Today cultural institutions are facing important dilemmas in many aspects of their management. Over the past decades, a new figure has emerged that of the art manager. Imagine you went to work every day to connect artists with audiences, vision with reality, and money with a mission. That is what managers in the arts do, they play an essential role in transforming the minds, lives, and communities through creative expression. This course has been conceptualized to address the need of skills and techniques to help professionals and managers in running art and cultural institutions. Learning Objectives There are three objectives to this course. First, we will approach the biggest issue cultural institutions face, the coexistence of managers and curators and giving evidence as to when, how, and why they can get along. Second, we will focus on some contemporary facets on what is means to manage a cultural institution and what cultural managers should expect and be able to face. And lastly, we will provide models and tools to design and implement appropriate courses of action to satisfy customers (visitors and audiences) and build an advantage over the competition. Course Structure The course is divided into six sections. Five sections are dedicated to specific aspects and themes of managing cultural institutions, while the sixth section is dedicated to individual interviews of prominent cultural institution managers on specific topics. The involvement of professionals and managers gives an incredible value to the learning experience of this course. Each module is paired with a quiz and discussion forums to reflect on the variety of the heritage management, its complexity, and the power of the network that we will build together during the course. Successful completion of the quizzes is required for a course certificate as explained in the Grading Policy page. If you love art and want to make an impact in this unique and fantastic sector, this course will support you in understanding the peculiarities of this sector and how to leverage on its tools to make a bigger impact. Look forward to meeting you online! Acknowledgements: Vatican Museums: www.museivaticani.va Cenacolo Vinciano: www.beniculturali.it/mibac/export/MiBAC/sito-MiBAC/Contenuti/MibacUnif/Eventi/visualizza_asset.html_1283837989.html (ITA) FAI (Fondo Ambiente Italiano): eng.fondoambiente.it MUVE (Fondazione Musei Civici Venezia): www.visitmuve.it The National Trust: www.nationaltrust.org.uk The Archeological Site of Paestum: www.museopaestum.beniculturali.it whc.unesco.org/en/list/842 Museo dell'Opera del Duomo (Florence): www.museumflorence.com Museo del Violino: www.museodelviolino.org _________________________________ Disclaimer - Since some of the videos are conducted with those whose native language is not English, we have decided to sometimes preserve their more emphatic speech to keep a tighter match between the audio and subtitles.
5.2 #Satisfaction: The Evaluation of Cultural Experience and the Gap Model
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From the course by Università Bocconi
Arts and Heritage Management
264 ratings
From the lesson
THE NUMBERS HERITAGE NEEDS TO GROW
Art institutions must implement a sustainable plan. In order to do such, they need to leverage on data, numbers, and information. What are the most important aspects to focus on in order to run a sustainable and competitive art institution?
Meet the Instructors
Andrea RuraleDirector
Master in Arts Management and Administration (MAMA)
During this last part of the course, we are going to focus on different tips that are useful
for a manager of cultural institution to run, in a more efficient and
effective and economic way, the business.
The first construct that I would like to point the focus on is the customer
satisfaction.
Customer satisfaction, we know, from the previous lectures, that it is the result
of a comparison between what a consumer expects and what the consumer perceives.
I develop, in my mind through the importance of
the opinions of my friends, word of mouth, and
the suggestions that they give me, an idea of the museum I am going to visit.
I have personal needs, I want, for example, to enter into a more specific
relationship with Egyptian art,
and I was told by many friends that the museum
of Ancient Egypt is worth seeing,
so I enter with a lot of expectations.
I expect to live a visit that will satisfy my needs.
During the visit I develop some opinions, and
when I go out from the museum I compare what I expected with what I perceived.
This is a definition,
the basic definition of what customer satisfaction is.
If the perception is higher than the expectation, I will be satisfied.
If I perceive something that is of a lower level than
what I expected to live, I will not be satisfied.
Well, now we give as extra something.
We talked about this in a different moment but how
an institution can develop research in order to understand
what happened that created the dissatisfaction of a customer.
We have, in museums, customer surveys asking if you are satisfied or not.
We realized that our visitors are not satisfied.
We made a new program for the theater and people are participating,
the audience is coming, they buy the ticket, but
they are not satisfied with the concert that I perform.
Why? Whose fault is it?
What was the problem that generated all these sentiments and
increased dissatisfaction?
