Made available in DSpace on 2016-04-25T20:20:49Z (GMT). No. of bitstreams: 1 tese_final.pdf: 2815536 bytes, checksum: 3de3b2f497137c075824b31f2505d95a (MD5) Previous issue date: 2005-11-04 / The practice of cultural marketing has been presented as an alternative for the society into a context of which the retraction of the State occurred as a great supplier of social demands. It is important to establish a distinction between the company, which really practices it as an exercise of social responsibility and that, which takes advantage of more than one marketing action, aiming to create a value for the institutional trademark. In this study, it was observed that it is not enough to invest in cultural actions when the other activities of the company have many harmful effects to the society, resulting in the invalidation of the benefits generated by this pseudopractice. Thus, the approach of companies with cultural activities may not be disassociated of concepts of social responsibility and organizational ethic. The comprehensive practice of the cultural marketing may have a positive influence on the three following aspects: social, economic and marketing. Therefore, to invest in cultural marketing must be part of a long-term strategy of less immediatist action companies with concerns beyond the profit of this practice or with interests related to fiscal investment incentives given by the government to those who invest in cultural activities. In accordance with this study, the society (mainly, the consumers inserted on it) has a fundamental role to lead the practice of social responsibility based on the investment of cultural actions. In our research another factor could be observed as the union of efforts of the three sectors of the society represented by the state, enterprises and civil society aiming to emphasize the impact of the developed actions. Finally, it was observed that the cultural marketing does not guarantee that the society could differentiate the company aiming social actions from those using the concept of marketing practices / A prática do marketing cultural tem se apresentado como alternativa para a sociedade em um contexto de retração do papel do Estado, como grande provedor das demandas sociais. É importante estabelecer a distinção da empresa que realmente a pratica como exercício de responsabilidade social de quem se aproveita apenas para mais uma ação mercadológica com o objetivo de criar valor à marca institucional. No estudo, percebeu-se que não basta investir em ações culturais se as demais atividades da empresa têm efeitos tão prejudiciais à sociedade que acabam anulando os benefícios gerados por essa pseudoprática. Assim, a aproximação das empresas das atividades culturais não pode estar desassociada dos conceitos de responsabilidade social e ética organizacional. Praticar o marketing cultural de forma ampla influenciará positivamente no tocante a três aspectos: social, econômico e mercadológico. Sendo assim, investir em marketing cultural deve ser parte de uma estratégia de longo prazo de empresas menos imediatistas, com preocupações que estão, para além do lucro do exercício ou por interesses relacionados aos incentivos fiscais concedidos pelo governo, para quem investe em atividades culturais. Conforme o estudo, a sociedade (sobretudo, os consumidores nela inseridos) exercem uma função fundamental para levar a prática de responsabilidade social pautada no investimento em ações culturais. Na pesquisa, outro fator identificado foi a união de esforços dos três setores da sociedade representados pelo Estado, empresas e sociedade civil com o objetivo de maximizar o impacto das ações desenvolvidas. Finalmente, observa-se que a forma do marketing cultural não garante que a sociedade diferencie quem investe com objetivos sociais de quem apenas faz uso do conceito para práticas mercadológicas

Made available in DSpace on 2016-04-26T14:53:45Z (GMT). No. of bitstreams: 1 tese_final.pdf: 2815536 bytes, checksum: 3de3b2f497137c075824b31f2505d95a (MD5) Previous issue date: 2005-11-04 / The practice of cultural marketing has been presented as an alternative for the society into a context of which the retraction of the State occurred as a great supplier of social demands. It is important to establish a distinction between the company, which really practices it as an exercise of social responsibility and that, which takes advantage of more than one marketing action, aiming to create a value for the institutional trademark. In this study, it was observed that it is not enough to invest in cultural actions when the other activities of the company have many harmful effects to the society, resulting in the invalidation of the benefits generated by this pseudopractice. Thus, the approach of companies with cultural activities may not be disassociated of concepts of social responsibility and organizational ethic. The comprehensive practice