Sustainable touring: exploring value creation through social marketing

Abstract

Purpose – The purpose of this paper is to examine the social marketing-based approach to live performance adopted by Jack Johnson and its potential as the basis of a developmental model for sustainable touring. Design/methodology/approach – Musician Jack Johnson has been recognised as a leader in his approach to sustainable touring. The research approach uses stakeholder interviews to examine his “Sleep Through the Static” tour from a phenomenological perspective. Findings – The activities adopted during the global tour provide “upstream” contributions to social change agendas as well as “downstream” contributions to change behaviour. “Downstream” contribution leans towards closed behaviour settings for the corporate community and open behaviour settings for the social community. Limitations are the extent of resources required; better understanding of audience targets and their perceived value of behaviour change. Research limitations/implications – The use of a single example means that consideration of the success of this model is limited to one approach when others might offer other options. However, the phenomenological approach is sufficient to begin to understand the value creation process at work here. Practical implications – A range of performers in different cultural areas might consider the potential of this approach as a means to contribute to sustainable touring goals. Originality/value – Much of the literature available for event managers focuses on environmental concerns to the neglect of other dimensions of sustainability. This work highlights how the social marketing of sustainable development offers a wider scope to touring performers.

Changing audience behaviour: festival goers and throwaway tents

“…Hence, for example, the importance of advocates in upstream social marketing (Andreasen, 2006) where an artist can make clear statements about preferred behaviour that can influence their fans' decisions (Henderson, 2013). Having recognised this important point, festival management must determine at what places and points in time it can best address behaviour change to affecting the attendees' decisions.…”

“…(d) Where audience behaviour is determined Whilst the preceding sections guide in the understanding of how individuals decide upon a particular behaviour based on motivations and perceived value, it is clear that these choices are shaped at different places and points in time. Hence, for example, the importance of advocates in upstream social marketing (Andreasen, 2006) where an artist can make clear statements about preferred behaviour that can influence their fans' decisions (Henderson, 2013). Having recognised this important point, festival management must determine at what places and points in time it can best address behaviour change to affecting the attendees' decisions.…”

Brand management from the perspective of sustainable development: Responsibility marketing and social value creation

“…2) Competitive advantage: Socially responsible brands often enjoy a competitive advantage in the marketplace. Consumers are increasingly drawn to brands that align with their values and demonstrate a commitment to ethical and sustainable practices [5] . By prioritizing social value creation, brands can differentiate themselves from competitors and attract socially conscious consumers.…”

Multidisciplinary impact – the arts join informal STEM programs

“…Backer includes the arts organization staff, artists and people in the community; applies the TRA along with other behavioral theories; and outlines principles for increasing participation. Henderson (2013) takes a social marketing approach to study value creation in a sustainable touring context, and cites several theoretical models of social change that include constructs similar to those in TRA, such as beliefs or contemplation of the benefits of a change in behavior. Baumgarth (2014) references aspects of TRA in the study of brand attitude and brand attachment as drivers of theater audience behavior.…”