Strategic Analysis of Waverly-Woollahra Art School - Case Study Example

Strategic Report of WWAS Name: Tutor: Course: Date: Executive Summary The aim of the report is to provide a strategic report for Waverly-Woollahra Art school (WWAS) which located is Bondi area of Sydney. The specialty is in arts, sculpture and educational tours. The school has been hosting Waverley prize awards each year since it was started. It has several consistent sponsors who have been supportive and instrumental in upholding the vision and mission of the institution. The first part of the report highlights on the mission, vision and values that the institution cherishes the most. The second part provides details on the strengths, weaknesses, opportunities and threats of the school which includes teaching and event exhibitions. The third part provides details on the strengths, weaknesses, opportunities and threats of the Friends program which includes teaching and event exhibitions. An elevation point is made through recommendations on the WWAS, school, studio and the Friends program. There is also a branding statement provided before a conclusion is made in the end. Table of Contents Executive Summary 2 Table of Contents 3 1.1Introduction 4 1.2 SWOT Analysis (School and exhibition production) 5 1.2.1 Strengths 5 1.2.3 Weaknesses 6 1.2.4 Opportunities 7 1.2.5 Threats 9 1.3 SWOT Analysis (Friends Program) 10 1.3.1 Strengths 10 1.3.2 Weaknesses 11 1.3.3 Opportunities 12 1.3.4 Threats 13 1.4 Branding statement 13 1.5 Communication Strategies 14 1.6 Competitor Analysis 14 1.7 Recommendations 15 1.8 Conclusion 15 Reference list 16 1.0 SWOT Analysis 1.1 Introduction Waverly-Woollahra Art school (WWAS) is a school located in the Eastern suburbs of Bondi, Sydney. It offers quality and accessible art education to more than 400 students. The institution which has been operational for over 40 years offers term courses, arts projects, workshops winter and summer schools. The staff is outstanding in monitoring and guiding student’s exhibitions and annual tutors (WWAC, 2012). The classes include life drawing, painting, ceramics, mixed media, teenager art and pottery classes, watercolours, printmaking, drawing, kids, and sculpture. The institution is self-funding and the budget is financed by the affiliated councils. It organizes annual prize events to recognize and appreciate leading arts design and creativity (Adam 2004). The current Annual Waverley Art Prize is scheduled for 10th July 2014. The prizes are worth $12,000 financed by Arts Spectrum, Matisse Derivan, Waverley Council and Pierre Cardin (Evans, Campbell & Stonehouse, 2003). Vision: To be a leading non-profit institution in development and empowerment of artists and sculptors with excellent knowledge and experience for the competitive market place. Mission: To provide high standards of tuition in a friendly and relaxed atmosphere so as to meet individuals’ student abilities and needs. Values: Integrity, equality, transparency and discipline 1.2 SWOT Analysis (School and exhibition production) 1.2.1 Strengths The school has an outstanding reputation in the Australian artistic sphere which has attracted a multitude of disciplines. Generous and consistent sponsors who have been able to oversee previous events conducted successfully (Sayers 2001). Increased profile of the Waverley Art Prize as more resources and money placed in PR arenas, publicity to heighten the awareness of the event and attract more artist entrants (WWAC, 2012). Devoted and dedicated teaching of sculpture and art in the Studio school dating back to the master apprentice ancient traditions. Outstanding staff is active professionals’ art and sculpture practitioners offering guidance (Rodin & Normand-Romain 2001). Teaching environment and studio learning is conducive, small sized classes to support individual learning (WWAC, 2012). The institution is not for profit hence attracting the willingness and assistance of several sponsors. Basic sculpturing materials and information are provided. Studio school-run public sculpture projects have been initiated. The management committee is professional and dedicated. The committee managing the Waverley Art Prize event is conscious on increasing the value and perception of future prizes (WWAC, 2012). Occupational health and safety policy has been established. This ensures that materials and machines used in the art laboratories are friendly and not harmful to users. The resulting products are also eco-friendly and not expected to cause environmental harm or pollution. The affiliates of WWAS have developed a strong bond with the institution hence making it sustainable (Stogdill, 2004). The students are loyal and committed to excellence in their areas of specialization (fine arts and sculpture). Outstanding products like painting, teenager art and pottery classes, and watercolours among others have been complemented with professional environment, art teachers, artists and pro-sculptors. Sculpture materials can be recycled hence reducing cost of procuring materials (Sayers 2001). The institution has established colors and fonts that constitute a patent or trademark hence making the institution a brand with unique qualities and operations. All the teachers and arts being exhibited have a link to WWAS hence increasing its reputation (WWAC, 2012) WWAS name is high up in the artist bios. The institution is highly differentiated from others in Western Sydney owing to its affiliate programs, and informal learning processes. Other points of differentiation are occasioned by highly experienced sculptors including the new or young ones (Sullivan 2002). 