of the cultural marketing may have a positive influence on the three following aspects: social, economic and marketing. Therefore, to invest in cultural marketing must be part of a long-term strategy of less immediatist action companies with concerns beyond the profit of this practice or with interests related to fiscal investment incentives given by the government to those who invest in cultural activities. In accordance with this study, the society (mainly, the consumers inserted on it) has a fundamental role to lead the practice of social responsibility based on the investment of cultural actions. In our research another factor could be observed as the union of efforts of the three sectors of the society represented by the state, enterprises and civil society aiming to emphasize the impact of the developed actions. Finally, it was observed that the cultural marketing does not guarantee that the society could differentiate the company aiming social actions from those using the concept of marketing practices / A prática do marketing cultural tem se apresentado como alternativa para a sociedade em um contexto de retração do papel do Estado, como grande provedor das demandas sociais. É importante estabelecer a distinção da empresa que realmente a pratica como exercício de responsabilidade social de quem se aproveita apenas para mais uma ação mercadológica com o objetivo de criar valor à marca institucional. No estudo, percebeu-se que não basta investir em ações culturais se as demais atividades da empresa têm efeitos tão prejudiciais à sociedade que acabam anulando os benefícios gerados por essa pseudoprática. Assim, a aproximação das empresas das atividades culturais não pode estar desassociada dos conceitos de responsabilidade social e ética organizacional. Praticar o marketing cultural de forma ampla influenciará positivamente no tocante a três aspectos: social, econômico e mercadológico. Sendo assim, investir em marketing cultural deve ser parte de uma estratégia de longo prazo de empresas menos imediatistas, com preocupações que estão, para além do lucro do exercício ou por interesses relacionados aos incentivos fiscais concedidos pelo governo, para quem investe em atividades culturais. Conforme o estudo, a sociedade (sobretudo, os consumidores nela inseridos) exercem uma função fundamental para levar a prática de responsabilidade social pautada no investimento em ações culturais. Na pesquisa, outro fator identificado foi a união de esforços dos três setores da sociedade representados pelo Estado, empresas e sociedade civil com o objetivo de maximizar o impacto das ações desenvolvidas. Finalmente, observa-se que a forma do marketing cultural não garante que a sociedade diferencie quem investe com objetivos sociais de quem apenas faz uso do conceito para práticas mercadológicas

Made available in DSpace on 2016-04-26T18:15:08Z (GMT). No. of bitstreams: 1 Beatriz Helena Ramsthaler Figueiredo.pdf: 1344240 bytes, checksum: 33a828ea906afb1fbe9ef253e09e3c4d (MD5) Previous issue date: 2015-06-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Over the past two decades in Brazil (1991-2012), the scenario involving the relationship between television and theatrical performances comprises the intertwining of media with public cultural policies, specifically in view of the enforcement of the Rouanet Law (Federal Law for the Promotion of Culture) . Theatrical performances of various natures are mediated by a publicity relationship with television. Many are structured considering the actor of national recognition (often produced by the media structures), both for funding and for ensuring the dissemination or accession of the audience. The media takes over the cultural duties and assigns them values that should be brought to light to be discussed by the social agents who think, use, produce and create the mechanisms that support culture in the country. The question guiding this research is that an economy based on tax incentive socially builds certain symbolic values for culture, in an operation that ends up regulating the survival of this artistic segment due to the type of social significance that it promotes. The hypothesis is that the media standardize the expansion of certain types of theater, and the Brazilian broadcast television has a specific role, which produces a market trait that impacts the theatrical production in the country. In this sense, the media has acted similarly to the parameter of natural selection in the evolution process explained by Charles Darwin, in 1859. To explore this hypothesis, we adopted the Bodymedia Theory (Katz & Greiner), which pleads a relationship of codependence between body and environment, which in this study will be transformed into the structural axis of the literature on television (Arlindo Machado and Elizabeth Bastos Duarte), media (Siegfried Zielinsky and Armand Mattelart), cultural policies (Leonardo