International Journal of Humanitatis Theoreticus. Vol. 3.

(Issue: 1); May, 2020

ARTS & TECHNOLOGY IN THE MARKETING MIX: THE FERRARI WORLD

TOURISM EXPERIENCE IN ABU DHABI
Esekong Andrew-Essien, Ph.D
Department of Theatre, Film & Carnival Studies
University of Calabar, Calabar, Nigeria
Abstract
The functions of arts have long grown beyond the realm of aesthetics to diversified utilitarian
roles. In some parts, this evolution was fast-tracked and has been sustained by technology,
which is often engaged to simplify processes of production and to enhance value and access to
artistic products. In this paper, the art and technology binary are evaluated in the context of
marketing of products to tourists at Ferrari World, a popular tourist attraction in Abu Dhabi,
United Arab Emirates. To theorize the use of art and technology in tourism marketing, the
paper uses Butler’s Tourism Area Life Cycle Theory, which illustrates the stages of
development of tourism products, and from the domain of Marketing, the paper uses Michael
Porter’s Five Forces Model to evaluate the intensity of competition, profitability and
attractiveness of products and ideas. Case studies are drawn from the architectural layout,
products on display, service schedule and the performances at Ferrari World. Analysis is done
towards finding the exact points of connection between the arts and other elements of the
marketing mix; the subsisting strength and weaknesses of the Ferrari World concept, the
impact on patronage, and the sustainability of the art and technology marketing plan.
Key Words: Arts, Technology, Marketing Mix & Tourism.
Introduction
Quite often, the ultimate aim of production, whether of goods, services or ideas is to
make profit, which could be monetary or otherwise. Marketing is introduced to push or promote
the products to prospective customers whose patronage would bring profit. Many methods have
been used in marketing publicity and a number of them are connected to the arts. They include
handbills, flyers, billboards, television adverts, phone pop-ups, live performances or a
combination of these and many more options. Principally, all the marketing publicity options
are deployed to gain patronage towards making profit.
From historical perspectives, deploying artistic skills in marketing dates back many ages and
across cultures. In some indigenous African societies, for instance, herbalists were known to
hawk their wares together with a group of singers, drummers and dancers who would lure
prospective buyers as audiences to a location where the herbalist would proclaim and
sometimes demonstrate the wonders of his merchandise. Between the olden day approaches in
marketing and now, much has happened, particularly with the introduction and advancement
of technology. Adverts on the media are produced and driven by technology. They are typical
products of the art and technology fusion for the purpose of marketing. One of the most
dramatic examples is the use of dancing robots to market products. The VIVA 4 GiG device, a
technological product that allows web surfing, downloading and video streaming is a perfect
illustration for the art-technology-marketing nexus. In the video that marketed the product
when it came out, the company used a remote-controlled robot, which was made to dance to a
popular tune to attract customers. This was an all-round fusion of art (as seen in the music and

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 International Journal of Humanitatis Theoreticus. Vol. 3. (Issue: 1); May, 2020

dance) and technology (as seen in the robot), all used in the process of marketing. This paper
is a comprehensive.
evaluation of the approach used in Ferrari World where arts and technology are also
engaged, this time in marketing Ferrari products, allied services and accessories to tourists in
Abu Dhabi.
Theoretical Framework
This paper is anchored, in part, on Butler’s Tourism Area Life Cycle (TALC) Theory,
which focuses on the product or destination life cycle. Butler postulates that new products grow
progressively and later stabilize before experiencing decline. He specifies the periods of
development to include: the exploration, involvement, development, consolidation, stagnation
and decline or rejuvenation stages. Central to Butler’s model is the concept of dynamism and
the fact that changes are triggered by a number of factors. It is certain that the tourism
destination of this study and the products therein have passed through the initial stages of
Butler’s growth model and may be somewhere between the development and consolidating
stages at this point. This deduction is based on the fact that the number of tourists to the
destination of study is very high, exceeding the local population and creating certain impacts.
Moreover, the economy of the area is now mainly tied to the tourism industry, which is well
supported by marketing and advertising. These are some of the indicators of the development
and consolidation stages of Butler’s theory which have been identified in the location of study.
On whether the destination will go through the remaining stages of growth is a matter of
management.
From the perspective of marketing, this study is anchored on Michael Porter’s Five
Forces Model. Porter submits that competition in a given industry, potential of new entrants,
power of suppliers, power of customers and threat of substitute products not only shape every
market, but also have become templates to measure competition intensity, attractiveness and
profitability (Porter 3 – 28; Bartol & Martin 196). This relates to this study in the sense that
these determining forces seem to interplay to incite the management of the destination and
product of our study to improve marketing strategies towards making better business returns.

