Abstract
The purpose of this study was to explore strategies for distributing online content of dance post COVID-19 in Korea. And specially to discuss the distribution strategies of online performances through videoization of dance performances and OTT (over-the-top) streaming: (1) Methods: For this purpose, a survey was conducted on the distribution strategy of dance online contents for a total of 100 practitioners such as dance field, video contents, and art management. A total 91 sample were used except for defective questionnaires, and Vavra (1997)’s modified important performance analysis was conducted; (2) Results: The results of the matrix through the modified IPA analysis are as follows: first, the first quadrant included ‘quality of dance performance’, ‘platform for OTT streaming’, and ‘promotion for potential audience development’. This means that both explicit and intrinsic importance are high, and it is an important execution factor that has a positive effect on the satisfaction of the online contents of dance only if it is met. Second, the second quadrant included ‘brand awareness of choreographer or dance company’, ‘creative composition and choreography’, and ‘fee and price criteria’. This is a case of low explicit importance but high intrinsic importance, and these factors are attractive attributes that affect the satisfaction of dance online contents, although consumers do not expect it to be important. Third, the third quadrant included ‘new formats and curation’, ‘convergence technology (AR, VR, 3D, etc.) for the field sense’, and ‘online audience service (communication, membership, etc.)’. This means that both explicit and intrinsic importance are low, and if these factors are met, it can have a positive effect on the satisfaction of viewing of dance online contents. However, it does not have a negative effect even if it is not met. Fourth, in the fourth quadrant, ‘production and editing competency’, ‘quality of videos and sounds’, ‘copyright of performance creation’, and ‘fandom and audience management’ was included. This is an essential attribute in the distribution strategy of dance online contents because it has high explicit importance and low intrinsic importance, and it can have a negative impact on satisfaction when these factors are not met.
Highlights
This change was expected to alleviate the problems of temporal and spatial constraints, such as the one-time, sparseness, low field ability, and the resulting cost disease characteristics in performing arts. From this point of view, this study focuses on creating effective ways to attract a wider range of dance audiences through various media and distribution channels, including theaters, cinemas, internet protocol television (IPTV), and online streaming beyond attempts at alternative performance visualization
This study yielded the following interpretations based on the importance and implementation of distribution strategies for the online streaming of dance performances
A survey was conducted on the distribution strategies of online dance content targeting 91 practitioners working in the fields of dance, video content, performing arts, and art management, and a revised IPA analysis was conducted
Summary
The COVID-19 pandemic has greatly affected the world, and the arts industry as a whole is not exempt from its effects. The performance industry, which has historically been an artistic avenue that requires face-to-face gatherings, has been forced to cancel multiple series of performances or events due to concerns over the spread of infection. Due to this prolonged situation, the performing arts industry, which had been vulnerable to industrialization even before the pandemic, is facing an existential crisis, and the reorganization of its industrial direction is inevitable [1]. In the case of the dance industry, which has long been agonizing over its pure audience share, it is urgent to make
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