我們已知大大小小藝文產業的經濟利益是不可小覷的。如果在這市場上增加國際觀，以致於在自由表達能力、文化多樣性與經濟成長上都扮演重要的角色。為了使國際上較無勢力的發展中國家參與藝術文化產業，政府、公司企業、各種組織與每個人都應該共同創造、支持與增進藝文計畫與通路。這不僅幫助振興經濟，並且激勵文化創意的資源。
為了更了解這個一直在改變與複雜的產業，以及了解不同的生活習慣、消費偏好與行為是必需的，以致分析特定人口的區隔。藉由了解每種消費者的習慣以及他們偏好於參與哪種藝文活動，不同的組織可以創造一個商業策略去開創具有潛力的新市場與消費者。
以下為本論文的研究目標：
1.針對台灣藝文市場，探討不同藝文生活型態族群之一般生活型態是否有不同。
2. 針對台灣藝文市場, 探討不同藝文生活型態族群之參與頻率是否不同。
3. 針對台灣藝文市場, 探討不同藝文生活型態族群之願付價格是否不同。
　　從研究的發現可得知各種台灣文化產業以及各種消費者的文化區隔。這個論文的主要意涵為如何建議台灣的行銷者開創台灣的藝文產業以及對於相關研究有進一步的發展與建議。

Abstract
	Creative industries are being realized for their benefits in large and small scale.
Adding an international dimension gives them a role for the future in terms of freedom of expression, cultural diversity and economic development. In order for smaller or growing countries to partake in the advantages of the arts and culture industries, governments, businesses, organizations and individuals alike can cooperate to create, support, and improve projects and channels of distribution.  This will not only help to boost the market, but also help to inspire the source of creativity.
	In order to better understand this ever-changing and complex industry, different kinds of lifestyles, and consumer preferences and behaviors are needed to analyze the various segments of a population. By knowing what groups of consumers like and what kinds of activities they prefer to participate in, different organizations can create a marketing strategy to attract potential new markets, as well as consumers.
	This study has the following objectives:
1. Use the Taiwan art and culture market at an aim, to discuss the significance of different art lifestyle segments on general lifestyle.
2. Use the Taiwan art and culture market at an aim, to discuss the significance of different art lifestyle segments on participation in arts activities.
3. Use the Taiwan art and culture market at an aim, to discuss the significance of different art lifestyle segments on willingness to spend on arts activities.
	The findings of this study illustrate the behaviors and segmentations for Taiwan’s creative industry, and the different kinds of consumers to market to.  Implications of this research to suggest to the marketers of Taiwan’s creative industry and recommendations for further research are also presented.

Table of Contents
Chapter 1 Introduction, Background, Motivation, Objectives	1
1.1 Introduction	1
1.2 Definitions	4
1.3 Background	5
1.3.1 Taiwan’s Creative Industry History	5
1.3.2 The Colonial Era (1895-1945)	6
1.3.3 Marital Law Era (1949-1975)	7
1.3.4 THE FIRST WAVE: Permeation (1960-80)	9
1.3.5 THE SECOND WAVE (1981-90)	11
1.3.6 Arts as a New Wave (1991-present)	14
1.3.7  Other Countries’ Creative Development	17
1.4 Motivation	20
1.4.1 Local and international economic benefits	21
1.4.2 Education	28
1.4.3 Social	34
1.5 Objectives	36
1.6 Explanation of the Research Process Figure	37
Chapter 2 Document Review	40
2.1 Art and Culture Marketing	41
2.2 Consumer attitudes and behavior	43
2.3 Maslow’s Hierarchy of Needs	44
2.4 Activities, Interests, and Opinions (AIO)	46
2.5 Overview of Theories and Consumer Behavior	47
2.5.2 Consumer budget optimization	48
2.5.3 Consumer Values	49
2.5.4 Approaches	50
2.5.5 Audiences	51
2.5.6 Consumer Motivations	54
2.5.7 Different lifestyle segments in the literature	56
Chapter 3 Research Methods	60
3.1 Conceptual Framework	61
3.2 Hypotheses	62
3.3 Supportive references	63
3.4 Data Collection	68
3.5 Questionnaire Design	69
3.6 Data Analysis	71
Chapter 4 Data Analysis	72
4.1 Demographics	72
4.2 KMO and Bartlett-Specific Art lifestyle	75
4.3 Factor Analysis of Specific art lifestyles	76
4.4 Cronbach’s alphas of Specific art lifestyles	78
4.5 MANOVA Cluster Analysis of Art lifestyles	79
4.6 Discriminant Analysis	80
4.7 Descriptive Analysis	81
4.8 ANOVA	83
4.9 KMO and Bartlett-General lifestyle	84
4.10 Factor Analysis of General lifestyles	85
4.11 Cronbach’s alphas of General Lifestyles	87
4.12 MANOVA Art lifestyles	87
4.13 Wilk’s Lambda	88
4.14 Two-way ANOVA	89
4.15 Cluster and Factors’ Significance	90
4.16 Participation	91
4.17 Willingness-to-spend	93
Chapter 5 Conclusions and Implications	95
5.1 Conclusions	95
5.1.1 Research Objectives	96
5.1.2 Hypotheses	99
5.1.3 Art Lifestyle Segmentation	100
5.2 Implications	102
5.3 Limitations and Extensions	110
References	111
English Literature Sources	111
Internet Resources	116
Video Bibliography	118
Appendix A Self-administered Questionnaire (English version)	119
Appendix B Self-administered Questionnaire (Chinese version)	125