Figure 1: Michael Porter’s Five Forces

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 International Journal of Humanitatis Theoreticus. Vol. 3. (Issue: 1); May, 2020

Plate 1: Aerial View of Ferrari World, Abu Dhabi, UAE

Introducing Ferrari World and its Products in UAE

Ferrari World is an indoor tourism facility located on Yas Island, one of the numerous
Islands in Abu Dhabi, United Arab Emirates (UAE). The amusement park, covering about
86,000 square metres was officially opened to the public in November, 2010. So far, it has
received a number of awards given by notable tourism bodies as the leading tourist attraction
and theme park in the Middle East region. A principal component of the Emirate’s economic
agenda is tourism. This may be why all the elements of tourism have been put in place to cater
for teaming tourists that arrive the country all year round. Many of the tangible components of
tourism are in excellent condition. Transportation is supported by excellent road and rail
networks. Airport facilities are standard with Emirates and Etihad Airlines flying in and out of
Dubai and Abu Dhabi, respectively. Their services are excellent and the flights regular to
different locations across different continents. Accommodation is available in various
categories for all classes of visitors. There is an even spread of standard hotels, holiday
apartments and other facilities for hospitality, especially in the cities. Eateries and world-class
restaurants provide excellent continental and local cuisines. Souvenirs are a matter of choice.
Many tourism initiatives have been able to develop because of the existence of these primary
facilities. Tourists move in to have adventure, exposure, relaxation and other non-tangible
experiences for tourists. The tourism plan of UAE covers a variety of subsets, with emphasis
on cultural, ecological, adventure, ancestry, creative, educational, medical and a number of
others subsets, serving the needs of culture-core and peripheral tourism.

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Plates 2 & 3: Interior of Ferrari World

The products of Ferrari World are diverse, but all revolve around Ferrari,
an Italian Sports/luxury car company based in Maranello. Ferrari is a celebrated Italian brand
created by Enzo Ferrari in 1939 out of Alfa Romeo's race division. They rolled out their first
product officially in 1947. While their initial interest was on the production of racing cars, they
later began manufacturing exotic road cars and customized products for commercial purposes.
Ferrari road cars are popularly regarded as symbols of luxury, wealth and icons of speed, but
there are many other exotic automobile brands – Mercedes Benz, BMW, Lamborghini, Porsche
and others whose prevalence has, obviously set up rivalry and put Ferrari in competition. It
therefore became necessary to market the Ferrari brand aggressively despite its exorbitant cost1.
Arising from the Ferrari concept, other related products have emerged. They include a fashion
line, consisting of casual and sports wears and accessories. Many Ferrari boutiques exist
worldwide, some owned directly by Ferrari and others operating as franchises. These outlets
sell branded clothes, accessories and racing memorabilia. Clothing includes expensive and
budget-range collections for men, women, and children. Some stores have race car simulation
games for entertainment. Whether Ferrari world is directly owned by the Enzo Ferrari car
manufacturing group or it is one of the franchises, its mandate is clearly to project the Ferrari
‘culture’

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 International Journal of Humanitatis Theoreticus. Vol. 3. (Issue: 1); May, 2020

