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business
strategic management

Questions and Answers of Strategic Management

=+• Analyse the four Ps of the marketing mix for the Exodos festival. Outline their strengths and weaknesses.
=+• Discuss the importance of regional and international collaboration and the multiplication effect of a festival’s know-how for similar organisations and venues.
=+• Recognize the elements of the marketing-mix concept in a practical case.
=+• Understand practical approaches to the elaboration of a communication and promotion plan for an arts organisation.
=+• Analyse the specificities of marketing strategies and tools in a nonprofit organisation and the importance of the SWOT (strengths, weakness, opportunities and strengths) analysis for the
=+• Understand the importance of ongoing innovations and advances in artistic programming for an international festival.
=+• Do you have sufficient competences to implement innovative digital and online distribution channels?
=+How much would the planned distribution channels cost?
=+• How do you plan to mix online and offline distribution channels? How does this influence the cost-benefit analysis?
=+What are the opportunities and risks for each of them?
=+• Which distribution channels are best suited for your marketing strategy—direct or indirect ones?
=+• Are your current distribution channels and locations efficient? Why? Why not?
=+• What kinds of distribution channels do other arts and cultural organisations use? Can you develop a distribution strategy in partnership?
=+long-term objectives of your organisation?
=+• What are your primary online and offline locations? How would they change in relation to the
=+• Where do your audiences usually look to find information and purchase your products? Do you know enough about their purchasing and participating behaviour?
=+ What are the options and the risk factors?
=+• Could you offer some of the programmes or services for purchase online? What are the pros and cons?
=+• How will you diversify the price policy depending on the profiles of different target groups?
=+• How do the price strategies change for artistic and cultural offers during the weekends, for subscription schemes, seasonal tickets, and so on?
=+• How is it possible to connect the price with the production costs and the value-added benefits for the clients?
=+• Which method will you use to calculate the prices for the different programmes and products offered by your organisation? Why?
=+• What are the factors influencing the prices of the products and services offered?
=+• What exactly are your audiences (customers, clients) paying for? What do they get in return for the money spent?
=+• Which programmes, if any, might generate revenues? Which of them contain entrepreneurial elements (if any)?
=+• Which programmes, if any, are attractive to external donors? In what way? How could they be connected with the fundraising strategy?
=+• How will the new programming impact on the cost structure of the organisation?
=+• What are the requirements of the new programmes in terms of technical specifications and people involved?
=+• How would the organisation’s resources and capacities handle the future programming?
=+• Is the programme attractive and appealing to the targeted market segments?
=+• What are the innovative elements in your artistic programming?
=+• How does the creative programme correspond to the organisation’s mission and long-term goals?
=+7. Interpret the data and implement the results. What are the main conclusions from the research, and how could they be useful in the strategic management and decision-making process?
=+6. Collect primary data and data analysis. What is your targeted feedback, and how do you plan to improve audiences’ responses?
=+5. Distribute the questionnaire. Where and how do you plan to distribute the questionnaire?
=+How do you intend to use the results of the research in your management operations, as well as in the strategic organisational development?
=+What kind of questions do you plan to ask?
=+4. Prepare the questionnaire. Keep in mind that questionnaires are different for quantitative versus qualitative methods of research.
=+How do they match your resources and expected outcomes?
=+3. Decide on your research methods. What kinds of research methods do you intend to use?Why?
=+2. Identify and evaluate the resources needed. What is your current capacity? How much money and staff time do you have available to conduct the research process?
=+1. Define the reason for undertaking research. What are the current problems in your organisation? Why do you need to conduct audience research? How will the research results help in the
=+• Are there any elements of our programming that could generate profit and secure financial sustainability?
=+• How can we increase the public image of our organisation and the visibility of our programmes?
=+• What could be the most efficient ways to connect audiences’ expectations and motivations with the right communication tools?
=+• How can we create and apply the most appropriate ‘marketing mix’ (product, price, place and promotional strategies)?
=+• How can we ensure that we are selling the right programmes and projects to the right people, in the right place, at the right time, using the right communication tools?
=+• Are our artistic programmes and projects oriented towards the needs and expectations of our current and future audiences?
=+• What main methods should we use in the overall process of audience development and engagement in the creative programming?
