- Revered position as key part of “cultural fabric of civilised society”.
- National, local and international.
- Large volume of activity.
- High quality brand.
- Loyal customer base.
- Long history.
- Flexible – product, venue size.
- Generally based on funding mix of majority box office + government + private sector, therefore reduced risk by spread of revenue streams.
- Transcends language barriers.
- Strong commitment to education sector – long traditions of both school-based and private tuition.
- Heavy reliance on subscriber base.
- Time constraints leading to aversion to advance non-reversable commitments.
- More competition making ratio of marketing:sales ratio ever tighter to achieve cut-through.
- Unapproachable/elitist image in some sectors of industry – daunting for the “uninitiated”?
- Tension in business model between need for guaranteed sales up front and greater demand for customer-led engagement (flexible access options).
- Parallel decrease in CD/DVD/TV material leading to very narrow brand name recognition (only the biggest get through) – doesn’t fit the “celebrity chase” fad.
- Most companies run on stretched resources.
- History/reputation for being risk-averse.
- Brand strengthening through new products / programs.
- Leverage customer base, with more focused cross-promotion within sector.
- Develop wider audience through alliances and new formats (eg festivals).
- Education (life-long).
- Build on social aspect of concerts.
- Generational transfer of wealth may lead to greater philanthropic support.
- Technology – individualised access.
- Reduction in corporate sponsorship.
- Increasing artist fees and expenses.
- Other arts bodies (competing for funding and audiences).
- Generational change in tastes.
- Technology – alternatives to live music.
- Crowded school curriculum with decreased focus on music government focus on non-arts agendas.
- Skills shortage making it difficult to retain younger staff.
Mary-Jo Capps, on behalf of Musica Viva. Submitted 14 December 2007.
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