Plates 4,5,6 &7: Some Displayed Products at Ferrari World

The display at Ferrari World is aesthetically pleasant and seems to compel the visitor
not only to continue through the exhibition, but also to take part where participation is required.
The entrance is modeled as a large front of a Ferrari car through which the visitor moves into
the facility. The display consists of vintage and current models of Ferrari automobiles, spaced
out in the entire complex at various levels – high, middle and ground. The display is interfaced
with natural and in some cases artificial plants, a network of metal structures, some constituting
a part of the architecture and others propping up some of the game facilities and displayed
items. The layout is like a large gallery or museum with well curated artifacts that give space
to the tourist to navigate and interact with them. There are catering and refreshment points at
strategic spots to address the need for food as an essential component of tourism. A situation
of interface between the tourist and the displayed facility is at the Formula One Corner. The
concept is drawn from the fact that Scuderia Ferrari, the racing division of the Ferrari Group
has been an outstanding performer, winning numerous laurels at the Formula One car race from
the inception. At this corner, the visitor is allowed to adorn the car racing attire and to enter
one of the racing vehicles for a shot of photographs. Only designated photographers are allowed
to take the shots which are later framed and sold to the owners as memorabilia. There are other
locations of interactive usage in the complex. The Pizza Theatre, an open-air facility with a
horse-shoe, curved seating for the audience provides space for a variety of theatrical
entertainment. Audience members are allowed to interact with performers in photograph
sessions after shows. The miniature indoor car race tracks; the G-Force ride that shoots into
space and reverses, and the virtual simulated car race facilities also provide interactive
experiences. The major outdoor attraction, Formula Rosa, has been labeled the world fastest
and perhaps the longest roller-coaster ride.
A number of travel and booking websites summarize that Ferrari World hosts over 20
state-of-the-art attractions, each designed to bring various facets of the Ferrari story to life.
Their summary continues:

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 International Journal of Humanitatis Theoreticus. Vol. 3. (Issue: 1); May, 2020

You’ll see Maranello from Enzo’s eyes, feel the rush of speed as the G-force takes over,
or learn from the legends themselves in the factory or at the pit stop. It’s not just a park but an
immersive experience that will spark the Ferrari spirit inside you. Featured attractions include
the world’s fastest rollercoaster, reaching speeds of up to 240 km/h, emulating the feeling of
being in a Ferrari F1 car, G-force experience taking passengers on an adrenaline-pumping ride
up over 62m, through the roof and back down again, State-of-the-art racing simulators as those
used by the Ferrari racing team, Flume ride journey through the heart of a Ferrari 599 engine
Driving and Racing school for junior drivers, with expert training, Aerial voyage over Italy
following a Ferrari.(www.insiders.uae.com; www.tripsomnia.com;
www.keithprowesattractions.com)
All these facilities provide an irresistible attraction to thrill the tourists, while the company
expands its brand profile and makes profit.
Tourists’ Patronage at Ferrari World
Tourists from all parts of the world troupe into Ferrari World which opens between
11am and 8pm daily. The destination on its own is exotic, attracting mainly those that can
afford it. On the average, access to the facility is granted by paying between $80 to $130,
depending on the departure or connection point, typically Abu Dhabi or Dubai; depending also
on the tour/booking agency. Expedia.com, owned by the Expedia Group, Viator.com and
Tripadvisor.com are top-grossing and widely famed in this regard.
Arts in the Marketing Mix at Ferrari World
On the face of it, Ferrari World is a tourism facility open to fun-loving tourists. But on
close examination, Ferrari World is a marketing idea, meant to push the Ferrari brand to visitors
who are expected to imbibe the Ferrari consciousness and to subscribe subsequently. The need
to market is understandable because where there is competition, producers introduce innovative
marketing strategies to push the products to consumers. In Ferrari World, the arts are used in
pushing the products to the tourists who become audiences and in some cases performers in
partnership.
a) Architecture and Layout (as Visual Arts):
Architecture has been classified as a 3-D visual art form by a number of scholars (Mark Getlein
310; Esekong Andrew, Essential Elements 1). This is obviously because of the shared
similarities of modelling of forms in space and the aesthetic and artistic elements. From aerial
perspective, the Ferrari World Complex is an impressive architectural edifice that dominates
the space of Yas Island in form and color. The layout indicates an illusion of movement, which
Ferrari represents. The visual movement is accentuated by the white border lines that agree
with the road network around the complex.
The architecture at Ferrari World falls into the constructivist style, famed to be the largest
Space Frame structure ever built. In architecture, a Space Frame is a “rigid, lightweight, truss-
like structure constructed from interlocking struts in a geometric pattern” (Wikipedia). It can
be constructed to cover very large areas, requiring very few interior supports. The artist is
interested in the wide uninterrupted spaces that are left underneath. The steel offers enormous
liberty to the designer to modulate and compose artistically impressive geometrical forms. The
Ferrari World could be appreciated as a formwork of metal trusses and grids, as well as an
impressively balanced work of geometry with perfect surface finishing. The steel curvatures
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 International Journal of Humanitatis Theoreticus. Vol. 3. (Issue: 1); May, 2020

