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Summary Boorsma & Chiaravalloti (2010) Arts Marketing Performance
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Summary of the article Arts Marketing Performance: An Artistic-Mission-Led Approach to Evaluation by Boorsma & Chiaravalloti (2010).
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Boorsma & Chiaravalloti (2010) Arts Marketing Performance: An Artistic-Mission-Led Approach toEvaluation
This article suggests evaluating the performance of arts marketing based on the contribution made to
the achievement of the arts organization’s artistic mission and proposes a model based on Kaplan
and Norton’s Balanced Scorecard to guide the artistic-mission-led evaluation of arts marketing
performance. By paying attention to the new strategic role of arts marketing within the emerging
relational view of the arts and by integrating recent literature on performance management in
nonprofit organizations, we make a theoretical contribution to the body of knowledge on arts
marketing performance evaluation.
Introduction
After reviewing the existing literature on the relationship between arts marketing objectives and
performance evaluation, we explain our choice of the concept of arts marketing based on a relational
view of the arts proposed by Boorsma (2006). Consequently, we propose a performance
management model for arts organizations based on this concept and built upon the Balanced
Scorecard (Kaplan and Norton 1992), which serves as a guide for an artistic-mission-led evaluation of
arts marketing performance.
Arts Marketing Objectives and Performance
Kotler and Scheff (1997, 54–55) as well as Kotler and Kotler (1998, 87–88) state that nonprofit
organizations pursue objectives other than maximizing profits and propose the following set of
possible management objectives for nonprofit museums and performing arts organizations:
Surplus maximization (maximizing revenues minus costs)
Revenue maximization
Usage maximization (maximizing attendance numbers)
Capacity targeting (encouraging or discouraging demand so as to align it with existing
capacity)
Full or partial cost recovery (breaking even or putting a maximum on the annual deficit)
Budget maximization (maximizing the size of the organization and the number of programs
offered)
Producer satisfaction maximization (maximizing the staff’s own professional interests)
In order for them to be able to evaluate performance, the chosen objectives ideally have to
be restated in the operational and measurable form known as goals. This is possible for
tangible objectives. Audience numbers and financial results are generally considered proper
indicators for evaluating marketing effectiveness as long as efficiency considerations do not
interfere with artistic decisions.
There are several reasons that can explain the preponderance of financial data and audience
numbers among arts marketing objectives and performance indicators.
- The system of public subsidies made arts organizations less alert to changes in consumer
behavior and to competition from the ever- expanding entertainment industry.
- The assumptions underlying arts marketing theory, according to which the role of arts
marketing is to support the accomplishment of the arts organization’s mission without
influencing the mission directly.
Organization’s Mission And Arts Marketing According To A Relational View Of Arts
Under the assumption of autonomy, the arts organization’s artistic mission is likely to be defined in
terms of the works of art that the organization wants to create, present, collect, and/or distribute.
The arts are no longer seen as a phenomenon that exists independently of general cultural practice:
instead they are now seen as a culturally or socially embedded phenomenon. Works of art and their
valuation are considered to be the product of social interaction.
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