.3%) next to the mixed sector
within performing artists (1=8.3%), within performing arts organizations the mixed sector is
least represented (1=4.2%) followed by the dance sector (4=16.7%). So the music sector and
dance sector don’t dominate any profession, the music sector however comes second next
to the mixed sector after theatre when you look at the total representation of the cultural
sectors.
5.2 WHICH SOCIAL MEDIA?
19.7% (13) of the respondents don’t use social media in their marketing strategy, which is
almost 20 percent. The highest percentage not using belongs to the performing artists (5=
41.7%). On the second place come performing arts venues of which 20% (6) don’t use social
media. Within performing arts organizations social media are more commonly used only
8.3% (2) don’t use social media. See table 3 below.
Table 3: A cross table of the number of each profession that doesn’t use social media.
Geen * Profession_adjusted Crosstabulation
Count
Profession_adjusted
Geen
Performing
Performing arts
Performing arts
artists
organizations
venues
ja
Total
Total
5
2
6
13
5
2
6
13
So 80.3% of the respondents uses social media (53 of 66); 58.3% (7) of the performing
artists, 91.7% (23) of the performing arts organizations and 80% (24) of the performing arts
venues use social media.
Based on these figures I conclude that performing artists use social media less commonly
than performing arts organizations (92%) and venues (80%) of which the organizations use
social media most commonly in their marketing strategy.
52
There are 53 (80.3%) respondents left that use social media; 7 performing artists, 22
performing arts organizations and 24 performing arts venues. For the rest of this analysis I
will work with these numbers and calculate the extent to which social media are used in the
marketing strategy by those who use social media.
The most used social media in the marketing strategy is YouTube, 51 (96.2%) of the 53
respondents that use social media use YouTube; 100% (7) of the performing artists, 95,7%
(22) of the performing arts organizations and 91,7% (22) of the performing arts venues that
use social media use YouTube in their marketing strategy. YouTube is a commonly used
social medium for non-profit performing artists, organizations and venues that use social
media in The Netherlands.
Hyves comes second with 41 respondents (77.4%) using it; 42.9% (3) of the performing
artists, 81.8% (18) of the performing arts organizations and 83.3% (20) of the performing arts
venues of those who use social media use Hyves in their marketing strategy. Although Hyves
is a commonly used social medium for non-profit performing arts organizations and venues
that use social media in The Netherlands it is not for performing artists of which 75% of the
performing artists that use social media don’t use it.
LinkedIn comes third creating a gap with only one third of the respondents (18=34%) using
it; 42.9% (3) of the performing artists, 27.3% (6) of the performing arts organizations and
37.5% (9) of the performing arts venues use LinkedIn in their marketing strategy. A quarter
of every profession uses LinkedIn. LinkedIn is relatively most used by the performing artists
and performing arts venues. Only a little above a quarter of the Performing arts
organizations that use social media use LinkedIn.
Facebook comes fourth with one third of the respondents using it (17=32.1%); 28.6% of the
performing artists, almost 41% (9) of the performing arts organizations and a quarter (25%)
(6) of the performing arts venues use LinkedIn in their marketing strategy. Non-profit
performing arts organizations use Facebook to higher extent than non-profit performing
artists and performing arts venues that use social media in The Netherlands.
53
Twitter comes on the fifth place with16 respondents (30.2%) and is only used by performing
arts organizations (6=27.3%) and venues (10=41.7%). Non-profit performing arts venues use
Twitter to a higher extent than non-profit performing arts organizations that use social
media in The Netherlands and isn’t used by non-profit performing artists in The Netherlands.
My Space comes on the sixth place with (12=22.6%), Flickr comes on the seventh place with
(8=15.1%) and Blogspot and LastFm share the seventh place with 7.5% (4) of the
respondents using it.
Two things have to be noticed namely what the most important social media are for the
different professions and the number of platforms that the different professions are active
on. The most important social media for non-profit performing artists in The Netherlands are
YouTube (100%), Hyves (42.9%) and LinkedIn (42.9%). The most important social media for
non-profit performing arts organizations in The Netherlands are YouTube (95.7%), Hyves
(81.8%) and Facebook (41%), the usage of Twitter is at this point in time a little above a
quarter (27.3%). The most important social media for non-profit performing arts venues in
the Netherlands are YouTube (91.7%), Hyves (83.3%) and Twitter (41.7%).
Performing arts venues come first regarding the number of social media they use. Non-profit
performing arts venues that use social media (24) use almost 4 (3,9) social media in their
marketing strategy. On the second place come non-profit performing arts organizations that
use social media (22) that use 3 (3,1) social media in their marketing strategy. Non-profit
performing artists that use social media (7) use the least social media namely 2 (2,3).
The 14 social media used by performing arts venues are: YouTube, Hyves, Twitter, LinkedIn,
MySpace, Facebook, Flickr, Blogspot, LastFm, Ning, Plaxo, podiuminfo.nl, community
drachtenwiljemeemaken.nl, own forum. The 9 social media used by
performing arts organizations are; YouTube, Hyves, Facebook, Twitter, LinkedIn, Flickr, My
Space, District world, blog www.ikhouvan theater.nl. The 5 social media used by performing
artists are; YouTube, Hyves, LinkedIn, Facebook and My Space.
5.3 WHAT ARE THE MARKETING GOALS WITH SOCIAL MEDIA?
54
The most important marketing goals of the respondents that use social media are: building
and maintaining a relationship with the audience (48=88.8%) and to efficiently inform the
target group about performances and activities (41=81.5%). Social media is less used for
business to business marketing (10=18.5%).You see the same within all professions.
5.4 HOW ARE SOCIAL MEDIA USED IN THE MARKETING STRATEGY
I have asked the respondents that use social media to describe from one social media that
they use how they use it, 52 respondents gave a description. Looking at all the descriptions I
conclude that social media are most used as a platform or tool to inform the audience about
performances and the artist, organization and venue, in all the activities the focus is on
attracting an audience to the performances. The social aspect of social media is poorly
exhausted, there are however exceptions. More advanced strategies that are described
involve the audience in spreading the word and are about building a community. As a project
leader of an intermediary performing arts organization says: “We send out a viral for the
promotion of the week of classical music”. As a business leader of a theatre group says: “
Through Hyves we built a youth community of those who participate in our youth theatre
productions. In this way we keep in contact and recruit them for new projects.” As a
marketer of a music and film theatre and a marketer of a festival describe shortly: “Maintain
direct contact with the audience”, and “form a youth community for festivals”.
However mainly a one way marketing strategy from the marketer to the consumer is
described. An improved one way marketing strategy according to a marketer of a dance
company: “Dance is a difficult art form to communicate in words to an audience. Images
speak for themselves and YouTube helps us to develop for the audience an optimum image
of the work that we make.”
Almost 10% (5) of the respondents that have described how they use social media include
YouTube movies in their mailings or send mailings through social media networks. 13% (7)
of the respondents spread information on these social media about themselves and their
performances. As a publicity/communication worker of a dance company describes: “I use
social media to inform a certain target group about our activities, news and updates to
increase brand recognition and visitors”. Social media are also used to make an venue more
transparent as a marketing and communication employee of an performing arts venue
55
describes: “Our theme this season is ‘Follow Me”, we can be followed on webcams 24 hours
a day, we use Forums, Hyves and Twitter, to let the visitors see what we do 24 hours a day
to become more transparent”. And two respondents put discount actions on social media.
I have selected some quotes of the respondents that most clearly summarize what is done
by the respondents on certain social media platforms. 13 (25%) wrote something about
Hyves, 10 (19.2%) respondents wrote something about YouTube, 2 (3.8%) respondents
wrote something about Facebook, also two about Twitter and one (1.9%) about Flickr and
LinkedIn.
Hyves:
-As a publicity and education employee of a theatre describes: Hyves is used to approach
one of the target groups that we have. We do this by promoting our program and give now
and then special offers. Hyves has the advantage that you can approach directly a target
group”.
-As a publicity employee of a theatre group describes: ”Hyves is used to create a youth
network. This network is used to recruit youth for workshops, auditions and performances”.
- As a publicity employee of a theatre company describes: “We send mailings through Hyves
and keep the profile up to date so that people are always aware of the activities of our
theatre group”.
YouTube
-As a new media coordinator of an opera company describes: “Of every opera production a
trailer is made and put on YouTube to reach new and international audiences”.
-As a marketing and communication manager of a theatre company describes: “We have our
own YouTube channel, we link the videos on YouTube through our site and e-flyers in the
hope people are passing on this link and go see more videos of our company”.
-As a redaction employee of a dance company describes: “We put reportages, interviews,
videos behind the scenes and portraits on YouTube to give people a picture of our
performances and of the world behind the scenes. YouTube allows also the videos to be
shared on other social networks”.
Facebook
56
- As a business leader of a theatre group describes: “Announce upcoming activities on
Facebook”.
Twitter:
-As a marketing and communication employee of a music venue describes: “Through Twitter
we inform our ‘followers’ about the latest news, quizzes and concerts”.
Flickr:
-As a communication employee of a music venue describes: ”After the concert the audience
receive a link to the concert registration on Flickr”.
LinkedIn:
-As a marketing manager of a music company describes: ”We do separate recruiting of
‘young professionals’ through LinkedIn”.
5.5 FOCUS ON OFFLINE OR ONLINE MARKETING
47.2% (25) of the respondents that use social media focus on online marketing in their
marketing strategy against 37.7% (20) on offline marketing and 14.8% (8) don’t know. So less
than half of the respondents that use social media focus on online marketing.
Performing arts venues focus most on online marketing with almost eighty percent
(19=79.2%) compared to performing artists with a little over a quarter (2=28.6%) and
performing arts organizations almost twenty percent (4=18.2%) focusing on online
marketing in their marketing strategy .
5.6 IMPORTANCE OF SOCIAL MEDIA
However that the main focus of performing artists and performing arts organizations is on
offline marketing 64.2% (34) of the respondents say that social media are important to very
important in their marketing strategy. See graph 4.
57
Social media are most important in the marketing strategy of non-profit performing arts
venues that use social media; 70.8% (17) say that social media are important to very
important in their marketing strategy. Performing arts organizations come second; 63.6%
(14) say that social media are important to very important in their marketing strategy. Social
media is least important in the marketing strategy of non-profit performing artists 70% of
them say that social media are not important.
I conclude that social media are important in the marketing strategy of non-profit
performing arts venues and non-profit performing arts organizations that use social media
and are not important in the marketing strategy of non-profit performing artists that use
social media.
5.7 HOURS PER WEEK SPEND ON SOCIAL MEDIA
58
If you look at the number of hours spend on social media you see that the non-profit
performing arts venues that use social media spend most time per week on social media. See
graph 5.
71.4% (5) of the non-profit performing artists spends less than two hours per week on social
media and a little over a quarter 2-4 hours per week. 72.8% of the non-profit performing arts
organizations spend less than four hours a week on social media. 58.3% (14) of the
performing arts venues spend more than four hours per week on social media of which 20.8
% (5) 4-6 hours, 16.7% (4) 6-8 hours, 12.5% (3) 8-10 hours and 8.3% (2) more than ten hours.
5.8 MOST EFFECTIVE SOCIAL MEDIUM
The most effective social medium for building and maintaining a relationship with the target
group is according to a little more than a quarter (28.3%) of the respondents that use social
media Hyves. See Graph 6.
Non-profit performing artists find Facebook (2=16.7%) and YouTube (2=16.7%) the most
effective social media for building and maintaining a relationship with the target group. Most
of the non-profit performing arts organizations (9=40.9%) don’t know which social medium
59
is most effective for building and maintaining a relationship with the target group, a little
over a quarter (6=27.3%) finds Hyves most effective for building and maintain a relationship
with the target group. Most of the non-profit performing arts venues that use social media
find Hyves most effective for building and maintaining a relationship with the target group.
The most effective social medium for building and maintaining a relationship with business
contacts is according to one third (34%) of the respondents that use social media LinkedIn.
Most of the non-profit performing artists and organizations don’t know what the most
effective social medium for building and maintaining a relationship with business contacts is
and find no social medium effective for building and maintaining a relationship with business
contacts. Of the organizations just over one third (8=36.4%) find LinkedIn most effective for
building and maintaining a relationship with business contact. Most of the non-profit
performing arts venues that use social media find LinkedIn most effective (9=37.5%) while
almost 30% (7=29.2%) don’t know and find no social medium effective for building and
maintaining a relationship with business contacts.
5.9 SOCIAL MEDIA IN THE MARKETING BUDGET
Social media make up for no to a small and neutral part in the total marketing budget and emarketing budget of all professions, with a light bend of the organizations and venues
towards neutral. 85.7% (6) of the non-profit performing artists, 91% (20) of the non-profit
performing arts organizations and 87.5% (21) of the non-profit performing arts venues say
that social media have no, little or a neutral part in the total marketing budget. Only 4.5% (1)
of the performing arts organizations and 8.3% (2) of the performing arts venues say that
social media make up for an important part of the total marketing budget.
With social media in the e-marketing budget the outcome is basically the same. There is
however one performing arts venue (4.2%) that says that social media have a very important
part in the e-marketing budget.
60
5.10 SOCIAL MEDIA IN TOTAL HOURS SPEND ON MARKETING
In the total hours spend on offline + online marketing social media have little (3=42.9%) to
no role (2=28.6%) for non-profit performing artists, have a neutral (9=40.9%) to
little(8=36.4%) role for non-profit performing arts organizations and a neutral (11=45.8%) to
little role (8=33.3%) for non-profit performing arts venues. 20.8% of the non-profit
performing arts venues however say that social media have an important (4=16.7%) to a
very important (1=4.2%) role in the total hours spend on offline + online marketing.
In the total hours spend on online marketing social media have for 57.2% of the non-profit
performing artists no (2=28.6%) to a neutral (2=28.6%) role and for 14.3% a little (1=14.3%)
role. For more than one third non-profit of the performing arts organizations social media
have no to a neutral role, for 27.3% a little role and for almost one third an important to very
important role. For one third of the non-profit performing arts venues social media have a
neutral role and for one third a little role and for almost 30% an important to very important
role.