are sculptural in outlook, and as they interact at different angles, many abstract forms could be
deduced. In some places, the steel curvatures seem to be pointing to the exhibits (of vehicles
from different ages). On the whole the synergy between the structure (form) and the function
is apparent. This agrees with the popular architectural mantra “form follows function”.
b) Graphics:
From the top of the building, graphic arts can be seen on one of the arms. The logo of Ferrari
is laid and highlighted with yellow, being one of the corporate colours of the brand. Interior
signage and way-finding labels are made to give the complex a character. The choice of fonts,
colour, layout, and linear elements are well integrated in the graphics and in alignment with
the corporate profile.

c) The Performing Arts:

Plates 8 & 9: La Piazza Stage in Ferrari World

La Piazza Stage is the center of the performing arts in Ferrari World where theatre
shows are staged. The theatre facility is integrated into the broad architecture of the complex,
but nevertheless demarcated by typical features of a theatre performance space. The setting is
reminiscent of the Greek Theatre with a horse-shoe formation and the stage at the base, facing
the seating area. There is a backstage house reminiscent of the Skene in Greek Theatre
architecture where performers enter and exit as required in the process of performance. The
seating position is arched and intercepted with aisles to facilitate access by audience members.
The seating capacity is approximated at between 100 and 150, depending on spacing as there
are no seat buckets to demarcate clearly. A personal experience during a visit would illustrate
the use of theatre performance for marketing in Ferrari World.
Upon entering the complex, maybe by chance, an announcement was made on the PAS that
a performance was underway in a few minutes. Logically, as a theatre practitioner, curiosity
was primed as I saw a few costumed performers and the stage ready to receive them. I took a
prime position with my team. Other tourists/audience members also began to gather, and soon
the space was significantly occupied. The venue and the audience were in place and all that
was left was the product (performance), an essential feature in Brockett’s list of pre-requisites
for a theatre show (Brockett 5). It was a mime in form of a circus show, featuring a cast of not
more than 5, one of which was a jester (so dressed) on the sideline prompting the others
tactically. The lighting systems consisted of natural light through the roof and a number of
robotic heads with alternating coloured lights mounted at the foot of the stage. The sound was
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 International Journal of Humanitatis Theoreticus. Vol. 3. (Issue: 1); May, 2020

abstract circus music. The show started with two actors attempting to put up a framed picture
of a red Ferrari car, which they could not because they lacked the right equipment to get to the
required height. A juggler entered, starting with balls, and afterwards rings, then fire sticks.
The performers tried again to put up the picture unsuccessfully. They continued with dare-devil
balancing acts, using a unicycle and other items, thrilling the audience with suspense. After
about 30 minutes towards the end, the performers finally put up the picture of the Ferrari at the
center wall of the stage. Interested audience members were invited to take personal
photographs with the performers, all clad with Ferrari and Formular One colours and design.
On the whole, the show was aimed at drawing the attention of the audience to the point
where the picture was hung. The central content of the picture, being Ferrari was the also the
theme of the show. All the theatrical elements of sound and lighting effects, colour, space,
acting, and the principles of harmony, rhythm, suspense, emphasis and others were
programmed to draw the attention of the audience to the picture of the Ferrari. At this point,
the mind of the audience was not only tuned to the product, but also prepared to appreciate
everything Ferrari. A few audience members may have paused to reflect on the fact that the
whole performance was to project Ferrari as a product. The marketing had begun.
d) Film
Still in the circle of performance is Cinema Maranello with its signature film Ferrari,
featuring Enzo Ferrari. The film is a 2003 work depicting Enzo Ferrari's rise in status from a
race driver to a successful entrepreneur. The plot is progressive as it chronicles the life of the
central character, who happens to be the brain behind the Ferrari group from the base in his
childhood to the peak of his career and fame. The film is meant to inspire watchers to identify
with the successes of the central character. The use of the screen medium appears trendier as a
tool to further engrain the Ferrari brand into the sub-conscious of the potential customer.
e) Interactive Shows:
The Tire Change Show is another point where performance points to the product as well as
the tradition of car racing – Formula One (F1), for which Ferrari is well known, having won
the race more than any other competitor in the industry. At the Tire Change Show, the pit crew
for the F1 Scuderia Ferrari, is seen competing to change the tire of a racing car, to see who
finishes in the fastest time. The show is thrilling as the audience would naturally take sides
with one pit crew member or the other. At the end, a winner is announced and audience
members are invited to compete in the tire change ‘game’. Again, one finds the audience/tourist
sucked in deeper into the Ferrari “tradition” and consciousness. Marketing intensifies both on
the sideline and with participatory audiences.
f) Interior and exterior layout and décor:
The interior of Ferrari World is designed for comfort as well as commerce. The passages
are broad enough for the number/volume of daily tourists. There is room for indoor plants, both
natural and artificial, mixed and placed at strategic points. There is enough space for exhibits,
refreshment, conveniences, IT and other services. Levels are created to serve various needs –
aesthetics and utilitarian. Expectedly, with the clear marketing thrust of the enterprise, an exit
is created through a memorabilia/gift shop for all tourists. This is probably to further compel
the tourist to buy gifts and accessories from the complex before leaving. Needless to say that
the gifts are mainly products of craftsmen and designers.
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Production and Sales of Memorabilia

