Now it is time for the arts to embrace the marketing concept. Once a sacriligious word in the arts world, marketing has most often been defined within that world as audience development. But the assertation made by Kotler and Levy that the choice is not whether or not to market, but whether or not to do it well, is finally being accepted by the arts.

Paper presented at the Third International Conference on Cultural Economics and Planning held April 25-28, 1984 in Akron, Ohio.

Paper presented at the Third International Conference on Cultural Economics and Planning, sponsored by the Association for Cultural Economics, held in Akron, Ohio, April 25-28, 1984.

Psychologist Clare Graves has developed a theory of the emergence in human history of seven successive personality stages, each with its own predominant way of thinking and behaving. O'Gorman presents these stages, which now exist concurrently, and explains how Grave's theories can help arts administrators solve marketing problems.

Schreiber notes the limitations of demographic audience research. He surveys several recent applications to marketing of consumer behavior theory, including Arnold Mitchell's values and lifestyles (VALS) consumer categories and Hirschman's and Holbrook's propositions pertaining to hedonic consumption. Schreiber illustrates how alternative approaches suggest strategies likely to influence consumer purchase decisions.

Step-by-Step instructions for planning, conducting, analyzing, and presenting audience surveys; generic survey questions that will be useful in a wide variety of arts settings; samples from actual questionnaires and visitors' surveys of the Seattle Opera and the Mississippi Museum of Art, among others.

The 1985 Survey of Participation in the Arts (SPA '85) is a replication of perhaps the largest single survey ever conducted on the cultural activities and attitudes of the American public. In this national survey, interviews were completed with a probability sample of 13,675 respondents across the country. The SPA '85 included a separate national sample of about 2200 respondents over age 18 in each of the first six months of 1985.

The author combines the remarks of ten leading critics and producers in the Washington area. Their remarks represent a consensus on the obligations of the critic to both artist and audience. The remarks conclude in a discussion on the role of the audience in relation to critic and performer.

The authors discuss the unique position of ballet: individual performance must be to a company, and a company is very expensive to maintain. Given these factors, ballet has had to shift and broaden its original audience. Though from a different side, this migration has had a similar effect as the patronage of folk art (or art classified as folk) discussed earlier in this volume. The aesthetic and symbolic meaning the art had for audience, artists, and performances is undermined. The price of wider audience and funding transforms an artistic endeavor and leaves its earlier participants.

The purpose of this paper is to present some empirical findings on the impact of accessibility (distance) on theatre going in Toronto. The author postulated that the residential location decisions of consumers with strong preferences for performing arts are influenced by the easy accessibility to this type of consumption in terms of the time and money cost of travel.