Brant, Antonio Albino Canelas Rubim and Lia Calabre) and culture (Amálio Pinheiro, Néstor Garcia Canclini, Boaventura de Sousa Santos and Serge Gruzinsky). The methodology is that of the literature review to make it possible to build a critical reading of the culture-communication relationship that is expressed in some case studies, in a way that cultural diversity is maintained and respected in a country that stands out for this characteristic / No Brasil das últimas duas décadas (1991-2012), as relações entre televisão e espetáculos de teatro têm por pano de fundo o entrelaçamento da mídia com as políticas públicas culturais, especificamente diante do uso da Lei Rouanet (Lei Federal de Incentivo à Cultura). Espetáculos teatrais das mais variadas naturezas são mediados por uma relação publicitária com a televisão. Muitos se estruturam em torno do ator de projeção nacional (quase sempre fabricado pelas estruturas midiáticas), tanto para captação de recursos quanto para garantir a divulgação ou a adesão da plateia. A mídia se apropria dos fazeres culturais e lhes atribui valores que devem ser trazidos à luz para serem discutidos pelos agentes sociais que pensam, usufruem dessa cultura, fazem e criam manifestações artísticas por meio dos mecanismos de apoio à cultura no País. A questão que guia essa investigação é que uma economia baseada no incentivo fiscal constrói socialmente certos valores simbólicos para a cultura, em uma operação que termina regulando a sobrevivência desse segmento artístico por conta do tipo de significação social que promove. A hipótese é que os meios de comunicação normatizam a expansão de certos tipos de teatro, e a televisão aberta brasileira tem aí um papel específico, que produz um traço mercadológico que impacta a produção teatral no País. Nesse sentido, a mídia tem atuado de forma semelhante à do parâmetro da seleção natural no processo de evolução explicado por Charles Darwin, em 1859. Para explorar essa hipótese, será convocada a Teoria Corpomídia (Katz & Greiner), que pleiteia uma relação de codependência entre corpo e ambiente, que aqui será transformada no eixo estruturador da bibliografia sobre televisão (Arlindo Machado e Elizabeth Bastos Duarte), mídia (Siegfried Zielinsky e Armand Mattelart), políticas culturais (Leonardo Brant, Antonio Albino Canelas Rubim e Lia Calabre) e cultura (Amálio Pinheiro, Néstor Garcia Canclini, Boaventura de Sousa Santos e Serge Gruzinsky). A metodologia será a revisão bibliográfica para tornar possível construir uma leitura crítica sobre a relação cultura-comunicação, que se manifesta em alguns estudos de caso, de modo que a diversidade cultural seja mantida e respeitada em um país que se destaca por essa característica

Made available in DSpace on 2016-08-03T12:30:21Z (GMT). No. of bitstreams: 1 Marcia Merces.pdf: 563621 bytes, checksum: ffa345d0e87edc1f5efd937d4cee08f7 (MD5) Previous issue date: 2006-05-10 / This study analizes the cultural events role as a powerful element for socialization on branding strategy communication to the market. Main objectives was to delineate the use of Marketing Integrated Communication as a tenable differential, the Cultural Marketing faces new ways to communicate to the competitive market, the branding contextualization and the cultural events as a branding instrument. The methodology used enfolded bibliography, documental research, questions and a case study of Tim Company, with the Tim Festival, 2005 edition in São Paulo. Among the conclusions, it was confirmed that the traditional publicity is losing to events, but, at the same time, just events are not sufficient, there are the necessity to work together with others promotional activities. It was verified too that cultural events communicate the message on an enthusiastic way, and finally, the considerations about the rewarding relation of event to the branding memory.(AU) / Este estudo analisa o papel dos eventos culturais como um potente elemento socializador na estratégia da comunicação da marca com o mercado. os principais objetivos são retratar o uso da comunicação integrada de marketing como um diferencial sustentável, o marketing cultural frente às novas formas de comunicação com o mercado, a contextualização da marca e os eventos culturais como instrumento de branding. A metodologia desta pesquisa constitui-se em bibliografia, pesquisa documental, entrevistas e o estudo de caso da empresa Tim com o recorte Tim Festival edição 2005 em São Paulo. Dentre as conclusões encontradas, confirmou-se que a propaganda tradicional vem perdendo espaço para os eventos, mas ao mesmo tempo, por si só não se bastam, havendo a necessidade de atrelá-los a outras atividades promocionais. Verificou-se também que os eventos culturais comunicam a mensagem de forma envolvente e finalmente a consideração sobre a relação gratificante do evento com a lembrança de marca.(AU)

