International Journal of Humanitatis Theoreticus. Vol. 3. (Issue: 1); May, 2020

ARTS & TECHNOLOGY IN THE MARKETING MIX: THE FERRARI WORLD TOURISM EXPERIENCE IN ABU DHABI Esekong Andrew-Essien, Ph.D Department of Theatre, Film & Carnival Studies University of Calabar, Calabar, Nigeria Abstract The functions of arts have long grown beyond the realm of aesthetics to diversified utilitarian roles. In some parts, this evolution was fast-tracked and has been sustained by technology, which is often engaged to simplify processes of production and to enhance value and access to artistic products. In this paper, the art and technology binary are evaluated in the context of marketing of products to tourists at Ferrari World, a popular tourist attraction in Abu Dhabi, United Arab Emirates. To theorize the use of art and technology in tourism marketing, the paper uses Butler’s Tourism Area Life Cycle Theory, which illustrates the stages of development of tourism products, and from the domain of Marketing, the paper uses Michael Porter’s Five Forces Model to evaluate the intensity of competition, profitability and attractiveness of products and ideas. Case studies are drawn from the architectural layout, products on display, service schedule and the performances at Ferrari World. Analysis is done towards finding the exact points of connection between the arts and other elements of the marketing mix; the subsisting strength and weaknesses of the Ferrari World concept, the impact on patronage, and the sustainability of the art and technology marketing plan. Key Words: Arts, Technology, Marketing Mix & Tourism. Introduction Quite often, the ultimate aim of production, whether of goods, services or ideas is to make profit, which could be monetary or otherwise. Marketing is introduced to push or promote the products to prospective customers whose patronage would bring profit. Many methods have been used in marketing publicity and a number of them are connected to the arts. They include handbills, flyers, billboards, television adverts, phone pop-ups, live performances or a combination of these and many more options. Principally, all the marketing publicity options are deployed to gain patronage towards making profit. From historical perspectives, deploying artistic skills in marketing dates back many ages and across cultures. In some indigenous African societies, for instance, herbalists were known to hawk their wares together with a group of singers, drummers and dancers who would lure prospective buyers as audiences to a location where the herbalist would proclaim and sometimes demonstrate the wonders of his merchandise. Between the olden day approaches in marketing and now, much has happened, particularly with the introduction and advancement of technology. Adverts on the media are produced and driven by technology. They are typical products of the art and technology fusion for the purpose of marketing. One of the most dramatic examples is the use of dancing robots to market products. The VIVA 4 GiG device, a technological product that allows web surfing, downloading and video streaming is a perfect illustration for the art-technology-marketing nexus. In the video that marketed the product when it came out, the company used a remote-controlled robot, which was made to dance to a popular tune to attract customers. This was an all-round fusion of art (as seen in the music and

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International Journal of Humanitatis Theoreticus. Vol. 3. (Issue: 1); May, 2020

dance) and technology (as seen in the robot), all used in the process of marketing. This paper is a comprehensive. evaluation of the approach used in Ferrari World where arts and technology are also engaged, this time in marketing Ferrari products, allied services and accessories to tourists in Abu Dhabi. Theoretical Framework This paper is anchored, in part, on Butler’s Tourism Area Life Cycle (TALC) Theory, which focuses on the product or destination life cycle. Butler postulates that new products grow progressively and later stabilize before experiencing decline. He specifies the periods of development to include: the exploration, involvement, development, consolidation, stagnation and decline or rejuvenation stages. Central to Butler’s model is the concept of dynamism and the fact that changes are triggered by a number of factors. It is certain that the tourism destination of this study and the products therein have passed through the initial stages of Butler’s growth model and may be somewhere between the development and consolidating stages at this point. This deduction is based on the fact that the number of tourists to the destination of study is very high, exceeding the local population and creating certain impacts. Moreover, the economy of the area is now mainly tied to the tourism industry, which is well supported by marketing and advertising. These are some of the indicators of the development and consolidation stages of Butler’s theory which have been identified in the location of study. On whether the destination will go through the remaining stages of growth is a matter of management. From the perspective of marketing, this study is anchored on Michael Porter’s Five Forces Model. Porter submits that competition in a given industry, potential of new entrants, power of suppliers, power of customers and threat of substitute products not only shape every market, but also have become templates to measure competition intensity, attractiveness and profitability (Porter 3 – 28; Bartol & Martin 196). This relates to this study in the sense that these determining forces seem to interplay to incite the management of the destination and product of our study to improve marketing strategies towards making better business returns.

