![Marketing Strategy
Local [navigation] UK Europe Long Haul
Digital
Campaigns
Travel Trade
PR
Partnerships](https://image.slidesharecdn.com/jamesculturaltourism-120927061138-phpapp01/85/James-McVeigh-Cultural-tourism-15-320.jpg)
![1. Digital: Partnerships
2007 2008 2009 2010 2011 2012
• From internal focus with
limited external partnerships
to:
– Working with key partners on
Festival coverage, Festivals
promotions and key new
developments [eg Skyscanner]
– Organic (unpaid) support for
Festival digital initiatives
– Integration with value added
partners who provide content
and/or services (eg Blipfoto)](https://image.slidesharecdn.com/jamesculturaltourism-120927061138-phpapp01/85/James-McVeigh-Cultural-tourism-19-320.jpg)
![Lessons Learnt
1. Divided by a common language
2. Creation of evidence base
3. Prioritise audiences
4. Understand audience - behaviours, motivations and journeys
5. Prioritise markets
6. Understand markets – behaviours, motivations and tailor messaging
7. Promote on basis of brands not programmes [evergreen content]
8. Content is king
9. Constant communication – data acquisition and CRM
10. Ambassadors as communication – relevance to markets
11. Importance of digital and mobile [death of the app?]
12. Development of collateral – for use by partners [open up content]
13. Importance of partnership campaigns – greater use of limited resources
14. Piloting new approaches to developing mutual beneficial cross-sectoral
relationships [London 2012 & Glasgow 2014]
15. Collaboration is hard work and takes time [eg sign off]
16. Success breeds ambition and evolution of innovation](https://image.slidesharecdn.com/jamesculturaltourism-120927061138-phpapp01/85/James-McVeigh-Cultural-tourism-31-320.jpg)
James McVeigh: Cultural tourism
- 1. Marketing Edinburgh’s Festivals: Cultural Tourism
- 4. History and Context 1947 1950 1978 1983 1988 1990 1994 1995
- 5. Positioning: Research 2007 2008 2009 2010 2011 2012 • First definition of our cultural, social and environmental impacts • Scale & comprehensiveness of the study is unique • Festivals have consistently positive impacts • Festivals offer is truly distinctive • Economic impact of the Festivals continues to grow
- 7. Research: Audience Audience Profiling • Demographic • Socio-economic • Motivations & behaviour
- 8. Research: Focus Groups • Target markets – Northern UK Cities – South East of England – Germany – USA & Canada • Aims to appeal to typical festival audiences – Mosaic Group A:Alpha Territory – Mosaic Group B:Professional Rewards – Mosaic Group O:Liberal Opinions • Focus groups – Recent Attendees – Potential Attendees
- 10. Decision making journey 6 months 3 months The Sunday Supplements are great when you have I read a review about a play at the time to browse – you can Traverse Theatre in the Guardian and have a good look through so I booked it. them. (Non attender 35+)
- 11. Motivations • Have friends in Edinburgh or friends are going • Late night clubs, partying, non stop fun! • Diversity of cultural experiences • The beautiful city of Edinburgh • Friendly people • The atmosphere, great buzz • Its cost effective – many events are free • Small city so easy to walk around, all contained • The city is the backdrop for the festival • It’s unique • General low awareness of more than Fringe • Perceptions are of a busy city that is hard to navigate • Just ‘not got round to it’ • Put off by the hustle and bustle and the expense
- 12. German Market • Keep language simple or translate it • Make sure it translates well • Don’t assume Germans know a lot about the festivals • Must work well online • Transport magazines (rail) • Consider Cologne and Bavaria region • Cologne has a reciprocal state agreement with Scotland so there will be marketing opportunities • Bavaria region, they are really into Scotland • Baden-Wurttemberg is a wealthy untapped region
- 13. USA market • Online will be key for this market – The message must be communicated quickly • The US family market will not be likely to consider the Edinburgh Festivals • Key NYC venues to promote festivals through – Brooklyn Academy of Music – Lincoln Centre • New York magazine online (promotes other places to visit at certain times of the year) • Partner with airlines and tour operators
- 15. Marketing Strategy Local [navigation] UK Europe Long Haul Digital Campaigns Travel Trade PR Partnerships
- 16. 1. Digital: Website 2007 2008 2009 2010 2011 2012 • From this.... – Static – Only fit for purpose in summer – Listings but no ticket purchase
- 17. 1. Digital: Website 2007 2008 2009 2010 2011 2012 • To this... – Year round offering clear – Dynamic elements: social media integration – ‘Evergreen’ magazine content – Itinerary planning – Cross festival ticketing – Festival showcase
- 18. 1. Digital: Content 2007 2008 2009 2010 2011 2012 • From basic content on website to: – Year round ‘magazine content’: planning, booking, top tips – Digital magazines showcase year round offering – Video to add value and create interest – All content used to power other channels, e.g. Facebook and Twitter – Social tools announce key programme dates, tickets on sale etc – Facebook planning app allows users to tell friends which shows they will be going to