In the class of tangible forms of tourism are souvenirs and solid arts. These consists of
memorabilia, which may include miniature sculptural casts or crafts, crested T-shirts, hand
bangles and bands, face caps, mugs, pens, shoes, belts, towels, watches and many other
products. Apart from sales of entry and special ride tickets, it is obvious that the sales of
memorabilia provide enormous daily returns.
Technology as Propeller for the Arts
In most artistic production environments, technology provides the materials for
production or creation. Esekong Andrew, Agibe and Eneh have enunciated this fact
extensively, albeit in the context carnival street theatre production, but the general facts still
apply (21). At the Piazza Theatre, for instance, technology propels the arts. At the Theatre,
lighting, a product of technology is provided for both illumination and aesthetics. The robotic
heads mounted as foot lights provide strong beams of coloured lights, which no doubt
glamorizes performances. Lighting has become an inevitable part of theatre productions where
they are controlled and cued in sync with performances. Similarly, sound is inevitable in theatre
performances. At the Piazza Theatre, sound was recorded, stored, cued, played, amplified, and
distributed technologically, all within the context of the analyzed artistic production.
Theatrical costumes, make-up items and equipment for two and three-dimensional
scenery are also products of technology. It is certain that the arts now thrive on the wings of
technology. The extent of the involvement of the artist may soon be to the level of determining
the artistic needs and working with technicians to encode the needs into systems that have the
capacity to store and offer facilities for retrieval at any point in time. The working synergy
between the artists and the technicians has extended to robotics. At Ferrari World, this could
be seen in the rollercoasters, which are not merely rides, they go with wavy twists that are
artistically created. The technologically propelled machines follow an artistic layout, so to say.

Plate 10: Formula Rosa, World’s Fastest Rollers Coaster

Connection Points between Artistic Elements and the Marketing Mix
Just as technology and the arts relate, marketing and arts also relate in symbiotic
proportions. The elements of artistic production are frequently used as tools to project the
components of the marketing mix. The original marketing mix was conceived by Jerome
MaCarthy to include product, price, place and promotion as the major elements.