Figure 1: Michael Porter’s Five Forces

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International Journal of Humanitatis Theoreticus. Vol. 3. (Issue: 1); May, 2020

Plate 1: Aerial View of Ferrari World, Abu Dhabi, UAE

Introducing Ferrari World and its Products in UAE Ferrari World is an indoor tourism facility located on Yas Island, one of the numerous Islands in Abu Dhabi, United Arab Emirates (UAE). The amusement park, covering about 86,000 square metres was officially opened to the public in November, 2010. So far, it has received a number of awards given by notable tourism bodies as the leading tourist attraction and theme park in the Middle East region. A principal component of the Emirate’s economic agenda is tourism. This may be why all the elements of tourism have been put in place to cater for teaming tourists that arrive the country all year round. Many of the tangible components of tourism are in excellent condition. Transportation is supported by excellent road and rail networks. Airport facilities are standard with Emirates and Etihad Airlines flying in and out of Dubai and Abu Dhabi, respectively. Their services are excellent and the flights regular to different locations across different continents. Accommodation is available in various categories for all classes of visitors. There is an even spread of standard hotels, holiday apartments and other facilities for hospitality, especially in the cities. Eateries and world-class restaurants provide excellent continental and local cuisines. Souvenirs are a matter of choice. Many tourism initiatives have been able to develop because of the existence of these primary facilities. Tourists move in to have adventure, exposure, relaxation and other non-tangible experiences for tourists. The tourism plan of UAE covers a variety of subsets, with emphasis on cultural, ecological, adventure, ancestry, creative, educational, medical and a number of others subsets, serving the needs of culture-core and peripheral tourism.

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Plates 2 & 3: Interior of Ferrari World

The products of Ferrari World are diverse, but all revolve around Ferrari, an Italian Sports/luxury car company based in Maranello. Ferrari is a celebrated Italian brand created by in 1939 out of Alfa Romeo's race division. They rolled out their first product officially in 1947. While their initial interest was on the production of racing cars, they later began manufacturing exotic road cars and customized products for commercial purposes. Ferrari road cars are popularly regarded as symbols of luxury, wealth and icons of speed, but there are many other exotic automobile brands – Mercedes Benz, BMW, Lamborghini, Porsche and others whose prevalence has, obviously set up rivalry and put Ferrari in competition. It therefore became necessary to market the Ferrari brand aggressively despite its exorbitant cost1. Arising from the Ferrari concept, other related products have emerged. They include a fashion line, consisting of casual and sports wears and accessories. Many Ferrari boutiques exist worldwide, some owned directly by Ferrari and others operating as franchises. These outlets sell branded clothes, accessories and racing memorabilia. Clothing includes expensive and budget-range collections for men, women, and children. Some stores have race car simulation games for entertainment. Whether Ferrari world is directly owned by the Enzo Ferrari car manufacturing group or it is one of the franchises, its mandate is clearly to project the Ferrari ‘culture’

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International Journal of Humanitatis Theoreticus. Vol. 3. (Issue: 1); May, 2020

