Paper presented at the ARF RE:THINK 2005 conference in NYC.

1. The Extension of The Concept of Brand to Cultural
Event Marketing
By
Professor Neal M. Burns
Director, Center for Brand Research
And
Esteban Ribero
Planner/ TBWA/Colombo Suiza/M.A.Candidate
Department of Advertising
The University of Texas at Austin
ABSTRACT
The work to be presented stems from a consideration of the ways in which a
classical or traditional musical performing group may be described in terms of its
attributes and the value of employing the concept of ”brand” in such message
development. The primary target market is considered to be occasional
attendees or those not opposed to such exposure. The research effort
culminates in the development of a message strategy that is both descriptive of
the offering as well as one that resonates with the intended audience. Equally
important is promoting the concept of “brand”. The suggestion is made that for
the classical music performing entity their brand reflect a business strategy that is
relevant to the audiences for whom the message is intended and represents a
consideration of the positive and restraining influences that impact the target
market’s desire to participate.
1. Introduction
There is evidence today to support a resurgence and renewed interest in
classical performance art forms – as well as contrary evidence and examples
that strongly suggest that symphonies, ballets, operas and chamber music
concert attendance is declining. For example, a survey of public participation in
the arts, conducted by the National Endowment for the Arts in association with
the Bureau of the Census reported that the audience for opera has grown by 25
percent over the past two decades and has attracted younger audiences (1). On
the other hand, in January 2003 the Tulsa Philharmonic in Oklahoma, facing $1
million debt, cancelled its remaining concerts for the season. Many U.S. non-
profit performing arts groups face an uncertain future, according to a study of
more than 850 arts organizations conducted by AMS Planning & Research Corp
during early October of 2004 (3). Boards and marketing managers report

2. immediate deterioration in ticket sales compared to last year, lower revenues
from corporate sponsorships, and the expectation of mid-term declines in
philanthropic and government support. “We have not heard from our funders yet,
but we are preparing for the worst,” said one dance company executive.
In all likelihood both points of view may be supported and evidence for either
position readily provided. This paper seeks to explore the relationship that the
perception of a brand has to the perception of the cultural event or performance
and the likelihood of attendance.
Our focus in this study has been on opera, although the authors believe that the
analysis holds for other “classical” music performances, cultural entertainment
events and the venues in which they are held. In an advertising context “opera”
can be considered to represent a category – or better perhaps a sub-category of
the class of entertainment events known as music performances. Opera
companies and performance venues may then be seen and understood as
“brands”; in that context the questions of attendance and audience become
amenable to quantitative and qualitative research techniques.
2. Research Objectives
We have chosen to approach the issues of entertainment, and Opera in
particular, as a branding issue. Brands are the superstars of the performance,
product and service worlds. In performance the brands may range from YoYo Ma
to Kobe Bryant – in the service category from Nordstrom’s to Montgomery Ward -
- and in products from Nike to Vioxx. Brands have shown themselves to be more
enduring than patents and copyrights and need no translation in worldwide
commerce. Brands do, however, require development and investment and are
different than merely attaching a name to the item or activity being introduced or
sold. Names become Brands with the intervention of a period of time and the
occurrence of a series of events between the introduction of the name and the
arrival of comprehension that the Brand exists. Brands, in this enlarged context,
bring three dynamics into play.
First, there is the implicit promise of a Brand. A Brand does something
for its adherents—and the perception of the opera Brand must be seen
by its users as being desirable and delivering value. Entertainment is
an anticipated deliverable of a cultural event.
• Secondly, a Brand by definition has a set of loyal customers that have
used/frequented it repeatedly or for a period of time. That audience is
an important part of the opera or cultural event Brand’s equity –
targeted cohorts must identify with the loyal supporters of opera,
frequently identified as season subscribers.
• Third, Brands have a position – they mean something not only to those
who use them but to those others in society who see them being used.
Brands have the ability to ‘speak’ and the resulting “conversation” tells

