experiential marketing in art and culture the power of emotions antwerp-24 march 2014
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the power of emo+ons in post-‐modern society !
experien+al marke+ng in art and culture
Antwerp March 24, 2014
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Prof. Jean-‐Pierre Baeyens Solvay Brussels School of Economics & Management
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Pre-‐modern era: religion is the source of truth
Modern era: science is predominant source for truth & reality
Post-‐modern era: no single defining source for truth & reality beyond the individual
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« modernity was confident
postmodernity is anxious »
« modernity had all the answers
postmodernity is full of ques+ons »
« modernity beleived in reason, science and human ability
postmodernity wallows in mys+cism, rela+vism, and the incapacity to know anything with certainty »
Steven W. Cornell, 2007
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First phase of postmodernity: crucial cultural explosion of the six+es the babyboom genera+on demanded entrance into poli+cal, cultural and educa+onal power structures Second phase of postmodernity: digitality digital produc+on of informa+on allows individuals to manipulate virtually every aspect of the media environment. wikipedia
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Lyotard CHANGE
Modernity: constant change in the pursuit of progress
Postmodernity: change has become the status quo. The no+on of progress is obsolete
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POSTMODERNITY From knowledge to doubt
From op+mism to nihilism
From reason to emo$ons
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(Maya Angelou)
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TRANSACTION
USAGE
RELATIONSHIP
MARKETING 3 levels of action
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Experien+al Marke+ng is rela+onship marke+ng. It’s about building an emo+onal connec+on with consumers leading them to become « brand advocates » by sharing their experiences with others.
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Experien+al Marke+ng a new way to conquer the five senses of audiences: see, hear, smell, taste and touch to get them
Sense Feel Think
Act Relate
Schmi_ (1999,2010)
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Experien+al Marke+ng Examples: Disneyland Southwest airlines Samsung smartphones Heineken Haagen Dasz Abercrombie & Fitch Singapore Experien+al Mari+me museum Rolling Stones tours …. h_ps://www.youtube.com/watch?v=f4iQ3TCbqTk&list=PLxHOUpBObAw7L9GIzHK7hCDU1qxjmBb2&index=9
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Experien+al marke+ng: empowering art & culture ?
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Performing art vs heritage Ins$tu$ons vs events (fes$vals,…) « commercial » objec$ves vs ar$s$c goals Visitor access vs preserva$on Scien$fic mission vs entertainment “Staging the past, enac+ng the present” Experien+al marke+ng in the performing arts and heritage sectors Tony Conway and Debra Leighton
Welcome to cultureland
???
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Experien+al Marke+ng What should you care for ?
1. Building and increasing engagement
2. Increasing rela$onship and loyalty 3. Crea+ng emo$on and memories
4. Increase awareness via buzz 5. Increasing ac$on desire
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Experien+al marke+ng aims to provide consumers with compelling and memorable experiences that emo+onally connect them to a brand each +me they buy a product. (Pine and Gilmore, 2002)
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Experien+al drivers
1. Street Com
2. Web 2.0
3. Spa$al environments
4. Events 5. People 6. Etc.
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WOW EFFECT SENSE & MEANING MEMORIES
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A vision and a philosophy A clear view of your target audience(s) A value proposi+on
In+mate knowledge of your audience segments Day to day interac+ons on line and off line Ac+ve listening, smart observa+on, ongoing curiosity
ACTION PLAN
NOW, JUST DO IT !
STRATEGY
EXPERIENCE MIX
AUDIENCE INSIGHT
Based on touchpoint and moments of truth analysis: Marcom Event Physical sesng Web 2.0 People
What ? When ? Where ? Who ? With whom ? For how much ?
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Prof. Jean-‐Pierre Baeyens Holder of the Marke+ng Chair Solvay Brussels School of Economics & Management Mobile: +32 (0) 475 25 66 31 Follow me on h_ps://www.facebook.com/proup.baeyens