5.11 ADVANTAGES OF SOCIAL MEDIA
The main advantages of social media for non-profit performing artists that use social media
are that it is cheap (7=100%) and that it gives a possibility to increase brand recognition
(5=71.4%). The main advantages of social media for non-profit performing arts organizations
that use social media are that it offers the opportunity to communicate in an informal way
with the target group (19=86.4%), that it is cheap (18=81.8%), that it gives a possibility to
increase brand recognition (14=63.6%) and the opportunity to build and maintain a network
(11=50%). The main advantages of social media for non-profit performing arts venues that
use social media are that it offers the opportunity to communicate in an informal way with
the target group (24=100%), the possibility to communicate interactively with the target
group (20=83.3%), that it is cheap (79.2%), the opportunity to build and maintain a network
(18=75%), the possibility to discover what interests the target group and what their opinions
are (16=66.7%) and the possibility to increase brand recognition (16=66.7%).
5.12 DISADVANTAGES OF SOCIAL MEDIA
61
The main disadvantages of social media for non-profit performing artists that use social
media are that it takes a lot of time (5=71.4%) and the knowledge that is necessary before
social media can be used for marketing purposes (4=57.1%). The main disadvantage of social
media for non-profit performing arts organizations (12=54.5%) and non-profit performing
arts venues (19=79.2%) is that it takes a lot of time. A quarter of the non-profit performing
arts organizations (6=27.3%) and venues (6=25%) find the knowledge that is necessary
before social media can be used for marketing purposes a disadvantage.
5.13 SOCIAL MEDIA AND AGE GROUP
There is a difference measured between the three professions and the age group that they
use social media for. The non-profit performing artists that use social media use it mainly for
people in their thirties (6=85.7%) and above 50% uses it for people in their twenties
(4=57.1%) and forties (4=57.1%). The non-profit performing arts organizations that use social
media use it mainly for people in their twenties (17=77.3%) and teenagers (15=68.2%), just
above 50% uses it for people in their thirties (12=54.5%). The non-profit performing arts
venues that use social media use it mainly for people in their twenties (22=91.7%) and
thirties (19=79.2%), 50% uses it for teenagers (12=50%).
5.14 KNOWLEDGE ABOUT SOCIAL MEDIA
See graph 8. 39.6% of the respondents that use social media say that they have a sufficient
knowledge about social media, just over a quarter (28.3%) say that they have good
knowledge about social media.
If you look at the different professions you see differences in knowledge about social media
between the three professions. 57.2% (4) of the non-profit performing artists that use social
media say that they have moderate (1=14.3%) and sufficient (3=42.9%) knowledge, 28.6%
says they have bad knowledge about social media. The non-profit performing arts
organizations have more knowledge, 63.7% have moderate to sufficient knowledge. Almost
one third says they have good to excellent knowledge about social media. Non-profit
performing arts venues know best, 53.8% have moderate to sufficient knowledge and 45.8%
have good to excellent knowledge about social media and 8.3% (2) have excellent
knowledge about social media.
62
63
6 DESCRIPTIVE DATA ANALYSIS DEMAND SIDE
6.1 COMPOSITION
The survey (Appendix B), filled in by 123 respondents, consists of 88 (71.5%) female
respondents and 35 (28.5%) male respondents. Almost half of the respondents (61=49.6%)
are persons of twenty. One fifth of the respondents (25=15.5%) are persons of thirty and
15.4% (19) are persons of forty. 7.3% (9) are persons of fifty and 4.9% (6) are teenagers.
Almost one percent (1=0.8%) is a person of sixty, a person of seventy and a person of eighty.
See graph 2.
Almost one third (39=31.7%) of the respondents describe themselves as theatre audience.
The other 84 respondents (68.3%) represent audiences of other performing arts disciplines
of which 14 respondents (11.4%) describe themselves as cabaret audience and 13
respondents (10.6%) as pop music audience. The other disciplines are represented fewer
than 10%. 11 respondents (8.9%) represent a musical audience and also 11 respondents
represent ‘other’ audience. 10 respondents (8.1%) represent dance theatre and 10
respondents represent classical music. 8 respondents (6.5%) describes themselves as opera
audience. Only 6 respondents (4.9%) describe themselves as ballet audience. See graph 3
below.
64
The ‘other’ audience consists of 11 respondents of which 4 respondents (36.4%) couldn’t
choose a particular performing arts discipline which they visit most.
6.2 WHICH SOCIAL MEDIA?
95% of the respondents have an account on a social media website. There are six
respondents (4.9%) that have no account on a social media website; two persons of twenty,
three persons of fifty and one person of seventy.
Facebook is the most used social medium with almost 80% of the 123 respondents using it.
Hyves comes second with 71.5% of the respondents using it. Linked in comes third with
57.8% and Twitter comes fourth with 52% of the respondents using it. YouTube is used by
48% of the respondents, Flickr by 17.9% and MySpace by 12.2% of the respondents. For
other statistics see appendix E.
In table 1 is shown whether there is a difference between each age category and the social
media they prefer. The persons of sixty, seventy and eighty are excluded because there is
only one person of sixty and eighty and the person of seventy has no account on a social
media website.
65
Table 1: A ranking of the social media used by each age category.
Social
Teenagers
Persons of twenty
Persons of thirty
Persons of forty
media
Persons of
fifty
ranking
1.
Facebook/
Facebook
Hyves
Facebook
Facebook
Hyves
LinkedIn
LinkedIn
LinkedIn/
YouTube
2.
Hyves
Hyves
3.
Twitter
LinkedIn
Facebook
Twitter
4.
MySpace
Twitter
Twitter
YouTube
5.
Blogspot
YouTube
YouTube
Hyves
6.
Flickr
Flickr/
Flickr
7.
MySpace
YouTube/
Twitter
Flickr
MySpace
8.
Blogspot
Moby
Mobypicture/
Picture
Blogspot
Blog.nl/
Blog.nl
Blogspot
9.
Web-log.nl/
Weblog/
MySpace/
Mobypicture
NuJIJ
Web-log.nl
The most used social medium by teenagers (6) is Facebook and YouTube with 83,3% of the
teenagers using it. Hyves comes second with 66,7% and Twitter comes third with 50%. Other
social media used by teenagers are My Space (33,3%) and BlogSpot (16,7%).
The most used social medium by persons of twenty (61) is Facebook with 82% of the
persons of twenty using it. Hyves comes close with 75,4% and LinkedIn comes third with
52.5%. Twitter comes fourth with 45.9% and YouTube comes fifth with 41%. Other social
media used by persons of twenty are Flickr (13%), MySpace (9.8%), Blogspot (8.2%), Weblog
(6.6%) and Mobypicture (6.6%).
The most used social medium by persons of thirty (25) is Hyves with 88% of the persons of
thirty using it. LinkedIn comes close with 84% and Facebook comes third with 76%. Twitter
comes fourth with 64% and YouTube fifth with 52%. Other social media used by persons of
thirty are MySpace and Flickr with 20% of the respondents using it. 8% use Mobypicture and
4%, uses Zideo, Blog.nl, BlogSpot, Weblog and NuJij.
66
The most used social medium by persons of forty (19) is Facebook with 79% of the persons
of forty using it. LinkedIn comes second with 68.4% and Twitter comes third with 63%.
YouTube comes fourth with 57.9% and Hyves comes fifth with 52.6%. Other social media
used by persons of forty are Flickr (36.8%), Mobypicture (15.8%), Blogspot (15.8%), Blog.nl
(10.5%), MySpace (5.3%) and Weblog (5.3%).
The most used social medium by persons of fifty (9) is Facebook with 55.5% of the persons
of fifty using it. LinkedIn and Hyves come on the second place with 44,4% using it. Only one
third of the persons of fifty uses YouTube or Twitter and 22.2% uses Flickr.
6.3 WHICH SOCIAL MEDIA DO THEY PREFER AND WHY?
The reasons for why the respondents prefer a certain social media most are summed up and
ranked by each social medium mentioned. I have not made a separation in age groups
because the relevance of this question is to point out why Facebook for example is so
popular. The previous question already made clear to what extent the different age groups
differ in their preferred used social medium. The percentages are based on 117 respondents
that have an account on a social media website.
Facebook:
1. International character (23%): Respondents like the international character of Facebook.
2. Contact (15%): It gives the respondents the possibility to keep in touch with their friends
worldwide.
3. Possibilities (12%): It offers the respondents many possibilities; for instance the possibility
of mail, chat, photos and videos under one profile and for instance the possibility to come in
contact with foreign people. Some respondents claim that it offers most possibilities.
4. Easy in usage (10.3%): Respondents find it easy in usage. Some respondents claim that it
works easier than Hyves.
Hyves:
1. Easy in usage (8%): Respondents find it easy in usage and easy accessible.
2. Contact (3%): It gives the respondents the possibility to keep in touch with their friends.
67
3. Used by many friends and people and it is a fun site (2.5%): Most friends and
acquaintances are on Hyves. Respondents find it a fun, happy and a sociable site.
LinkedIn:
1. Business relations or purposes (11): Respondents find it practical for business purposes.
2. Sharing information, personal purposes (2): Respondents can share interesting
information.
Twitter:
1. Actuality, news (9%): Respondents appreciate the actuality of news on Twitter.
2. Short and to the point (6%): Twitter is short and to the point, not too much information.
3. Quick (5%): It offers quick information.
4. Sharing information (4%): Respondents can share information easily.
5. Contact with people or happenings (2.5%): Respondents are there to get in contact with
people and happenings.
YouTube:
1. Many and fun videos (2.5%): Respondents like the large database, watching (fun) videos
and listening to music.
6.4 ADVANTAGES OF SOCIAL MEDIA
Most respondents find the easily sharing of information the main advantage of social media.
Two third of the respondents find an advantage of social media the opportunity to build and
maintain private contacts. Just over 60% of the respondents find that you can see what
other people are doing an advantage. More than half of the respondents find the actuality of
the information an advantage and almost half of the respondents find the sharing of
knowledge an advantage. See the ranking below:
Advantages of social media
1. Easy sharing of information
81.3%
2. Opportunity to build and maintain private contacts
66.6%
3. See what other people are doing
64.2%
68
4. The actuality of the information
59.3%
5. Sharing of knowledge
48%
Disadvantages of social media
Most respondents, however less than 50%, find the reselling of their information by social
network sites for advertisement goals the biggest disadvantage. That social media harms the
respondents’ privacy comes close on the second place. One third of the respondents find
that it takes a lot of time. Almost one third of the respondents point out that it can harm
your image and more than a quarter find the risk of identity fraud a disadvantage. See the
ranking below.
Disadvantages of social media
1. Reselling of my information by social network sites for advertisement goals
44.7%
2. It harms my privacy
41.5%
3. It takes a lot of time
33.3%
4. It can harm your image
31.7%
5. Risk of identity fraud
29.3%
6.5 VALUATION OF A NON-PROFIT PERFORMING ARTIST, A NON-PROFIT PERFORMING ARTS
ORGANIZATION AND A NON-PROFIT PERFORMING ARTS VENUE ON SOCIAL MEDIA
The respondents value the presence of a non-profit performing artist, organization and
venue more desired than necessary. 77.2% of respondents value the presence of a nonprofit performing venue on social media as necessary or desired and 76.4% of the
respondents value the presence of a non-profit performing arts organizations on social
media as necessary or desired. The presence of non-profit performing artists on social media
is valued lower with 61% of the respondents valuing it necessary or desired. See table 2.
More than a quarter (29.3%) of the respondents value the presence of performing arts
venues on social media as necessary against 22% for the non-profit performing arts
organizations and 9.8% for the non-profit performing artists. Only 4% of the respondents
value the presence of a non-profit performing arts organization on social media unnecessary
69
this counts for only 5% of the respondents for non- profit performing arts venues and for
almost 9% for a non-profit performing artist.
Table 2: Valuation of the respondents of the presence of non-profit performing artists,
organizations and venues on social media.
Valuation
Non-profit
Non-profit
Non-profit
performing artists
performing arts
performing arts
organizations
Venues
Necessary
9.8%
22%
29.3%
Desired
51.2%
55.3%
47.2%
Neutral
26.8%
15.4%
14.6%
Unnecessary
8.9%
4.1%
4.9%
No opinion
2.4%
2.4%
3.3%
6.6
WHAT DO THEY WANT A NON-PROFIT PERFORMING ARTIST, ORGANIZATION AND VENUE
TO DO ON SOCIAL MEDIA?
The three main activities are the same for non-profit performing artists, organizations and
venues. Namely keep them informed about performances, share video-and audio material of
performances and go in dialogue with the audience.
6.7 FRIENDS
WITH NON-PROFIT PERFORMING ARTISTS, ORGANIZATIONS AND VENUES ON
SOCIAL MEDIA
75% of the respondents are friends with a non-profit performing artist, organization or
venue. 60.2% of the respondents are friends on social media with a non-profit performing
arts organization. 50.4% are friends on social media with a non-profit performing artist and
49.6% with a non-profit performing arts venue.
Teenagers, persons of twenty, thirty and forty are most friend and or follower of a non-profit
performing arts organization. On the second place comes the non-profit performing artists
and on the third place the venues. Persons of fifty are equally friend and or follower of nonprofit performing arts organizations and venues. See table 3.
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Table 3: Being a friend or follower of a non-profit performing artist, organization and or
venue categorized by age groups.
Friend/ follower
Teenagers
Persons of
Persons of
Persons of
Persons of
twenty
thirty
forty
fifty
Artist
83.5%
38%
60%
74%
33%
Organization
100%
50%
56%
84%
44%
Venue
50%
43%
52%
68%
44%
6.8 ROLE
SOCIAL MEDIA PRIOR TO THE PERFORMANCE
91.9% of the respondents think that social media can play a role prior to the performance.
74% of the respondents point out that social media can offer you the possibility to get
informed about the performance that has your interest. Almost half of the respondents say
that social media contribute to the choice of visiting a performance. It can also bring you in
touch with new performing artists, organizations and /or venues and increase the knowledge
about the performance. See the ranking below.
Ranking of the roles that social media can play prior to the performance according to the
respondents.
1. Social media offer you the possibility to get informed about the performances
that have your interest.
