Creating Value through Social Media: Fresh Evidence from Cultural Organizations

Abstract

The impacts of digital technologies are gaining increasing attention in the service literature, and a growing number of cultural organizations are using online websites and social media to interact with their actual and potential customers. However, the contributions developed by service marketing scholars show little interest in examining the role of underlying technologies in a particular service experience context, namely, the cultural heritage context and the corresponding visiting experience. Therefore, the purpose of this research is to analyse how digital technologies, especially social media, can help cultural organizations stimulate customer engagement. To reach this aim, we conducted a single exploratory case study of a communication project developed by the National Archaeological Museum of Naples (MANN) to attract their actual and potential Italian and foreign visitors. The achieved results allow for us to show how digital communication tools can stimulate customer engagement in a cultural heritage context.

Keywords

Digital technologies social media value creation engagement cultural organizations

Introduction

Business and service scholars’ attention is increasingly focused on digital technologies, above all, social media (Gummerus, Liljander, Weman, & Pihlström, 2012; Hollebeek, Glynn, & Brodie, 2014; Kaplan & Haenlein, 2010; Nisar & Whitehead, 2016), especially on their role in facilitating interactions among actors (e.g., B2C) and intensifying customer engagement (Demangeot & Broderick, 2016; Nisar & Whitehead, 2016; Polo Peña, Frías Jamilena, & Rodríguez Molina, 2014; Yang, Lin, Carlson, & Ross, 2016).

The growing number of personal devices—above all, smartphones—connected to the internet and interacting with sensor networks led to the enhancement of features such as personalization and interactivity. This digital-based scenario has translated to higher levels of immersion, flow, and cognitive and emotional fit (Parise, Guinan, & Kafka, 2016) throughout the entire customer journey (Følstad & Kvale, 2018; Verhoef et al., 2009), which ‘encompasses the total experience, including the search, purchase, consumption, and after-sale phases of the experience’ (Verhoef et al., 2009, p. 32).

The impacts of digital technologies are analysed by scholars from different fields of study, and one of these is service literature, with particular attention paid to service retail (Demangeot & Broderick, 2016). Further, in the last decade, cultural organizations, such as museums and archaeological parks, are also proposing enhanced visiting experiences through a wider use of websites, mobile apps, virtual and augmented realities, and social media to extend the boundaries of the visit (Kuflik, Wecker, Lanir, & Stock, 2015; Russo Spena, Amitrano, Tregua, & Bifulco, 2017). This perspective is evident both in funding programmes, such as the European Commission’s Horizon 2020 with initiatives on 3D technologies, digital cultural assets, virtual museums and social platforms, and in studies that analyse how cultural organizations confer a growing importance to digital technologies, as revealed in the last Digital Culture report (Nesta, Arts Council of England, 2017).

Despite these developments, the contributions by service marketing scholars, especially those using the service-dominant (S-D) logic lens, show less interest in examining the role of digital technologies in stimulating engagement and enabling visiting experiences in cultural heritage contexts, as demonstrated by recent calls for research (Mosca, Bertoldi, Giachino, & Stupino, 2018).

Therefore, the purpose of this research is to analyse how a particular kind of service organization—which cultural organizations are—can stimulate customer engagement through the use of digital technologies, in particular social media. To reach this aim, this article starts with a review of the service literature that links value creation through engagement with digital technologies and social media in order to identify how these emerging technologies enhance the service experience. Then, the context of analysis and the methodology are presented, followed by the results of the single exploratory case study. Finally, implications for scholars and practitioners are described with some conclusions.

Literature Review

Digital Technologies and Value Creation

Today, service marketing scholars agree that firms only develop value propositions that acquire value when customers begin to interact with firms (Vargo & Lusch, 2004). To create a valuable value proposition, firms should pay attention and enhance the ways they interact with their actual and potential customers. Digital technologies are great enablers of this process, providing the necessary information and resources for value creation (Mahajan, 2016; Polese, Mele, & Gummesson, 2017).

The importance of technologies has been underlined in the literature starting from the analysis of how information and communication technology (ICT) can be used by firms to achieve a better interaction and collaboration with their customers. The role of ICT was highlighted in the empirical study conducted by Polo Peña et al. (2014) who used the S-D logic lens to demonstrate that firms’ capability to exploit ICT has a direct effect on ‘value co-creation that affects both perceived value for the customers and their loyalty towards the service firm’ (p. 1054).