3. us something about the user. In examining the general position of
opera in the entertainment domain of people’s lives, we will measure
the attributes or equities of the “opera concept” to both generate
premises for re-positioning the Brand and reorganize the perceptual
framework of the targets of interest.
In summary, our strategic focus is to better understand the ways in which
messaging and brand advertising can be constructed to improve the promise
of entertainment as well as awareness and attendance at cultural events. The
results of this study will assist the discovery of the existing image of opera in
comparison to other competitive options and also suggest new themes and
imagery that can build the Brand.
3. Methodology for Entertainment Brand Study
The questions we sought to answer were selected from the wide range of
variables that impact the development of an entertainment brand. We wanted
to know –
• Why do they come to the opera or, conversely, why do they not come?
• What is their expectancy of value delivered and their general perception
of the category of entertainment event?
• What other out-of-home entertainment do they select? How frequently
do they attend and how are their favorite choices perceived?
In the earliest phase of our research we conducted a survey of Austin residents,
to determine their interest and participation in the arts. The survey was
administered both on-line and in person; the person-to-person interviews were
conducted at University of Texas at Austin events. Our interest was in the
entertainment events they tended to frequent. The slide that follows illustrates
those results.
In this small sample it was clear that or respondents go to the symphony more
frequently than the opera or the ballet. Their attendance of the symphony is
approximately twice as much as either the ballet or the opera.
The most frequent entertainment choices described by this sample were outdoor
activities, bars/clubs/dance halls and movies, in that order. The subjects’ ranking
of entertainment activities (between symphony, opera, ballet and plays/musicals)
was as expected. Plays/musicals was the top choice, and ballet was the least
favored. Most people ranked opera #3, with a rank of 1 representing most likely
to attend, and a rank of 4 meaning least likely. (It is interesting, however, that
almost all respondents indicated an interest in attending opera if the tickets were
“complimentary”.)
These findings were than augmented with a series of focus groups to better
identify the associations and decision making processes involved in choosing
cultural events as entertainment options (Play Tape). Net, net the respondents
were open to the arts and generally were positive about opera when asked – but
did not see it as an entertainment option.

4. To understand and compare the strength of several cultural entertainment
options the brand board game was presented to the respondents. The “brand
game” that has been by the TBWA/Colombo Suiza advertising agency and one
of the authors of this study used his familiarity with the technique to adapt it to
our on-line process. The full description and representation of this tool is
presented in the next section.
Our survey next sought to use concept mapping (4,5) to understand the
relationship between the terms “entertainment” and “opera”. In exploring the
associations of the terms “entertainment” and “Opera” the cognitive structure of
the respondent may help suggest more effective messages that will assist in
brand building. The architecture of associative networks resembles a Mind Map
in that it diagrams the association among the evoked attributes of the concepts.
Generally speaking, when the maps are drawn there is a visual pattern where
cognitive distance is represented. Thus, the layout has "flow", spatial
awareness, and a representation of the entirety of the category – in this case
entertainment. While mind maps often tend to be artistic the map we present is
more symbolic and “mathematical”. Its organization is intended to help the
reader/investigator conceptualize and integrate the category’s meaning and the
ways in which behavior may be operationalized.
The main data collection portion of the study was launched on line with the
respondents asked to perform variety of tasks. (The length of the survey did
result in some (seven percent) respondents terminating the session. The partial
data received was used however and the median responses described in the
results reflect those respondents as well as those completely finishing the
survey.
4. Results
The initial task of the respondents was to indicate their preference for a variety of
entertainment options. Table 2 shows that data.

5. Table 2. First Choices in Entertainment
The respondents were then asked to describe the associations they had with the
first choice they selected from the entertainment options. Table 3 describes
those findings:
Table 3. First Choice Association Choices
It was also important to understand the degree of familiarity and the
frequency of participation the respondents had with the entertainment
choices. The data are shown in Table 4 and generally are representative of
national statistics on this topic.

6. Table 4. Frequency of Attendance
Table 5: Opera Associations
The relatively low level of participation with the respondents concerning opera –
with almost a third of our sample never attending (in fact somewhat better than
national statistics) helps explain the nature of the positive and negative
associations for the opera event (Table 5). The contrast between the Opera
Associations and those for the First Choice (Table 3) are striking; there are – as
one might expect – few if any negative associations for First Choice but several
of significance for Opera. Interestingly enough, in a related survey on opera
season subscribers completed as part of this effort, 11% of 3000 responses
indicated that the cost of the tickets and preference for other forms of
entertainment “kept them from attending.”

