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The Customer-Based Brand Equity for museums: the Manege Central Exhibition Hall
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Аннотация
Introduction 13
Chapter 1. Theoretical background of the Customer Based Brand Equity Models
1.1 Branding in the museum industry 15
1.2 The definition of brand equity 16
1.3 CBBE conceptual model 17
1.4 Aaker’s model 19
1.5 Keller’s model 21
1.6 Short summary of the most relevant CBBE theoretical models 25
Chapter 2. Study Methodology
2.1 The Case Study Approach 30
2.2 The Manege Central Exhibition Hall 33
2.3 Situational analysis and competitive positioning 34
2.4 Hypotheses 44
2.5 Research design and methodology 47
Chapter 3. Empirical results of the study
3.1 Research results 55
3.2 Recommendations 75
3.2.1 Recommendations for the Manege 76
3.2.2 General recommendations for museums concerning Brand Equity 83
3.3 Managerial implications 84
3.4 Limitations and Further research 85
Conclusion 86
References 88
Appendix 92
Acknowledgements 99
Introduction 13
Chapter 1. Theoretical background of the Customer Based Brand Equity Models
1.1 Branding in the museum industry 15
1.2 The definition of brand equity 16
1.3 CBBE conceptual model 17
1.4 Aaker’s model 19
1.5 Keller’s model 21
1.6 Short summary of the most relevant CBBE theoretical models 25
Chapter 2. Study Methodology
2.1 The Case Study Approach 30
2.2 The Manege Central Exhibition Hall 33
2.3 Situational analysis and competitive positioning 34
2.4 Hypotheses 44
2.5 Research design and methodology 47
Chapter 3. Empirical results of the study
3.1 Research results 55
3.2 Recommendations 75
3.2.1 Recommendations for the Manege 76
3.2.2 General recommendations for museums concerning Brand Equity 83
3.3 Managerial implications 84
3.4 Limitations and Further research 85
Conclusion 86
References 88
Appendix 92
Acknowledgements 99
In the last few decades, the definition of brands, brand identity and brand equity have acquired an important role for For-Profit and Non-profit Organizations. Brands are often described as an intangible and competitive asset based on their ability to generate different advantages and, in addition, easy transferability among different products and situations. The increasing growth of brands is directly connected to the fact that many consumers nowadays are becoming more conscious of the products they need to purchase and have the chance to compare prices and reviews about items using digital platforms so, consequently, the firm with an established brand image will have a bigger opportunity to reach success.
A brand is the complete expression of an entity, namely a company, a product, a person, which is communicated through the creation of an experience for the audience, both rational and emotional (Belenioti, Vassiliadis, 2019). Therefore, each element which produces an interaction with the public, creates the brand and the factors establishing this bond can involve:
• the visual appearance of the company, like the name, the logo, the colors, or the identity.
• the user’s experience related to any product, namely interaction design, visual design, industrial design, or packaging.
• the relationship of any employee with the audience
• customer care involving speed in response to claims, kindness, effectiveness.
• debates originated in the media, both traditional and social (Belenioti, Vassiliadis, 2019).
So, that said, the main motivation of this research is born from the concept that branding is day by day more essential in the performance of services or products and, for both FPOs and NPOs, the principal aim of this process is to differentiate by creating a unique identity for the consumers. Moreover, even though there are innumerable studies about what brand image and brand equity are for For-Profit organizations, about non/profit organization like museums, the topic was not analyzed in depth yet (Belenioti, Vassiliadis, 2019) so, it is definitely worth highlighting that the foregoing study also implies the necessity to encourage a further analysis of museum’s branding and especially the case of Manege Central Exhibition Hall, since it is a museum full of potential that is often not considered as it should, due to the dominant competitors playing in the same field.
Fair to mention that the paper was written in collaboration with professor Starov of the Marketing Department in GSOM SPBU and the PR Manager of the Manege Central Exhibition Hall, Aleksandra Kovaleva. Furthermore, the elaborate will cover different fields of study such Branding, Consumer Behavior, Museum Marketing, reason why it can be seen as a cross-disciplinary study.
Indeed, the main object of the study is the customer-based brand equity for museums from a starting point which is the Manege Central Exhibition Hall case study. After the analysis of the conceptual framework for the topic of brand equity and the most relevant empirical studies developed in this field during the last few years together with the most meaningful models for the evaluation of the customer-based brand equity, there were identified different research gaps, emerged in the analysis:
While the CBBE model has been applied many times to FPOs, conversely art organizations’ brand equity has been previously considered in a limited number of research. Moreover, no common agreement was found about museums’ brand equity and there is scarcity of studies on it with a direct focus on the CBBE framework (Belenioti, Vassiliadis, 2019). Hence, a special research should be conducted in order to identify how Brand Equity works for museums and how it can enrich them.
The main goal of this paper is to offer an in-depth conceptualization and framing of customer-based brand equity constructs applied to museums and also to measure and examine the significance of the customer-based brand equity dimensions in relation to Manege Central Exhibition Hall. Moreover, the intended goal would be to offer solid brand equity recommendations for museums in order to improve and promote their services and art experiences in the most efficient way.
Therefore the main research questions could be formulated as follows:
• How can the customer-based brand equity model be applied in order to strengthen the competitive position of museums?
• How do museums generate value to customers, both locals and internationals?
In order to achieve the previously mentioned goals, it is essential to tackle the following objective:
1. Examine and highlight the most relevant pre-existing CBBE models to detect their key aspects and have a basis to start from.
2. Prove the validity of the chosen CBBE model for further analysis, explaining the variations made to it to adapt to the current museal market.
3. Identify the museum for the case study with valid motivations and analyze its competitors
4. Conduct online surveys and statistically analyze the results obtained.
4. Develop guidelines for the Manege Museum firstly, and in general for art organization later on, based on the findings....