Made available in DSpace on 2016-08-03T12:31:16Z (GMT). No. of bitstreams: 1 VOLUME I.pdf: 3375051 bytes, checksum: 2a33dfe1f92faf366cc4cf5a7a61d118 (MD5) Previous issue date: 2010-05-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The thesis presents a comparative study of the Brazilian public and private organizations performance and the Spanish saving accounts and private companies in terms of their cultural marketing policies and corporative communication strategies, taking into account the resources supported by the governments through tax exemption encouragement policies. It has two main objectives. The first one was to identify the partnership between the government and companies towards cultural promotion. The second and the most important one, was to discover the multiple strategies for cultural visibility in the corporative segment through communication and marketing. Besides that, the reflexes of this relationship on the corporative social responsibility, on its reputation and on the cultural market were also verified. The research was based mainly on the peer quantitative content analysis and also on MIA Media Image Audit. Finally, it was concluded that although the exemption policies diverge between countries, the companies behavior is similar when it comes to culture investments as well as communication strategies. However, in Brazil, the investment income comes mainly from the fiscal disclaim, while in Spain the organizations themselves are responsible for that. / A tese apresenta um estudo comparativo entre a atuação das organizações públicas e privadas do Brasil e, as caixas de poupança e as empresas privadas da Espanha, no que concerne à política de marketing cultural e suas estratégias de comunicação corporativa, tendo como pano de fundo os recursos incentivados pelos governos através das leis de isenção fiscal. Com dois objetivos principais, procurou-se identificar, primeiramente, a parceria entre o Estado e as companhias na promoção da cultura. O segundo e principal intuito foi descobrir as múltiplas estratégias de visibilidade cultural no mundo corporativo através da comunicação e do marketing. Além disso, se verificou os reflexos dessa relação na responsabilidade social corporativa e na reputação, como também, no mercado cultural. O trabalho foi pautado, principalmente, na análise de conteúdo qualitativa por emparelhamento e ainda na AIM- Auditoria de Imagem na Mídia. Ao final, conclui-se que embora as leis de isenção sejam divergentes nos dois países, o comportamento das companhias é similar tanto no que concerne aos investimentos em cultura, como no que se refere às estratégias de comunicação. Contudo, no Brasil o dinheiro é quase, majoritariamente, vindo da renúncia fiscal do Estado, enquanto que na Espanha vem das próprias organizações.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research addresses the relationships that form between contemporary art and cultural marketing through the private sponsorship exemplified by CowParade Porto Alegre. The cultural marketing has the contemporary art as a tool for building the image of a company, brand or product. Therefore, we attempted to briefly contextualize the evolution of financial support modes for cultural projects in Brazil in order to think about the growing interest of private initiative in sponsoring artistic events. A debate on the definitions related to the market, marketing, culture and cultural policies was considered as a theoretical basis, as well as concepts related to the system of arts and symbolic goods. Once the collection of information from the CowParade Porto Alegre and interviews (expectations and impressions) with artists and other participants of the event were done, an analysis to demonstrate the peculiarities of the event was carried out, using it as an example of the implications of private sponsorship in contemporary art. / A presente pesquisa aborda as relações que se formam entre arte contemporânea e marketing cultural, através do patrocínio privado exemplificado pela CowParade Porto Alegre. O marketing cultural apropria-se da arte contemporânea como uma ferramenta para a construção da imagem de uma empresa, marca ou produto. Para tanto, buscou-se contextualizar brevemente a evolução dos modos de apoio financeiro aos projetos culturais no Brasil, a fim de refletir sobre o crescente interesse da iniciativa privada em patrocinar eventos artísticos. Como fundamento teórico considerou-se o debate em torno de definições referentes à mercado, marketing cultural, cultura e políticas culturais, bem como com conceitos referentes ao sistema das artes e bens simbólicos. Feita a coleta das informações da CowParade Porto Alegre e das entrevistas (expectativas e impressões) com artistas e demais participantes do evento, foi elaborada uma análise para demonstrar as peculiaridades do evento, utilizando-o como um exemplo das implicações do patrocínio privado na arte contemporânea.