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Figure 2: The Marketing Mix

Over time, many scholars of marketing have expanded this original scope of the Mix to 7,
adding people, process and physical evidence to the earlier four (Booms and Bitner, 1981). The
focus at this point will be on the original 4 elements, which have provided a dependable
theoretical framework over time in marketing research. These 4 components are really
conspicuous in the scenario at Ferrari World. This analysis is done with an eye on the synergy
between the artistic and marketing elements in that context.
Product: This refers to the main item offered by the business, which may be tangible
or non-tangible. At Ferrari World, the products are mixed. There are tangible automobile
samples and Ferrari accessories. There are also non-tangible services, which offer a variety of
experiences. All the products can be assessed in terms of their physical features, quality,
benefits, design, packaging, durability or guarantees, prospective benefits, among other
attributes. The products interface with the arts at the point of design packaging and branding.
Graphic art gives the products a visual character, which increases appeal and the urge to buy.
The artistic elements of colour, shape, lines, form, texture and space are composed using laid
out principles to enhance appeal. The cars and other physical branded items on sale at Ferrari
World have these artistic details. The services are publicized by artistically designed posters
and billboards, websites and other tools of visual representation.
Price: This often refers to cost, but it extends beyond the monetary value to other
interpretations of cost. Sale deals such as credit allowances and discounts are often considered
in acquiring products. The prices of some products at Ferrari World, such as the cars may be
relatively high, but the services and accessories are more easily affordable to the average
tourist. The artistic connection here is that graphics improve not just the physical outlook, but
it might also be the basis for improved pricing. If beauty induces appeal, value will be
heightened in the process of patronage.
Place: This refers to the physical location of business or the place of contact between
the patron and the product. Sales may also be done in virtual spaces. In actual sales point, the
arts are useful in beautifying the locations and providing utilitarian labels to facilitate
navigation as found in Ferrari World. There is evidence of art presence in the architecture, the
interior and the exterior finishing. Undoubtedly, environmental aesthetics improves sales.
Where the sales point is virtual, the artist designs a proper visually appealing environment to
provide the right interface between the buyer and the seller.
Promotion: This suggests persuasion towards attracting customers. It is basically
communication using certain elements such as advertising and public relations. Where
advertising is concerned, the visual and performing artists cannot be left out as they are
professional message developers who create adverts to lure customers. The materials

