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The purpose of this paper is to introduce the inaugural edition of Arts Marketing: An International Journal and highlight its vision for arts marketing and establish its research agenda.

Relevant articles are discussed through the prism of current academic thinking and the latest policy developments affecting the arts.

It is found that arts marketing promotes significant academic debate, and practical insights are offered into the ways in which the arts (broadly understood) can grow in a commercial world.

Creative solutions are needed not only to offset, but to enable arts marketing itself to grow as a discipline: marketers need to embrace the arts equally as much as artists need to embrace the market.

The “creative insights” section will bring practitioner expertise into the field of the arts from a variety of different perspectives.

The arts, in their varying forms impact on all of society in some shape or form. This journal aims to help raise the profile of the arts, which will in turn, benefit society as a whole.

This introduction establishes a broad arts marketing research agenda for the future.

The purpose of this paper is to investigate the way in which film can introduce jazz to a wider audience.

This study applies the method of subjective personal introspection (SPI) to the area of film and music consumption. The paper reports on insights provided by two researchers through using SPI to investigate their relationships to film and jazz music. In so doing, the paper adopts a Bourdieuian frame in applying a reflexive methodological approach and considering the role of cultural and symbolic capital in influencing these consumption practices.

This paper found that aside from the recognition problem facing jazz, episodes of sublimation may prevent potential audiences from increasing consumption of jazz music.

In common with all SPI studies, the focus of the research is very narrow. While the indepth insight provided here is of use to scholars of arts consumption, further research should explore the prevalence of sublimination in arts communities in order to extend this further.

This study moves our understanding of why consumers may not develop their consumption relationship with jazz music. The findings can be used by jazz professionals in addressing ways in which consumers may overcome their lack of cultural capital and the emphasis placed on this by the wider jazz consumption community.

The paper investigates issues of inclusion and exclusion which should have wider social relevance.

The paper addresses the issue of participation in the arts and should be of value to academics and arts marketing practitioners alike.

The purpose of this paper is to provide a viewpoint about how the jazz metaphor can be applied to marketing/management education, in light of the article by Holbrook (2015).

This commentary examines the jazz metaphor from the author’s perspective as a jazz musician and management educator and hopefully provides the reader with a brief snapshot into the intricate workings of a jazz group. This commentary also investigates the lessons to be learned from Miles Davis’s approach to leadership and innovation.

The jazz group can provide a valuable model for modern organisations. The core competencies of a successful jazz group, e.g. collaboration, trust, dialogue and innovation can be employed to bring about a culture of creativity within an organisation.

It may be possible to extend the jazz metaphor and investigate how different aspects of business practice could be aligned with particular genres of jazz.

This commentary expands on Holbrook’s discussion of the marketing manager as Jazz musician and provides examples of how these metaphors can be used in order to augment the marketing/management learning material to offer alternative perspectives to the learning communities and enhance the pedagogical practice

The purpose of this article is to investigate ways in which improvisation can be used to enhance and advance market orientation.

The article draws upon existing market orientation literature and musical theory to extend the authors' previous work of the need for improvisation in strategic market planning (SMP) into a wider area of market orientation.

The article evinces a conceptual matrix to illustrate four basic levels of market oriented improvisation: one‐size fits all; improvisation through alternatives; single level improvisation (SLI); and multi‐level improvisation (MLI).

The article will demonstrate the core competences of a jazz band: musical knowledge; role definition; quasi‐autonomous leadership; open communication; and self‐reflexivity. It will discuss how these competences are directly transferable to market oriented organisations.

The article provides a new definition of market orientation, which posits improvisation as a central element.

The purpose of this paper is to examine the characteristics and usefulness of opinion leaders and market mavens in relation to theatre guides as a way for theatres to develop new audiences.

Surveys and a small number of in‐depth interviews are conducted within a sample of 1,200 theatre patrons. A univariate analysis of variance analysis determines degrees of correspondence between levels of opinion leadership or mavenism and reported influential behaviour.

Opinion leaders are much more useful in the process of audience development than mavens given their propensity to engage in positive reinforcement behaviours particularly in their roles as theatre guides.

While the level of mavenism is related to provision of general market information, it is not related to diffusion of performance‐specific information. Also, the portrayal of opinion leaders as living in a “closed world” unlikely to be an effective cultural influence on non‐attendees, is not supported. A further limitation is that it could not gauge the effectiveness of the self‐reported influential behaviour of non‐attendees. Further research should measure the effectiveness of opinion leaders based on how many of the non‐attendees they influenced came to the theatre.

Theatres should identify opinion leaders and encourage their natural “guide” behaviour with targeted incentives and information as a method of building new audiences and developing new relationships.

This paper will help theatres to use their resources more effectively to increase audience attendance. Further, the identification and establishment of theatre guides based on the characteristics of opinion leaders is within the capability of all arts organizations.

The purpose of this paper is to draw together the previous academic and industry research on non‐attendance of cultural attractions, followed by qualitative in‐depth interviews to identify commonalities or gaps in the previous research on barriers, constraints and inhibitors, as well as to propose linkages between these.

A multi‐method approach is used – where barriers, constraints and inhibitors are identified by means of thematic content analysis of the literature. A set of probing questions is developed based on these themes and is then examined in in‐depth interviews with individuals that had not visited cultural attractions in the past two years, in an attempt to triangulate data, as well as to identify connections between barriers.

From the literature, eight interconnected barriers to visitation are identified: physical access; personal access; cost; time and timing; product; personal interest and peer group; socialisation and understanding; and information. The in‐depth interviews generally support these, although it is also identified that there are complex interrelationships between the issues.

This paper addresses the neglected question of why people do not attend cultural attractions by triangulating thematic findings from the content analysis of diverse literature with in‐depth interview responses from one non‐visitor segment. This results in an interconnected model of barriers that can be used to assist managers to develop strategies addressing low visitation rates within targeted segments.

The purpose of this paper is to explore the implications of a greater marketing orientation among arts organisations and its impact on funding through sponsorship.

Utilising a qualitative methodology, the study employs case studies for the purpose of formulating tentative and emergent knowledge.

The case study observations reveal the adoption of a marketing orientation across the sample and most significantly for the purposes of securing and consolidating sponsorship relationships. But contrary to popular academic theory this is managed without significant threat to artistic integrity or adaptation of theatrical productions.

Data were derived from a purposive but limited sample. The advantages of a qualitative method in producing rich data is well established, however a longitudinal study would facilitate the understanding of the temporal shifts in arts sponsorships and counter the limits of the cross‐sectional nature of the study.

The study reveals a managerial capacity for arts organisations to attract sponsorship through customer orientation without the need to compromise its artistic and social goals.

A central concern to the increasing significance of business and private funding for the survival of arts organisations is the impact this has on the producers ability to remain faithful to the artistic integrity of their productions. This longstanding academic debate now has predominance in arts marketing management and the issues addressed in this paper serve to address this shift in emphasis.