74%
2. Social media contribute to choice of visiting a performance /
49.6%
Social media increase your knowledge about the performance.
3. Social media bring you in touch with new performing artists, organizations
and /or venues.
43.1%
4. Social media increase your knowledge about the performing artist,
organization and / or venue.
42.3%
5. Social media enlarge your experience towards a performance.
32.5%
6. Social media offer you the possibility to go in dialogue with a
performing artists, organizations and/or venue.
7. I visit more performances.
20.3%
16.3%
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6.9 ROLE SOCIAL MEDIA DURING THE PERFORMANCE
52.8% (65) of the respondents think social media can play a role during the performance.
The main role that social media can play during a performance is only agreed upon by a
quarter of the respondents and that is that social media make the performance more
accessible. See the ranking below. One fifth of the respondents point out that social media
make them feel more connected to the performing artist, organizations and/or venue and
that it decreases the elite character of the performing arts.
Ranking of the roles that social media can play during a performance according to the
respondents.
1. No role
47.2%
2. Social media make the performance more accessible
25.2%
3. I feel more connected with the performing artist, organization
20.3%
and / or venue / Social media decrease the elite character of
the performing arts.
4. Social media give me a deeper understanding of the performance
16.3%
5. Social media have a positive effect on your experience of the performance
14.6%
6.10 ROLE SOCIAL MEDIA AFTER THE PERFORMANCE
78.9% (97) of the respondents think that social media can play a role after the performance.
The main role that social media can play after a performance of which half of the
respondents agree is that they can let their friends know that they where there. A little less
than half of the respondents see a role of social media to become a friend or follower of the
performing artist, organization and / or venue. Almost 40% say that with social media they
can give their opinion and increase their knowledge about the performing artist,
organization and / or venue. A little less than 40% say that with social media they can discuss
the performance with visitors or people with the same interest. See the ranking below.
Ranking of the roles that social media can play after a performance according to the
respondents.
1. I can let my friends know that I was there.
51.2%
2. I can become a friend or follower of the performing artist, organization
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and / or venue
45.5%
3. I can place my opinion through a review / Social media give me the
39.8%
possibility to increase my knowledge about the performing artist,
organization and / or venue.
4. I can discuss the performance with visitors or people with the same interest. 36.6%
5. I can discuss the performance with the performing artist, organization
and/ or venue.
26.8%
6.11 SOCIAL MEDIA AND VISITATION
60.2% of the respondents say that they visit performing arts performances a couple times a
year based on what they read, hear, undertake and see on social media. 16.3% never visits a
performing arts performance based on social media. Almost one fifth (19.5%) of the
respondents say that they visit performing arts performances less than once a year and. Only
3.3% visit a performing arts performance a couple times a month and only 0.8% visit a
performing arts performance every day based on social media. See graph 8.
The respondent that filled in ‘every day’ is a person of eighty and has maybe misunderstood
the question so validation for that answer is weak. Two of the respondents that filled in a
couple times a month (4) are persons of twenty (2=3.3%), one person of thirty (1=4%) and
one person of forty (1=5.3%).
83.3% (5) of the teenagers, 55.7% (34) of the persons of twenty, 60% of the persons of thirty
(15), 78.9% (15) of the persons of forty, 33.3% (3) of the persons of fifty and one person of
sixty and seventy visit a couple times a year a performing arts performance based on social
media.
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6.12 TO WHAT EXTENT ARE THE RESPONDENTS CREATORS, CRITICS, COLLECTORS, JOINERS,
SPECTATORS AND IN-ACTIVES ?
Creators
36.6% is publishing their own web pages of which 13.6% do it a couple times a year, 7.3% do
it less than once a year, 7.3% do it a couple times a month, 5.7% do it a couple times per
week and 3.3% do it every day. 36.6% is publishing blogs of which 14.6% does it a couple
times a year, 11.4% does it less than once a year, 8.1% does it a couple times a month and
0.8% do it a couple times a week and 1.6% do it every day. 48.8% is uploading videos, of
which 29.3% do it a couple times a year, 9.8% does it less than once a year, 8.9% do it a
couple times a month and 0.8% does it a couple times a week. 30.1% (37) is uploading music
that they created of which 15.4% do is it a couple of times a year, 8.9% do it less than once a
year, 3.3% do it a couple times a month and 2.4% do it a couple times a week.
Joiners
47.2% Twitters of which 18.7% do it every day, 16.3% do it a couple times a week, 8.9% do it
a couple times a month, 1.6% do it less than once a year and 1.6% do it a couple of times a
year. 87% maintain their social media website of which 30.1% do it a couple times a week,
20.3% do it a couple times a month, 20.3% do it every day, 11.4% do it a couple of times a
year and 4.9% do it less than once a year.
Critics
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45.5% place a review of a product or service on a social media website of which 24.4% does
it a couple of times a year, 11.4% do it less than once a year, 6.5% do it a couple times a
month, 2.4% do it a couple times a week and 0.8% do it every day.
58.5% place a comment on someone else’s blog of which 22.8% do it a couple of times a
year, 20.3% do it a couple times a month, 10.6% do it less than once a year, 4.1% do it a
couple times a week and 0.8% do it every day. 46.3% contribute to online forums of which
14.6% do it a couple of times a year, 13.8% do it less than once a year, 8.9% do it a couple
times a month, 5.7% do it every day and 3.3% do it a couple times a week.
Collectors
29.3% use RSS feeds of which 7.3% do it less than once a year, 7.3% do it a couple of times a
year, 8.1% do it a couple times a month, 2.4% do it a couple times a week and 4.1% do it
every day. 52% add tags to web pages or photos of which 7.3% do it less than once a year,
17.9% do it a couple of times a year, 15.4% do it a couple times a month, 11.4% do it a
couple times a week.
Spectators
83.7% read blogs of which 7.3% do it less than once a year, 22.8% do it a couple of times a
year, 30.9% do it a couple times a month, 14.8% do it a couple times a week and 8.1% do it
every day. 95.9% watches videos on video sharing websites of which 0.8% do it less than
once a year, 13.5% do it a couple of times a year, 28.5% do it a couple times a month, 39.8%
do it a couple times a week and 13% do it every day. 52% listen to podcasts of which 12.2%
do it less than once a year, 16.3% do it a couple of times a year, 15.4% do it a couple times a
month, 5.7% do it a couple times a week and 2.4% do it every day. 95.9% read consumer
reviews or ratings of which 3.3% do it less than once a year, 29.3% do it a couple of times a
year, 46.3% do it a couple times a month, 13% do it a couple times a week and 4.1% do it
every day. 74% read online forums of which 8.9%) do it less than once a year, 23.6% do it a
couple of times a year, 21.1% do it a couple times a month, 11.4% do it a couple times a
week and 8.9% do it every day.
59.3% follow someone on Twitter of which 1.6% do it less than once a year, 6.5% do it a
couple of times a year, 4.1% do it a couple times a month, 15.4% do it a couple times a week
and 31.7% do it every day. 90.2% read messages on other people’s social network sites of
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which 3.3% do it less than once a year, 6.5% do it a couple of times a year, 15.4% do it a
couple times a month, 24.4% do it a couple times a week and 40.7% do it every day.
In-actives
There are no respondents that use none of the above, so there are no in-actives.
When you look at figure 1 you see that non-profit performing arts public that uses social
media is on the first place a spectator on social media and on the second place a joiner. A
little over one third are conversationalists and critics.
Figure 1: A from Forrester research distracted ladder on the levels of participation of Dutch
non-profit performing arts audiences that use social media in The Netherlands based on my
research. Percentages are based on the frequency of a couple times a month till every day.
Creators
27.6%
Conversationalists
35 %
Critics
35.8%
Joiners
70.7%
Collectors
32.5%
Spectators
97.6%
In-actives
0%
6.13 SOCIAL MEDIA AND CONSUMER ATTITUDE AND BEHAVIOR
Can social media change your attitude and behavior towards products and / or services?
63.3% (78) of the respondents say yes, 17.1% (21) say no and 19.5% (24) don’t know.
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6.14 SOCIAL MEDIA AND BUYING DECISIONS
79.7% (98) of the respondents buy a product or service on basis of what they read, hear,
undertake and see on social media websites of which 22.8% (28) do it less than once a year,
49.6% (61) do it a couple of times a year, 5.7% (7) do it a couple times a month, 1.6% (2) do
it a couple times a week. See Graph 9
6.15 HYPOTHESIS
The more people that use social media the more utility social media get for me.
66.7% (82) of the respondents agree with the hypothesis against 17.9% that disagree. 15.4%
(19) of the respondents don’t know.
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7 CONCLUSION
In this master thesis I have researched why, how and to what extent expressive social media
are used in the marketing strategy of non-profit performing artists, organizations and venues
in The Netherlands (supply side) and to what extent expressive social media are used by
non-profit performing arts audiences in The Netherlands (demand side). With expressive
social media are meant social networking sites, blogs and photo- and video sharing websites.
When combining the results from why, how and to what extent social media are used by the
supply side I come to the conclusion that the usage of social media in the marketing strategy
is in an experimental phase corresponding to the fluid phase of Utterback and Albernathy’s
model of innovation, see section 7.1.1. Hypothesis one is hereby verified. Regarding the
extent to which social media are used by non-profit performing arts audiences that use
social media I conclude that their usage corresponds to the social technographics ladder of
seven levels of computing behavior of Forrester Research of 2009. See figure 7.1. Hypothesis
two is hereby falsified.
Figure 7.1 A graph in which the social technographics ladder of Forrester Research in 2009
is compared with a distracted social technographics ladder of my research.
100.0%
90.0%
80.0%
70.0%
60.0%
50.0%
40.0%
My Research
30.0%
20.0%
10.0%
Forrester research
2009
0.0%
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7.1 THE SUPPLY SIDE
7.1.1 CORRESPONDENCE WITH THE FLUID PHASE
Why, how and to what extent expressive social media are used by non-profit performing
artists, organizations and venues in The Netherlands in 2009 corresponds to the fluid phase
of the model of innovation of Utterback and Albernathy. In the fluid phase the rate of
product innovation is highest in an industry. In this phase a great deal of experimentation
with product design and operational characteristics takes place among competitors, less
attention is given to the process by which products are made; there are not dictated
standards, standard designs for satisfying the need. A sector doesn’t know exactly how to
use social media in the marketing strategy and therefore learns through trial and error what
works and doesn’t work. I will point out this correspondence with the fluid phase by
describing the results on why (7.1.1.1), how (7.1.1.2) and to what extent (7.1.1.3) expressive
social media are used in the marketing strategy.
7.1.1.1 why social media are used
The survey has pointed out that social media are used for building and maintaining a
relationship with the audience and to efficiently inform the target group about
performances and activities and that social media are less used for business to business
marketing.
Performing arts venues see most advantages in the use of social media in the marketing
strategy, their main advantages are; that it offers the opportunity to communicate in an
informal way with the target group, that it offers the possibility to communicate
interactively with the target group, that it is cheap, that it offers the opportunity to build and
maintain a network, that it offers the possibility to discover what interests the target group
and what their opinions are and the possibility to increase brand recognition. The main
advantages for performing arts organizations are: That it offers the opportunity to
communicate in an informal way with the target group, that it is cheap, that it gives a
possibility to increase brand recognition and the opportunity to build and maintain a
network. The main advantages for performing artists are: That it is cheap and that it gives a
possibility to increase brand recognition. The very important advantage of social media that
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is also very important in a social media marketing strategy namely the possibility to
communicate interactively is only appreciated by performing arts venues. The main
disadvantages of social media for non-profit performing artists, organizations and venues are
that social media take a lot of time and the knowledge that is necessary before social media
can be used for marketing purposes.
7.1.1.2 How social media are used
Social media are most used as a platform or tool to inform the audience about performances
and the artist, organization and venue, in all the activities the focus is on attracting an
audience to the performances. The social aspect of social media is poorly exhausted, mainly
a one way marketing strategy from the marketer to the consumer is described.
There is a difference measured between the three professions and the age group that they
use social media for. The non-profit performing artists use it mainly for people in their
thirties, the performing arts organizations use it mainly for teenagers and people in their
twenties. Performing arts venues use social media mainly for people in their twenties and
thirties. As there is not a single prevailing definition of social media there is also not a
dominant design for a social media marketing strategy.
Kiki Raposo de Haas, representing Dutch non-profit performing artists in my survey that use
social media to the highest extent, points out regarding knowledge about social media that
they are learning by doing and that they wish to work with a professional but that it is a
matter of money and a question whether it will pay off. Petra van der Meer, representing
Dutch non-profit performing arts organizations in my survey that use social media to the
highest extent, points out that the organization has not the intention to focus only on online
marketing as she beliefs that receiving something per post of the organization feels
differently as opening the next e-mail. Marleen van Amerongen, representing non-profit
performing arts venues in my survey that use social media to the highest extent, points out
that they although they are using social media most professionally in the way that they are
using social media partly as an interactive medium, however they mainly use it for spreading
information but than in a more lighter way.
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7.1.1.3 The extent to which social media are used
Eighty percent of the respondents uses social media in the marketing strategy. The most
used social medium is YouTube and on the second place Hyves. The most effective social
medium for building and maintaining a relationship with the target group is Hyves. However
most of the non-profit performing arts organizations don’t know which social medium is
most effective for building and maintaining a relationship with the target group. The most
effective social medium for building and maintaining a relationship with business contacts is
LinkedIn. Most of the non-profit performing artists and organizations don’t know what the
most effective social medium for building and maintaining a relationship with business
contacts is and find no social medium effective for building and maintaining a relationship
with business contacts.
This research has pointed out that there is a great difference in the extent to which nonprofit performing artists, organizations and venues use social media and in the extent they
belong to the fluid phase. Social media are most important in the marketing strategy of nonprofit performing arts venues, secondly in the marketing strategy of non-profit performing
arts organizations but not very important in the marketing strategy of non-profit performing
artists.