Plates 4,5,6 &7: Some Displayed Products at Ferrari World

The display at Ferrari World is aesthetically pleasant and seems to compel the visitor not only to continue through the exhibition, but also to take part where participation is required. The entrance is modeled as a large front of a Ferrari car through which the visitor moves into the facility. The display consists of vintage and current models of Ferrari automobiles, spaced out in the entire complex at various levels – high, middle and ground. The display is interfaced with natural and in some cases artificial plants, a network of metal structures, some constituting a part of the architecture and others propping up some of the game facilities and displayed items. The layout is like a large gallery or museum with well curated artifacts that give space to the tourist to navigate and interact with them. There are catering and refreshment points at strategic spots to address the need for food as an essential component of tourism. A situation of interface between the tourist and the displayed facility is at the Corner. The concept is drawn from the fact that , the racing division of the Ferrari Group has been an outstanding performer, winning numerous laurels at the race from the inception. At this corner, the visitor is allowed to adorn the car racing attire and to enter one of the racing vehicles for a shot of photographs. Only designated photographers are allowed to take the shots which are later framed and sold to the owners as memorabilia. There are other locations of interactive usage in the complex. The Pizza Theatre, an open-air facility with a horse-shoe, curved seating for the audience provides space for a variety of theatrical entertainment. Audience members are allowed to interact with performers in photograph sessions after shows. The miniature indoor car race tracks; the G-Force ride that shoots into space and reverses, and the virtual simulated car race facilities also provide interactive experiences. The major outdoor attraction, Formula Rosa, has been labeled the world fastest and perhaps the longest roller-coaster ride. A number of travel and booking websites summarize that Ferrari World hosts over 20 state-of-the-art attractions, each designed to bring various facets of the Ferrari story to life. Their summary continues:

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International Journal of Humanitatis Theoreticus. Vol. 3. (Issue: 1); May, 2020

You’ll see Maranello from Enzo’s eyes, feel the rush of speed as the G-force takes over, or learn from the legends themselves in the factory or at the pit stop. It’s not just a park but an immersive experience that will spark the Ferrari spirit inside you. Featured attractions include the world’s fastest rollercoaster, reaching speeds of up to 240 km/h, emulating the feeling of being in a Ferrari F1 car, G-force experience taking passengers on an adrenaline-pumping ride up over 62m, through the roof and back down again, State-of-the-art racing simulators as those used by the Ferrari racing team, Flume ride journey through the heart of a Ferrari 599 engine Driving and Racing school for junior drivers, with expert training, Aerial voyage over Italy following a Ferrari.(www.insiders.uae.com; www.tripsomnia.com; www.keithprowesattractions.com) All these facilities provide an irresistible attraction to thrill the tourists, while the company expands its brand profile and makes profit. Tourists’ Patronage at Ferrari World Tourists from all parts of the world troupe into Ferrari World which opens between 11am and 8pm daily. The destination on its own is exotic, attracting mainly those that can afford it. On the average, access to the facility is granted by paying between $80 to $130, depending on the departure or connection point, typically Abu Dhabi or Dubai; depending also on the tour/booking agency. Expedia.com, owned by the Expedia Group, Viator.com and Tripadvisor.com are top-grossing and widely famed in this regard. Arts in the Marketing Mix at Ferrari World On the face of it, Ferrari World is a tourism facility open to fun-loving tourists. But on close examination, Ferrari World is a marketing idea, meant to push the Ferrari brand to visitors who are expected to imbibe the Ferrari consciousness and to subscribe subsequently. The need to market is understandable because where there is competition, producers introduce innovative marketing strategies to push the products to consumers. In Ferrari World, the arts are used in pushing the products to the tourists who become audiences and in some cases performers in partnership. a) Architecture and Layout (as Visual Arts): Architecture has been classified as a 3-D visual art form by a number of scholars (Mark Getlein 310; Esekong Andrew, Essential Elements 1). This is obviously because of the shared similarities of modelling of forms in space and the aesthetic and artistic elements. From aerial perspective, the Ferrari World Complex is an impressive architectural edifice that dominates the space of Yas Island in form and color. The layout indicates an illusion of movement, which Ferrari represents. The visual movement is accentuated by the white border lines that agree with the road network around the complex. The architecture at Ferrari World falls into the constructivist style, famed to be the largest Space Frame structure ever built. In architecture, a Space Frame is a “rigid, lightweight, truss- like structure constructed from interlocking struts in a geometric pattern” (Wikipedia). It can be constructed to cover very large areas, requiring very few interior supports. The artist is interested in the wide uninterrupted spaces that are left underneath. The steel offers enormous liberty to the designer to modulate and compose artistically impressive geometrical forms. The Ferrari World could be appreciated as a formwork of metal trusses and grids, as well as an impressively balanced work of geometry with perfect surface finishing. The steel curvatures

