The chapter examines the special conditions that arose at the beginning of the pandemic of the coronavirus disease 2019 (COVID-19) as far as cultural organisations and audiences are concerned. Research findings on cultural organisations' digital transformation are presented as well as the case studies of Onassis Stegi and MET and the messages they transmitted at the beginning of the pandemic. A comparative analysis of their communication strategy in digital environment is attempted, drawing interesting conclusions as far as their effectiveness is concerned. The chapter ends with the findings of the audience research that was carried out to present whether digital transformation in the field of culture during that period was implemented, in order for organisations to survive and stay in touch with their audience. The research also focuses on the extent to which the public turned to digital culture in an unprecedented period.
TopIntroduction
The role of cultural organisations changed significantly at the end of the 20th century; as a result of the social changes that took place. Gilmore & Rentschler (2002) and Tobelem (1998) observe that the first period (1975 - 1983) of cultural management is characterised as object-oriented, aiming mainly at the evaluation of the production of cultural units, through data analysis techniques.
During the second period (1988 - 1993) of professionalism, visitors and non-visitors were mapped, applying communication strategies. The aim was to increase the number of visitors, as well as to make the organisations as independent as possible from the traditional state “guardianship”. In addition, the audience was categorised based on demographic, social, cultural, psychological and other factors.
In the third period (mid-90s onwards), which is characterised by entrepreneurship and its anthropocentric orientation, the public is a regulatory factor in shaping a strategy for the continuous improvement of cultural experience. Thus, according to Athanasopoulou (2003), while the main function of cultural organisations was focused on the presentation of events / collection of objects, priority was given to the public and communication.
The main reasons that contributed to the inclusion of marketing methods in the communication policy of cultural organisations are the following:
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the constant search for new experiences and the offer of lifelong learning, which steps from the social value of the organisations and the need to cultivate the aesthetic education of the public,
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the oversupply of services and the increasing competitiveness with similar organisations,
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the development of the “leisure industry”, pushing cultural administrators to organise popular programs,
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the decline in government funding worldwide has led managers to seek alternative resources, as well as to systematically find sponsors and donors. During the financial crisis of 2007 - 2008 and the subsequent recession, the need to design and implement a competitive strategic communication plan emerged, in order for the organisations not only to survive but also to function.
Thus, as spaces of experiences, operating with extroversion, they set the audience as a basic condition of their operation. According to Waters & Jones (2011), the existence of a strong identity (brand) is a key issue for organisations, as it includes values, mission, logo, design identity, etc. Moreover, Kastoras (2002: 77) defines communication strategy as “the content of the planning of the basic actions but also the means, which are required, to realise its final purpose”. In fact, the strategy is successful, thanks to the correct planning and its proper implementation. According to Oikonomou (2013), the investigation of consumer needs is a basic prerequisite for managers, as, through it, they meet the strategic goals of the organisation, including its social offer and its economic viability.
The last decade is characterised by a growing trend of cultural organisations, both nationally and internationally, which provide the public with all kinds of digital experiences. However, necessary is the existence of a long-term comprehensive digital strategy, referring both to organisations’ services and visitors’ experiences. According to Mpounia (2015), “digital literacy”, the synergy of cultural action and technology, is necessary in order for modern cultural organisations to survive. As pointed out by DIAZOMA Association1 (2017), managers should consider digital marketing as an important part of cultural marketing, with “digitality” characterising all the expressions of the organisation, placed at the heart of strategic planning.
The three objectives for the digital strategy of cultural organisations should be: a) the promotion of the service / product and the image of the organisation, through digital channels, b) the development of skills, infrastructure, in order to make digital culture sustainable and c) to promote sustainable development, through the interconnection of culture with entrepreneurship, local communities and tourism.