Performing artists value their knowledge about social media lowest. They spend the least
hours on social media per week, are focused on offline marketing, value social media in the
marketing strategy as not very important and don’t know which social medium is most
effective for building and maintaining a relationship with business contacts. Performing arts
organizations, stand in the middle, are also focused on offline marketing, however find social
media important in the marketing strategy but don’t know which social medium is most
effective for building and maintaining a relationship with the target group or business
contacts. Performing arts venues value their knowledge about social media in the marketing
strategy highest, spend most hours per week on social media, focus on online marketing and
find social media important in their marketing strategy. In the total hours spend on online
marketing social media have however mainly from no, little to a neutral role for all
professions.
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7.1.2 WHAT SOCIAL MEDIA CAN MEAN FOR THE NON -PROFIT PERFORMING ARTS SECTOR
In the non-profit performing arts sector there is a problem of imperfect information as the
consumer cannot accurately access the qualities of the individual cultural good before
committing to consume it. In the theoretical framework I have researched what the
implications in the market for cultural products are when pre-purchase information on
cultural products becomes widely available due to the internet and especially web 2.0
technologies like social media.
cultural goods are consumed in social contexts, which makes ‘word of mouth’ important for
the ultimate success of cultural goods. the extent to which widely available pre-purchase
information can influence the herd behavior positively in the cultural industries depends
very much on the investments consumers in the cultural industries are willing to make to
access reviews. An influence on this access is whether the consumers are active on the
internet and have the necessary media literacy to find reviews reliably aligned with their
tastes on the internet, in newspapers and in magazines. The existence of a superstar effect
can have two implications namely that tastes will become more homogeneous when
consumers participate in global discourses on the internet, this will intensify the superstar
effect. Or that tastes will become more differentiated as there are so many people on the
internet which would decrease the superstar effect. Research on this matter is necessary to
point out what the implications will be of widely available pre-purchase information on the
superstar effect. The book the ‘tipping point’ has pointed out that regarding word of mouth
the focus of the performing arts sector on social media should lay on finding and
communicating with connectors, mavens and salesmen.
The problem of buying lemons will to a great extent be solved for people active on the
internet and social media when pre-purchase information becomes widely available. That
there is still a need for criticism and critics in the cultural industries also when pre-purchase
information becomes widely available means that pre-purchase information can’t solve the
problem of imperfect information totally.
Regarding the future of social media the people that I have interviewed expect social media
to grow in importance and in possibilities, there is also a big role in this expected for mobile
82
phones. In the theoretical framework the alternative model of Jeroen Loeffen of Villa
Koopzicht serves as a counter voice to what social media can mean in the future from a
member of the commission ‘New Media’ of the Amsterdam Arts Council.
The people that I interviewed are very much aware of the privacy problems with social
media. They hope that regulations are going to be sharpened. It doesn’t have to be a
problem according to the privacy consultant I interviewed as long as the sector is aware that
on social media they go on a contract. Euro commissioner Neelie Kroes is going to take
stronger actions against social network sites that violate the privacy of their users and the
DDMA (Dutch Dialogue Marketing Association) is busy with a behavioral code for social
media marketing with the aim to keep social media marketing ethically justified and
successful now and in the future.
7.1.2.1 ROI
Almost all respondents think that social media can play a role prior to the performance.
Three quarter of the respondents point out that social media can offer you the possibility to
get informed about the performance that has your interest and almost half of the
respondents say that social media contribute to the choice of visiting a performance.
Only half of the respondents think that social media can play a role during the performance.
The main role that social media can play during a performance is only agreed upon by a
quarter of the respondents and that is that social media make the performance more
accessible. One fifth of the respondents say that they feel more connected with the
performing artist, organization and / or venue and that social media decrease the elite
character of the performing arts.
Eighty percent of the respondents think that social media can play a role after the
performance. The main role that social media can play after a performance of which half of
the respondents agree is that they can let their friends know that they where there.
Secondly they see a role of social media to become a friend or follower of the performing
artist, organization and / or venue.
83
As social media helps people to get informed about the performance prior to the
performance, social media have an influence on the knowledge and risk component of the
four components that Jennifer Radbourne has described for re-attendance. That social
media make the performance more accessible during the performance influences the risk
component too. Authenticity is only affected in a small way as only one fifth feels they are
more connected during the performance with the performing artist, organization and / or
venue. After the performance social media plays a role in collective engagement. Therefore I
conclude that social media can contribute to fierce and loyal customers and therewith to re
attendance.
Almost two third of the respondents say that they visit performing arts performances a
couple times a year based on what they read, hear, undertake and see on social media. Only
three percent visit performing arts performances based on what they read, hear, undertake
and see on social media at least monthly. Teenagers and persons of forty are most
influenced in their visitation by social media. Persons of twenty come on the third place. Two
third of the respondents confirm that social media can change their attitude and behavior
towards products and / or services. Eighty percent of the respondents buys a product or
service on basis of what they read, hear, undertake and see on social media websites of
which almost half of the respondents do it a couple of times a year and just over 5% at least
monthly. Two third of the respondents confirm that the more people that use social media
the more utility social media get for me. Hypothesis three is hereby verified.
7.2 DEMAND SIDE
Almost all respondents have an account on a social media website. Most respondents find
the easily sharing of information the main advantage of social media. Secondly the
opportunity to build and maintain private contacts and thirdly that you can see what other
people are doing.
Most respondents, however less than half of the respondent, find the reselling of their
information by social network sites for advertisement goals the biggest disadvantage. That
social media harms the respondents’ privacy comes close on the second place.
84
The most used social medium is Facebook. Persons of thirty prefer however Hyves. Facebook
is used for its international character, Hyves is mainly used for its easy in usage, LinkedIn is
mainly used for business relations or purposes, Twitter is mainly used for its actuality and
news and YouTube is mainly used for its Many and fun videos.
7.2.1 WHO NEEDS TO BE ON SOCIAL MEDIA
Most respondents are friends and / or follower of a performing arts organization. On the
second place with a non-profit performing artist and on the third place with a non-profit
performing arts venue.
So although social media are not important in the marketing strategy of non-profit
performing artists in The Netherlands, two third of the non-profit performing arts audiences
value their presence on social media as desired or necessary and more respondents are
friends and / or followers of performing artists than of the performing arts venues.
Although social media are most important in the marketing strategy of non-profit
performing arts venues, more respondents are friends and / or followers of performing arts
organizations and artists. However their presence on social media is valued equal to the
organizations and above the presence of artists.
The three main activities that the respondents want the non-profit performing arts sector to
do are the same for non-profit performing artists, organizations and venues. Namely keep
them informed about performances, share video-and audio material of performances and go
in dialogue with the audience.
7.2.2 FALSIFICATION OF HYPOTHESIS TWO
Hypothesis two was: The extent to which the non-profit performing arts audiences in The
Netherlands belong to the seven levels of computing behavior of Forrester Research 2009
differs significantly from the extent to which people in the USA in 2009 belong to the seven
levels of computing behavior.
85
As there hasn’t been done much research on the extent to which the Dutch use social media,
WDM has taken the first step in translating the ladder of the seven levels in computing
behavior of Forrester Research of 2009 to the Dutch market. As WDM was thinking that the
Dutch market acted differently from the USA market, I was thinking that the market of the
Dutch non-profit arts would act differently than the Dutch market in general when
formulating the hypothesis. However my research has shown that the extent to which nonprofit performing arts audiences in The Netherlands use social media corresponds in a high
extent to the Forrester Research on social computing behavior in the USA of 2009.
I was unfortunately unable to compare my results with that of WDM as they didn’t group
their percentages into the seven levels of participation. When comparing the individual
results there where many differences telling me that the difference in the way our answers
where collected made the results incomparable. Forrester Research and my research are
based on an online survey and WDM of an offline survey.
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Utterback, J.M., 1996: Mastering the dynamics of innovation, Harvard Business School Press,
ISBN, 0-87584-342-5
88
Internet sources:
Title page:
-http://www.dutchcowgirls.nl/social/3167, 25-02-2011
-http://www.mailinglijst.eu/mailings/show.aspx?mai=106005&mem=4173,
25-02-2011
Other:
http://www.social-media.nl/, 9-07-2009
http://www.social-media.nl/, 9-07-2009
http://www.wdm.nl/Social_Media_Barometer,26-10-2010
http://en.wikipedia.org/wiki/Performing_arts, 05-11-2010
http://nl.wikipedia.org/wiki/Marketing_2.0, 07-11-2010
http://www.marketingfacts.nl/berichten/20100217_social_media_strategie_in_17_stappen
_stap_1_5/,07-11-2010
http://en.wikipedia.org/wiki/Social_media, 20-01-2011
http://www.askoxford.com/concise_oed/elitism?view=uk, 28-01-2010
http://forrester.typepad.com/groundswell/2010/01/conversationalists-get-onto-theladder.html, 21-03-2011
89
APPENDIX A
Survey Non-Profit Performing - artists, -Arts organizations and - Arts venues in The
Netherlands
Geachte heer/mevrouw,
Ik ben Linda Engels, derde jaars studente Algemene Cultuurwetenschappen aan de Erasmus Universiteit
in Rotterdam.
Door middel van deze enquête wil ik onderzoeken in welke mate sociale media worden gebruikt in de
marketingstrategie van podiumkunstenaars, groepen podiumkunstenaars (ensembles, gezelschappen) en
organisaties of instellingen in de podiumkunsten.
Onder sociale media wordt in deze enquête verstaan: alle internettoepassingen waarmee het mogelijk is
om informatie (b.v. nieuws, artikelen, podcasts, muziek, fotografie, video) met elkaar te delen via sociale
media websites.
Enkele voorbeelden van sociale media zijn: Hyves, Facebook, YouTube, My Space, Twitter, Flickr,
Blogspot en LinkedIn.
Het invullen van de enquête neemt ongeveer 10 minuten in beslag. Uw bijdrage stel ik zeer op prijs!
De resultaten van deze enquête zullen worden geanalyseerd in mijn bachelor thesis. Als u geïnteresseerd
bent in de resultaten van mijn onderzoek kunt u dit in de laatste vraag van deze enquête aangeven.
Alvast mijn hartelijke dank,
Linda Engels
[email protected]
1.
Naam:
Telefoonnummer:
E-mailadres:
Naam
artiest/groep/gezelschap/instelling/organisatie:
Functie:
11
Website:
90
BEGRIPPENLIJST
PROFIT SECTOR: u/uw groep of gezelschap/uw instelling of organisatie opereert vanuit
een commercieel belang, is op winst gericht en niet in hoofdzaak afhankelijk van
subsidies en fondsen.
NON-PROFIT SECTOR: u/uw groep of gezelschap/uw instelling of organisatie opereert
vanuit een niet-commercieel belang, is niet op winst gericht en is in hoofdzaak wel
afhankelijk van subsidies en fondsen.
POPULAIR: u/uw groep of gezelschap/uw instelling of organisatie focust zich in haar
creatieproces hoofdzakelijk op de vraag vanuit de markt, het publiek. Eerst is er publiek
dan is er kunst. B.v. musical, populaire muziekconcerten, populaire bands, cabaret,
platenmaatschappijen.
KLASSIEK: u/uw groep of gezelschap/uw instelling of organisatie focust zich in haar
creatieproces op kunst. Eerst is er kunst dan is er publiek. B.v. klassieke muziek, ballet,
moderne dans, toneel, orkesten, schouwburgen, theaters, concertzalen.
SOCIALE MEDIA: alle internettoepassingen waarmee het mogelijk is om informatie
(nieuws, artikelen, podcasts, muziek, fotografie en video) met elkaar te delen via sociale
media websites.
PROMOTIEMIX: is een onderdeel van de marketingmix (de 4 P's: product, plaats,
promotie, prijs) en omvat alle communicatie die zich richt op het stimuleren van de
verkoop.
MARKETINGDOELEINDEN: het beoogde resultaat van de activiteiten die consumenten en
producenten met elkaar verbindt.
MARKETINGSTRATEGIE: de richting waarin de marketingactiviteiten moeten plaatsvinden
om de doelstellingen te bereiken.
OFFLINE MARKETING: marketing uitsluitend zonder het gebruik van internet
ONLINE MARKETING: marketing uitsluitend via internet
2.
Wat is uw geslacht?
Man
Vrouw
91
3.
Welke omschrijving vat uw werkzaamheden het beste samen?
Ik ben een podiumkunstenaar
Ik ben een podiumkunstenaar die onderdeel uitmaakt van een groep
podiumkunstenaars
Ik ben een podiumkunstenaar en een podiumkunstenaar die onderdeel
uitmaakt van een groep podiumkunstenaars
Ik ben een marketing/communicatie medewerker van een
podiumkunstinstelling of organisatie
Ik ben een marketing/communicatie medewerker van een groep of gezelschap
4.
Hoeveel procent van uw JAARLIJKSE inkomsten komen uit de bij de vorige vraag
aangegeven werkzaamheden?
0%
<50%
>50%
Weet ik niet
5.
Werkt u in de profit of non-profit sector? (zie begrippenlijst)
Ik werk in de profitsector
Ik werk in de non-profit sector
Beide
Weet ik niet
6.
Uit hoeveel medewerkers bestaat uw groep of gezelschap/instelling of organisatie?
1 medewerker
2-5 medewerkers
5-10 medewerkers
10-20 medewerkers
20-50 medewerkers
50-100 medewerkers
>100 medewerkers
92
7.
Is uw kunst/uw groep of gezelschap/uw instelling of organisatie POPULAIR of KLASSIEK?
(zie begrippenlijst)
Populair
Klassiek
Beide
Weet ik niet
8.
9.
Welke sociale media gebruikt u momenteel in uw promotiemix? (zie begrippenlijst;
meerdere antwoorden toegestaan)
Hyves
Twitter
LinkedIn
Facebook
Flickr
Blogspot
My
Space
YouTube
Geen sociale media (einde van de enquête, ga
naar de verzendknop onderaan de enquête)
Voor welke marketingdoeleinden gebruikt u sociale media? (zie begrippenlijst; meerde
antwoorden toegestaan)
Voor 'Business to Business' marketing
Voor het opbouwen en onderhouden van een relatie met het publiek
Voor het efficiënt informeren van de doelgroep over voorstellingen en
activiteiten
10.
Beschrijf van 1 sociaal medium in het kort HOE u dit medium inzet voor
marketingdoeleinden.
93
11.