1.2.3 Weaknesses Limited financing has seen the price money of $12,000 inadequate to cater for all the prize needs in the upcoming events. The ceremony committee estimated a new budget of $15,000 which requires an additional sponsor for a category. The category can either be main prize or the arts repertoire. Term-to-term student numbers not predictable which make it difficult to estimate on the budget and resources. The administration should have management software to predict or forecast the student numbers with socio-economic changes in mind (WWAC, 2012). Increased publicity will likely improve student enrolment in the next registration period. School gallery is yet to be established hence many students are not able to view winning exhibitions. Exhibitions should be outsourced to a PR company. Media or press releases should focus more on pro-exhibition, and being nurtured through a media section on the website for a beginning (Stogdill, 2004). A separate e-news for the media preferred to subscribers of any press releases. Positioning the school to be leading arts and sculpture provider remains a challenge. The institution requires improvement in the quality of its programs and processes to be regarded as efficient and effective. More advertising strategies required. The information hierarchy must recognize the need for commission, event notice and class sales. There is need for information on WWAS, teachers, artists or sculptors, contacts and support for WWAS. Students should be encouraged to join e-news and its archives (Sayers 2001). Lack of younger students is likely to create knowledge gap as older students exit without effective knowledge transfer. The ageing students will not transfer their practices. The institution will also face continuity issues with few students available to carry on the mission and vision of the institution. 1.2.4 Opportunities The emergence of social media has created a broad brand exposure. The marketing and communications utilizes social media excitement to brand and create awareness to arts teachers and art institutions throughout Australia. Waverley Council has also increased the recognition of the significance of the event within the community. The learning opportunity is unique and not matched in Western Sydney due to a favorable environment and presence of supportive Bondi community. Sculpture and arts materials are also available and cheap in the Bondi area due to a higher number of suppliers. This increases the power of the institution as a buyer and consumer of artwork materials (Sayers 2001). Extended period of initial publicity to about 6 months (February to June) was sufficient to create the much needed media excitement for the July prizes. The sponsors were able to receive great exposure on the products and brands of WWAS. Excellent sales and commissions of sculptures since they are placed as arts schools. Community partnership for public art and sculpture projects are developed. Website can be developed and hosted at lower costs to promote sculpture and artist projects (WWAC, 2012). The website should have a functionality of undertaking sales, marketing and online public records (Sullivan 2002). The general areas requiring emphasis are school, sales, friends and general. School provides information on teachers and class sales, sales provides details on sculptors or artists and commission sales. General information with regard to joining e-news, support to WWAS, e-news archives, contact information, and information on WWAS provided. The media section should highlight use of traditional (radio, TV) to social media (twitter, Facebook and Google). Corporate partnerships developed and implemented to fund school studio initiatives (Sayers 2001). Promotion of art and sculpture is in the form of tailored articles and editorials. Educational institutions providing volunteer programs, extension and promotion of internships (WWAC, 2012) High profile contemporary arts writers and critics alongside sculptors provide the needed endorsements (Stogdill, 2004). Hosting the art month boosts brand awareness and strengthens the bond between the partners especially NAS and SCAs. Cross promotions allows for increased synergies as affiliate galleries showcase the great works of the school as the institution does the same for its affiliate programs (MCA and AGNSW). The affiliated galleries are Dank St Depot and Defiance. Diverse avenues of promotion and advertising likely to increase awareness and improve brand image. These include editorials, public events like sculptor and student exhibitions (Thomas, 2004). 