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International Journal of Humanitatis Theoreticus. Vol. 3. (Issue: 1); May, 2020

are sculptural in outlook, and as they interact at different angles, many abstract forms could be deduced. In some places, the steel curvatures seem to be pointing to the exhibits (of vehicles from different ages). On the whole the synergy between the structure (form) and the function is apparent. This agrees with the popular architectural mantra “form follows function”. b) Graphics: From the top of the building, graphic arts can be seen on one of the arms. The logo of Ferrari is laid and highlighted with yellow, being one of the corporate colours of the brand. Interior signage and way-finding labels are made to give the complex a character. The choice of fonts, colour, layout, and linear elements are well integrated in the graphics and in alignment with the corporate profile.

c) The Performing Arts:

Plates 8 & 9: La Piazza Stage in Ferrari World La Piazza Stage is the center of the performing arts in Ferrari World where theatre shows are staged. The theatre facility is integrated into the broad architecture of the complex, but nevertheless demarcated by typical features of a theatre performance space. The setting is reminiscent of the Greek Theatre with a horse-shoe formation and the stage at the base, facing the seating area. There is a backstage house reminiscent of the Skene in Greek Theatre architecture where performers enter and exit as required in the process of performance. The seating position is arched and intercepted with aisles to facilitate access by audience members. The seating capacity is approximated at between 100 and 150, depending on spacing as there are no seat buckets to demarcate clearly. A personal experience during a visit would illustrate the use of theatre performance for marketing in Ferrari World. Upon entering the complex, maybe by chance, an announcement was made on the PAS that a performance was underway in a few minutes. Logically, as a theatre practitioner, curiosity was primed as I saw a few costumed performers and the stage ready to receive them. I took a prime position with my team. Other tourists/audience members also began to gather, and soon the space was significantly occupied. The venue and the audience were in place and all that was left was the product (performance), an essential feature in Brockett’s list of pre-requisites for a theatre show (Brockett 5). It was a mime in form of a circus show, featuring a cast of not more than 5, one of which was a jester (so dressed) on the sideline prompting the others tactically. The lighting systems consisted of natural light through the roof and a number of robotic heads with alternating coloured lights mounted at the foot of the stage. The sound was