The link between value creation and technologies has been further developed through the analysis of online technologies in retail. In particular, Demangeot and Broderick (2016) delineated a framework for the understanding of customer engagement through websites; they identified and analysed four dimensions of ‘interaction engagement and activity engagement (...) that prompt customers’ desirable behaviours, namely, behavioural engagement and communication engagement’ (p. 829). Among these dimensions, communication engagement has been considered as an antecedent of customers’ intention to recommend the firm and continue their interactions with it through repeated purchases.

Recently, Vargo and Lusch (2017) updated the state-of-the-art and underlined the future perspective of S-D logic; they stated that S-D logic has been used—and can further be used—to extend the concept of customer engagement beyond the purchase phase, as it should be related to the entire customer journey (Følstad & Kvale, 2018).

This enlarged perspective confirms the identifiable literature thread traced above, wherein customer engagement appears to be related to the co-creation of value, not only during the main service encounter—that is, the purchase—but also when customers approach any firm’s communication about value propositions and after-service experience.

Looking at the specific service experience in the cultural heritage context, it is difficult to find contributions by service marketing scholars, especially those using the lens of S-D logic, as the main authors are scholars from different fields of study—for example, information management, tourism, and marketing—and the existing contributions are mainly theoretical or focused on retail and healthcare.

In particular, some authors of information management and business studies have analysed how cultural organizations use technologies, especially websites, underlining the results of the development from Web 1.0 to Web 2.0 and its implications on the interactivity of museums’ institutional websites (Capriotti, Carretón, & Castillo, 2016). Further, Gombault, Allal-Chérif, and Décamps (2016) have identified three main reasons why cultural organizations use ICT, namely, to digitalize or promote heritage and develop the audience; moreover, they stressed how many cultural organizations have a conservative approach in line with the stream of research in information management that has delineated the three strategy types of defender, analyser and prospector (Padilla-Meléndez & del Águila-Obra, 2013).

To the best of our knowledge, there are currently only two contributions in service marketing studies that analyse the visiting experience through the S-D logic lens. Minkiewicz, Evans, and Bridson (2014) analysed the co-creation of arts/heritage from the consumer perspective during the service experience, distinguishing between the co-creation of value and the co-creation of the experience as ‘the experience that is co-created, with value as a derived outcome’ (p. 49). The authors explained that co-creation of the experience through a focus on three main elements, namely, co-production with participation and interaction, engagement with emotional and cognitive immersion, and personalization based on the possibility to tailor the experience and interact with employees thanks to technologies. The other contribution is by Antón, Camarero, and Garrido (2018) who tried to enlarge the previous study through the analysis of the co-creation before and after the visit; the authors considered engagement from a wider perspective, not only as immersion during the visit, but as something that museums have to create after the visiting experience even more with the help of technology.

To summarize, contributions to the culture-based service experience are mainly based on two perspectives: the customer experience during the visit (Antón et al., 2018; Minkiewicz et al., 2014; Russo Spena et al., 2017) and cultural organizations’ attitude towards the use of technologies (Capriotti, Carretón, & Castillo, 2016; Gombault et al., 2016; Padilla-Meléndez & del Águila-Obra, 2013).

Social Media and Value Creation

When cultural organizations started using digital technologies to enhance value creation, they started using social media too, which are considered to be a driver of new idea generation and competitive advantages because they allow for firms to gain an in-depth understanding of their customers’ needs (Piller, Vossen, & Ihl, 2012). Among all the different definitions of social media, we rely on Kaplan and Haenlein (2010), who said that social media are ‘a group of internet-based applications that builds on the ideological and technological foundations of Web 2.0, and it allows the creation and exchange of user-generated content’. Social media (e.g., Facebook, Twitter, LinkedIn, Google + , YouTube, Flickr) are interactive platforms where consumers can communicate with each other and with organizations. They are not passive; on the contrary, as Bruns (2008) suggested, they act as ‘producers’ because they are directly involved in the value co-creation process.

Some authors have studied the relation between the use of social media and firm performance (Piller et al., 2012; Rapp, Beitelspacher, Grewal, & Hughes, 2013; Trainor, Andzulis, Rapp, & Agnihotri, 2014), so value is given by the real-time interaction between firms and consumers, by the co-creation of products and services and by the opportunity to customize them thanks to the direct dialogue offered by social media, which facilitates marketing activities, increases sales and delivers customer service.

Other authors focused their attention on customers and, in particular, on the relation between social media and social gratification (Simon & Tossan, 2018) and customers’ psychological empowerment (Hsieh, Tseng, & Lee, 2018), which have an important role in value co-creation because social media facilitates the dialogue between customers and firms, as well as among consumers, who share their opinions and ideas about products and services and trust each other’s feelings as members of a big online community.

