1、外文翻译关系营销和服务营销文化部门价值创造的会聚性观点Relationship marketing and service marketing: convergence point of Culture Department of value creationABSTRACTUsing the relationship paradigm as a theoretical framework, a management model for cultural services (relationship marketing of cultural organizations) is propose
2、d, what is an unprecedented contribution in the marketing field. By combining two convergent perspectivesas relationship marketing and services marketing, the model is structured on the basis of two large types of relationships in the management of a cultural organization: instrumental relationships
3、 and group relationships. The paper is an in-depth study of relationships regarding performing arts audience. A theoretical/empirical approach was applied, including face to face interviews to 1005 performing arts consumers and telephone interviews to a sample of 2005 individuals in Spain.Keywords:
4、Cultural marketing erforming arts services relationship marketing 1. INTRODUCTION: The most recent literature on marketing management is demonstrating a revolutionary change in both form and content, which, undoubtedly, will result in several research projects in the short term aimed at shedding som
5、e light on this dilemma. Traditional management models and paradigms do not adapt to the requirements of new products, as there are more and more exceptions and questions on the models developed so far (Lovelock and Gummesson, 2004; Vargo and Lush, 2004). In this complex context, this paper aims to
6、make an in-depth study of the field of cultural services management by using two concurrent perspectives relationship marketing and services marketing, in order to contribute to the development of the new marketing domain: cultural marketing (Kotler, 2005). This is a field still in its development p
7、hase, but has probably found, with these new trends, the right moment to grow and develop management structures and models that meet its particular requirements. From the very beginning, contributions made to the cultural sector by the marketing discipline have been very diverse. However, although t
8、hey seem to have come to a consensus in the scientific world about the idea that the management of cultural identities presents such special characteristics that make it considerably different (Voss and Voss, 2000; Colbert, 2001; Johnson and Garbarino, 2001; Arts Council of England, 2003; Kotler and
9、 Scheff, 1997). Contributions from the marketing management area still do not suffice to construct a knowledge base that is solid enough to create a theoretical management framework similar to the one other disciplines with more tradition in marketing research have. In this context, it is stated tha
10、t the relationship marketing paradigm offers a suitable framework for the implementation of cultural management and this research study has focused on the performing arts services sector, as considering that it is one of the most forgotten sectors by scientific researchers of management. Furthermore
11、, the decreasing consumption of this art form in Europe goes against the trend if taking into account that time and money invested in leisure activities has not stopped growing with countries economic development. In view of this situation, questions as following are required: what is the reason for
12、 this loss of competitive advantage?, what is being done wrong to be losing impact in a market, which, in theory, is becoming more and more inclined to consume leisure activities, such as the performing arts?, which agents are responsible for the results?, which agents are affected by the results?,
13、what can be done to improve this? These questions are the basis for carrying out this research study. 2.RELATIONSHIP MARKETING, SERVICES MARKETING AND CULTURAL MARKETING AS THREE CONVERGENT PERSPECTIVES: Relationship marketing has become one of the most important contributions in the development of
14、modern marketing science (Payne and Holt, 2001), and it has generated a recognised interest in the field of scientific research. What is more, in the opinion of numerous authors, it has even been seen as a new paradigm (Gummesson, 1999; Peck et al., 1999; Webster, 1992; Sheth and Parvatiyar, 2000; K
15、othandaraman and Wilson, 2000). With the concept by Gummesson (2002) on “relationship marketing is interactions in networks of relationships” as a starting point, the management of a cultural organization is understood as being necessarily determined by a multitude of agents in the market, be includ
16、ed in the organizations planning process, since the value of the final product is going to depend on them to a large extent. The role of the interest groups in the planning process of the organizations is one of the least cultivated areas of relationship marketing (Henning-Thurau and Hansen, 2000).
17、Payne and Holt (2001) explicitly refer to this deficiency: “understanding long-term relationships with both customers and other stakeholder groups has been neglected in the mainstream marketing literature; managing the organizations internal and external relationships needs to become a central activ
18、ity; this central activity is relationship marketing”. We are faced, therefore, with a new scenario in which one-to-one marketing has given way to many-to-many marketing (Gummesson, 2004); in other words, planning relationships with individuals has evolved to planning relationships with collectives,
19、 with interaction networks. On the other hand, either when contributions in the field of cultural marketing do not record enough standardization or volume to be grouped in trends or schools, they do share a value: the importance of relationships in their management. Contributions made in this area a
20、re very diverse, in most cases focusing on relationships with customers (relationships with the performing arts audience). Garbarino and Johnson (1999) use the stage of an off-Broadway theatre in New York to explore the transaction/relationship continuum proposed by Gronroos (1995) to conclude that
21、the performing arts audience has different behavioural profiles depending on the relationships developed with the organization or, specifically, “in a consumer environment in which customers receive highly similar services . there are systematic differences in the relationalism of different customer
22、 groups”. Rentschler et al. (2001) also considered an empirical approach to relationships with the audience of performing arts organizations in Australia: “what arts organizations need to consider is whether the expense of having high single-ticket sales is sustainable and, if not, what to do about
23、it”.3.THE PRODUCT AND RELATIONSHIPS WITH CUSTOMERS SUGGESTIONS ON A MODEL FOR THE RELATIONSHIP MANAGEMENT OF CULTURAL SERVICES: Relationships with the audience are the central component in the configuration of the relationship marketing management model for cultural organizations. This central place
24、 is shared with the cultural product, whose general marketing model presents special characteristics that differentiate it from the classic structure of marketing, as: 1. Marketing process starts in the producer organization, and from this origin (the cultural product) a decision has to be made conc
25、erning the part of the market that may be interested in consuming it. 2. Once potential consumers have been identified, the company will decide on the remaining relationship policies (instrumental and group, which we will cover below). Therefore, we are faced with a kind of market whose marketing pr
26、ocess shows a “product-to-client” type structure. The atypical structure transforms the relationship policy with the cultural customer, as it considers that the core of the product is unalterable (Colbert, 2001). This structure involves the development of a wide variety of relationships, which have
27、to be included in the value creation process forming the marketing of a cultural product. The cultural offering of a country, a region or a district is a source of benefits for a large number of social sectors. It is not for nothing that the recognition of the “need for culture” is well-known in vir
28、tually all developed countries (Council of the European Union, 2004), and public organizations, as well as private entities, are involved in satisfying this demand. Based on this situation, it is logical to assume that each and every one of these collectives has to be included in the organizations p
29、lanning and a “win-win relationship” needs to be implemented in connection with them.Performing arts organizations will have to manage a multitude of relationships to achieve their objectives. These relationships were formerly classified into two large categories (Quero, 2003): a. Instrumental relat
30、ionships: this first category groups the marketing mix instruments and incorporates a relationship focus (i.e., product, price, distribution and communication relationships). The differentiation factor characterizing the design of these policies is that they have to be planned taking as a reference
31、the creation of value for customers and for every one of the agents involved in the production process of the cultural services. b. Group relationships: the second of the categories is related to the identification and planning process of relationships with collectives or agents of interest, as the
32、performing arts audience, educational centres, public organizations, competition, suppliers, non-public organizations and internal relationships. From this point of view, group relationships and instrumental relationships are understood as different in nature, but they converge in strategy; in other
33、 words, whilst some of them require skills connected with the management of relationships with collectives, others require a different kind of skills, more visible for the customer and connected with decision-making in specific aspects, such as programme designing (product), ticket sales (distribution), show value (price) or conveying t