Le présent travail s’intéresse à la nature et aux effets de l’intégration d’une logique de marketing dans les organisations du secteur des arts et de la culture. La recherche conduite ambitionne d’actualiser et de prolonger les connaissances acquises concernant le « conflit » artistes versus managers exposé par Chiapello (1998) tout en l’orientant vers le conflit artistes versus marketers. Inscrit dans une démarche compréhensive, ce travail s’appuie sur la méthode des cas. Une étude qualitative exploratoire constituée de 17 entretiens précède la réalisation de 5 études de cas, menées auprès de la Bibliothèque nationale de France (BnF), la Bibliothèque publique d’information (Bpi), le Musée national d’art moderne du Centre Pompidou (MNAM), le Musée des beaux-arts de Montréal (MBAM) et la Bibliothèque et Archives nationales du Québec (BAnQ). La mise en œuvre des études de cas se fonde sur des périodes d’immersion significatives au sein des institutions mentionnées ; durant ces périodes des entretiens semi-directifs et observations ont été collectés et analysés. Par ailleurs, cette recherche a permis de réaliser une analyse comparative France-Canada. Outre le constat sur l’actualité du conflit établi, la thèse propose des pistes à l’écriture d’une intégration efficace du marketing dans les organisations culturelles. / This work examines the nature and effects of integrating marketing logic into arts and culture organizations. The research aims to update and extend the knowledge acquired about the “conflict” between artists and managers exposed by Chiapello (1998) while orienting it towards the conflict between artists and marketers. As part of a comprehensive approach, this work is based on the case method. A qualitative exploratory study consisting of 17 interviews precedes the realization of 5 case studies, conducted at the Bibliothèque nationale de France (BnF), the Bibliothèque publique d’information (Bpi), the Musée national d’art moderne Centre Pompidou (MNAM), the Musée des beaux-arts de Montréal (MBAM) and the Bibliothèque et Archives nationales du Québec (BAnQ). The implementation of the case studies is based on significant immersion periods in the institutions mentioned; during these periods semi-structured interviews and observations were collected and analyzed. In addition, this research led to a comparative France-Canada analysis. In addition to the report on the actuality of the conflict established, the thesis proposes ways to write an effective integration of marketing in cultural organizations.

本研究為探討搖滾音樂演唱會：「Say Yes to Taiwan」在文化行銷中所呈現的諸種面向，包含了行銷模式分析與音樂的社會功能之文化論述。「Say Yes to Taiwan」為台灣目前負載公共議題訴求音樂活動之翹楚，不但規模已臻成熟，自2000年以來每年持續地舉辦也形成了活動自身的歷史，其與政治、社會運動之間的關連性更是台灣其他流行音樂所缺乏的，故值得作為音樂展演文化分析的對象。依照黃葳威(2003)對文化行銷所下之定義：「依據國家原生文化的取向設定宗旨任務，而進行特定族群藝文教育、知識的推廣，及特定族群文化產品與相關服務的提供，以期達成傳承與交流特定族群文化的理想」我們可知，「Say Yes to Taiwan」以一個不收費的音樂演唱會藝文活動，來推動台灣主體性理念之活動宗旨，並進行本土搖滾創作音樂的推廣，以其達到促使年輕群眾關心公共議題的目標等等，的確是符合文化行銷的定義。同時，藉以分析這個帶有政治理念訴求的「音樂社會運動」，不難看出其中音樂與政治動員的連帶關係，音樂自此跳脫了純美學討論的範疇，進而介入了社會與政治的實際運作，音樂以其「創造認同、經驗感情、組織時間」的獨特社會功能，對於群眾的動員與社會變革產生了可能的影響，因此，藉由對音樂演唱會活動的文化行銷模式分析為起點，發現活動背後深層的文化意涵，是本研究的論述方向。 根據Costa and Bamossy在1995年時提出一個關於分析文化行銷的模式，探討國家原生文化對於文化行銷所可能產生的層級影響，以及多重目標、關鍵決策人士與多元行銷區塊的文化行銷架構，本研究首先發現，在台灣目前國族認同斷裂、分歧的現況下，「Say Yes to Taiwan」活動亟欲「再現」一個台灣本土性認同之原生文化意識實踐，在這個大原則的指導下，對於文化行銷層級所產生的影響：無不以鞏固台灣主體定位為優先；在任務定位方面，是推動認同台灣、邀請國外樂團參以期達到影響國際視聽之效，另外並進一步促使年輕族群關心公共議題的討論與促進地方音樂文化與觀光產業的繁榮發展；在對藝文教育與知識的態度方面，則是幫助一般觀眾了解與欣賞台灣的創作音樂，並且鼓勵從台灣本土角度出發進行的藝術創作；在活動與節目內容、服務相關零售紀念品和行銷的態度上，則是選擇與認同台灣意識的藝人、企業、組織單位合作；在對所訴求參與觀眾的定位上，則是鎖定年輕人作為目標群眾，希望將台灣認同的理念、關心公共議題的素養推廣至年輕人身上。