A brand is the complete expression of an entity, namely a company, a product, a person, which is communicated through the creation of an experience for the audience, both rational and emotional (Belenioti, Vassiliadis, 2019). Therefore, each element which produces an interaction with the public, creates the brand and the factors establishing this bond can involve:
• the visual appearance of the company, like the name, the logo, the colors, or the identity.
• the user’s experience related to any product, namely interaction design, visual design, industrial design, or packaging.
• the relationship of any employee with the audience
• customer care involving speed in response to claims, kindness, effectiveness.
• debates originated in the media, both traditional and social (Belenioti, Vassiliadis, 2019).
So, that said, the main motivation of this research is born from the concept that branding is day by day more essential in the performance of services or products and, for both FPOs and NPOs, the principal aim of this process is to differentiate by creating a unique identity for the consumers. Moreover, even though there are innumerable studies about what brand image and brand equity are for For-Profit organizations, about non/profit organization like museums, the topic was not analyzed in depth yet (Belenioti, Vassiliadis, 2019) so, it is definitely worth highlighting that the foregoing study also implies the necessity to encourage a further analysis of museum’s branding and especially the case of Manege Central Exhibition Hall, since it is a museum full of potential that is often not considered as it should, due to the dominant competitors playing in the same field.
Fair to mention that the paper was written in collaboration with professor Starov of the Marketing Department in GSOM SPBU and the PR Manager of the Manege Central Exhibition Hall, Aleksandra Kovaleva. Furthermore, the elaborate will cover different fields of study such Branding, Consumer Behavior, Museum Marketing, reason why it can be seen as a cross-disciplinary study.
Indeed, the main object of the study is the customer-based brand equity for museums from a starting point which is the Manege Central Exhibition Hall case study. After the analysis of the conceptual framework for the topic of brand equity and the most relevant empirical studies developed in this field during the last few years together with the most meaningful models for the evaluation of the customer-based brand equity, there were identified different research gaps, emerged in the analysis:
While the CBBE model has been applied many times to FPOs, conversely art organizations’ brand equity has been previously considered in a limited number of research. Moreover, no common agreement was found about museums’ brand equity and there is scarcity of studies on it with a direct focus on the CBBE framework (Belenioti, Vassiliadis, 2019). Hence, a special research should be conducted in order to identify how Brand Equity works for museums and how it can enrich them.
The main goal of this paper is to offer an in-depth conceptualization and framing of customer-based brand equity constructs applied to museums and also to measure and examine the significance of the customer-based brand equity dimensions in relation to Manege Central Exhibition Hall. Moreover, the intended goal would be to offer solid brand equity recommendations for museums in order to improve and promote their services and art experiences in the most efficient way.
Therefore the main research questions could be formulated as follows:
• How can the customer-based brand equity model be applied in order to strengthen the competitive position of museums?
• How do museums generate value to customers, both locals and internationals?
In order to achieve the previously mentioned goals, it is essential to tackle the following objective:
1. Examine and highlight the most relevant pre-existing CBBE models to detect their key aspects and have a basis to start from.
2. Prove the validity of the chosen CBBE model for further analysis, explaining the variations made to it to adapt to the current museal market.
3. Identify the museum for the case study with valid motivations and analyze its competitors
4. Conduct online surveys and statistically analyze the results obtained.
4. Develop guidelines for the Manege Museum firstly, and in general for art organization later on, based on the findings....
The study paper covers a knowledge gap about research in the CBBE model for Non/Profit organizations, in particular museums through the specific analysis of a case study, namely the Manege Central Exhibition Hall. A variety of study objectives were specified in order to reach this goal, and all of them were met with success. Although there has been substantial research on museum customer-based brand equity, the argument over how it can be applied in order to strengthen the competitive position of museums continues. It enabled the author to provide study hypotheses and a research model that examines the nature of the relationship between various brand equity related items.
Similarly, the museal environment was investigated, confirming the hypothesis that Brand Equity is needed because it is directly connected with visitors perceptions and evaluation of the art space and the exhibitions proposed in it. As a result, the study's goal of analyzing the impact of such estimations through Keller’s CBBE model elements is confirmed.
Theoretical and managerial implications were designed after the data was collected and analyzed, confirming that the research model proposed by the author is valid and can be used to test the validity and effectiveness of museum brand equity, based on customers’ opinions and perceptions.
According to the findings, every element of the Keller’s CBBE model effectively influences museum Brand equity but it was also outlined which sub-elements were not significant or showed lower significant values, so that the recommendations given were mainly focused on them.
Finally, the paper makes a significant contribution to future research in the field of museum marketing and customer-based brand equity, as it enables marketing professionals to learn more about how Keller’s CBBE model works for museums and why it is so important to focus on this aspect.
Similarly, the museal environment was investigated, confirming the hypothesis that Brand Equity is needed because it is directly connected with visitors perceptions and evaluation of the art space and the exhibitions proposed in it. As a result, the study's goal of analyzing the impact of such estimations through Keller’s CBBE model elements is confirmed.
Theoretical and managerial implications were designed after the data was collected and analyzed, confirming that the research model proposed by the author is valid and can be used to test the validity and effectiveness of museum brand equity, based on customers’ opinions and perceptions.
According to the findings, every element of the Keller’s CBBE model effectively influences museum Brand equity but it was also outlined which sub-elements were not significant or showed lower significant values, so that the recommendations given were mainly focused on them.
Finally, the paper makes a significant contribution to future research in the field of museum marketing and customer-based brand equity, as it enables marketing professionals to learn more about how Keller’s CBBE model works for museums and why it is so important to focus on this aspect.