Hoe belangrijk zijn sociale media in uw marktetingstrategie? (zie begrippenlijst)
Niet belangrijk
Weinig Belangrijk
Neutraal
Belangrijk
Erg Belangrijk
12.
Waar ligt het accent in uw marketingstrategie, op offline of online marketing?
Offline marketing
Online marketing
Weet ik niet
13.
Hoeveel uur per week werkt u/uw groep of gezelschap/instelling of organisatie met
sociale media voor marketingdoeleinden, zoals b.v. aan updaten? (zie begrippenlijst)
<2 uur
2-4 uur
4-6 uur
6-8 uur
8-10 uur
>10 uur
14.
Welk sociaal medium ervaart u als het meest effectief in het opbouwen en onderhouden
van een relatie met uw doelgroep?
Hyves
Twitter
LinkedIn
Facebook
Flickr
Blogspot
My Space
You Tube
Geen sociaal medium
Weet ik niet
94
15.
Welk sociaal medium ervaart u als het meest effectief in het opbouwen en onderhouden
van zakelijke- en bedrijfscontacten?
Hyves
Twitter
LinkedIn
Facebook
Flickr
Blogspot
My Space
You Tube
Geen sociaal medium
Weet ik niet
16.
Aandeel van sociale media in budget en tijd
Geen aandeel
Welk aandeel hebben sociale media
budgettair gezien in uw TOTALE
marketingbudget?
Welk aandeel hebben sociale media
budgettair gezien in uw totale EMARKETING budget?
Welk aandeel hebben sociale media
in het TOTAAL aantal uren dat
wordt gespendeerd aan
OFFLINE+ONLINE marketing? (zie
begrippenlijst)
Welk aandeel hebben sociale media
in het TOTAAL aantal uren dat
gespendeerd wordt aan ONLINE
marketing?
17.
Zeer groot aandeel Weet ik niet
1
2
3
4
5
6
1
2
3
4
5
6
1
2
3
4
5
6
1
2
3
4
5
6
Wat zijn de door u ervaren voordelen van het gebruik van sociale media voor
marketingdoeleinden? (meerdere antwoorden toegestaan)
Het is goedkoop
De mogelijkheid om op een
interactieve manier met mijn
doelgroep te kunnen communiceren
De mogelijkheid om op een
informele manier met mijn
publiek/doelgroep te kunnen
communiceren
De mogelijkheid om meer te weten
te komen over wat bij het
publiek/de doelgroep leeft en wat
hun meningen zijn.
De mogelijkheid voor het vegroten
van de naamsbekendheid
De mogelijkheid om een netwerk op
te bouwen en te onderhouden
Weet ik niet
95
18.
Wat zijn de door u ervaren nadelen van het gebruik van sociale media voor
marketingdoeleinden? (meerdere antwoorden toegestaan)
Het kost veel tijd (onderhouden van contacten, up to date houden van de site,
erachter komen hoe het medium werkt)
De kennis die nodig is alvorens sociale media kunnen worden ingezet voor
marketingdoeleinden
Sociale media kunnen tegen je werken (negatieve publiciteit)
Weet ik niet
19.
Voor welke leeftijdscategorie zet u sociale media in? (meerdere antwoorden toegestaan)
Tieners
Twintigers
Dertigers
Veertigers
Vijftigers
60 plussers
20.
STELLING
Zeer mee oneens
POPULAIRE
podiumkunstenaars/groepen
podiumkunstenaars en
podiumkunstinstellingen maken
intensiever gebruik van sociale
media in hun marketingstrategie
dan KLASSIEKE
podiumkunstenaars/groepen
kunstenaars en
podiumkunstinstellingen.
1
2
Zeer mee eens Geen mening
3
4
5
6
96
21.
Hoe beschrijft u uw kennis op het gebied van het gebruik van sociale media voor
marketingdoeleinden?
Slecht
Matig
Redelijk
Goed
Uitstekend
22.
Bent u geïnteresseerd in het ontvangen van de resultaten van deze enquête? U zult de
resultaten ter zijner tijd op het door uw aangegeven e-mailadres ontvangen.
Ja
Nee
klaar! versturen. . .
Hartelijk dank voor het invullen van de enquête!
97
APPENDIX B
Answers survey non-profit performing- artists, arts organizations and arts venues in The
Netherlands.
Wat is uw geslacht?
Man
29 (43.9%)
Vrouw
37 (56.1%)
N=66
# 66
Welke omschrijving vat uw werkzaamheden het beste samen?
Ik ben een podiumkunstenaar
1
(1.5%)
Ik ben een podiumkunstenaar die onderdeel ...
5
(7.6%)
Ik ben een podiumkunstenaar en een podiumk...
6
(9.1%)
Ik ben een marketing/communicatie medewerk...
30 (45.5%)
Ik ben een marketing/communicatie medewerk...
24 (36.4%)
N=66
# 66
Hoeveel procent van uw JAARLIJKSE inkomsten komen uit de bij de vorige vraag
aangegeven werkzaamheden?
0%
3 (4.5%)
<50%
14 (21.2%)
>50%
36 (54.5%)
Weet niet
13 (19.7%)
N=66
# 66
Werkt u in de profit of non-profit sector? (zie begrippenlijst)
Ik werk in de profitsector
66 (100%)
Ik werk in de non-profit sector
0
(0%)
N=66
# 66
98
Uit hoeveel medewerkers bestaat uw groep of gezelschap/instelling of organisatie?
1 medewerker
1
(1.5%)
2-5 medewerkers
7
(10.6%)
5-10 medewerkers
15 (22.7%)
10-20 medewerkers
12 (18.2%)
20-50 medewerkers
10 (15.2%)
50-100 medewerkers
12 (18.2%)
>100 medewerkers
9
(13.6%)
N=66
# 66
Is uw kunst/uw groep of gezelschap/uw instelling of organisatie POPULAIR of KLASSIEK?
(zie begrippenlijst)
Populair
6
(9.1%)
Klassiek
39 (59.1%)
Beide
20 (30.3%)
Weet niet
1 (1.5%)
N=66
# 66
Welke sociale media gebruikt u momenteel in uw promotiemix? (zie begrippenlijst;
meerdere antwoorden toegestaan)
Hyves
41 (62.1%)
Twitter
16 (24.2%)
LinkedIn
18 (27.3%)
Facebook
17 (25.8%)
Flickr
8
(12.1%)
Blogspot
4
(6.1%)
My Space
12 (18.2%)
YouTube
52 (78.8%)
Geen sociale media (einde van de enquête,...
12 (18.2%)
anders:
12 (18.2%)
N=66
# 192
99
Voor welke marketingdoeleinden gebruikt u sociale media? (zie begrippenlijst; meerde
antwoorden toegestaan)
Voor 'Business to Business' marketing
10 (18.5%)
Voor het opbouwen en onderhouden van een r...
48 (88.9%)
Voor het efficiënt informeren van de doel...
44 (81.5%)
anders:
5
(9.3%)
N=54
# 107
Hoe belangrijk zijn sociale media in uw marketing strategie? (zie begrippenlijst)
Niet belangrijk
3
(5.5%)
Weinig Belangrijk
6
(11.1%)
Neutraal
11 (20.4%)
Belangrijk
28 (51.9%)
Erg Belangrijk
6
(11.1%)
N=54
# 54
Waar ligt het accent in uw marketingstrategie, op offline of online marketing?
Offline marketing
20 (37.7%)
Online marketing
25 (47.2%)
Weet ik niet
8
(15.1%)
N=53
# 53
Hoeveel uur per week werkt u/uw groep of gezelschap/instelling of organisatie met
sociale media voor marketingdoeleinden, zoals b.v. aan updaten? (zie begrippenlijst)
<2 uur
16
(29.6%)
2-4 uur
18
(33.3%)
4-6 uur
8
(14.8%)
6-8 uur
5
(9.3%)
8-10 uur
4
(7.4%)
>10 uur
3
(5.6%)
N=54
# 54
100
Welk sociaal medium ervaart u als het meest effectief in het opbouwen en onderhouden
van een relatie met uw doelgroep?
Hyves
15 (27.8%)
Twitter
2
(3.7%)
LinkedIn
2
(3.7%)
Facebook
8
(14.8%)
Flickr
0
(0%)
Blogspot
0
(0%)
My Space
1
(1.85%)
You Tube
6
(11.1%)
Geen sociaal medium
2
(3.7%)
Weet ik niet
8
(14.8%)
Overig
10 (18.5%)
N=54
# 54
Welk sociaal medium ervaart u als het meest effectief in het opbouwen en onderhouden
van zakelijke- en bedrijfscontacten?
Hyves
1
(1.89%)
Twitter
0
(0%)
LinkedIn
18 (34%)
Facebook
4
(7.5%)
Flickr
0
(0%)
Blogspot
1
(1.89%)
My Space
0
(0%)
You Tube
2
(3.8%)
Geen sociaal medium
10 (18.9%)
Weet ik niet
12 (22.6%)
Overig
5
(9.4%)
N=53
# 53
101
Welk aandeel hebben sociale media budgettair gezien in uw TOTALE marketingbudget?
Geen aandeel
1
17 (31.5%)
2
23 (42.6%)
3
8
(14.8%)
4
3
(5.6%)
5
0
(0%)
Zeer groot aandeel
Weet ik niet
3 (5.6%)
N=54
# 54
Welk aandeel hebben sociale media budgettair gezien in uw totale E-MARKETING budget?
Geen aandeel
1
13 (24.1%)
2
21 (38.9%)
3
11 (20.4%)
4
3
(5.6%)
5
1
(1.85%)
5
(9.3%)
Zeer groot aandeel
Weet ik niet
N=54
# 54
Welk aandeel hebben sociale media in het TOTAAL aantal uren dat wordt gespendeerd aan
OFFLINE+ONLINE marketing? (zie begrippenlijst)
Geen aandeel
1
6
(11.1%)
2
19 (35.2%)
3
21 (38.9%)
4
6
(11.1%)
5 (zeer groot aandeel )
1
(1.85%)
Weet ik niet
1
(1.85%)
N=54
# 54
102
Welk aandeel hebben sociale media in het TOTAAL aantal uren dat gespendeerd wordt aan
ONLINE marketing?
Geen aandeel
1
4
(7.5%)
2
15 (28.3%)
3
17 (32.1%)
4
9
(17%)
5
6
(11.3%)
2
(3.8%)
Zeer groot aandeel
Weet ik niet
N=53
# 53
Wat zijn de door u ervaren voordelen van het gebruik van sociale media voor
marketingdoeleinden? (meerdere antwoorden toegestaan)
Het is goedkoop
45 (83.3%)
De mogelijkheid om op een interactieve man...
34 (63%)
De mogelijkheid om op een informele manier...
45 (83.3%)
De mogelijkheid om meer te weten te komen ...
24 (44.4%)
De mogelijkheid voor het vegroten van de n...
36 (66.7%)
De mogelijkheid om een netwerk op te bouwe...
32 (59.3%)
Weet ik niet
1
(1.85%)
anders:
3
(5.6%)
N=54
# 220
Wat zijn de door u ervaren nadelen van het gebruik van sociale media voor
marketingdoeleinden? (meerdere antwoorden toegestaan)
Het kost veel tijd (onderhouden van contac...
36
(66.7%)
De kennis die nodig is alvorens sociale me...
16
(29.6%)
Sociale media kunnen tegen je werken (nega...
5
(9.3%)
Weet ik niet
3
(5.6%)
anders:
14
(25.9%)
N=54
# 74
103
Voor welke leeftijdscategorie zet u sociale media in? (meerdere antwoorden toegestaan)
Tieners
30
(55.6%)
Twintigers
44
(81.5%)
Dertigers
38
(70.4%)
Veertigers
24
(44.4%)
Vijftigers
17
(31.5%)
60 plussers
11
(20.4%)
N=54
# 164
STELLING
POPULAIRE podiumkunstenaars/groepen podiumkunstenaars en podiumkunstinstellingen
maken intensiever gebruik van sociale media in hun marketingstrategie dan KLASSIEKE
podiumkunstenaars/groepen kunstenaars en podiumkunstinstellingen.
Zeer mee oneens
1
3 (5.7%)
2
3
3
10 (18.9%)
4
21 (39.6%)
5
5
(9.4%)
11
(20.8%)
(5.7%)
Zeer mee eens
Geen mening
N=53
# 53
Hoe beschrijft u uw kennis op het gebied van het gebruik van sociale media voor
marketingdoeleinden?
Slecht
3
(5.6%)
Matig
10 (18.55)
Redelijk
22
(40.7%)
Goed
15
(27.8%)
Uitstekend
4
(7.4%)
N=54
# 54
104
Bent u geïnteresseerd in het ontvangen van de resultaten van deze enquête? U zult de
resultaten ter zijner tijd op het door uw aangegeven e-mailadres ontvangen.
Ja
53
(93%)
Nee
4
(7%)
N=57
# 57
105
APPENDIX C
Interview questions
Vragenlijst interviews met: Matangi kwartet, Noord Nederlands Toneel, Nederlandse opera,
Nationaal Ballet, Parktheater Eindhoven
Inleiding:
Wie ben ik en wie bent u? En kunt u ook wat vertellen over het kwartet, het gezelschap, de
instelling?
Doel van het interview is om meer inzicht te verkrijgen in de mate van gebruik van sociale
media in uw marketingstrategie. Ik wil voornamelijk dieper ingaan op hoe u sociale media
gebruikt/inzet en welke doelstellingen u daarbij heeft, ook wil ik uw ervaring met sociale
media evalueren.
1) Welke activiteiten onderneemt u allemaal op het gebied van marketing van het
kwartet/gezelschap/instelling?
2) Ontvangt uw ensemble/gezelschap/instelling subsidie of geld van fondsen?
3) Heeft dat een invloed op uw marketingactiviteiten en zo ja wat voor een invloed?
4) Speelt het overheidsbeleid hier ook een rol in?
5) Maakt het bij de keuze van de marketingactiviteiten uit dat het gaat om klassieke
muziek/toneel/kunst? Dat het een kunstproduct is?
6) Is kunstmarketing volgens u anders dan algemene marketing? Waarom?
7) Ervaart u een spanning tussen marketing en kunst?