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abstract circus music. The show started with two actors attempting to put up a framed picture of a red Ferrari car, which they could not because they lacked the right equipment to get to the required height. A juggler entered, starting with balls, and afterwards rings, then fire sticks. The performers tried again to put up the picture unsuccessfully. They continued with dare-devil balancing acts, using a unicycle and other items, thrilling the audience with suspense. After about 30 minutes towards the end, the performers finally put up the picture of the Ferrari at the center wall of the stage. Interested audience members were invited to take personal photographs with the performers, all clad with Ferrari and Formular One colours and design. On the whole, the show was aimed at drawing the attention of the audience to the point where the picture was hung. The central content of the picture, being Ferrari was the also the theme of the show. All the theatrical elements of sound and lighting effects, colour, space, acting, and the principles of harmony, rhythm, suspense, emphasis and others were programmed to draw the attention of the audience to the picture of the Ferrari. At this point, the mind of the audience was not only tuned to the product, but also prepared to appreciate everything Ferrari. A few audience members may have paused to reflect on the fact that the whole performance was to project Ferrari as a product. The marketing had begun. d) Film Still in the circle of performance is Cinema Maranello with its signature film Ferrari, featuring Enzo Ferrari. The film is a 2003 work depicting Enzo Ferrari's rise in status from a race driver to a successful entrepreneur. The plot is progressive as it chronicles the life of the central character, who happens to be the brain behind the Ferrari group from the base in his childhood to the peak of his career and fame. The film is meant to inspire watchers to identify with the successes of the central character. The use of the screen medium appears trendier as a tool to further engrain the Ferrari brand into the sub-conscious of the potential customer. e) Interactive Shows: The Change Show is another point where performance points to the product as well as the tradition of car racing – Formula One (F1), for which Ferrari is well known, having won the race more than any other competitor in the industry. At the Tire Change Show, the pit crew for the F1 Scuderia Ferrari, is seen competing to change the tire of a racing car, to see who finishes in the fastest time. The show is thrilling as the audience would naturally take sides with one pit crew member or the other. At the end, a winner is announced and audience members are invited to compete in the tire change ‘game’. Again, one finds the audience/tourist sucked in deeper into the Ferrari “tradition” and consciousness. Marketing intensifies both on the sideline and with participatory audiences. f) Interior and exterior layout and décor: The interior of Ferrari World is designed for comfort as well as commerce. The passages are broad enough for the number/volume of daily tourists. There is room for indoor plants, both natural and artificial, mixed and placed at strategic points. There is enough space for exhibits, refreshment, conveniences, IT and other services. Levels are created to serve various needs – aesthetics and utilitarian. Expectedly, with the clear marketing thrust of the enterprise, an exit is created through a memorabilia/gift shop for all tourists. This is probably to further compel the tourist to buy gifts and accessories from the complex before leaving. Needless to say that the gifts are mainly products of craftsmen and designers.

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Production and Sales of Memorabilia In the class of tangible forms of tourism are souvenirs and solid arts. These consists of memorabilia, which may include miniature sculptural casts or crafts, crested T-shirts, hand bangles and bands, face caps, mugs, pens, shoes, belts, towels, watches and many other products. Apart from sales of entry and special ride tickets, it is obvious that the sales of memorabilia provide enormous daily returns. Technology as Propeller for the Arts In most artistic production environments, technology provides the materials for production or creation. Esekong Andrew, Agibe and Eneh have enunciated this fact extensively, albeit in the context carnival street theatre production, but the general facts still apply (21). At the Piazza Theatre, for instance, technology propels the arts. At the Theatre, lighting, a product of technology is provided for both illumination and aesthetics. The robotic heads mounted as foot lights provide strong beams of coloured lights, which no doubt glamorizes performances. Lighting has become an inevitable part of theatre productions where they are controlled and cued in sync with performances. Similarly, sound is inevitable in theatre performances. At the Piazza Theatre, sound was recorded, stored, cued, played, amplified, and distributed technologically, all within the context of the analyzed artistic production. Theatrical costumes, make-up items and equipment for two and three-dimensional scenery are also products of technology. It is certain that the arts now thrive on the wings of technology. The extent of the involvement of the artist may soon be to the level of determining the artistic needs and working with technicians to encode the needs into systems that have the capacity to store and offer facilities for retrieval at any point in time. The working synergy between the artists and the technicians has extended to robotics. At Ferrari World, this could be seen in the rollercoasters, which are not merely rides, they go with wavy twists that are artistically created. The technologically propelled machines follow an artistic layout, so to say.

Plate 10: Formula Rosa, World’s Fastest Rollers Coaster Connection Points between Artistic Elements and the Marketing Mix Just as technology and the arts relate, marketing and arts also relate in symbiotic proportions. The elements of artistic production are frequently used as tools to project the components of the marketing mix. The original marketing mix was conceived by Jerome MaCarthy to include product, price, place and promotion as the major elements.