7. The methodology next employed a “brand game” that has been used with
considerable success by the TBWA/Colombo Suiza advertising agency in
Bogota, Colombia. Essentially the respondent’s task is to place or position well
known brands on a numbered “checkerboard” with 100 spaces. The extreme
positions – Space 1 and Space 100 are adjacent to contrasting statements that
can be applied to the brands being presented. Three brand game boards were
presented to the on-line respondents. The opposing statement sets follow.
Blue Board: I generally know what they’re going to tell me <-> I would be
surprised every time I meet them.
Green Board: It would be boring to meet them <-> I would have a great time
with them.
Yellow Board: I would forget them easily <-> I would remember them after
meeting them.
There is a high degree of correspondence among the three boards that follow.
The consistent strength of the Apple (Mac) brand is apparent. It is not
unexpected (particularly given the huge I-pod success) and consistent with our
hypotheses that the well known venues will be rated highly.

8. Figure 1: Brand Excitement Level
The brand identified as the Metropolitan Opera on all boards fares much better
than several other brands and clearly surpasses The Dallas Opera. In the case
of “the Met” the investigators intended it to refer to the opera company but the
physical structure of the Lincoln Center is also often called the Met. In any case
the equity of the Metropolitan Opera brand is clear in the results of this exercise.
In all three boards one of the most well-known and highly recognizable logos,
apparently leaves little new to be discovered or understood. The brand Coca-
Cola generally well understood (Fig. 1), is only surpassed in the lack of interest it
evokes by The Dallas Opera (Fig. 2) and, of course, is memorable and one of
which our respondents were well aware Fig. 3).

9. Figure 2: Brand Interest Level

10. Figure 3: Brand Memorability/Awareness

11. It was from these observations and our survey described earlier in this section
that the mind maps and associative networks were constructed.
Figure 4: Associative Network: Entertainment

12. Figure 5: Associative Network: Opera

13. Figure 6: Associative Network: Preferred Entertainment and Opera
Figure 7: Associative Network: Entertainment and Opera

14. Figure 8: Associative Network: Strategic Option
4. Summary and Conclusions
Opera has become infused into and reflects popular culture. Groups like The
Three Tenors, composed of Luciano Pavarotti, Jose Carrera and Placido
Domingo, have sold millions of records and taken opera to totally new venues.
Yet, while the superstars have tremendous appeal and the classic reputation of
the Met continues its public perception as an entity of interest, memorability and
excitement other opera companies and classical performing groups languish in a
state of public non-involvement.
An Opera company can be perceived and presented as a Brand. Just as a
strong brand identification is developed for beer or running shoes – the authors
believe Opera companies deserve no less. In our studies we find that each of
the market segments of interest currently has a generalized perception of the
Opera and the experience such performances deliver. This perception and
anticipation functions as a definition for Opera. While those generalized
perceptions may not be the Brand definition or set of equities the management of
an Opera company might have chosen – it is the Brand definition their target
audience currently embraces. We believe that there are three major components
to the “opera” concept; the content, the venue and the company. In the
aggregate these three components generate the response to the “opera” or