Parasuraman is one of the main academics that studied the importance
of service and service delivery and the concept of value and quality,
he started to develop a model called the Gap Model that
can be very useful for every institution and business,
and I do think it is also very effective for cultural institutions that allows you to
understand what the part is in the value creation that is missing,
that is not working properly, and that is in need to be taken care of and focused on
in order to solve the problem that generated the final dissatisfaction.
The Gap Model is quiet easy. The Gap Model says
says that there is a gap between what I expect and
what I perceive which is the Value Gap, the biggest generator of dissatisfaction,
but behind this Value Gap, there are many other elements,
many other gaps that can be generated during the process.
We know that we have, on one side, the consumer,
on the other side we have the market and or the company.
The meeting between the two, so the exact moment of consumption and
purchase generates satisfaction or dissatisfaction.
The Value Gap is the gap that generates this dissatisfaction or satisfaction.
What is behind the Value Gaps?
First of all, we have the so-called Consistency Gap.
Imagine that we decide to organize, in the program of a theatre,
a particular concert or a particular genre of music, or in a museum,
we decided to organize, to set up an exhibition of art on a topic that is not
so requested or so famous in the market;
so the market is not interested in this topic.
The Consistency Gap says that the perception of the manager
of the consumer expectation is not aligned with what the consumer actually needs.
The problem is that, in this case, the company does not have
any idea of what the market wants.
In a way, if we make a connection with what we said at the beginning, with product orientation
and market orientation, in this case we have a focus on the product orientation.
We produce something that
does not take into consideration what the market wants.
Keeping an eye on the market is very useful in these cases
because if you create something, if you create an exhibition of art,
if you create the program of the season of the theater without considering what
the trends of the market are, you will never meet their needs,
and so that will be this consistency gap that if it is not observed and
cared for in a proper way will eventually generate the final value gap.
But what happens when a manager has a proper perception of what customers want,
so there is no consistency gap?
Maybe there is another gap called the perception gap.
So the idea is, in this case, the manager understands what the customer wants, but
he or she is not able to transform this need into a proper offer.
A resident of a city looks for
something to be pleased by, to enjoy, and to use to escape from ordinary life,
and so they want a performance in a theatre that is happy, pleasurable,
and cheerful.
This is something that the manager understands,
but he or she is not able, the artistic director in this case, to produce, create, and
define what is a suitable performance to be put on the program of a theater.
This is a perception gap.
Third step, the manager understands what the market wants.
The manager is able to translate this request into a proper offer,
but inside the institution, the manager is not able to transfer this offer, this
concept to the minds of all the staff, the people that work in the institution.
This is a typical example, a very common example of
a gap system in cultural institutions, museums, theaters.
We have a very enlightened and
performant director with a good idea of what is the mission,
the positioning, the segmentation of the market of their institution, but
there is a huge number of staff that is not aligned with what the manager wants.
Maybe the director is focused on the relation with the customer, but
all the people that are working with him, the ticket office department,
the security guards in the rooms of a museum,
the ushers in a theater do not understand, for example, that the customer
relationship is very important, while the director instead thinks it is.
This is a problem of alignment,
and so we are now facing the alignment gap.
Well, now we arrive to the last one.
We have a problem of dissatisfaction, a value gap;
but we do not have a consistency gap,
no discrepancy between the manager's perception and
the expectation of the consumer;
no perception gap, so
the manager is able to transform what the customer wants into a proper offer;
no alignment gap, that means that the manager is able to transform,
translate, and transfer his or her idea to the staff;
but finally the consumer is not perceiving what he or she expects.
What is the problem?
It is a problem of communication.
It is a problem of communication so there is the last part of the delivery of
the service, the exact contact between what is produced and
what is communicated that does not work properly.
We are now facing the last gap which is the communication gap.
What did we learn from this lesson?
We learned how important it is to
enter into detail about the causes of customer satisfaction,
enter into detail about when the customer is not satisfied,
what is the reason?
In order to do so, we need to simply to conduct a survey or a set of different
interviews with all the actors that are taking part in the customer value
proposition and mainly in the production of the service delivery
to the customer.
Are your customers satisfied?
What is the idea of the management?
What is the idea of the customer value of the staff?
How is this value communicated?
And finally, we understand that the original value gap is nothing else but
the sum of different steps of relationships that of course during the life of
a company and of course in the cultural institution.
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