List of Tables
Table 1.4-1 Creative Industries International Trade by Product Groups (millions of $)	22
Table 1.4-2 Creative Industries International Trade as % of total World	24
Table 1.4-3 Creative Industries International Trade Growth rates %	25
Table 1.4.2-1 Arts Course-taking Patterns and SAT scores	30
Table 4.1-1 Demographics	72
Table 4.2-1 Factor Analysis-KMO & Bartlett	75
Table 4.2-2 Total Variance Explained	75
Table 4.3-1 Specific Lifestyle Factor Loading	76
Table 4.3-2 Specific Lifestyle Factor Loading	76
Table 4.3-3 Specific Lifestyle Factor Loading	77
Table 4.3-4 Factor Lifestyle Factor Loading	77
Table 4.4-1 Art lifestyle Cronbach’s Alpha	78
Table 4.5-1 MANOVA Art lifestyle cluster analysis	79
Table 4.6-1 Discriminant Analysis Case Processing Summary	80
Table 4.7-1 Descriptive Analysis	81
Table 4.8-1 ANOVA-Analysis of Variance	83
Table 4.9-1 Factor Analysis-KMO & Bartlett	84
Table 4.9-2 Total variance explained	84
Table 4.10-1 General Lifestyle Factor Loading	85
Table 4.10-2 General Lifestyle Factor Loading	85
Table 4.10-3 General Lifestyle Factor Loading	86
Table 4.10-4 General Lifestyle Factor Loading	86
Table 4.11-1 General lifestyle Factor-Cronbach’s alphas	87
Table 4.12-1 MANOVA-Art lifestyles	87
Table 4.13-1 Wilk’s Lambda	88
Table 4.14-1 Two-way Analysis of Variance ANOVA	89
Table 4.15-1 Cluster and Factors’ Significance	90
Table 4.16-1 Art Lifestyle Segmentation-Participation	91
Table 4.17-1 Willingness-to-spend	93
Table 14.7-2 Willingness-to-spend Significance	94






List of Figures

Figure 1.1-1 Core Cultural Domains	2
Figure 1.4.2-2 Compendium Summary: The Arts and Academic and Social Outcomes	30
Figure 1.6-1 Research Process	37
Figure 2.3-1 Maslow’s Hierarchy of Needs	44
Figure 2.5.1-1 A Theoretical Model of Culture’s Influence on Behavior	47
Figure 2.5.3-1 Opposing values, tendencies or positions	50
Figure 2.5.5-1 Major Consumer Reference Groups	51
Figure 2.5.6-1 Model of the Motivation Process	54
Figure 2.5.7-1 VALS Framework	56
Figure 3.1-1 Framework Chart	61
Figure 3.3.1 Summary Hypotheses Pertaining to Arts Participation	65
Figure 5.2-1 Liked Activities in Taiwan	103
Figure 5.2-2 Motivational Activities in Taiwan	104
Figure 5.2-3 Activities with an eager audience	106
Figure 5.2-4 Suggested Activities	107

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Internet Resources
Ambassador’s Fund for Cultural Preservation http://exchanges.state.gov/afcp/index.html
Art and Culture-Policy Points for Vision Green http://www.greenparty.ca/en
Art for Refugees in Transition http://www.artforrefugees.org
Arts, Culture, and Entrepreneurship: The Benefits for Local Economies http://www.arc.gov
Council of Cultural Affairs www.english.cca.gov.tw
Arts and Economic Prosperity III www.AmericansForTheArts.org/EconomicImpact
Arts Education Partnership www.aep-arts.org
Australia Council for the Arts www.australiacouncil.gov.au/grants
Choose Art http://www.chooseart.com/arteducation.asp
Culture.tw http://www.culture.tw
Department of Infrastructure, Transport, Regional Development and Local Government www.regionalaustralia.gov.au/Info.aspx?NodelD=53
European Commission www.ec.europa.eu
How Art Economically Benefits Cities http://www.pps.org
Leisure and Culture http://www.chorley.gov.uk
National Endowment for the Arts www.arts.gov
National Taiwan Museum of Fine Arts http://www.ntmofa.gov.tw
NWBCA http://www.nwbca.org/
One Town One Product http://otop.tw
OzArts www.ozarts.com
Regional Art and Culture Council http://www.racc.org
Taipei Economic and Cultural Office in New York http://www.taiwanembassy.org/US/NYC
Taiwan’s Arts Administration Training http://artsmanagement.net
Taiwan’s Culture and Art http://www.asianinfo.org/asianinfo/taiwan/pro-art.htm	
The Greater Philadelphia Cultural Alliance www.philaculture.org
The National Assembly of State Arts Agencies www.nasaa-arts.org
The New England Council http://www.newenglandcouncil.com/creativeEconomy.php
UNCATAD www.unctad.org
UNESCO http://portal.unesco.org/culture/en