1.2.5 Threats The perception of art school and the council remain traditionalist and heritage. Few take it seriously while others take it as mere fun. Material costs for sculpture material including bronze casting have increased (Sayers 2001). Rent subsidies have been protracted. Strong competition in fine arts and sculpture courses offered by Universities, TAFE, Arts institutions, Community colleges and Sculptors. These include Ingrid Morley Studio, Julian Ashton Art School, Council-run workshops and the National Art School Short courses. Financial resources of prospective and current students are restricted. Limited funding from the affiliate sponsors (Sullivan 2002) Media coverage of projects and events is limited. Arts organizations offering similar seasonal workshops creating strong competition such as painters and other fine artists, or other major commissioned works (such as composition) and galleries, organizing commissions and exhibitions (WWAC, 2012). Others are artists and galleries promoting sculpture and other sculpture exhibitions. Presence of superior decorative product in general being sold or exhibited 1.3 SWOT Analysis (Friends Program) 1.3.1 Strengths Low income households and local residents support the community through available workshop concessions. Friend’s annual membership and the Early Bird program provide the necessary subscriptions and numbers to boost the effectiveness of educational seminars and tours (Stogdill, 2004). WWAS affiliates and students are in support of the Friends program through word of mouth and funding marketing initiatives. The seminars and tours provide unique learning opportunity for the participants. Strong connection of the Board to the arts world enables workshop participants to gain a global dimension in art and sculpture (Sayers 2001). The design abilities are in-house so the workshop officials to not need to hire or outsource. External talent is demonstrated through art and sculpture during these events. Pretty photographs taken during exhibitions and workshops are recorded and archived for educational purposes. Winning exhibitions are also displayed in the public gallery hence boosting the morale and enthusiasm of all the participants (Johnson & Scholes 2008). Workshops and seminars attract more prospective students willing to pursue art and sculpture. The young talent is exploited through tours and educational trips. A rare chance to showcase excellence in sculpture and fine arts through talks, lectures, galleries and gatherings Experienced teachers are able to provide the best lessons and exercises in art seminars (Olsen et al. 2008). Staff and students committed to excellence 1.3.2 Weaknesses The institution offers little time for public relations and marketing of the event. Providing 20 hours a week is inadequate and likely to reach few target groups. The administration needs to consider offering a broad view of the events and activities and allocate more time and resources weekly so as to increase publicity and awareness within the Sydney community and other states in Australia (Stogdill, 2004). Accessing the website is laborious and expensive. The website also lacks the avenues to check upcoming events and tours. People do not have the opportunity to make contributions, comments or complaints online. Websites should be user friendly and quick in a way to guide the learners and first time users. The website is simplistic and cannot source for participants or prospective students to the school as it lacks the online registration and payments functions (WWAC, 2012). The website requires serious upgrades to include registration, event scheduling and planning, search modules and reports. The event production programs lack promotional abilities like discounts or price cuts for early subscribers to upcoming workshops and tours (Sullivan 2002). The events should establish promotional features designed to increase the power of the brand and improve its perception by potential participants. Communications online are inconsistent with those in print. Participants seem misplaced over which medium to believe. The institution should upgrade its website to print reports that can be recorded in files. Event receipts are handwritten increasing time lags and fatigue to administration staff. The event should have event administration software that can schedule, enroll and reward participants with receipts, event bulletins, and certificates (Stogdill, 2004). Public relations are non-existent referring all the compliments and queries to the reception desk. The reception is not effective in handling customer service issues at events level. The use of social media such as Facebook, twitter and WhatsApp remains underexploited. These are avenues to reach participants and obtain feedback in the form of likes or comments on the performance of the educational tours and workshops. 1.3.3 Opportunities Personal selling through participants helps to create a strong brand image and increase the reputation of the school. Participants can get access to monthly e-newsletters through a website mailchimp.com which provides the current innovation and creativity in art and sculpture Workshops and tours offers an opportunity to showcase the great knowledge of WWAS staff, students and the board in enhancing fine art and sculptural courses (Sayers 2001). Participants are able to learn from the various reputable events such as Art socs, Sculptor society and SXS. Cross promotion with the general arts scene thrills attendees. The presence of ABR which is highly connected in the arts scene will be an excitement. It is also an occasion to meet many clientele crossovers and choirs like the Sydney’s Philharmonia (Sullivan 2002). 