8) Klopt het dat u …uur per weel besteed aan het inzetten van sociale media in uw
marketingstrategie?
9) Waarom zetten jullie sociale media in?
10) Hoe zetten jullie sociale media in? Beschrijf zo gedetailleerd mogelijk welke
doelstelling jullie hebben met elk sociaal medium en wat jullie er precies mee doen.
11) Wat is uw marketingbudget?
106
12) Bent u het eens of oneens met de stelling: Profit uitvoerende kunstenaars,
gezelschappen en instellingen zetten sociale media in hogere mate in, in hun
marketingstrategie dan non-profit uitvoerende kunstenaars, gezelschappen en
instellingen. En waarom?
13) Wie houden zich binnen uw organisatie bezig met sociale media?
14) Houd de hele organisatie zich bezig met marketing en/of sociale media?
15) Wat zijn uw ervaringen met sociale media als marketingtool? Wat zijn de
uitdagingen, positieve en negatieve ervaringen en obstakels?
16) Is er een meetbare ROI? En meten jullie die?
17) Leidt het gebruik van sociale media volgens u tot nieuw publiek?
18) Leidt het gebruik van sociale media volgens u tot het behoud van bestaand publiek?
19) Ziet u veranderingen in de relatie met het publiek sinds u sociale media inzet in uw
marketingstrategie?
20) Denkt u dat sociale media iets kan betekenen in de voor- en na beleving van een
concert of voorstelling?
21) U zet het medium in voor tieners, twintigers……heeft u voor elke klasse een andere
aanpak? Waar baseert u die keuze op?
22) In welke mate zet u sociale media in om interactief een dialoog aan te gaan met het
publiek? Met andere woorden hoe is de verhouding tussen informatie verspreiding
via sociale media en echt een gesprek aangaan met het publiek?
23) Hoe gaat u om met de digitale kloof?
24) Welke voordelen en nadelen heeft het internet voor de marketing van uw kunst?
25) Welke waarden heeft sociale media volgens u voor de marketing van kunst?
26) Bent u zich bewust van de privacy problemen rondom internet en hoe gaat u
hiermee om? met gegevensbescherming?
27) Hoe laat u zich informeren wat wel en niet werkt op het gebied van sociale media?
28) Welke vragen heeft u omtrent sociale media? Wat zou u van het publiek willen
weten?
29) Heeft u publieksonderzoeken liggen? Is het mogelijk om uw database te mogen
gebruiken voor het versturen van een enquête aan het publiek over de mate van
gebruik van sociale media?
107
Vragenlijst interview WDM: Jasper van Bladel
Wie ben ik en wie bent u?
Doel van het interview is inzicht te verkrijgen in welke mate de Nederlandse consument
sociale media gebruikt middels resultaten van jullie onlangs uitgevoerde sociale media
barometer en inzicht te verkrijgen in de impact van sociale media op marketing.
1) Kunt u mij vertellen welke impact sociale media op het vakgebied marketing in
Nederland heeft?
2) Wat bedoelt u met van b-t-c naar c-t-b?
3) Wat betekent sociale media voor marketeers? Wat zijn de uitdagingen?
4) Wat zijn de voor- en nadelen van sociale media?
5) Wat betekenen sociale media voor de Nederlandse consument? Hebben jullie
onderzoek gedaan naar leeftijd, inkomen, geslacht, religie?
6) In welke mate gebruikt de Nederlandse consument sociale media? Hebben jullie
daarbij gekeken naar doelstellingen, het aantal uur, welk sociaal medium en of ze
volgens Forrester research creators etc. zijn?
7) Hoe definieert u sociale media?
8) Hoe ziet een sociale media strategie eruit?
9) Hoe ziet u de toekomst van sociale media voor marketeers en consumenten in
vergelijking met wat het nu betekent?
10) Zou ik de resultaten van jullie onderzoek mogen ontvangen en mogen verwerken in
mijn masterscriptie?
11) Wat zijn interessante boeken en artikelen over dit onderwerp?
108
Vragenlijst interview Zusan Titulaer
Wie ben ik en wie bent u?
Doel van het interview is meer inzicht te verkrijgen in het thema privacy en het internet en
privacy en sociale media specifiek.
1) Hoe is het gesteld met privacy op het internet? Wetten, bescherming, gevaren,
Nederland vergeleken met andere landen, verschil Europa en daarbuiten?
2) Hoe is het gesteld met privacy op sociale media websites? Wetten, bescherming,
gevaren, Nederland vergeleken met andere landen, verschil Europa en daarbuiten?
3) Hoe zou u kunstorganisaties adviseren in het gebruiken van sociale media in de
marketingstrategie inzake privacy?
4) Hoe zou u het kunstpubliek adviseren in het gebruik van sociale media?
5) De Europese Unie speelt een grote rol in het formuleren van richtlijnen rondom
bescherming van persoonsgegevens klopt dat? Zijn dat de zogenoemde safer
networking principles? Hebben deze richtlijnen ook invloed op sites van buiten de
EU?
6) Wat betekent privacy volgens u voor de toekomst van sociale media en het internet?
7) Heeft u wetenschappelijke artikelen over dit onderwerp geschreven of kent u een
goed artikel over sociale media en privacy?
Vragenlijst interview Villa Koopzicht: Jeroen Loeffen
Wie ben ik en wie bent u?
Doel van het interview is meer inzicht te verkrijgen in een sociaal communicatiemodel
waarbij iemands identiteit of vastgelegde profiel niet de sleutel tot communicatie is maar
een geïntegreerde product-communicatie relatie, opgezet door de organisatie zelf. Hierbij
kan een organisatie zelf regie voeren over de verbinding en het vertrouwen in het publieke
domein. Het model heet de ‘Community Communicatie Manager’ ontwikkeld door Villa
Koopzicht.
109
1) Het gebruik van sociale media in de marketingstrategie is momenteel een hype. U
ziet nadelen in het gebruik van sociale media in de marketingstrategie en komt met
uw eigen platform ‘ De Community Communicatie Manager’. Welke nadelen ziet u in
het gebruik van sociale media voor marketingdoeleinden?
2) Wat zijn de overeenkomsten en verschillen tussen het gebruik van sociale media in
de marketingstrategie en het communicatiemodel dat u voorstelt?
3) Hoe ziet uw model toegepast in de podiumkunstensector eruit?
4) Wat zijn de voor en nadelen van uw model?
5) Hoe interactief is het model? Kunnen er berichten worden gedelete?
6) Op sociale media netwerken zijn veel mensen actief waaronder voornamelijk
jongeren. Hoe bereikt u jongeren en nieuw publiek met uw model?
7) In welke mate komen de marketingdoelstellingen bij sociale media en uw model
overeen en in welke mate wijken ze af.
8) Hoe bent u tot het model gekomen? Gebaseerd op onderzoek?
9) Hoe werkt uw communicatiemodel kunt u enkele voorbeelden geven?
10) Zijn YouTube en Twitter functionaliteiten mogelijk in uw model?
11) De voor en na beleving is erg belangrijk in de podiumkunstensector, kan het model
daarvoor gebruikt worden en hoe?
12) Hoe ziet u de toekomst van sociale media? En sociale media in de marketingstrategie
inzake het gebruik van profielen?
13) Hoe duur is het om uw model te laten implementeren?
14) Kent u belangrijke artikelen of boeken die gaan over de communicatie behoefte van
bedrijven of mensen?
110
APPENDIX D
Survey Non-profit Performing Arts Audiences in The Netherlands
Geachte heer, mevrouw,
Ik ben Linda Engels, masterstudente culturele economie en cultureel ondernemerschap aan
de Erasmus Universiteit in Rotterdam. Ten behoeve van mijn masterscriptie doe ik
onderzoek naar de mate waarin non-profit podiumkunstenaars, podiumkunstorganisaties en
podiumkunstinstellingen in Nederland sociale media gebruiken in hun marketingstrategie en
in welke mate het Nederlands non-profit podiumkunstpubliek sociale media gebruikt.
Deze enquête is bedoeld voor het non-profit podiumkunstpubliek.
Onder SOCIALE MEDIA worden in deze enquête verstaan: alle internettoepassingen
waarmee het mogelijk is om informatie (b.v. nieuws, artikelen, podcasts, muziek, fotografie,
video) met elkaar te delen via sociale media websites. Het zijn online platformen waar de
gebruikers, met geen of weinig tussenkomst van een professionele redactie de inhoud
verzorgen.
Voorbeelden van bekende Nederlandse sociale media zijn:
- Fotosites: Yo2, MobyPicture, Flickr
- Microblogs: Numpa, Twitter
- Social Bookmarking: Tagmos, WatVindenWijOver
- Social Networking: Hyves, Facebook, Netlog, LinkedIn
- Social Newssites: eKudos, Grubb, NuJIJ, GeenRedactie
- Weblogs: Blogo, Blog.nl, Web-log.nl
- Videosites: Dik.nl, Feeb, Zie.nl, Zideo, YouTube
Onder PODIUMKUNSTENAARS wordt in deze enquête verstaan: Kunstenaars die hun kunst
uitvoeren voor een levend publiek en daarbij subsidie ontvangen van de overheid, gemeente
111
of van fondsen. Bijvoorbeeld een danser, een toneelspeler, een muzikant maar ook een
strijkkwartet.
Onder PODIUMKUNSTORGANISATIES wordt in deze enquête verstaan: Verenigde groepen
van podiumkunstenaars die daarbij subsidie ontvangen van de overheid, gemeente of van
fondsen. Zoals een toneelgroep, een ballet gezelschap, een opera gezelschap, een orkest.
Onder PODIUMKUNSTINSTELLINGEN wordt in deze enquête verstaan: De zalen/podia waarin
podiumkunstenaars en podiumkunstorganisaties optreden en die subsidie ontvangen van de
gemeente en/of fondsen. Zoals schouwburgen, theaters en concertzalen.
Het invullen van deze enquête neemt ongeveer 10 minuten in beslag. Uw medewerking stel
ik zeer op prijs en zal zeer waardevol zijn voor de resultaten van mijn onderzoek.
Als u geïnteresseerd bent in de resultaten van mijn onderzoek kunt u dit in de laatste vraag
van deze enquête aangeven.
Uw gegevens zullen discreet worden behandeld, uw anonimiteit zal worden gewaarborgd.
Alvast mijn hartelijke dank,
Linda Engels
[email protected]
112
1.
Naam
2.
Woonplaats
3.
E-mailadres of telefoonnummer
4.
Geslacht *
Man
Vrouw
113
5.
Ik ben een *
Tiener
Twintiger
Dertiger
Veertiger
Vijftiger
Zestiger
Zeventiger
80+
6.
Op welke sociale media heeft u een account of profiel? (meerdere antwoorden toegestaan)
Yo2
Netlog
Blog.nl
MobyPicture
LinkedIn
Web-log.nl
Flickr
MySpace
Dik.nl
Numpa
eKudos
Feeb
Twitter
Grubb
Zie.nl
Tagmos
NuJIJ
Zideo
WatVindenWijOver
GeenRedactie
YouTube
Hyves
Blogspot
Anders
Facebook
Blogo
Ik heb geen account of
profiel op een sociale media
website (vervolg bij vraag 8)
114
7.
Welk sociaal medium heeft uw voorkeur en waarom?
8.
Wat zijn voor u de voordelen van sociale media? (meerdere antwoorden toegestaan)
Het makkelijk delen van informatie
Zien wat andere mensen doen
De actualiteit van de informatie
Kennisdeling
Mogelijkheid tot het opbouwen en
Versterking van het gevoel ergens bij te
onderhouden van privé contacten
Mogelijkheid tot het opdoen van nieuwe
privé contacten
Mogelijkheid tot het opbouwen en
onderhouden van zakelijke contacten
horen
Anders
Sociale media hebben voor mij geen
voordelen
Weet ik niet
Mogelijkheid tot het opdoen van nieuwe
zakelijke contacten
115
9.
Wat zijn voor u de nadelen van sociale media? (meerdere antwoorden toegestaan)
Het schaadt mijn privacy
Het doorverkopen van mijn gegevens door sociale netwerksites voor advertentiedoeleinden
Het kost veel tijd
Er komt te veel informatie op me af
Kennis van een computer en het internet vereist
Risico op identiteitsfraude
Het kan je imago schaden
Anders
Sociale media hebben voor mij geen nadelen
Weet ik niet
10.
Van welk gezelschap, organisatie of instelling heeft u de link naar deze enquête ontvangen? *
Matangi Quartet
Nationaal Ballet
De Nederlandse Opera
Noord Nederlands Toneel
Parktheater Eindhoven
Muziektheater Amsterdam
Muziekcentrum de Toonzaal
Korzo Theater
De meervaart:theater
Anders
116
11.
Welke vorm van podiumkunst bezoekt u het meest? *
Danstheater
Ballet
Toneel
Cabaret
Musical
Klassieke muziek
Lichte muziek
Pop muziek
Opera
Anders
12.
Hoe waardeert u de aanwezigheid van een podiumkunstenaar, podiumkunstorganisatie
en/of podiumkunstinstelling op sociale media?
Noodzakelijk Gewenst Neutraal Onnodig
Geen
mening
Podiumkunstenaar (b.v.
toneelspeler, danser)
Podiumkunstorganisatie (b.v. ballet,
danstheatergezelschap,
toneelgroep)
Podiumkunstinstelling (b.v.
schouwburg/theater)
117
13.
Hoe zou u willen dat een podiumkunstenaar omgaat met sociale media? Dat een
podiumkunstenaar... (meerdere antwoorden toegestaan)
...persoonlijke informatie deelt
...in dialoog gaat met haar publiek
...je op de hoogte houdt van voorstellingen
...beeld- en geluidsmateriaal deelt van voorstellingen
...je in contact brengt met andere mensen met dezelfde interesses
...je van dag tot dag een kijkje geeft in zijn of haar leven
Anders
Weet niet
14.
Hoe zou u willen dat een podiumkunsorganisatie omgaat met sociale media? Dat een
podiumkunstorganisatie... (meerdere antwoorden toegestaan)
...persoonlijke informatie deelt
...in dialoog gaat met haar publiek
...je op de hoogte houdt van voorstellingen
...beeld- en geluidsmateriaal deelt van voorstellingen
...je in contact brengt met andere mensen met dezelfde interesses
...je van dag tot dag een kijkje geeft in de organisatie
Anders
Weet niet
118
15.