Finally, other authors have followed another route to connect social media and value creation. They focus their attention on the ability of social media to facilitate interaction among users; this interaction facilitates engagement (Barreda, Bilgihan, Nusair, & Okumus, 2015; Gummerus et al., 2012; Hollebeek et al., 2014; Nisar & Whitehead, 2016; Yang et al., 2016), which turns customers into fans (Barreda et al., 2015) and generates positive electronic word of mouth (eWOM) because, in a social media context, fans can share their experience with other fans or non-consumers, and this contributes to value co-creation.

Social media offers a particular kind of service organization, namely, the museum, the possibility to exceed its bounds and reach people every time and everywhere. About the use of social media by museums, Kidd (2011) proposed three frames: (a) the marketing frame, which can be used to inform people about upcoming events and other activities, (b) the inclusivity frame, which is related to the ability of social media to create online communities and can in fact be used by a museum to build and sustain communities of interest around it, (c) and the third frame is the collaborative one, which is directly linked to user-generated content and the possibility offered by social media for consumers to co-produce the narratives of the museum in ways, the author says, that are ‘potentially more radical and profound’.

Moreover, Padilla-Meléndez and del Águila-Obra (2013) underline the relation between social media and value creation in museums.

Aim and Methodology

As stated above, today’s museums operate in a context in which everything has become more accessible thanks to digital technologies, so the audience’s expectations of the cultural service experience are increasing (Mosca et al., 2018; Russo Spena et al., 2017), and this may influence value creation. Service marketing literature suggests that digital technologies can facilitate interactions among users and between companies and users (Parise et al., 2016), and this may improve marketing activities and engagement, leading to value creation (Hollebeek et al., 2014).

The aim of this research is to analyse these observations in a cultural heritage context, in an attempt to determine how digital technologies and social media could influence cultural organizations’ value creation through the reach and engagement of actual and potential visitors. In particular, we want to understand:

RQ1 – What is the effect of digital communication channel use by museums?

RQ2 – How does social media stimulate customer engagement?

To answer our research questions and follow the methodological suggestions of Eisenhardt (1989), we have conducted a single exploratory case study with the combination of quantitative and qualitative data (Gummesson, 2017; Yin, 2014). We have chosen the ‘OBVIA—Out of Boundaries Viral Art Dissemination’ project as our case study, an initiative promoted in 2016 by the National Archaeological Museum of Naples (MANN), realized in collaboration with the University of Naples Federico II. This original communication project aims at ‘disseminating’ art outside the physical barriers of the museum to capture potential and actual visitors in their daily lives, trying to involve them.

To reach this goal, the museum uses many different communication channels that we have summarized into five categories: (a) digital, (b) display and monitors, (c) publishing, (d) word of mouth, and (e) festivals and events. The digital category includes internet websites, newsletters, online newspapers and some Facebook pages; the display and monitor group encompasses those technological devices used in train stations, airports and subways; publishing comprises comics, books and magazines published and delivered by the museum; the fourth category considers the respondents who intercepted content about the museum thanks to word of mouth; finally, festivals and events cover all those events (e.g., Giffoni Film Festival, Comicon—International Comics Salon) in which the museum and the project have participated.

We conducted our single exploratory case study through a two-step analysis: first, we used customer surveys, which are an important support for marketing and decision making in cultural organizations (Hulland, Baumgartner, & Smith, 2018), and as a second step, we conducted narrative interviews (Helkkula & Pihlström, 2010) aiming to understand customers’ perceptions and experiences about the digital communication tools proposed by the museum.

We built our sample by asking actual and potential Italian and foreign MANN visitors—directly inside the Neapolitan Museum, in the train stations, the airport and all those locations used by the project to disseminate the content of the museum—how much time they spend on the web and if they had at least one account on all the most popular social media, and in the event of a positive answer, we submitted a multiple-choice questionnaire to them. All the questionnaires were conducted personally, therefore, there is not a percentage not answered; further, in order to elaborate our findings, we selected and analysed only those who said they had intercepted communication channels of interest.

As a second step, we conducted narrative interviews with those that were willing to answer to further questions. First, we analysed which kind of communication channels are the most intercepted by the sample, and thus the one that can contribute the most to engagement and value creation.

