1、0Relationship 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 proposed, what is an unprecedente
2、d 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 and group relationships.
3、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: Cultural marketing erformi
4、ng 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 some light on this dilemma. T
5、raditional 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 make an in-depth study of
6、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 phase, but has probably fou
7、nd, 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 they seem to have come to a
8、 consensus 1in 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 Scheff, 1997). Contribut
9、ions 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 that the relationship marketi
10、ng 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, the decreasing consumpti
11、on 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 this loss of competitive
12、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?, what can be done to improv
13、e 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 modern marketing science (
14、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; Kothandaraman and Wilson, 2
15、000). 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 included in the organizations pl
16、anning 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). Payne and Holt (2001) expl
17、icitly refer to this deficiency: “understanding long-term relationships with both customers and other stakeholder groups has been neglected 2in the mainstream marketing literature; managing the organizations internal and external relationships needs to become a central activity; this central activit
18、y 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, with interaction network
19、s. 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 are very diverse, in most
20、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 the performing arts audie
21、nce 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 groups”. Rentschler et a
22、l. (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 it”.3.THE PRODUCT AND REL
23、ATIONSHIPS 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 is shared with the cultur
24、al 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 concerning the part of the mar
25、ket 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 process shows a “product-to-
26、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, 32001). This structure involves the development of a wide variety of relationships, which have to be included in the val
27、ue 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 virtually all developed coun
28、tries (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 planning and a “win-win re
29、lationship” 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 relationships: this first cate
30、gory 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 the creation of value for
31、 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 performing arts audience,
32、 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 words, whilst some of th
33、em 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) o
34、r conveying the information to the market (communication). However, the management of both groups has to converge in obtained results at the end. In other words, that is to say that every one of the collectives has to have its expectations met in these decisions. 4. CONCLUSIONS: 4The aim of this stu
35、dy was to contribute to the development and implementation of relationship marketing, services marketing and cultural marketing in a specific area: the performing arts sector. The process of selecting and planning the relationships suggested by the relationship marketing paradigm has enabled to deve
36、lop a theoretical model for organizations of performing arts services, in which two types of relationship groups are identified: instrumental relationships and group relationships. Instrumental relationships include product, price, distribution and communication relationships in the model, with the