=+• How can we better know, attract, satisfy and educate our audiences (buyers, clients) in the future?
=+• Do we know our audiences well? Why? Why not?
=+6. Elaborate the marketing section of a strategic plan for an arts organisation.
=+5. Analyse the opportunities and challenges when creating and managing an online space.
=+4. Prepare a ‘marketing-mix’ recipe for an arts organisation.
=+3. Understand the balance between creative programming and diverse marketing tools in an arts organisation.
=+2. Discuss how market research and audience segmentation help strategic decision-making.
=+1. Understand why marketing strategies and tools are needed and used in arts organisations.
=+• Suggest a set of innovative online methods for fundraising, sponsorship and increasing of ACM’s international visibility. Connect these methods with the current programmes and future
=+• Suggest ways to expand activities outside of the capital by using one of the programme-market strategies which is applicable in this case.
=+Help ACM to elaborate a strategy of collaboration with the Mongolian Tourism Board33 and other touristic agencies for broader visibility of its programming and fundraising internationally. Keep in
=+• Discuss the types of strategies chosen by ACM for its next planning cycle. Give arguments for the strategic choices, connecting them with the results of the SWOT analysis.
=+• Elaborate the key elements of ACM’s capacity-building strategy and discuss connections with the functional strategies.
=+• How could the elements of innovation and entrepreneurship be embedded in the strategic development?
=+• Is the theatre managing growth in the right direction? Is it a viable idea to implement a future strategy of spinning off a new organisation, the ODA Institute? What are the potential results,
=+• How would you define the optimal set of strategies for ODA Theatre? Why do you recommend these strategies? Give arguments, considering influencing external and internal factors.
=+• What are the missing elements of the external analysis as part of a strategic plan? What kind of research, data and analysis should the theatre undertake to elaborate them?
=+• Elaborate the main driving and restraining internal and external forces in ODA Theatre’s work, considering the results of the SWOT analysis and the internal theatre operations.
=+• Understand the concept of a ‘set of strategies’ for an organisation’s development.
=+• Analyse a practical example of a theatre company’s competitive advantage.
=+• Discuss the challenges of rapid audience development and managing organisational growth by maintaining the artistic quality of performances.
=+• Discuss the application of product (programme)-market strategies and the dilemma between maintaining high artistic quality and making the art accessible to broader audiences.
=+Analyse the connections between the results of the SWOT analysis, the choice of a general strategy and functional strategies in an arts organisation.
=+• How can we organize the internal processes and workflow more efficiently?
=+• How can we convince stakeholders and fund-givers?
=+• How can we increase audiences and supporters?
=+• What are the most effective ways to nurture creativity and innovation?
=+• How can we fully utilize our organisation’s unique features?
=+• How can we create, produce, present and/or sell better than others in our field?
=+• How can we use resources in the best way to achieve maximum effects?
=+• How can we avoid, or diminish, the expected negative influences of the environment?
=+• How can we use existing opportunities?
=+• Does your partner target similar clients or audiences?
=+• What is the public image and reputation of your potential partner?
=+• How would your partner’s competences match yours so that you achieve a more successful result?
=+• What are the legal status, credibility and financial situation of your potential partner?
=+• What are your partner’s past achievements, and what are their exact areas of expertise?
=+• Do your potential partner’s goals coincide with yours?
=+• Develop a risk plan to predict possible burdens and barriers that might occur during the implementation of the strategy
=+• Train your staff on how to implement the strategy—particularly if the implementation requires a new set of skills and competences.
=+• Explain to your board, staff and stakeholders what the essence of the strategy is about. Elaborate this in understandable, simple and straightforward language, emphasizing the future benefits
=+• Mind that the chosen strategies should fit into the planning time frame.
=+• Consider the compatibility of the chosen strategies, if more than one, and make sure that they do not exclude or interfere with one another.
=+• Adapt the ‘standard’ strategies to your specific situation, and connect them closely with the results of analysis and the organisation’s identity, mission and objectives.
=+6. Elaborate the “Strategies: Options and Choices” part of a strategic plan.
=+5. Understand how to evaluate strategic alternatives to choose a strategy.
=+4. Analyse why strategies for integration, co-production and networking are very important for arts organisations.
=+3. Comprehend the essence of product/programme-market strategies and competitive strategies and their specificities in the arts.
=+2. Analyse the main strategies in arts and culture organisations.
=+1. Understand the main organisational strategies and how they can be applied to organisations in the arts sector.
=+• What are the success factors to consider when developing an online project in the field of the arts and culture? List and prioritize them.

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