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Recent writing in the field of arts marketing (e.g. Hill, O'Sullivan and
O'Sullivan 2003) has consolidated the application of classical marketing
principles to this area, and begun to develop new directions of enquiry and
Arts Marketing
In this wider context, arts marketing can be seen as being too narrowly
focused on the marketing of arts and heritage offerings rather than of wider
issues of business and culture. Much arts marketing literature has to do with
marketing management issues, and audience development. From a
sociological point of view, arts marketing falls within the sociology of
cultijre, and its offshoot the sociology of the arts (Alexander 2003; Tanner
(ed.) 2003; Wolff 1993). A key thinker in this area is Bourdieu (e.g. 1993),
whose work has to do, among other things, with the production, circulation
and consumption of symbolic goods. According to Bourdieu, agents in the
cultural field are endowed with a certain habitus, a 'feel for the game'. Each
of them, producer and consumer, has a strategy, conscious or unconscious, to
Cultural Brands / Branding Cultures 575
Advertising/Fashion Fasfiion
System System
Consumer Goods
Individual Consumer
Location of Meaning
Art
Creators Consumers
Society
Du Gay et al. (1997) see production and consumption not as separate spheres
of existence (p. 103) but rather as mutually constitutive. During production,
the encoding of meanings into products takes place, e.g. through product
design activities. Every site or organisation engaged in the production of
culture has a culture of production which is 'an integral part of the company
way of life that informs intra-organizational decisions and activities' (such as
staff recruitment policies, departmental organizational arrangements and
general management strategies). But it also informs the perceptions of
outside observers (p.43). Consumption is where meanings are made, in
actual social usage. The authors trace different approaches to consumption.
Firstly, the Frankfurt school's 'production of consumption' approach sees
consumption as being determined by production; there is no agency on the
demand side; mass consumption is the pursuit of cultural dupes. Others
argue that consumption has identity value as well as use or exchange value
(p. 91). Consumption can be used as a marker of social and cultural
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difference. This goes back to Veblen's theory of the leisure class (1899). It is
also an idea promoted by Bourdieu, who held that taste for cultural goods
functions as a marker for social class (p. 97). Finally, there are those who see
consumption in term of appropriation and resistance. Firstly, subcultural
analysts like Hebdige (1979) saw consumers as using commodities to signify
an identity for themselves which was in opposition to the perceived
dominant culture. From this perspective, consumption is an active process,
and consumers can put producers' signifiers to other uses as they are
polysemic. Again, De Certeau argued that meaning is produced by
consumers through the use to which they put objects in their everyday lives
(consumption as production). This relates to Elliott and Wattanasuwan's
proposition (1998) that consumers use brands as resources to construct parts
of their identities. This view sees social subjects as active agents who play a
crucial role in creating their own identities through consumption. This,
however, does not deal with the question of where the sources of power lie in
cultural exchanges and who owns them.
Identity
identities are not things which exist; they Imve no essential or universal qualities.
Rather they are discursive constructions, the product of discourse or regulated
ways of speaking about the world, in other words, identities are constituted, made
rather than found, by representations, notably language.
Cultural Brands / Branding Cultures 581
Shuker, a popular music specialist, (2001:14) places the notion of text firmly
into a social context:
The 'meaning' of any engagement betioeen a text and its consumers cannot be
assumed, or 'read off from textual characteristics alone. Vie text's historical
conditions of production and consumption are important as is the nature of its
audience, and the various ways in which they mediate their encounter with the
text.
All texts are constructed and construed in a specific historical context. All
texts are performed, just as all performance is text. Marketing and consumer
researchers have also adopted the text trope. Apart from characterising
products as texts for analysis, scholars of the interpretive or postmodern
persuasion have characterised consumption itself as a text or indeed see the
entire field of research as a text - see e.g. Hirschman and Holbrook (1992).
Brands as Texts
Textbooks on branding (e.g. de Chernatony and McDonald 1998, p. 36)
assign different meanings to the concept of a brand, conceptualising it as, for
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All brands cire cultural, but there are different senses in which one can talk
about 'cultural brands'. For the purposes of discussion in this paper, a
distinction is made between different types of cultural brands. These are (i)
cultrepreneurs; (ii) commercial corporates; and (iii) cultural corporates. The
purpose of this categorisation is to identify and distinguish between,
respectively, artists who act like businesspeople, mainstream commercial
businesses and their relationship to culture, and finally cultural organisations
Cultural Brands / Branding Cultures 583
which are increasingly behaving like businesses in the ways in which they
respond to their operating envirorunent. The increasingly business-like
behaviour of cultural agents and the increasing use of culture by businesses
are two separate aspects of the increasing connection between business and
culture.
Cultrepreneurs are, for example, those UK artistes such as Emin, Hirst, the
Chapman Brothers or, in US popular music, Marilyn Manson or Madonna,
who have adopted strategies of intensive media management in order to
promote themselves as cultural or art brands and thereby their own
commercial success. Such activity is often associated with social
transgression and the strategic use of shock and outrageous identities and
innovations, because media attention is predictably oriented responsive such
behaviour. These brands, unlike corporate commercial brands below, exploit
their freedom to shock, a luxury the commercial brands cannot afford
because it might upset the stockholders or the customers. Arguably this type
of cultural brand finds it roots in a combination of Duchamp and Warhol,
two icons of twentieth-century art marketing. Duchamp questioned how
value was ascribed to certain kinds of art, and logically this has led to the
production of art of questionable value. Warhol, with his emphasis on self-
promotion and fame, has helped to lay the basis for the artist as celebrity.
This combination of questionable product quality and intensive self-
promotion is a strategy well understood by marketers.
The second group of cultural brands, the commercial corporates, are of
course the mainstream commercial organisations, including the global
multinationals. What has become increasingly clear to analysts is the degree
to which these organisations appropriate culture and art-cultural offerings to
build their brands. The mechanisms for this cultural engineering include
advertising, co-branding, celebrity endorsement, product placement,
merchandising, sponsorship, cause-related marketing, merchandising, and
cultural franchising. Through the embedding of marketing communications
messages into film, television, street-level and ambient media, these
corporations so 'naturalise' their presence that, as Klein (2000) puts it, they
become the culture. Holt (2004) writes about this process of 'cultural
branding' and shows how brands become 'icons' through a process of myth
creation. Of course the goals of brand managers and their ad agencies have
not changed, but the importance of branding expertise has become more
important to corporate projects, as witnessed by the emergence of corporate
identity as an academic subject and board level issue. Again, within
marketing textbooks, branding is talked up as being of strategic importance,
not merely tactical. The goals remain the same, but the symbolic has become
of strategic importance to the return on capital. Culturalists who are
interested in a critical approach to marketing practices as part of a project of
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Conclusion : '
This conceptual paper examines the interface between culture and business,
with specific reference to branding. It argues that, while considerable strides
have been made in recent years to develop Arts Marketing theory, the subject
now needs to take account of wider social and cultural issues. The paper
explores the way in which processes of meaning-making have been theorised
in consumption and cultural studies. It argues for a view of the symbolic
dimensions of branding practices that positions them within the circuit of
culture, as a cultural phenomenon. It is argued that brands are symbolic
articulators of production and consumption. In this sense, all brands are
representational texts, and are socially, not merely managerially, constructed.
Different kinds of cultural brands are identified, including cultrepreneurs,
cultural corporates and commercial corporates, and their practices in relation
to business and culture are discussed. It is suggested that marketing
(including branding) is not a neutral analytical repertoire for the study of
586 Daragh O'Reilly
Acknowledgements '
The author wishes to thank the anonymous reviewers for their helpful
comments.
References