Sanremo's Target Shift as Model for Cultural Policy
The 2021 Sanremo Festival demonstrated a strategic shift in target audience, successfully attracting younger viewers (under 40) and advertisers. This change, driven by sponsor demands and a broader cultural offering, challenges traditional programming logic that prioritizes existing TV audiences. The festival's ability to cater to two distinct publics—exemplified by Fiorello's parody of Achille Lauro's performance—shows how to make diverse audiences feel included. The article argues this model could be applied to other cultural sectors like theater, classical music, and contemporary art, where market forces might succeed where state cultural policy has failed. The author, Stefano Monti, notes that extending the 'young' category to age 40 includes consumers with purchasing power, potentially driving demand for cultural products.
Key facts
- Sanremo 2021 achieved high ratings and advertising revenue by targeting a younger demographic.
- The shift in target audience was partly driven by sponsor demands.
- The festival successfully managed two different audiences, as shown by Fiorello's parody of Achille Lauro.
- The article suggests this model could be applied to theater, classical music, and contemporary art.
- The author argues that market forces could succeed where state cultural policy has failed.
- Extending the 'young' category to age 40 includes consumers with purchasing power.
- The article is published on Artribune, an Italian art news platform.
- Stefano Monti is a partner at Monti&Taft, specializing in management and strategic positioning.
Entities
Artists
- Achille Lauro
- Fiorello
Institutions
- Artribune
- Monti&Taft
Locations
- Sanremo
- Italy