由此可見「認同台灣」的國家原生文化的意識形態實踐對於「Say Yes to Taiwan」文化行銷的總體性層級影響。 接著，本研究根據多重目標、關鍵決策人士與多元行銷區塊的文化行銷架構模式分析發現各區塊的文化行銷特色與矛盾，並分析出多元區塊間彼此的矛盾與衝突之處，包括：爭取贊助單位資源之經濟目標與推廣本土創作音樂的教育、知識推廣目標產生了衝突，贊助單位希望邀請主流藝人演出以求取悅大眾，但主辦單位卻希望維持推廣創作搖滾樂團的教育目的，以及關鍵決策人士之間，由於彼此的年齡代溝，而有對此一流行文化活動看法不同的角色衝突存在，老一輩的關鍵決策者心儀古典菁英音樂文化，對於年輕關鍵決策者所力持的流行文化搖滾樂抱持懷疑態度。至於在關鍵行銷區塊方面，可分為針對觀眾與贊助單位所作的行銷，又可分為下列細項：年輕搖滾音樂愛好者的核心觀眾、喜愛音樂的一般潛在觀眾、關心政治議題的潛在觀眾、民間政治團體贊助單位、政府相關部門贊助單位、企業贊助單位以及媒體贊助單位。而想要在同一個活動中同時攘括年輕搖滾音樂愛好者的核心觀眾，與喜愛流行音樂的一般潛在觀眾，這兩種在社群本質特色上相衝突的關鍵行銷區塊，可能會產生活動本質錯亂的危險，於是在年輕搖滾音樂愛好者的核心觀眾、與喜愛音樂的一般潛在觀眾這兩個關鍵行銷區塊之間，便產生了潛在相衝突的可能。 於是在SYTT文化行銷模式中所出現的「SWOT」與多元區塊間的衝突，本研究力求從文化面分析中來為其找出解答與改善建議，包括：應重視評估計畫的重要——以適於活動組織本身規模與負擔的現場問卷調查，輔以影音、文字記錄來作為評估計畫研究進行的資料蒐集法，並交由組織內部專職或外部專門人員加以分析；發展細緻的理性論述——將文字論述重點轉移至對台灣內部的關心和反省，以及將活動定位由台灣與中國間的「政治」問題提升至反對中國對台灣武力壓迫的「反戰」問題，以求獲得國際視聽的認同；發展音樂演唱會以外，與本身音樂活動相關的組織性活動；維護搖滾音樂的品牌識別性；與贊助單位建立良好的溝通管道以培養長久的贊助關係以及發展多元資源來源，其中包括——以影音複製品的販賣以求增加營收，並選擇適合自身特色，且能動性高的另類媒介作為活動訊息的宣傳管道；最後一點則是活動焦點往台灣內部轉向與擴展。透過以上建議的提出，希望能對「Say Yes to Taiwan」的文化行銷分析作出實質的幫助。 在前一部份較為「微觀」的文化行銷模式細部分析之後，本研究最後擬將此一研究主題放置於「鉅觀」的整體社會、政治結構互動關係中來作文化性的整合討論，藉以深化文化行銷分析的論述。文中以搖滾樂的「創造認同、經驗感情、組織時間」的音樂社會功能為起點，以及與群眾「一體」的社群力量，得以成為群眾發聲的代言媒介，接連分析音樂如何介入政治動員的可能，與發展社會運動新型態的功能。當然音樂不是革命，也許無法真正實際地去影響政治與社會變革，但它的次文化社群召喚性卻可輕易地促使我們開始注意並關心公共議題，造成思想上的質變，尤其是它對年輕人的影響力，其所形成的與論與關心力量，足以對國家機構施加變革壓力，使國家機構無法輕忽人民心聲，相信這是音樂對於政治與社會變革的實際實踐作為之所在。搖滾音樂演唱會，諸如此處的「Say Yes to Taiwan」，以其號召力激發後續的背負公共議題理念的演唱會活動出現，等於是促使連續不止的公共領域出現，成為理性對談語言的寄存所，於是搖滾音樂或搖滾音樂演唱會這種相對另類的媒體，對於推動公共議題理念的文化行銷與傳播功效，的確是不容忽視的。 / The topic of this study is about the cultural marketing of the rock concert ”Say Yes to Taiwan” , including the analysis of the cultural marketing’s model and the cultural discuss about the social function of music. Now in Taiwan, ”Say Yes to Taiwan” is the leader of the concerts which carry the public claim, not only it’s scale comes to a head, but also it’s long term activity’s history. It’s correlation with the politics and the social movement is also the biggest difference between the local creative rock music and the local pop music , that’s why ”Say Yes to Taiwan” is worth of being the topic of the cultural marketing study. According to Wai-Wai Huang’s definition of cultural marketing : ”Base upon the natural culture of the state, setting the bearing and the mission, promoting the artistic education and information of the particular group, and offering the cultural production and the interrelated service of the particular group, hoping to accomplish the ideality of translating and communicating the culture of the particular group(Wai-Wai Huang, 2003).” Because ”Say Yes to Taiwan” is a free rock concert, it hopes to promote the”Taiwanese identity ideology” and the local creative music, it also hopes to let the young audiences caring about the public issue, so it corresponds with the definition of the cultural marketing indeed. At meanwhile, via studying this ideal and political “social movement of music”, it’s easy for us to see the correlation between the music and the political mobilization. From now on, the music not only belongs to the aesthetic discussion, but also involves the practice of social and political improvement. Music uses it’s unique social function: “creating identity, experiencing emotion and organizing time” to make the social transignfication and the mobilization of people possible. Therefore, via the analysis of the cultural marketing’s model ,then finding the deep cultural meaning of this concert, is the emphasis of this study.

