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François
Colbert |
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Ecole
des Hautes Etudes Commerciales de Montréal
professeur titulaire en Marketing |
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| Geboortejaar: |
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1948 |
| Nationaliteit: |
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CA |
| Woonplaats: |
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Montréal |
| Website: |
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www.hec.ca/gestiondesarts |
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| CURRICULUM |
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| Specialisatiegebied: |
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Marketing
des arts et de la culture |
| Vorige
functies: |
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Klik
hier |
| Andere
bezigheden: |
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HEC
Montréal
titulaire de la Chaire de gestion des arts Carmelle et Rémi-Marcoux
depuis 1991
fondateur et responsable pédagogique du diplôme
d'études supérieures spécialisées
en gestion d'organismes culturels depuis 1988
fondateur, directeur et rédacteur en chef, International
Journal of Arts Management depuis 1997
meer? Klik
hier |
Deelname
aan raden
en/of besturen: |
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membre
du "Editorial Board" de l'International Quarterly
Journal of Marketing depuis 2001
vice-président, Association Internationale de Management
des Arts et de la Culture depuis 1993
président-fondateur de la Conférence Internationale
sur le management des arts et de la culture
Canadian Association of Art Administration Educators
meer? Klik
hier |
| Publicaties: |
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Gestion
du marketing (2002-1995-1990)
Instructor's Manual en version electronique pour l'ouvrage Marketing
Culture and the Arts (2001)
Le marketing des arts et de la culture (2000-1993)
La localisation commerciale (1990)
meer? Klik
hier |
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| maandag
09:45 |
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The
cultural consumer - who are arts patrons?
plenaire lezing in het Engels
Looking at the cultural sector as a whole, it can be said that
virtually 100% of the population consumes at least one type
of cultural product in any given year. Indeed, in its broadest
sense, the cultural sector encompasses everything from high
art to popular art –compact disk, movies, books and magazines,
radio and television programs- with each of the various markets
appropriating its share, whether large or small, whether local
or global.
The findings of 40 years of research show that the typical consumer
of high art is female, is well educated, earns a relatively
high income and holds a white-collar job. These statistics apply
for industrialized countries, as do statistics for attendance
rates: no country can claim that its people are greater supporters
of high art than the people of another country. Among consumers
of high art, however, educational levels vary. For contemporary
art museums, university graduate make up 70-80% of visitors
while for historic parks they make up for only 20-25%. The same
is true for performing arts; for contemporary opera, university
graduates make up 70-80% of the audience, while for symphonic
music they make up 60% and for jazz 40%.
Popular art in contrast attract spectators from all educational
backgrounds and income levels. In fact, the proportion of university
graduates in audiences of popular art is almost identical to
the proportion in the general population. |
| Uitgebreid: |
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Klik
hier |
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| maandag
16:15 |
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Free
or charged entrance? (parallelsessie 2.2)
Een rondetafel-gesprek ingeleid door Joanie
Dehullu in het Nederlands over de Hasseltse case, verdere
algemene discussie in het Engels door Paal
Mork, Jean-Michel Tobelem
en François Colbert.
Joanie Dehullu:
Een gratisbeleid. Ook voor het Hasseltse stadsmuseum? Gratis
toegand leidt -volgens literatuur- onomstreden tot meer museumbezoek.
Maar geldt dit ook voor een 'klein' stadsmuseum? Is het gratis
openstellen van het vernieuwde museum een instrument om het
gewenste publiek te bereiken, om te zorgen voor een natuurlijke
loop binnen en buiten het museun? Wat zijn de pro's en de contra's
voor een gratisbeleid in het Hasseltse stadsmuseum?
Paal Mork:
Overview of different models chosen in different European countries,
pointing out pro's and con's.
Jean-Michel Tobelem:
The link between price and strategy.
François Colbert:
To accept to buy any product the consumer must have some kind
of interest for this product otherwise nothing else helps. If
there is no interest for museums, be it free, the citizen will
not come to an exhibition. Free entrance may encourage more
visits from those already convinced, and may induce somebody
to try the product in some cases, but it is not THE solution
to attract more visitors especially given the cost of this strategy.
Free entrance may also send the message that if it is free,
it is because it is not that important. |
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