To answer our first research question, we asked actual and potential visitors to compile a matrix marking the communication channels with which they have intercepted information about the museum, if they were at the museum for the first time or not, and if they would be interested in receiving information and participating in museum activities in order to analyse the engagement from two different time perspectives, the ones actually engaged who are not at the museum for the first time, and those potentially engaged in the future because they are interested in the activities of the museum.

Furthermore, we split our sample into two different groups: we separately analysed digital users and social media ones, starting from the largest group, the digital one, and then going more in depth into the social media one, which can be considered a small part within the digital group, in order to answer our questions and investigate any differences between the two groups. The digital category includes all the respondents who mark, among all the communication channels listed in the questionnaire, the digital ones (e.g., websites, newsletters and Facebook pages), while the social media sample includes only the respondents who mark the social media communication channels (e.g., Facebook pages, YouTube and Instagram).

To determine how social media tools stimulate customer engagement (RQ2), we tried to understand—through narrative interviews—the perceptions and expectations about the museum’s social media, and what kind of tools (post, photo, video, etc.) they prefer and which make them feel more engaged.

Findings

Survey Results

Our research started from 3,620 answered surveys, of which we analysed 1,735 that include, as stated above, respondents who intercepted communication channels of interest. We set off the analysis from the matrix with all the communication channels proposed by the museum through OBVIA; the digital ones were actually the most intercepted by users (62.1 per cent), while respondents’ receipt of display and monitors was 21.8 per cent; only 8.6 per cent of the consumers had been reached by publishing, another 6.2 per cent knew about the museum thanks to other communication channels (they spoke mainly of word of mouth communication by friends, tour guides, hotel staff, etc.) and finally 1.3 per cent of the respondents knew of the project thanks to participation in festivals and events.

More in detail, among the digital communication channels, some are directly managed by the museum, while others are managed in collaboration with ‘Trenitalia’, the main Italian train company. The primary digital communication channel is the MANN official website, which had the highest response rate (43.1 per cent), followed by four Facebook pages used by the museum to engage and interact with visitors: the first one is called ‘Museo Archeologico di Napoli’, which has been intercepted by 27.9 per cent of the respondents; the second one is ‘OBVIA per il MANN’, visited by 12.7 per cent of users; the third Facebook page is called ‘MANN App&Tv’, with a response rate of 10.7 per cent; and, finally, the last one is the Facebook page/profile managed by the director of the museum (8.5 per cent). Among the communication channels managed in collaboration with the train company, we included into the digital category the official website of the train company, which reached 10 per cent of users, and a newsletter used by the train company to interact with consumers with a response rate of 6.1 per cent. Finally, we have included into this group online newspapers and press reviews of OBVIA on the web, which had a response rate of 3.6 per cent.

The analysis of these results allowed for us to create the following two samples: the first one, which we called ‘Digital’, includes the 77.4 per cent Italian respondents and 22.6 per cent foreigners, and is mainly composed of young respondents (20.3 per cent are 19–25 years old and 20.7 per cent are 26–35); the second sample, called ‘Social media’, includes 83.9 per cent Italian and 16.1 per cent foreigners, and 50.6 per cent of this sample are 19–35 years old (23.5 per cent are 19–25 and 27.1 per cent are 26–35).

Going more in depth in our research, in order to identify engagement (ongoing interactions), we pointed out that within the digital group, 60.6 per cent of respondents are actually not at the museum for the first time and visit it multiple times in a year, and this result is surpassed by the respondents in the social media sample, as 68.1 per cent of them visit the museum more than once a year.

Looking at the other engagement perspectives (communication engagement), 50.1 per cent of respondents within the digital group and 49.6 per cent of respondents in the social media group are interested in receiving advertising and information about guided tours and other activities offered by the museum. The results are very similar between the two samples, and about half of the respondents in both the groups emerged as interested in being potentially engaged in the future.

Narrative Interviews’ Results

As a second step of our research, we conducted interviews with respondents who were willing to answer further questions, selecting only those that have been intercepted by social media communication channels.