15. classical performance concept. The following discussion addresses each of
these classical performance components. Equally important as the brand of
“opera” is redefined is to increase the association with “opera” and other classical
performance events with the considered set of activities generally known as
“entertainment”. A major finding here is that such is not the case currently.
The associative network results just shown describe the disconnect that exists
between the concept of entertainment and Opera. The presence of negative
associations with the “opera” concept represents barriers that need to be
understood and then overcome. The positive evoked activities that are
associated with “entertainment” clearly illustrate the views that correspond with
attendance figures and the conventional wisdom. In examining “opera” and its
associations however, in addition to the obstacles that need to be overcome
some significant personal and relevant message possibilities emerge. The sense
that “opera” delivers emotional content and insight that may serve as metaphors
for the listener’s contemporary life is a strong direction for message direction.
The promise of an “enriching experience” (Figure 7) is a strong promise for any
brand. Jealousy, desperation, joy, hope and the other associations mentioned in
figures 5,6 and 7 are frequent themes in classic opera as well as the work of
today’s composers (e.g., Dead Man Walking, Nixon in China). Brands develop
followings because what they deliver is considered relevant to their
audience/adherents. The message building suggested from this study is that
audience increase will occur as those members of their public somewhat curious
regarding opera – or persuadable – realize that opera is about their world. Early
in our study we reported that those respondents that had never gone to the opera
were interested in seeing a performance – albeit with a free ticket. Yet, such a
response may be interpreted as a willingness to explore this aspect of
entertainment.
Finances for brand development are critical and sustaining the brand and the
addition of a contemporary marketing and advertising program will help produce
well attended seasons and also help attract funding from enterprises previously
un-approached. Strengthening community involvement and visibility helps build
and maintain the brand’s presence. Clearly the education and community
programs initiated by many operatic and symphonic companies have addressed
the “hard to understand” association “opera” frequently elicited in our study as
well as helping to build an appreciation for the art form and increase audiences.
In this fashion opera and classical performing groups address the “content”
aspect of their “brand”.
The “dark’ non-performing periods associated with an opera “season” need to be
augmented and used to give exposure to the Hall (performance venue) and the
performing entity. The development of the Internet offers a new opportunity to
reach young and adult audiences with educational material that helps them to
enjoy opera, regardless of their level of experience.

16. Finally, not only does the existence of a brand means something to the
enterprise itself, but it can, under some circumstances, serve to revitalize the
enterprise’s volunteers and staff. Re-positioning the entertainment value and
breadth of appeal of Opera in a visible and exciting fashion will serve to energize
all those who administer and help deliver the product. The sense that “things are
different” will call for new and energetic attitudes from those working with Opera.
Their sense of pride and accomplishment and the increased public appreciation
and respect they will receive are important components of the success of the
proposed program. That staff pride is also one of the benefits of brand
development.
In conclusion, the brand – Opera – in all aspects must be perceived as
entertainment. A “good time” is integral to the entertainment experience – the
event and its anticipation are to be evocative of enjoyment – from valet parking
(an amenity to be considered when possible) to the program itself. It is, as our
data shows, part of the definition of entertainment – and, a good time is not in
conflict with the intellectual and emotional connections and rewards Opera
delivers. It is all part of entertainment.
.

17. Bibliography
1. American Participation in Opera and Musical Theater. National
Endowment for the Arts, Research Division, 32. Seven Locks Press, 1995.
2. American Participation In Theater National Endowment For The Arts,
AMS Planning & Research Corp., Seven Locks Press, 1996.
3. 2002 Survey of Public Participation in the Arts. AMS /National Endowment
For The Arts, Research Division, 46. 2004.
4. http://www.peterussell.com/mindmaps/mindmap.html
5. Buzan, T. The Mind Map Book: How to Use Radiant Thinking to Maximize
Your Brain's Untapped Potential, Penguin Books, New York.

18. APPENDIX 1
On –line Survey Instrument
1. Please rank [place the number of your choice, 1=first choice, etc in the box] the
three (please select only three) out of home cultural activities that you consider the
most entertaining from the list below.
Going to hear a band
Attending a classic music concert
Attending a ballet
Going to watch a movie
Going to a party
Going to an art exposition
Going to a play
Attending an opera
Going to a good restaurant
Dancing
Going to a bar
Traveling
Shopping
Attending a sports event
2. Now, please rank from the following list the three (again, please select only three)
attributes that you consider are most descriptive of your first choice from the list of
cultural activities above.
Envy
Hard to understand
Enjoyable
Complex
Stimulating
An enriching experience
Distant
Emotive

19. Joy
Excitement
Rage
Boring
Love/Passion
Hope
For older people
Desperation
Jealousy
Terribly expensive
3. Now, please select from the following list the three (again, please select only three)
attributes that you consider are most descriptive of your experience - or anticipated
experience – in going to the Opera.
Envy
Hard to understand
Enjoyable
Complex
Stimulating
An enriching experience
Distant
Emotive
Joy
Excitement
Rage
Boring
Love/Passion
Hope
For older people
Desperation
Jealousy
Terribly expensive