Digital Marketing - Notting Hill Carnival. Free Essay

Digital marketing envelops all showcasing endeavors that utilization an electronic gadget or the web. Organizations influence computerized channels, for example, web crawlers, web based life, email, and different sites to associate with present and planned clients (Ferris 2013). This research aims to choose a cultural or educational event/ service in Southampton or other regions in England, analyze it and its preexisting communication approach. One is also required to analyze a similar competitive event that targeted the same audience as well as present a specific target segment of your campaign. The cultural event may be used to mean events that relate to a specific culture; events that are representative of a culture that is it may be related to music, art, or other similar things. It may also be used to mean or understand any occasion or context that is intended to promote arts, cultural heritage, and religious events (Edwards & Knottnerus 2011). For this research or study, the event chosen is Notting Hill Carnival that takes place in London, England.

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The Notting Hill Carnival is an event that takes place annually in London from the year 1966 to date. It takes place in the streets of Notting Hill, Kensington during August. , and in most of the times, it usually has an attendance of about two million people and above, about forty thousand and high volunteers and a total of about eight to ten thousand police officers( Moore 2013). The West Indian community in Britain mostly leads the Notting Hill Carnival event and the fact that it attracts a lot of people both in London and globally makes it one of the largest street festivals, and it is also an essential event in the Black British Culture. Claudia Jones is in most cases referred to as the mommy of the Notting Hill Carnival as she was an activist and she was responsible for the 1959 event that was held in the house and was on-air by BBC. This event was marked by several activities such as the Soca music, Calypso music, steelpan music, dancehall, and also jumpups from the West Indians. Rhaune Laslett, on the other hand, raised a more diverse Notting Hill festival that was aimed to promote cultural unity and it gained a lot of popularity and thus consisted different bands and spectators from various places (Crichlow& Armstrong 2013). During the preceding years, the population to the event continued to expand event by event, and this led to concerns about the safety and future of carnival, and therefore committees were made to review this.Despite the increase of population to the event, a significant throwback was the riots that faced the event as the Caribbean youths fought with the police as they protested the extreme harassment that they suffered from the police. This event was entirely covered by the press who completely portrayed the event as negative, and the people who had not attended the event saw only one side of the event that was the negative side of the event (Henriques& Ferrara 2014). During the different years the event was held it has been supported by various companies such as the Notting Hill Carnival Trust Ltd and this event has contributed a lot of funds to the economy of London and that of the United Kingdom. The event celebrated its golden jubilee in 2016, and this included a lot of things such as the 42-hour live video coverage in different platforms.

The event had a preexisting communication approach that was aimed at making sure that all those who were interested in the event were all well informed about every aspect of the event. This was done by various methods which were all successful in their way. This included the Notting Hill Carnival illustrated guide which was created by the official city guide to London visitlondon.com. It included the tips about the carnival, the information about the transport and finally the route map. This ensured that every person had the best information about the event and was well directed to the place where the event was taking place (Crichlow 2013). Other pre-communication strategies were also used - this included strategies such as using BBC television to market the game. Live radio broadcasts also did the popularity of the event by Pascal on his daily Black Londoners program for BBC Radio London. The use of television and radio broadcasts ensured that the information about the event reached a wide variety of people and therefore they would be able to attend it. Other communication approaches included the introduction of applications which would enable easy access to information about the event (Oliveira 2012). The iPhone and Android apps introduced in 2011 and 2012 ensured that the people accessed the event through the use of their mobile phones. In August 2014 the book Carnival: Rice N Peas published a Photographic and Testimonial History of the Notting Hill Carnival by Ishmahil Blagrove and Margaret Busby. The book provided the necessary information that anyone could have required for the event. The communication was also done through channels such as The Times, The Daily Telegraph, The Independent, and Metro. They mainly focused on the main components of the event, such as the sound systems, soca, calypso, and mas (Taylor &Kneafsey 2016). Live interviews on Sky and the BBC with Carnival board members were also facilitated so that the event could be marketed appropriately. The event had different alternatives that people would choose to go to instead of attending it. They included the UK National Panorama Steel band competition, J'ouvert and Carnival Vegan Vibes. These events were competitive as they had similar interests and audiences, and they were all celebrating the same course, which was their culture.

The Notting Hill Carnival was aimed at specific target segments. The primary segment included the locals who were seeking to continue to celebrate their culture and move it on to the next generation as it was done before. The locals needed to celebrate and enjoy as they commemorated this event, which marked their way of life as it was done (Moore 2017). The next segment included the tourists who were attracted to the event as they seemed to see and celebrate other people's culture. The event was seen as to have done a great deal in the tourism promotion in the country, and many tourists came to recognize and celebrate this event. The event was also seen as a great deal of expressing politics and other ideas. This is because at the start of the event, there were politics displayed as activists and other people rioted to protest against the harassment by the police officers (Arnaud 2016). Other segments that were considered included those of the society at large, and the event opened up a platform of different vices from different people in the society. These included people such as pickpockets who saw it as a chance to steal other people's valuables. The main target was the local community who were commemorating their culture as compared to the tourists who came to enjoy themselves.

References

Ferris, L., 2013. Incremental art: negotiating the route of London's Notting Hill Carnival. In Carnival Art, Culture, and Politics (pp. 127-144). Routledge.

Edwards, J., and Knottnerus, J.D., 2011. Exchange, conflict, and coercion: The ritual dynamics of the Notting Hill Carnival past and present. ethn stud rev, 34(1), pp.107-133.

Moore, T., 2013. Policing Notting Hill: Fifty Years of Turbulence. Waterside Press.

Crichlow, M.A., and Armstrong, P., 2013. Introduction: Carnival praxis, carnivalesque strategies, and Atlantic interstices. In Carnival Art, Culture, and Politics (pp. 7-22). Routledge.

Henriques, J.F., and Ferrara, B., 2014. The sounding of the Notting Hill Carnival: Music as space, place, and territory.

Crichlow, M. ed., 2013. Carnival Art, Culture, and Politics: Performing Life. Routledge.

Taylor, E., and Kneafsey, M., 2016. The place of urban cultural heritage festivals: The case of London's Notting Hill Carnival. In Cultural heritage in a changing world (pp. 181-196). Springer, Cham.

Moore, T., 2017. Police commander-the Notting Hill riot. In Incident Command: Tales from the Hot Seat (pp. 69-87). Routledge.

Arnaud, L., 2016. The marketing of diversity and the esthetization of the difference: The cultural expressions of ethnic minorities put to the test of new urban cultural policies. Nationalism and Ethnic Politics, 22(1), pp.9-26.

Oliveira, P., 2012. Space and place as user-experience: taking Notting Hill as an example. International Journal of Business Anthropology, 3(1).