The interviews allowed for us to identify the enthusiasm of engaged customers in seeing new communication tools developed by the museum, and the rising of expectations among customers who intercepted museum communications for the first time:

τI like to define me a MANN’s friend as I visit the museum at least one time every six months and I felt so excited when I saw the MANN stories on the Facebook official page. I think these tools are so useful for those customers that don’t know yet the Museum’s collections’. (Interview no. 3, 28-year-old female)

τI learned about the MANN for the first time through YouTube as I saw the cartoon spots created by the museum and these innovative ways of interaction by a cultural organization that I usually think about as boring acted as a stimulus for me to visit the museum’. (Interview no. 12, 20-year-old male)

The respondents also affirmed liking posts and photos on social media more than other kinds of digital communication tools on social media channels, whether they were actual visitors or potential ones:

ʻThe availability of information on working hours and ongoing events on the MANN Facebook page helps me to better plan the visit and the possibility to quickly receive answers to my questions on Messenger makes me feel important in the relationship with the museum’. (Interview no. 5, 38-year-old-male)

ʻI use Instagram a lot and I saw the first photos of MANN collections while I was searching for #naples during the planning of my trip to Italy. I felt very impressed about the long queues to enter the museum that I decide to add it to my checklist of places to visit’. (Interview no. 9, 25-year-old female)

Discussion and Conclusion

The survey results presented above allow us to answer RQ1 on the effect of using digital communication channels: the official website and the Facebook pages used by the Museum are more attractive (62.1 per cent) than the other traditional communication channels—that is, displays and monitors, newspapers and magazines—for both actual and potential visitors.

Further, the results confirm that customers reached by social media (more than those reached by digital channels, e.g., the web) are more engaged in cultural organizations; as they follow the activities of the Museum, they visit it more times in a year and they also recommend that others visit it.

The narrative interview results of our research are useful to answer RQ2 on how social media stimulates customer engagement: the respondents that have intercepted social media communication channels have highlighted the enthusiasm of customers in seeing new communication tools developed by the Museum, and rising expectations, especially among those who intercepted its value proposition for the first time. Moreover, the interviews allow us to underline how customer engagement can be related to particular kinds of tools used by the Museum on social media, namely, posts and photos, as respondents state that these digital tools make them feel more engaged.

The data collected and analysed in this research confirm the perspective identified in the service marketing literature, especially through the lens of S-D logic, in relation to firms’ use of technologies (Polo Peña et al., 2014). Today, museums and other cultural organizations are increasingly interested in exploiting digital technologies to create value for their actual and potential visitors, particularly through the use of official websites and social media pages, newsletters and online newspapers.

Specifically, the results show how digital communication is the most attractive among the different kinds of channels a cultural organization can use to start and carry out ongoing interactions with their actual and potential visitors. In fact, starting from the ongoing interactions, the results confirm that customers reached by digital communication channels and social media are those already engaged with the museum, as they have visited it many times and have followed the development of its activities.

Moreover, looking at the willingness to be engaged, the results confirm the role of communication engagement (Demangeot & Broderick, 2016), which refers to customers’ commitment to future dialogue and interaction with the museums, especially through online initiatives (Antón et al., 2018; Mosca et al., 2018).

These results of communication engagement, similar for both digital and social technologies, and those of ongoing interactions, which are higher for social technologies, confirm that visitors who interact with the museums through social media have a higher propensity to return in order to continue the relationship than those equally engaged with only digital technologies (e.g., the official website).

Finally, the results gained through the analysis of the Museum—with its ongoing project OBVIA—allow us to affirm that new attitudes towards digital and social technologies are emerging among cultural organizations that differ from the conservative one, especially in Southern Europe, as revealed in the literature (Gombault et al., 2016); further, communication projects like the one analysed could help cultural organizations move from a defender strategy to a prospector one (Padilla-Meléndez & del Águila-Obra, 2013).

However, the research is not free from limitations, and these are mainly related to the methodological choices. First, the results achieved from the survey could have been influenced by two variables, namely, the geographical variable, as foreigners may find it difficult to come to Naples often, and the age variable, as digital and social media users are mostly young and are able to use technological devices without any problems to search for and find what they are looking for, so they don’t need to be reached because they look for the activities of the museum independently. Further, a consideration can be made about the two samples: the digital one includes communication channels managed in collaboration with the train company, while in the social media one, there are just the communication channels directly managed by the Museum: the little margin between those who can be potentially engaged in the two samples (digital 50.2 per cent, social media 49.6 per cent) could be explained by the presence, in the digital one, of the communication channels used by partner companies.

Finally, as we have focused our attention on a single case study, in order to go into more depth analysis, it would be interesting to get back in touch with the visitors and understand the dynamic and evolution of their engagement through time. It would also be appealing to analyse how smaller cultural organizations are using digital and social technologies to enhance the creation of value, as the selected case study is a national museum.

Declaration of Conflicting Interests

The authors declared no potential conflicts of interest with respect to the research, authorship and/or publication of this article.

Funding

The authors received no financial support for the research, authorship and/or publication of this article.

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