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International Journal of Humanitatis Theoreticus. Vol. 3. (Issue: 1); May, 2020

Figure 2: The Marketing Mix Over time, many scholars of marketing have expanded this original scope of the Mix to 7, adding people, process and physical evidence to the earlier four (Booms and Bitner, 1981). The focus at this point will be on the original 4 elements, which have provided a dependable theoretical framework over time in marketing research. These 4 components are really conspicuous in the scenario at Ferrari World. This analysis is done with an eye on the synergy between the artistic and marketing elements in that context. Product: This refers to the main item offered by the business, which may be tangible or non-tangible. At Ferrari World, the products are mixed. There are tangible automobile samples and Ferrari accessories. There are also non-tangible services, which offer a variety of experiences. All the products can be assessed in terms of their physical features, quality, benefits, design, packaging, durability or guarantees, prospective benefits, among other attributes. The products interface with the arts at the point of design packaging and branding. Graphic art gives the products a visual character, which increases appeal and the urge to buy. The artistic elements of colour, shape, lines, form, texture and space are composed using laid out principles to enhance appeal. The cars and other physical branded items on sale at Ferrari World have these artistic details. The services are publicized by artistically designed posters and billboards, websites and other tools of visual representation. Price: This often refers to cost, but it extends beyond the monetary value to other interpretations of cost. Sale deals such as credit allowances and discounts are often considered in acquiring products. The prices of some products at Ferrari World, such as the cars may be relatively high, but the services and accessories are more easily affordable to the average tourist. The artistic connection here is that graphics improve not just the physical outlook, but it might also be the basis for improved pricing. If beauty induces appeal, value will be heightened in the process of patronage. Place: This refers to the physical location of business or the place of contact between the patron and the product. Sales may also be done in virtual spaces. In actual sales point, the arts are useful in beautifying the locations and providing utilitarian labels to facilitate navigation as found in Ferrari World. There is evidence of art presence in the architecture, the interior and the exterior finishing. Undoubtedly, environmental aesthetics improves sales. Where the sales point is virtual, the artist designs a proper visually appealing environment to provide the right interface between the buyer and the seller. Promotion: This suggests persuasion towards attracting customers. It is basically communication using certain elements such as advertising and public relations. Where advertising is concerned, the visual and performing artists cannot be left out as they are professional message developers who create adverts to lure customers. The materials

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International Journal of Humanitatis Theoreticus. Vol. 3. (Issue: 1); May, 2020

advertising Ferrari World were certainly designed by artists and placed in both virtual and actual spaces. Theoretical Applications Going back to Michael Porter’s Five Forces Model, where competition, new entrants, suppliers, customers and threat of possible substitutes are said to shape every market, it is clear that all the factors have combined to impact on the market situation and compelled the management of Ferrari World to review their marketing strategies. The current marketing plan is such that no profit-making gap is left. The point at the Ferrari World complex where only designated photographers are allowed to take photographs has already been mentioned. Moreover, there are packages that tourists have to pay separately to be admitted even after paying the central admission fee. The Ferrari driving experience is a package where tourists pay a separate fee to drive a real Ferrari on the designated roads, provided they have international drivers licences. Similarly, the Formula One racing concept, extended to the virtual domain draws tourists who pay an extra fee to get a seat in the competitive simulated car race. The G-Force rollercoaster also attracts extra fees. Indeed, no gap is left in the market drive. As much as Ferrari World offers products, it is also a major location for tourism and that is where the Butler’s Tourism Area Life Cycle (TALC) Theory comes in. Recall Butler’s submission that new products grow progressively and later stabilize before experiencing decline. Dynamism is at the center of this model. As vibrant as the location is at the moment, it is inevitable that it will decline after a while. There is bound to be fatigue on the part of patrons and competition from other locations. This further informs the intensive energy put into marketing and infusion of new ideas to extend the lifespan of the product/location. Butler postulates that towards the end point there would definitely be a decline and stagnation if there is no rejuvenation. It would appear that every effort put in by the management of Ferrari World is towards rejuvenation. The rejuvenation plan in Ferrari world is timed and used as infusion for sustenance. The new attractions brought in year after year are notable. For instance, Formula Rossa, the world’s fastest roller coaster was built in 2010; Flying Aces, known for having the world's tallest non-inverting loop was built in 2016; Turbo Track was built in 2018 as the fifth roller coaster at the park; and Mission Ferrari, another coaster was commissioned in 2019. With these developments, one can preempt that another fun package will soon be added and, therefore, find a reason to visit or revisit. Innovations rejuvenate business and it seems to be the lifeline used at Ferrari World. Strength and Weaknesses of the Ferrari World Concept The main strength of the marketing strategy at Ferrari World is the thematization of Ferrari. The various components are seamlessly interwoven and focused in projecting the product. Ferrari becomes like the chorus across the arena. An adage in message development goes that if you want the audience to remember the message, repeat it at least three time. Ferrari has been echoed several times; it has been made into images, sound, and even becomes an attitude, a life style. How else can one describe the adulation behind taking photographs with a Ferrari at the background, or paying to drive one, or owning a toy version, among other puzzles. The Ferrari brand is replicated many times in the layout in different forms such that the average visitor leaves at least with a mindset of wanting to own an item with the Ferrari