1.3.4 Threats Word of mouth is likely to pass a conflicting message to potential audience and the Sydney community. Word of mouth has the potential of being altered and changed to suit the motive of the sender. Events face object and brand confusion as emergent artist print makers and pro-sculptors disassociate with the past. They are likely to perceive the amateur old ladies as time barred and may not be worth emulating (Stogdill, 2004). Events require timely budgets and strict schedules. These factors are hindered by the bureaucracy of approvals, implementation and reporting of event progress. Affiliate and partner institutions may withdraw from the events at the eleventh hour hence creating a disconnection and disruption of the event. The perception from the general public is that sculpture is playing a fiddle to paintings. This perception is more likely to disinterest people who prefer general paintings than sculpture (Neylon & Johns 2002). 1.4 Branding statement The WWAS is a leading and professional institution that is specialized in art, sculpture and event management. It has the required facilities and resources to produce the best artists and sculptures in the region. It relies on talent and competence of its staff and students to excel in all areas. The sponsors remain dedicated and devoted to ensuring that WWAS stands out as the art and sculpture institution in Australia (Mountford 2009). 1.5 Communication Strategies Communication system remains undeveloped (WWAC, 2012). The website requires upgrade and incremental changes to include posting of monthly and yearly e-newsletters. A communication plan be developed include the frequency and how the school communicates with its sponsors, students, suppliers and the staff. Phone contacts needs to be provided and should be operational throughout the day. The contact staff should be responsive and reliable in replying to phone calls and e-mails (Stogdill, 2004). Flyers, e-mail outs by provided when required to specifically targeted groups. Maximize the use of in-school advertising like announcement and notice boards to highlight the best of exhibiting artists. Word of mouth and the WAP council are also effective (Sullivan 2002). 1.6 Competitor Analysis There are many competitors in the arts and sculptor field. Many association and groupings have been formed to showcase artwork, sculpture and castings. The common ones are Phoenix Foundry, Adelaide Arts Ring, South Australia Visual Artist and the Gold Coast Sculpture Prize. There are no strict regulations on arts as the government promotes the events (Johnson & Scholes 2008). Competitors find it is easy to enter the arts and sculpture market. WWAS is differentiated and specialized in the school, studio and Friends Programs which makes it top in the competition. The school also showcases Aboriginal culture making it unique in Sydney (Neylon & Johns 2002). WWAS applies the leapfrog strategy to beat established competitors in other states of Australia by avoiding confrontation. The market share is about 6% in Southern Australia 1.7 Recommendations The WWAS: The institution has guaranteed of hitting competition head on because it has the reputation and image to keep. It still has to work on the branding of the art school and studio (WWAC, 2012). Office administration equipment and facilities require maintenance, replacement and preservation. School: Enroll quality and competent students. Post regular e-newsletters and develop a differentiated definition (Sullivan 2002). Studio: Sculpture branding required. Individualize studio learning and provide basic sculpturing materials. Studio storage space requires expansion. Increase educational focus on sculpture. Friend Program: Defined budget to increase initiatives like media, marketing and public relations. Improve the functionality of websites and diversity of communication to extend to social media (WWAC, 2012). 1.8 Conclusion The investigation into the micro-environment of WWAS has providing interesting insights on branding, differentiation and sustainability as an institution. The winning strategy is engaging all the stakeholders and ensuring that quality and talents are embraces at all engagements of the institutions (Adam 2004). The functions of arts school, studio and friends program are interrelated and complement each other, hence raising the profiling of the institutions as innovation and creativity driven. The institution has a future and continued support from the Sydney community (Getz et al. 2004). Reference list Adam E 2004, Alternative Quality Improvement Practices and Organizational Performance. Journal of Operations Management. 12: 27-44. Evans, S Campbell, D & Stonehouse, G 2003, Strategic Management. Oxford. Butterworth Heinemann Getz, D Carlsen, J & Morrison, A 2004, The Family Business in Tourism and Hospitality. Wallingford. CABI Publishing. Johnson, G & Scholes K 2008, Exploring Corporate Strategy. Harlow. Financial Times, Prentice Hall. Mountford P C 2009, Aboriginal art from Australia: bark paintings and sculpture lent by the National Gallery of South Australia, Adelaide, Comonwealth press. Neylon J & Johns G 2002, Horizon: Greg Johns Sculptures-1977-2002, Macmillan Education AU. Olsen, M West, J & Ching-Yick Tse, E 2008, Strategic Management in the Hospitality Industry (2nd ed) Chichester, J. Wiley and Sons. Rodin A & Normand-Romain A 2001, Rodin: sculpture and paintings, National Gallery of Australia. Sayers A 2001, Australian Art, Oxford university Press. Stogdill, R 2004, Personal Factors Associated with Leadership. Journal of Applied Psychology. 25: 35-71. Sullivan L 2002, Who is who in Australia, Herald and Weekly Times, Vol 35: 30-33 Thomas, R 2004, Small Firms in Tourism: International Perspectives. Oxford Elsevier Waverley Woollahra Arts Centre, 2012, Classes, Workshops etc., The centre. Read More