Submitted by FABIANA DE OLIVEIRA MARTINS DA COSTA (fabiana@baluarteagencia.com.br) on 2012-07-20T00:27:04Z No. of bitstreams: 1 Tese Final_Arquivada.pdf: 2457220 bytes, checksum: 4e0364339954d0dbba7cf49aef818f5e (MD5) / Approved for entry into archive by Rafael Aguiar (rafael.aguiar@fgv.br) on 2012-10-05T19:50:00Z (GMT) No. of bitstreams: 1 Tese Final_Arquivada.pdf: 2457220 bytes, checksum: 4e0364339954d0dbba7cf49aef818f5e (MD5) / Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2012-10-08T13:47:14Z (GMT) No. of bitstreams: 1 Tese Final_Arquivada.pdf: 2457220 bytes, checksum: 4e0364339954d0dbba7cf49aef818f5e (MD5) / Made available in DSpace on 2012-10-08T13:47:28Z (GMT). No. of bitstreams: 1 Tese Final_Arquivada.pdf: 2457220 bytes, checksum: 4e0364339954d0dbba7cf49aef818f5e (MD5) Previous issue date: 2012-03-30 / This research regards the experience of performing a cultural project, based on the analysis of the Cultural Production 3 Ps. The paper presents an account of the backstages, since the project planning up to its evaluation, bringing a critical reflection on the making of the cultural production and exploring issues related to access and cultural citizenship. The project analyzed here was sponsored through the Brazilian Federal Law of Cultural Incentive (Rouanet Law). The dynamic game of the cultural market here exposed presents a form of interaction between the Proponent, the Project Sponsor and the Public that serves as reference to comprehend the trajectory of a cultural project since its creation, going through its implementation and up to its finalization. Another aspect here explored, although yet less developed in the market, treats about the establishment of the bases for the evaluation of the social-cultural projects results achieved. / Esta pesquisa trata da experiência de realização de um projeto cultural, a partir da análise da dinâmica dos 3P´s da produção cultural. O trabalho apresenta um relato de bastidores desde o planejamento do projeto à sua avaliação, trazendo uma reflexão crítica acerca do fazer da produção cultural e explora questões sobre acesso e cidadania cultural. O projeto analisado foi patrocinado através da Lei Federal de Incentivo à Cultura (Lei Rouanet). O jogo dinâmico do mercado cultural aqui exposto apresenta uma forma de interação entre Proponente, Patrocinador e Público que serve de referência para a compreensão da trajetória de um projeto cultural desde sua criação, passando por sua implementação, até sua finalização. Outro aspecto aqui explorado, apesar de ainda pouco desenvolvido no mercado, trata do estabelecimento de bases para a avaliação de resultados de projetos sócio-culturais.

The main objective of this thesis is the description and complex evaluation of the functioning of the Cultural House Rubin in Brno Žabovřesky in the context of the neighborhood and the city, and create a strategy for its further development. Thesis deals with marketing of culture and describes the functioning of the House of Culture, its program and service offerings, visitors and defines its position within the city. It also contains characteristics of major competitors in the cultural context and sets hypotheses for the practical examination.Research part consists of quantitative research - in the form of a survey among the target audience. The conclusion contains a summary of findings from the theoretical part and practical research and their incorporation into the overall marketing strategy of Community Centre Rubín in Brno.