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OTT Streaming Distribution Strategies for Dance Performances in the Post-COVID-19 Age: A Modified Importance-Performance Analysis

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  • Jian Kim

    (College of Sports and Dance, Sangmyung University, Seoul 03016, Korea)

  • Eunhye Kim

    (Global Research Institute for Arts and Culture Education, Sangmyung University, Seoul 03016, Korea)

  • Aeryung Hong

    (Global Research Institute for Arts and Culture Education, Sangmyung University, Seoul 03016, Korea)

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.

Suggested Citation

  • Jian Kim & Eunhye Kim & Aeryung Hong, 2021. "OTT Streaming Distribution Strategies for Dance Performances in the Post-COVID-19 Age: A Modified Importance-Performance Analysis," IJERPH, MDPI, vol. 19(1), pages 1-11, December.
    • Handle: RePEc:gam:jijerp:v:19:y:2021:i:1:p:327-:d:713461
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    References listed on IDEAS

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    1. Elisa Salvador & Jean-Paul Simon & Pierre-Jean Benghozi, 2019. "Facing disruption: the cinema value chain in the digital age," Post-Print hal-02300929, HAL.
    2. Hasan Bakhshi & David Throsby, 2014. "Digital complements or substitutes? A quasi-field experiment from the Royal National Theatre," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 38(1), pages 1-8, February.
    3. Park, Sungwook & Kwon, Youngsun, 2019. "Research on the Relationship between the Growth of OTT Service Market and the Change in the Structure of the Pay-TV Market," 30th European Regional ITS Conference, Helsinki 2019 205203, International Telecommunications Society (ITS).
    4. Chun-Liang Chen, 2021. "Cultural product innovation strategies adopted by the performing arts industry," Review of Managerial Science, Springer, vol. 15(5), pages 1139-1171, July.
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