is Vice-Chancellor of Southern Cross University. He has published over 90 articles on a variety of management and marketing issues and edited two books. He has a particular focus on relationship marketing in his research. He is a mathematician, who with Adrian Payne, developed a mathematical model for measuring whether effort should be put into catching or keeping customers in the banking industry.
ABSTRACTMarketing strategy in performing arts organisations has become particularly important in the increasingly competitive environment in which the arts operate. Since the late 1980s there has been a necessary shift in focus to audience development away from product development. This change in focus is being encouraged to ensure the long-term viability of performing arts organisations (PAOs) and micro-economic reform. While government reports have recommended strategies aimed at building audiencebased recognition, this is an expensive approach for many PAOs and does not produce shortterm returns. Little attention has been paid to building enduring relationships with existing audiences as a way of having a more dramatic impact on PAOs' long-term viability. This
There is an emerging dissatisfaction with the current evaluative regimes for the quality and effectiveness of funded arts organizations. Far too much evaluation rests on audience satisfaction surveys and quantitative measures of audience attendance numbers, production numbers and revenue sources. The intrinsic benefits of the arts to audiences and to society are recognized to be of major importance, but the means to measure these in an acceptable and on-going manner has not been found. This article changes that. It shows, through almost three years of data collection on arts audiences, that a newly developed and tested Arts Audience Experience Index can be used and embedded by companies and government funding agencies to measure the audience experience of quality, alongside other acquittal tools.
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