Hoe zou u willen dat een podiumkunstinstelling omgaat met sociale media? Dat een
podiumkunstinstelling... (meerdere antwoorden toegestaan)
...persoonlijke informatie deelt
...in dialoog gaat met haar publiek
...je op de hoogte houdt van voorstellingen
...beeld- en geluidsmateriaal deelt van voorstellingen
...je in contact brengt met andere mensen met dezelfde interesses
...je van dag tot dag een kijkje geeft in de organisatie
Anders
Weet niet
16.
Bent u bevriend met of volgt u een podiumkunstenaar, podiumkunstorganisatie of
podiumkunstinstelling op sociale media? *
Ja
Nee (vervolg bij vraag 18)
17.
Wie volgt u of met wie bent u bevriend op sociale media? (meerdere antwoorden
toegestaan)
Podiumkunstenaar(s)
Podiumkunstorganisatie(s)
Podiumkunstinstelling(en)
119
18.
Welke rol kan sociale media spelen of speelt sociale media voor u voorafgaand aan een
voorstelling? (meerdere antwoorden toegestaan)
Sociale media dragen bij aan de keuze een
voorstelling te bezoeken
Sociale media brengen mij in aanraking met
nieuwe podiumkunstenaars,
podiumkunstorganisaties en/of
podiumkunstinstellingen die binnen mijn smaak
vallen
Sociale media verlagen het risico om naar
een podiumkunstvoorstelling te gaan waar vooraf
nooit met zekerheid is te zeggen wat je precies
Sociale media bieden de mogelijkheid om in
dialoog te gaan met anderen die naar dezelfde
voorstelling gaan
Sociale media vergroten mijn kennis over de
voorstelling
Sociale media vergroten mijn kennis over de
podiumkunstenaar, podiumkunstorganisatie
en/of podiumkunstinstelling
Sociale media geven mij de mogelijkheid lid
te worden van een community
kunt verwachten
Geen rol
Sociale media bieden een mogelijkheid om
geïnformeerd te worden over voorstellingen die
Anders
je interesse hebben
Sociale media verhogen mijn beleving naar
een voorstelling toe
Ik bezoek meer voorstellingen
Sociale media bieden mij de mogelijkheid in
dialoog te gaan met de podiumkunstenaar, de
podiumkunstorganisatie en/of de
podiumkunstinstelling voorafgaand aan de
voorstelling
120
19.
Welke rol kan sociale media spelen of speelt sociale media voor u tijdens een voorstelling?
(meerdere antwoorden toegestaan)
Sociale media geven mij een dieper begrip
van de voorstelling
Sociale media verhogen de authenticiteit van
de voorstelling
Sociale media verminderen het elitaire
karakter van hoge kunstvormen
Door sociale media heb ik andere bezoekers
leren kennen
Sociale media verhogen de authenciteit van
Ze verlagen het risico dat de bezochte
de podiumkunstenaar, podiumkunstorganisatie
voorstelling je gewenste zelfbeeld aantast
en/of de podiumkunstinstelling
Sociale media hebben een positief effect op
mijn beleving van de voorstelling
Sociale media maakt het bezoek aan een
voorstelling toegankelijker
Ze verlagen het risico dat de bezochte
voorstelling schadelijk is voor wat andere mensen
van je denken
Geen rol
Anders
Door sociale media bezoek ik voorstellingen
die ik anders niet had bezocht
Ik voel mij meer verbonden met het publiek,
de podiumkunstenaar, de
podiumkunstorganisatie en/of de
podiumkunstinstelling
121
20.
Welke rol kan sociale media spelen of speelt sociale media voor u na een voorstelling?
(meerdere antwoorden toegestaan)
Ik kan napraten over de voorstelling met
andere bezoekers of gelijk-geïnteresseerden
Ik kan napraten over de voorstelling met de
kunstenaar, het gezelschap of de
podiumkunstinstelling
Ik kan vriend of volger worden van de
podiumkunstenaar, podiumkunstorganisatie of
podiumkunstinstelling
Ik kan vriend of volger worden van andere
bezoekers
Ik kan mijn mening plaatsen middels een
review
Sociale media geven mij een mogelijkheid
een relatie op te bouwen met andere bezoekers
of gelijk-geïnteresseerden
Sociale media geven mij een mogelijkheid
een relatie op te bouwen met de
podiumkunstenaar, podiumkunstorganisatie of
podiumkunstinstelling
Sociale media geven mij een mogelijkheid om
bij een groep te horen
Sociale media geven mij de mogelijkheid om
op een informele manier te communiceren met
een podiumkunstenaar, podiumkunst organisatie
of podiumkunst instelling
Ik kan mijn vrienden laten weten dat ik ben
geweest
Sociale media geven mij een mogelijkheid om
Geen rol
Anders
mijn kennis over de podiumkunstenaar,
podiumkunstorganisatie of podiumkunstinstelling
te vergroten.
122
21.
Bezoekt u wel eens podiumkunstvoorstellingen op basis van wat u leest, hoort,
onderneemt en ziet op sociale media? *
Nooit
Minder dan één keer per jaar
Een paar keer per jaar
Een paar keer per maand
Een paar keer per week
Iedere dag
22.
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een begrip niet
kent vinkt u 'Nooit' aan)
Minder
Nooit
dan één
keer per
jaar
Een
paar
keer
per
jaar
Een
paar
keer per
maand
Een
paar
keer
per
Iedere
dag
week
Ik blog
Ik publiceer webpagina's
Ik upload video's
Ik upload muziek
Ik twitter
Ik plaats nieuwe berichten op mijn
sociale netwerksite, zoals Hyves,
Facebook of Netlog
123
23.
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een begrip niet
kent vinkt u 'Nooit' aan)
Minder
Nooit
Een
dan één paar
keer per keer
jaar
per jaar
Een paar
keer per
maand
Een
paar
Iedere
keer per dag
week
Ik plaats reviews van producten
en/of diensten op websites
Ik plaats reacties op blogs van
anderen
Ik neem deel aan fora, chatrooms of
discussieplatforms
24.
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een begrip niet
kent vinkt u 'Nooit' aan)
Minder
Nooit
Een
dan één paar
keer per keer
jaar
per jaar
Een paar
keer per
maand
Een
paar
Iedere
keer per dag
week
Ik abonneer mij op de vernieuwingen
van websites via RSS Feeds
Ik tag webpagina's en/of foto's
124
25.
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een begrip niet
kent vinkt u 'Nooit' aan)
Minder
Nooit
dan één
keer per
jaar
Een
paar
keer
per
jaar
Een
paar
keer per
maand
Een
paar
keer
per
Iedere
dag
week
Ik lees blogs
Ik bekijk videos op video-delende
websites als YouTube
Ik luister/kijk naar podcasts
Lees online reviews/ kritieken van
consumenten
Ik lees gesprekken op fora, chatrooms en
discussieplatforms
Ik volg iemand op twitter
Ik lees berichten op andersmans sociale
netwerksites, zoals Hyves, Facebook,
Netlog
26.
Is sociale media in staat uw houding en gedrag te veranderen ten aanzien van producten
en/of diensten? *
Ja
Nee
Weet ik niet
125
27.
Koopt u weleens producten of diensten op basis van wat u leest, hoort, onderneemt en/of
ziet op sociale media? *
Nooit
Minder dan één keer per jaar
Een paar keer per jaar
Een paar keer per maand
Een paar keer per week
Elke dag
28.
Stelling: Des te meer mensen gebruik maken van sociale media des te meer nut sociale
media voor mij krijgen. *
Eens
Oneens
Geen mening
29.
Wilt u de resultaten van deze enquête ontvangen? *
Ja (e-mailadres bij vraag 3 verplicht)
Nee
126
APPENDIX E
Answers survey non-profit performing arts audiences in The Netherlands.
Geslacht
Man
35 (28.5 %)
Vrouw
88 (71,5 %)
n = 123
# 123
Ik ben een
Tiener
6
(4.9 %)
Twintiger
61 (49.6 %)
Dertiger
25 (20.3 %)
Veertiger
19 (15.4 %)
Vijftiger
9
(7.3 %)
Zestiger
1
(0.8 %)
Zeventiger
1
(0.8 %)
80+
1
(0.8 %)
n = 123
# 123
Op welke sociale media heeft u een account of profiel? (meerdere antwoorden...
Yo2
0
(0 %)
MobyPicture
10
(8.1 %)
Flickr
22
(17.9 %)
Numpa
0
(0 %)
Twitter
64 (52%)
Tagmos
0
(0 %)
WatVindenWijOver
1
(0.8 %)
Hyves
88 (71.5 %)
127
Facebook
96 (78%)
Netlog
1
LinkedIn
71 (57.7 %)
MySpace
15 (12.2 %)
eKudos
0
(0 %)
Grubb
0
(0 %)
NuJIJ
2
(1.6 %)
GeenRedactie
0
(0 %)
Blogspot
11 (8.9 %)
Blogo
0
(0 %)
Blog.nl
3
(2.4 %)
Web-log.nl
6
(4.9%)
Dik.nl
0
(0 %)
Feeb
0
(0 %)
Zie.nl
0
(0 %)
Zideo
1
(0.8 %)
YouTube
59 (48 %)
Anders
12 (9.8 %)
6
(0.8 %)
(4.9 %)
n = 123
Wat zijn voor u de voordelen van sociale media? (meerdere antwoorden toeges...
Het makkelijk delen van
100 (81.3 %)
informatie
De actualiteit van de
73 (59.3 %)
informatie
Mogelijkheid tot het
81 (65.9 %)
opbouwen en onderhouden
van privé contacten
128
Mogelijkheid tot het opdoen
24 (19.5 %)
van nieuwe privé contacten
Mogelijkheid tot het
52 (42.3%)
opbouwen en onderhouden
van zakelijke contacten
Mogelijkheid tot het opdoen
36 (29.3 %)
van nieuwe zakelijke
contacten
Zien wat andere mensen
78 (63.4 %)
doen
Kennisdeling
59 (48 %)
Versterking van het gevoel
20 (16.3%)
ergens bij te horen
Anders
9
(7.3 %)
Sociale media hebben voor
4
(3.3 %)
mij geen voordelen
Weet ik niet
2 (1.6 %)
n = 123
Wat zijn voor u de nadelen van sociale media? (meerdere antwoorden toegesta...
Het schaadt mijn privacy
51 (41.5%)
Het doorverkopen van mijn
55 (44.7%)
gegevens door sociale
netwerksites voor
advertentiedoeleinden
Het kost veel tijd
41 (33.33 %)
Er komt te veel informatie op
18 (14.6 %)
me af
Kennis van een computer en
3
(2.4 %)
het internet vereist
129
Risico op identiteitsfraude
36 (29.3%)
Het kan je imago schaden
39 (31.7 %)
Anders
3
Sociale media hebben voor
19 (15.4 %)
(2.4 %)
mij geen nadelen
Weet ik niet
1
(0.8 %)
n = 123
Van welk gezelschap, organisatie of instelling heeft u de link naar deze en...
Matangi Quartet
0
(0 %)
Nationaal Ballet
13 (10.6%)
De Nederlandse Opera
15 (12.2%)
Opera Zuid
4
(3.3%)
Noord Nederlands Toneel
48
(39 %)
Parktheater Eindhoven
16
(13 %)
Muziektheater Amsterdam
0
(0 %)
Muziekcentrum de Toonzaal
4
(3.3 %)
Concert- en congresgebouw
4
(3.3 %)
Theaters Tilburg
4
(3.3%)
Korzo Theater
0
(0%)
De Meervaart theater
4
(3.3 %)
Dance Works Rotterdam
2
(1.6%)
Anders
9
(7.3%)
de Doelen
n = 123
# 123
Welke vorm van podiumkunst bezoekt u het meest?
Danstheater
10
(8.1%)
Ballet
6
(4.9 %)
Toneel
39
(31.7 %)
130
Cabaret
14
(11.4%)
Musical
11
(8.9 %)
Klassieke muziek
10
(8.1 %)
Lichte muziek
1
(0.8 %)
Pop muziek
13
(10.6 %)
Opera
8
(6.5 %)
Anders
11
(8.9 %)
n = 123
# 123
Hoe waardeert u de aanwezigheid van een podiumkunstenaar, podiumkunstorgani...
Podiumkunstenaar (b.v. toneelspeler, danser)
Noodzakelijk
12 (9.8 %)
Gewenst
63 (51.2 %)
Neutraal
33 (26.8 %)
Onnodig
11
(8.9 %)
Geen mening
3
(2.4 %)
n = 123
# 122
Hoe waardeert u de aanwezigheid van een podiumkunstenaar, podiumkunstorgani...
Podiumkunstorganisatie (b.v. ballet, danstheatergezelschap, toneelgroep)
Noodzakelijk
27 (22 %)
Gewenst
68 (55.3 %)
Neutraal
19 (15.4%)
Onnodig
5
(4.1 %)
Geen mening
3
(2.4%)
n =123
# 122
131
Hoe waardeert u de aanwezigheid van een podiumkunstenaar, podiumkunstorgani...
Podiumkunstinstelling (b.v. schouwburg/theater)
Noodzakelijk
36 (29.3%)
Gewenst
58 (47.2 %)
Neutraal
18 (14.6 %)
Onnodig
6
(4.9 %)
Geen mening
4
(3.3%)
n = 123
# 122
Hoe zou u willen dat een podiumkunstenaar omgaat met sociale media? Dat een...
...persoonlijke informatie
30 (24.4%)
deelt
...in dialoog gaat met haar
61 (49.6 %)
publiek
...je op de hoogte houdt van
84 (68.3 %)
voorstellingen
...beeld- en geluidsmateriaal
74 (60.2 %)
deelt van voorstellingen
...je in contact brengt met
12 (9.8%)
andere mensen met dezelfde
interesses
...je van dag tot dag een kijkje
27 (22 %)
geeft in zijn of haar leven
Anders
6
(4.9 %)
Weet niet
6
(4.9 %)
n = 123
132
Hoe zou u willen dat een podiumkunst organisatie omgaat met sociale media? Da...