37、particular feature of the fact that their design has to be dependent on the analysis of the effects they may have for every one of the interest groups. With regard to group relationships, seven collectives have been identified: performing arts audience, educational centres, public organizations, com
38、petition, suppliers, other organizations and internal relationships. Every one of them is capable of creating and receiving value in their relationships and, therefore, they have to be included in organizations planning process, in order to implement win-win strategies. In the area of relationship m
39、anagement with the performing arts audience, a classification of the audience has been proposed on the basis of relationship criteria, which has enabled two important phases to be identified in the retention process with cultural customers, the attraction phase and the retention phase, whose primary
40、 objective is to foster relations with the customer until the highest possible level of relationship with the organization is obtained. The empirical contribution has served to corroborate the theoretical contribution by implementing a study on the current performing arts audience in Spain and the g
41、eneral public, which demonstrates the importance of managing relations between the cultural organization and its customers and the benefits of implementing an appropriate relationship marketing strategy. This research study could be also considered as a significant contribution to the marketing disc
42、ipline, due to its important theoretical implications: 1. Relationship Marketing is considered as the integrating paradigm, capable of adapting to the requirements of cultural services, in general, and to performing arts services, in particular. 2. The marketing-mix paradigm is included into the man
43、agement model, redefining its main instruments as product, price, distribution and communication relationships. It is also an unprecedented contribution in the field of cultural marketing, at least in Spain, offering a theoretical model for the planning and management of organizations 5offering perf
44、orming arts services. This study paves the way for a multitude of future lines of research. For example, the study of every one of the interest groups and their role in the process of creating value, as well as the way in which instrumental relationships have to be implemented emerge as priority act
45、ions to be implemented in order to build some foundations in the area of arts marketing that are as solid as those in other sectors.关系营销和服务营销：文化部门价值创造的会聚性观点摘 要关系理论架构模式，文化服务管理模式(关系营销的文化组织)，在销售领域做出了前所未有的贡献。通过联合使用两种会聚性的观点关系营销和服务营销，这两大类型的关系是：互助的关系和组织的关系。本文对有关的关系深入研究表演艺术的观众。理论和实证研究相结合，其中包括面对面访谈 1005 个表演艺
46、术的消费者和电话采访在西班牙的 2005 个人。关键字：文化营销 关系营销 服务营销 1作品简介最近的文献毫无疑问地证明营销管理在这两种形式和内容上有了革命性的变化，将导致几个研究项目在短期内出现进退两难的局面。传统的管理模式与范例不适合新产品的要求，因为这个模式发展至今有了越来越多的例外（Lovelock and Gummesson, 2004; Vargo and Lush, 2004）。在这个复杂的背景下，本文旨在利用关系营销和服务营销这两个并发的观点对文化服务管理领域进行研究，以致力于发展新的营销领域：文化营销（陈蕙美，2005）。这是一种很可能已经建立但仍然处在发展阶段的新模式，在合
47、适的时机能发展壮大并成为满足其特殊要求的管理结构和模式。从一开始，文化产业的贡献对市场规律来说就非常不同。然而，虽然在科学界他们对于思想文化本身的管理呈现出的相当不同的特点似乎已经达成了共识。（Voss and Voss, 2000; Colbert, 2001; Johnson and Garbarino, 2001; Arts Council of England, 2003; Kotler and Scheff, 1997）。在市场调研过程中，来自营销管理领域的贡献还不足以构建一个坚硬得足以建立类似于传统市场的管理框架的知识基础。6在此背景下，更说明关系营销范例为文化管理的实施和集中在表
48、演艺术服务业的研究提供了一个合适的框架，是因为考虑到这是其中最被科研管理人员遗忘的行业。此外，在欧洲降低艺术形式的消费，违背了如果考虑到把时间和金钱投资于休闲活动，并不能停止国家的经济发展这一消费趋势。 针对这一情况，以下要求：为什么会失去竞争优势？我们做了什么错误影响了市场，在理论上，变得越来越倾向于消费的休闲活动，如表演艺术？哪位代理人对结果负责？结果又影响哪个代理人？那我们该怎么做才能改善？这些问题是执行本调查研究的基础。2关系营销、服务营销和文化营销三个会聚性的观点关系营销已经成为推进现代科学营销学发展的一个最重要的贡献 (Payne and Holt, 2001)， 并在这一科学研究
49、领域引起了公认的兴趣。在许多作者的看法中,它甚至被看作是一个新的范例。 （Gummesson, 1999; Peck et al., 1999; Webster, 1992; Sheth and Parvatiyar, 2000; Kothandaraman and Wilson, 2000） 。Gummesson（2002）的观念是以“关系营销网络的相互作用关系”为出发点，文化组织管理被理解为必须是由众多的代理人确定在市场上的竞争力，并纳入组织计划的过程中，在很大程度上最终产品的价值要依靠他们。在计划过程中利益团体的作用是组织关系营销的最小产区（Henning-Thurau andHansen,2000）。Payne and Holt（2001）明确提及其不足之处：“在主流营销市场上，与顾客和其他的利益相关群体长期保持友好关系一直被忽略；管理组织的内外部关系成为焦点活动；是关系营销的中心活动”。因此，摆在我们面前的是一种新的发展趋势，从一对一营销方式转变为多对多的营销方式（Gummesson,2004）；换句话说，从规划个人发展关系转变为集体规划互动网络。另一方面，在文化营销领域的规范性贡献不足够迎合团队或学校的潮流，他们都有一个价值观：在他们的管理中各种人际关系的重要性。 在这个领域