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signature. This strategy may have earned them the award of the world’s most powerful brand by Brand Finance in 2014 (Haigh, Brand Finance. 18 February, 2014). Another strength is in the attempt to create sub-brands and related services to diversify the market and outreach, at least for the purpose of tourism. Overall from the artistic perspective, Ferrari World is strong in concept and delivery. Using Andrew’s aesthetic and utilitarian cannons for assessment, the Ferrari ‘complex’ conforms greatly in design functionality and visual aesthetics (Esekong Andrew, Aesthetic and utilitarian Considerations…2-3). A major weakness of the Ferrari World concept is the failure to provide more affordable alternatives in the automobile series for middle income consumers. This is also a failure to harness the economy of scales for a higher turnover. Revenues from accessories, games and residual products appear minimal, but there is also enormous revenue potential in producing more affordable automobiles. Another weakness in the Ferrari World concept is in not replicating the marketing initiative in other locations. From facts available for this research, the initiative at Abu Dhabi appears to be the only one on this scale. Some lessons could be learnt from the Disney Group, which leapt into replication after their initial business success in Disneyland, Anaheim, California. As a matter of fact, the business became more profitable after the Walt Disney World Resort, Orlando, Florida axis was opened officially in 1971. At the new location, more packages – Magic Kingdom, Palm and Magnolia Golf Courses, Disney's Contemporary Resort, Disney's Polynesian Village Resort, Disney's Fort Wilderness Resort & Campground were opened in the same year. Not only did Walt Disney extend the business brand of building theme parks and resorts, the company tactically acquired a huge expanse of land, about 101km2 in Orlando, Florida and expanded the business idea to include island resorts, shopping malls, conference centers, film and entertainment studios and other initiatives. The company made sure that business prospectors with the intention of leveraging on the expanding market or population were warded off. This idea of holistic investment is certainly paying off for Walt Disney. Patronage and Sustainable Marketing Plan: A Conclusion Patronage grows and sustains when there are fresh ideas. The average tourist is desirous to have a new experience. The pull of a location lies in the innovation therein. If these assertions are true, the management of Ferrari World is saddled with the responsibility of evolving new ideas and entertainment forms that would attract tourists and thereby increase returns for investment. The challenge extends to evolving a sustainable marketing strategy whereby marketing resources must be focused where continued engagement with the patron will occur, even after the initial interaction. Returns will be better when sustainable marketing strategies are in place. One of the foundational principles of sustainable marketing is the reduction of waste and gaps. Even as the management of Ferrari World has made an effort to identify every profitable niche and to utilize every opportunity to make money within the complex, much more should be done, particularly in the area of theatrical performances. More theatre shows could be introduced to fill the redundant time at the theatre space. Theatre is a creative venture with many forms and ideas, which could be explored. For instance, short play sketches, comedy, musicals and even full-scale plays drawing from the cultural repertoire of the host community could be introduced. External theatre companies and individuals could come in to form partnerships. In line with the principles of sustainable marketing, the management should