- 19. 1. Digital: Partnerships 2007 2008 2009 2010 2011 2012 • From internal focus with limited external partnerships to: – Working with key partners on Festival coverage, Festivals promotions and key new developments [eg Skyscanner] – Organic (unpaid) support for Festival digital initiatives – Integration with value added partners who provide content and/or services (eg Blipfoto)
- 20. 1. Digital: Traffic Drivers 2007 2008 2009 2010 2011 2012 • From SEO/PPC in 2008 to: – broadening into social spaces such as Youtube and Facebook – targeting international and London South East audiences – digital integration into major consumer campaigns
- 21. 1. Digital: CRM 2007 2008 2009 2010 2011 2012 • From no database/messaging to: – Using the website and major campaigns to acquire data – Tailored communications based on user interest and preference – Analytics links emails to ticket purchase, tracking effectiveness -2012
- 22. 2. PR 2007 2008 2009 2010 2011 2012 • From Agency model • To Freelance model • To in-house operation • Travel/lifestyle press – Not arts or news – Not reviews • Media events • Support agencies media visit programmes • Creation of content • Long term strategy and planning
- 23. 2. PR: Media Pitching 2007 2008 2009 2010 2011 2012 MARKET PUBLICATION/OUTLET NYT, USA Today, Washington Post, Marie Claire, NORTH AMERICA Village Voice, Toronto Star, Globe & Mail, National - Primary Post GERMANY Frankfurter Allgemeine Zeitung, Der Spiegel, Der - Primary Tagiesspiegel, Grazia FRANCE/ITALY/SPAIN Le Monde, Le Figaro, L’Espresso, La Repubblica, El - Secondary Pais, El Mundo Aftonbladet, Expressen, SVT Sweden, De Telegraaf, SWEDEN/NETHERLANDS - Secondary Metro EMERGING MARKETS Target primarily China & India depending on location - Tertiary of festival activity.
- 24. 2. PR: Media Pitching 2007 2008 2009 2010 2011 2012 Which arguments ticks boxes with international media? • Affordable (e.g. Opera tickets start at £13) • Equalitarian (for everyone) • Non-language specific • Global names of tomorrow • Incredibly visual Some of the generic travel pitches: • Ten reasons to come to Edinburgh Festivals • 48 hours in Edinburgh • Programme highlights • See the hidden city through the festivals • How to do the festivals for free • Match best restaurants to best performances
- 25. 2. PR: Events 2007 2008 2009 2010 2011 2012 • Domestic - London Launch Event and Broadcast • International - Events in Berlin, NYC, Washington, China and Sydney • Hosted media events in New York and Toronto, visited key travel writers and journalists • Use of Ambassadors • Broadcasting Strategy – Commissioners Lunch
- 26. 3. Campaigns: Domestic 2007 2008 2009 2010 2011 2012 • VisitScotland/British Airways campaign – Tube and Rail • Time Out Partnership
- 27. 3. Campaigns: International 2007 2008 2009 2010 2011 2012 • VisitScotland/New York Visit Scotland campaign - 2011 Times competition - 2010
- 28. 4. Travel Trade: Research 2007 2008 2009 2010 2011 2012 • To maximise features with tour operators. Info needed in June previous year for subsequent summer product (price & info) • Longer the lead, easier the sell (Expo) • Longer runs useful - more worthwhile • Unnamed show – need the “confidence “ in Festival/ Operator • “ The only way to sell unnamed shows is via a pass” • Specific shows – can be more tricky to sell to customer base • Can we develop long runs – thematic / via an event? • Product development of a pass?
- 29. 4. Travel Trade: Product 2007 2008 2009 2010 2011 2012 • Trade exclusive product • 3 shows in a day [9am-midnight • From £42 net; freesale product • Flexibility for operators to add margin • Fixed price, fixed itinerary • In the know: tickets taken from Critics Pick selections • Hassle-free: no time-consuming ploughing through brochures, with fixed itinerary • Ideal for short itineraries
- 30. Lessons Learnt
- 31. Lessons Learnt 1. Divided by a common language 2. Creation of evidence base 3. Prioritise audiences 4. Understand audience - behaviours, motivations and journeys 5. Prioritise markets 6. Understand markets – behaviours, motivations and tailor messaging 7. Promote on basis of brands not programmes [evergreen content] 8. Content is king 9. Constant communication – data acquisition and CRM 10. Ambassadors as communication – relevance to markets 11. Importance of digital and mobile [death of the app?] 12. Development of collateral – for use by partners [open up content] 13. Importance of partnership campaigns – greater use of limited resources 14. Piloting new approaches to developing mutual beneficial cross-sectoral relationships [London 2012 & Glasgow 2014] 15. Collaboration is hard work and takes time [eg sign off] 16. Success breeds ambition and evolution of innovation
- 32. Marketing Edinburgh’s Festivals: Cultural Tourism Questions and Answers
Editor's Notes
- #10: Combining all the word together