...persoonlijke informatie
12 (9.8%)
deelt
...in dialoog gaat met haar
63 (51.2 %)
publiek
...je op de hoogte houdt van
109 (88.6 %)
voorstellingen
...beeld- en geluidsmateriaal
102 (82.9 %)
deelt van voorstellingen
...je in contact brengt met
21 (17.1 %)
andere mensen met dezelfde
interesses
...je van dag tot dag een
33 (26.8 %)
kijkje geeft in de organisatie
Anders
6
(4.9 %)
Weet niet
2
(1.6 %)
n = 123
Hoe zou u willen dat een podiumkunstinstelling omgaat met sociale media? Da...
...persoonlijke informatie
11 (8.9 %)
deelt
...in dialoog gaat met haar
54 (43.9%)
publiek
...je op de hoogte houdt van
111 (90.2%)
voorstellingen
...beeld- en geluidsmateriaal
87 (70.7 %)
deelt van voorstellingen
...je in contact brengt met
23 (18.7 %)
andere mensen met dezelfde
interesses
133
...je van dag tot dag een
30 (24.4 %)
kijkje geeft in de organisatie
Anders
4
(3.3 %)
Weet niet
4
(3.3 %)
n = 123
Bent u bevriend met of volgt u een podiumkunstenaar, podiumkunstorganisatie...
Ja
93 (75.6 %)
Nee (vervolg bij vraag 18)
30 (24.4 %)
n = 123
Wie volgt u of met wie bent u bevriend op sociale media? (meerdere antwoord...
Podiumkunstenaar(s)
62 (50.4 %)
Podiumkunstorganisatie(s)
74 (60.2 %)
Podiumkunstinstelling(en)
61 (49.6 % )
n = 123
Welke rol kan sociale media spelen of speelt sociale media voor u voorafgaa...
Sociale media dragen bij aan
61 (49.6%)
de keuze een voorstelling te
bezoeken
Sociale media brengen mij in
53 (43.1%)
aanraking met nieuwe
podiumkunstenaars,
podiumkunstorganisaties
en/of
podiumkunstinstellingen die
binnen mijn smaak vallen
Sociale media verlagen het
19 (15.4%)
risico om naar een
134
podiumkunstvoorstelling te
gaan waar vooraf nooit met
zekerheid is te zeggen wat je
precies kunt verwachten
Sociale media bieden een
91 (74 %)
mogelijkheid om
geïnformeerd te worden over
voorstellingen die je interesse
hebben
Sociale media verhogen mijn
40 (32.5%)
beleving naar een
voorstelling toe
Ik bezoek meer voorstellingen
20 (16.3 %)
Sociale media bieden mij de
25 (20.3 %)
mogelijkheid in dialoog te
gaan met de
podiumkunstenaar, de
podiumkunstorganisatie
en/of de
podiumkunstinstelling
voorafgaand aan de
voorstelling
Sociale media bieden de
19 (15.4 %)
mogelijkheid om in dialoog te
gaan met anderen die naar
dezelfde voorstelling gaan
Sociale media vergroten mijn
61 (49.6%)
kennis over de voorstelling
Sociale media vergroten mijn
52 (42.3 %)
kennis over de
podiumkunstenaar,
podiumkunstorganisatie
135
en/of podiumkunstinstelling
Sociale media geven mij de
15 (12.2 %)
mogelijkheid lid te worden
van een community
Geen rol
10 (8.1 %)
Anders
1 (0.8 %)
n = 123
Welke rol kan sociale media spelen of speelt sociale media voor u tijdens e...
Sociale media geven mij een
20 (16.3%)
dieper begrip van de
voorstelling
Sociale media verhogen de
8 (6.5%)
authenticiteit van de
voorstelling
Sociale media verhogen de
10 (8.1%)
authenciteit van de
podiumkunstenaar,
podiumkunstorganisatie en/of
de podiumkunstinstelling
Sociale media hebben een
18 (14.6%)
positief effect op mijn
beleving van de voorstelling
Sociale media maakt het
31 (25.2%)
bezoek aan een voorstelling
toegankelijker
Door sociale media bezoek ik
19 (15.4%)
voorstellingen die ik anders
niet had bezocht
Ik voel mij meer verbonden
25 (20.3%)
met het publiek, de
136
podiumkunstenaar, de
podiumkunstorganisatie en/of
de podiumkunstinstelling
Sociale media verminderen
25 (20.3%)
het elitaire karakter van hoge
kunstvormen
Door sociale media heb ik
8 (6.5%)
andere bezoekers leren
kennen
Ze verlagen het risico dat de
3 (2.4%)
bezochte voorstelling je
gewenste zelfbeeld aantast
Ze verlagen het risico dat de
4 (3.3%)
bezochte voorstelling
schadelijk is voor wat andere
mensen van je denken
Geen rol
58 (47.2%)
Anders
2
(1.6%)
n =123
Welke rol kan sociale media spelen of speelt sociale media voor u na een vo...
Ik kan napraten over de
45 (36.6%)
voorstelling met andere
bezoekers of gelijkgeïnteresseerden
Ik kan napraten over de
33 (26.8 %)
voorstelling met de
kunstenaar, het gezelschap of
de podiumkunstinstelling
Ik kan vriend of volger
56 (45.5%)
worden van de
137
podiumkunstenaar,
podiumkunstorganisatie of
podiumkunstinstelling
Ik kan vriend of volger
14 (11.4%)
worden van andere bezoekers
Ik kan mijn mening plaatsen
49 (39.8%)
middels een review
Ik kan mijn vrienden laten
63 (51.2%)
weten dat ik ben geweest
Sociale media geven mij een
49 (39.8%)
mogelijkheid om mijn kennis
over de podiumkunstenaar,
podiumkunstorganisatie of
podiumkunstinstelling te
vergroten.
Sociale media geven mij een
15 (12.2%)
mogelijkheid een relatie op te
bouwen met andere
bezoekers of gelijkgeïnteresseerden
Sociale media geven mij een
18 (14.6%)
mogelijkheid een relatie op te
bouwen met de
podiumkunstenaar,
podiumkunstorganisatie of
podiumkunstinstelling
Sociale media geven mij een
10 (8.1%)
mogelijkheid om bij een
groep te horen
Sociale media geven mij de
22 (17.9%)
mogelijkheid om op een
138
informele manier te
communiceren met een
podiumkunstenaar,
podiumkunst organisatie of
podiumkunst instelling
Geen rol
26 (21.1%)
Anders
4 (3.3 %)
n = 123
Bezoekt u wel eens podiumkunstvoorstellingen op basis van wat u leest, hoor...
Nooit
20 (16.3%)
Minder dan één keer per jaar
24 (19.5 %)
Een paar keer per jaar
74 (60.2%)
Een paar keer per maand
4
(3.3 %)
Een paar keer per week
0
(0 %)
Iedere dag
1
(0.8 %)
n = 123
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Ik blog
Nooit
74 (60.2 %)
Minder dan één keer per jaar
14 (11.4%)
Een paar keer per jaar
18 (14.6 %)
Een paar keer per maand
10 (8.1 %)
Een paar keer per week
1
(0.8 %)
Iedere dag
2
(1.6 %)
n = 123
# 119
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Ik publiceer webpagina's
139
Nooit
75 (61%)
Minder dan één keer per jaar
9 (7.3%)
Een paar keer per jaar
16 (13%)
Een paar keer per maand
9
(7.3%)
Een paar keer per week
7
(5.7%)
Iedere dag
4
(3.3%)
n = 123
# 120
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Ik upload video's
Nooit
57 (46.3%)
Minder dan één keer per jaar
12
(9.8%)
Een paar keer per jaar
36
(29.3%)
Een paar keer per maand
11
(8.9%)
Een paar keer per week
1
(0.8%)
Iedere dag
0
(0 %)
n = 123
# 117
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Ik upload muziek
Nooit
82
(66.7%)
Minder dan één keer per jaar
11
(8.9%)
Een paar keer per jaar
19
(15.4%)
Een paar keer per maand
4
(3.3%)
Een paar keer per week
3
(2.4%)
Iedere dag
0
(0 %)
n = 123
140
# 119
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Ik twitter
Nooit
58
(47.2%)
Minder dan één keer per jaar
2
(1.6%)
Een paar keer per jaar
2
(1.6%)
Een paar keer per maand
11
(8.9 %)
Een paar keer per week
20
(16.3%)
Iedere dag
23
(18.7%)
n =123
# 166
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Ik plaats nieuwe berichten op mijn sociale netwerksite, zoals Hyves, Facebook of Netlog
Nooit
13 (10.6%)
Minder dan één keer per jaar
6
(4.9%)
Een paar keer per jaar
14
(11.4%)
Een paar keer per maand
25
(20.3%)
Een paar keer per week
37
(30.1%)
Iedere dag
25
(20.3%)
n = 123
# 120
141
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Ik plaats reviews van producten en/of diensten op websites
Nooit
65 (52.8%)
Minder dan één keer per jaar
14 (11.4%)
Een paar keer per jaar
30 (24.4%)
Een paar keer per maand
8
(6.5%)
Een paar keer per week
3
(2.4%)
Iedere dag
1
(0.8%)
n = 123
# 121
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Ik plaats reacties op blogs van anderen
Nooit
49 (39.8%)
Minder dan één keer per jaar
13 (10.6%)
Een paar keer per jaar
28 (22.8%)
Een paar keer per maand
25 (20.3%)
Een paar keer per week
5
(4.1%)
Iedere dag
1
(0.8%)
n = 123
# 121
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Ik neem deel aan fora, chatrooms of discussieplatforms
Nooit
65 (52.8%)
Minder dan één keer per jaar
17
(13.8%)
Een paar keer per jaar
18
(14.6%)
Een paar keer per maand
11
(8.9%)
Een paar keer per week
4
(3.3%)
142
Iedere dag
7 (5.7 %)
n = 123
# 122
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Ik abonneer mij op de vernieuwingen van websites via RSS Feeds
Nooit
84 (68.3%)
Minder dan één keer per jaar
9
(7.3%)
Een paar keer per jaar
9
(7.3%)
Een paar keer per maand
10 (8.1%)
Een paar keer per week
3
(2.4%)
Iedere dag
5
(4.1%)
n = 123
#120
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Ik tag webpagina's en/of foto's
Nooit
56 (45.5%)
Minder dan één keer per jaar
9
Een paar keer per jaar
22 (17.9%)
Een paar keer per maand
19
(15.4%)
Een paar keer per week
14
(11.4%)
Iedere dag
0
(0 %)
(7.3%)
n = 123
# 120
143
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Ik lees blogs
Nooit
20 (16.3%)
Minder dan één keer per jaar
9
(7.3%)
Een paar keer per jaar
28
(22.8%)
Een paar keer per maand
38
(30.9%)
Een paar keer per week
18
(14.6%)
Iedere dag
10
(8.1%)
n = 123
# 123
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Ik bekijk videos op video-delende websites als YouTube
Nooit
4
(3.3%)
Minder dan één keer per jaar
1
(0.8%)
Een paar keer per jaar
17
(13.8%)
Een paar keer per maand
35
(28.5%)
Een paar keer per week
49
(39.8%)
Iedere dag
16
(13.0%)
n = 123
# 122
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Ik luister/kijk naar podcasts
Nooit
59
(48%)
Minder dan één keer per jaar
15
(12.2%)
Een paar keer per jaar
20
(16.3%)
Een paar keer per maand
19
(15.4%)
Een paar keer per week
7
(5.7%)
Iedere dag
3
(2.4%)
n =123
144
# 123
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Lees online reviews / kritieken van consumenten
Nooit
3
(2.4%)
Minder dan één keer per jaar
4
(3.3%)
Een paar keer per jaar
36
(29.3%)
Een paar keer per maand
57
(46.3%)
Een paar keer per week
16
(13%)
Iedere dag
5
(4.1%)
n = 123
# 121
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Ik lees gesprekken op fora, chatrooms en discussieplatforms
Nooit
31 (25.2%)
Minder dan één keer per jaar
11
(8.9 %)
Een paar keer per jaar
29
(23.6%)
Een paar keer per maand
26
(21.1%)
Een paar keer per week
14
(11.4%)
Iedere dag
11
(8.9%)
n = 123
# 122
145
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Ik volg iemand op Twitter
Nooit
48 (39%)
Minder dan één keer per jaar
2
(1.6%)
Een paar keer per jaar
8
(6.5%)
Een paar keer per maand
3
(4.1%)
Een paar keer per week
15 (15.4%)
Iedere dag
36 (31.7%)
n = 123
# 121
In welke mate hebben de volgende beschrijvingen betrekking op u? (als u een...
Ik lees berichten op andermans sociale netwerksites, zoals Hyves, Facebook, Netlog
Nooit
11 (8.9%)
Minder dan één keer per jaar
4
(3.3%)
Een paar keer per jaar
8
(6.5%)
Een paar keer per maand
19 (15.4%)
Een paar keer per week
30 (24.4%)
Iedere dag
50 (40.7%)
n = 123
# 122
Is sociale media in staat uw houding en gedrag te veranderen ten aanzien va...
Ja
78 (63.4%)
Nee
21 (17.1%)
Weet ik niet
24 (19.5%)
n = 123
# 123
146
Koopt u weleens producten of diensten op basis van wat u leest, hoort, onde...
Nooit
25 (20.3 %)
Minder dan één keer per jaar
28 (22.8 %)
Een paar keer per jaar
61 (49.6%)
Een paar keer per maand
7
(5.7 %)
Een paar keer per week
2
(1.6 %)
Elke dag
0
(0 %)
n = 123
Stelling: Des te meer mensen gebruik maken van sociale media des te meer nu...
Eens
82
(66.7 %)
Oneens
22
(17.9 %)
Geen mening
19
(15.9%)
n =123
Wilt u de resultaten van deze enquête ontvangen?
Ja (e-mailadres bij vraag 3
77
(62.6 %)
46
(37.4%)
verplicht)
Nee
n = 123
Legenda:
n = aantal respondenten dat de vraag heeft gezien
# = aantal ontvangen antwoorden
147
148