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create an environment for lasting partnership with the collaborators by offering reasonable terms of engagement. Growing tourism location and products can be difficult. It is not certain that the strategies that groomed Ferrari world thus far will take it to the next level. Using fresh strategies could help. For example, introduction of sales deals and promotional sales and introducing rewards in competitive games could boost sales. Ferrari World exists in a competitive business environment. There are many fun and amusement parks in the environment, Werner Brothers is just next door. Moreover, there are other exotic cars and supportive products around. Visibility particularly in the virtual domain is therefore needed to float higher than other competitors. In this regard, marketing partners such as bloggers, social influencers and celebrities, pop-up ads in popular sites, short u-tube videos, showing new ideas, fun packages and products, could be engaged. Apart from the virtual environment, much more presence is desired outdoor. Billboards, still or electronic could be used to advertise the location and its products. A leaf could be borrowed from the Louvre Museum that has flooded the same environment in Abu Dhabi with billboards and sculptures to draw the attention of tourists. Notes 1. In the price review of some exotic cars in 2019, Car and Driver, a professional automobile review group has put the price of Ferrari SF90 Stradale, being one of Ferrari’s most expensive brands at the starting price of $600,000. The lowest in the Ferrari series by that ranking is the 488 GTB at $256,550. Lamborghini’s brands are less expensive with the Aventador in the uppermost class at $421,145 and Urus at $200,000. Porsche’s highest priced vehicle is a sports car 911GT2RS, going for $294,450. BMW’s highest is the i8 at $148,495; Mercedes brands have much lower values with the highest being CLS Class at 70,195. Generally, all these exotic brands provide options to buyers and are certainly competing with Ferrari. Works Cited Andrew, Esekong H. “Aesthetic and Utilitarian Considerations in Design Evaluation for Theatre Productions.” Arts and Design Studies 23 (2014): 1 – 5. Andrew, Esekong H., Chris Agibe and Emmanuel Eneh “Technical Improvisations for Carnival Float Robotics: A Study of Passion 4 Designs in Carnival Calabar 2008 – 2012.” Management Science and Engineering. 8.2 (2014): 21 -32. Andrew, Esekong H. “Essential Elements of Spatial Definition in Theatre Architecture.” Arts and Design Studies 32 (2015): 1 – 4. Bartol, Kathryn and David Martin. Management. New York: MaGraw-Hill, 1991. Brockett, Oscar G. The Theatre: An Introduction. New York: Holt, Rinehart and Winston, 1992. Car and Driver. “Ferrari”, “Lamborghini”, “Porsche”, “BMW”, “Mercedes”. www.caranddriver.com. Getlein, Mark. Living with Art (8th Edition). Boston: McGraw-Hill, 2008.

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Haigh, Robert (18 February 2014). "Ferrari – The World's Most Powerful Brand". Brand Finance. Retrieved 9 February 2015. Insiders Tourism. “Ferrari World”. (insiders-uae.com/attractions-theme-park-ferrari-world/) Keith Prowes Attractions. “Ferrari World, Abu Dhabi: One Day Ticket”. www.keithprowesattraction.com Porter, Michael. Competitive Forces. New York: Free Press, 1980. Tripsomania. “Abu Dhabi Ferrari World”. www.tripsomania.com Wikipedia. “Ferrari”. (en.wikipedia.org/wiki/Ferrari). Wikipedia. “Space Frame”. (en.wikipedia.org/wiki/Space Frame). Haigh, Robert (18 February 2014). "Ferrari – The World's Most Powerful Brand". Brand Finance. Retrieved 9 February 2015. Insiders Tourism. “Ferrari World”. (insiders-uae.com/attractions-theme-park-ferrari-world/) Keith Prowes Attractions. “Ferrari World, Abu Dhabi: One Day Ticket”. www.keithprowesattraction.com Porter, Michael. Competitive Forces. New York: Free Press, 1980. Tripsomania. “Abu Dhabi Ferrari World”. www.tripsomania.com Wikipedia. “Ferrari”. (en.wikipedia.org/wiki/Ferrari). Wikipedia. “Space Frame”. (en.wikipedia.org/wiki/Space Frame).

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