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藝術節慶之策略聯盟規劃-以鶯歌國際陶瓷藝術節為例

The Planning of Strategic Alliance in an Art Festival-With the International Ceramics Festival in Yingge as Example

摘要


自1970年代隨著美、英、法、澳等先進國家的推展,舉辦藝術節慶已成爲國家發展藝術文化與帶動觀光經濟的重要政策,台灣在政府的推展下,各縣市也紛紛推展藝術節慶活動。由於藝術節慶活動的範圍廣泛,單一主辦單位的資源相當有限,與相關產業組織組成策略聯盟的整合資源已成爲活動成敗的重要關鍵。另一方面,隨著新博物館學的興起,博物館的經營趨勢也由傳統藏品管理的導向,轉向服務人群的導向,並著重與社區相關組織的連結。另因體驗行銷的盛行,目標顧客親身參與體驗學習成爲當今盛行之教育推廣與行銷手法。新北市鶯歌陶瓷博物館主辦「國際陶瓷藝術節」已多年,爲國內外最具代表性的陶瓷藝術節慶。2011年適逢台灣建國100年與新北市升格改制,該活動擴大結合社區資源規劃辦理,尤具特色與規模,參觀人數與遊客滿意度也遠超過往昔。故此,陶瓷博物館規劃執行此活動之策略聯盟做法値得探究,研究發現並可作爲其他藝術節慶之參考。本研究透過個案研究法,蒐集相關次級資料並訪談參與人員,彙整陶瓷藝術節的策略聯盟合作對象、合作事項,研究發現陶博館善用各類聯盟對象,並整合「陶瓷產業價値鏈垂直型」聯盟以服務一般顧客及專業陶瓷創作顧客;亦運用「節慶產業價值鏈垂直型」聯盟以服務一般顧客,各活動亦「緊扣陶瓷之主題」;尚依賴「支援產業異業型」聯盟以提供周詳安全的支援服務。針對聯盟合作對象、合作事項,本研究提出觀察與建議以作爲陶博館及其他藝術節慶規劃之參考。

並列摘要


Due to promotion in the United States, Britain, France, Australia and other countries, art festivals, since the 1970s, have become important strategies in developing the promotion and exchange of arts and culture as well as developing tourism and economy in many countries. Through Taiwan's government promotion, all cities and counties have developed art festivals. When offering a wide range of products and services at art festivals, the resources of a single organizer tends to be too limited. The integration of resources through strategic alliance between relevant industry organizations is the key to success. The rise of "New Museology" has transformed the focus of museums from objects management to people service and stresses links with community organizations. Education and marketing practices have been influenced by and employ the popular experiential marketing which targets customers' personal participation in experiential learning. Thus, an art festival is held in cooperation with a museum. The largest and most distinctive art festival in Taiwan, the International Ceramics Festival, was held in the New Taipei Yingge Ceramics Museum in celebration of the 100th Anniversary of Taiwan and the upgrading of New Taipei City. Visitor satisfaction was far greater than ever. Therefore, the strategic alliance practices employed in this ceramic art festival should be explored. The study findings can serve as a reference for other art festivals. Through the method of case study, the researchers collected relevant secondary data and interviews with participants to archive the partners and co-operative matters of the strategic alliance in the ceramic art festival. Dividing the alliance types into three categories inclusive of "vertical type of ceramics industry value chain," "vertical type of festival industry value chain," and "supporting industry type", the researchers also provide observations and recommendations in this study regarding alliance partners, cooperative matters, and the planning of future art festivals.

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