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advertising Ferrari World were certainly designed by artists and placed in both virtual and
actual spaces.
Theoretical Applications
Going back to Michael Porter’s Five Forces Model, where competition, new entrants,
suppliers, customers and threat of possible substitutes are said to shape every market, it is clear
that all the factors have combined to impact on the market situation and compelled the
management of Ferrari World to review their marketing strategies. The current marketing plan
is such that no profit-making gap is left. The point at the Ferrari World complex where only
designated photographers are allowed to take photographs has already been mentioned.
Moreover, there are packages that tourists have to pay separately to be admitted even after
paying the central admission fee. The Ferrari driving experience is a package where tourists
pay a separate fee to drive a real Ferrari on the designated roads, provided they have
international drivers licences. Similarly, the Formula One racing concept, extended to the
virtual domain draws tourists who pay an extra fee to get a seat in the competitive simulated
car race. The G-Force rollercoaster also attracts extra fees. Indeed, no gap is left in the market
drive.
As much as Ferrari World offers products, it is also a major location for tourism and
that is where the Butler’s Tourism Area Life Cycle (TALC) Theory comes in. Recall Butler’s
submission that new products grow progressively and later stabilize before experiencing
decline. Dynamism is at the center of this model. As vibrant as the location is at the moment,
it is inevitable that it will decline after a while. There is bound to be fatigue on the part of
patrons and competition from other locations. This further informs the intensive energy put
into marketing and infusion of new ideas to extend the lifespan of the product/location. Butler
postulates that towards the end point there would definitely be a decline and stagnation if there
is no rejuvenation. It would appear that every effort put in by the management of Ferrari World
is towards rejuvenation. The rejuvenation plan in Ferrari world is timed and used as infusion
for sustenance. The new attractions brought in year after year are notable. For instance,
Formula Rossa, the world’s fastest roller coaster was built in 2010; Flying Aces, known for
having the world's tallest non-inverting loop was built in 2016; Turbo Track was built in 2018
as the fifth roller coaster at the park; and Mission Ferrari, another coaster was commissioned
in 2019. With these developments, one can preempt that another fun package will soon be
added and, therefore, find a reason to visit or revisit. Innovations rejuvenate business and it
seems to be the lifeline used at Ferrari World.
Strength and Weaknesses of the Ferrari World Concept
The main strength of the marketing strategy at Ferrari World is the thematization of
Ferrari. The various components are seamlessly interwoven and focused in projecting the
product. Ferrari becomes like the chorus across the arena. An adage in message development
goes that if you want the audience to remember the message, repeat it at least three time. Ferrari
has been echoed several times; it has been made into images, sound, and even becomes an
attitude, a life style. How else can one describe the adulation behind taking photographs with
a Ferrari at the background, or paying to drive one, or owning a toy version, among other
puzzles. The Ferrari brand is replicated many times in the layout in different forms such that
the average visitor leaves at least with a mindset of wanting to own an item with the Ferrari
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signature. This strategy may have earned them the award of the world’s most powerful brand
by Brand Finance in 2014 (Haigh, Brand Finance. 18 February, 2014). Another strength is in
the attempt to create sub-brands and related services to diversify the market and outreach, at
least for the purpose of tourism. Overall from the artistic perspective, Ferrari World is strong
in concept and delivery. Using Andrew’s aesthetic and utilitarian cannons for assessment, the
Ferrari ‘complex’ conforms greatly in design functionality and visual aesthetics (Esekong
Andrew, Aesthetic and utilitarian Considerations…2-3).
A major weakness of the Ferrari World concept is the failure to provide more affordable
alternatives in the automobile series for middle income consumers. This is also a failure to
harness the economy of scales for a higher turnover. Revenues from accessories, games and
residual products appear minimal, but there is also enormous revenue potential in producing
more affordable automobiles. Another weakness in the Ferrari World concept is in not
replicating the marketing initiative in other locations. From facts available for this research,
the initiative at Abu Dhabi appears to be the only one on this scale. Some lessons could be
learnt from the Disney Group, which leapt into replication after their initial business success in
Disneyland, Anaheim, California. As a matter of fact, the business became more profitable
after the Walt Disney World Resort, Orlando, Florida axis was opened officially in 1971. At
the new location, more packages – Magic Kingdom, Palm and Magnolia Golf Courses,
Disney's Contemporary Resort, Disney's Polynesian Village Resort, Disney's Fort Wilderness
Resort & Campground were opened in the same year. Not only did Walt Disney extend the
business brand of building theme parks and resorts, the company tactically acquired a huge
expanse of land, about 101km2 in Orlando, Florida and expanded the business idea to include
island resorts, shopping malls, conference centers, film and entertainment studios and other
initiatives. The company made sure that business prospectors with the intention of leveraging
on the expanding market or population were warded off. This idea of holistic investment is
certainly paying off for Walt Disney.
Patronage and Sustainable Marketing Plan: A Conclusion
Patronage grows and sustains when there are fresh ideas. The average tourist is desirous
to have a new experience. The pull of a location lies in the innovation therein. If these assertions
are true, the management of Ferrari World is saddled with the responsibility of evolving new
ideas and entertainment forms that would attract tourists and thereby increase returns for
investment. The challenge extends to evolving a sustainable marketing strategy whereby
marketing resources must be focused where continued engagement with the patron will occur,
even after the initial interaction. Returns will be better when sustainable marketing strategies
are in place. One of the foundational principles of sustainable marketing is the reduction of
waste and gaps. Even as the management of Ferrari World has made an effort to identify every
profitable niche and to utilize every opportunity to make money within the complex, much
more should be done, particularly in the area of theatrical performances. More theatre shows
could be introduced to fill the redundant time at the theatre space. Theatre is a creative venture
with many forms and ideas, which could be explored. For instance, short play sketches,
comedy, musicals and even full-scale plays drawing from the cultural repertoire of the host
community could be introduced. External theatre companies and individuals could come in to
form partnerships. In line with the principles of sustainable marketing, the management should

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create an environment for lasting partnership with the collaborators by offering reasonable
terms of engagement.
Growing tourism location and products can be difficult. It is not certain that the
strategies that groomed Ferrari world thus far will take it to the next level. Using fresh strategies
could help. For example, introduction of sales deals and promotional sales and introducing
rewards in competitive games could boost sales.
Ferrari World exists in a competitive business environment. There are many fun and
amusement parks in the environment, Werner Brothers is just next door. Moreover, there are
other exotic cars and supportive products around. Visibility particularly in the virtual domain
is therefore needed to float higher than other competitors. In this regard, marketing partners
such as bloggers, social influencers and celebrities, pop-up ads in popular sites, short u-tube
videos, showing new ideas, fun packages and products, could be engaged. Apart from the
virtual environment, much more presence is desired outdoor. Billboards, still or electronic
could be used to advertise the location and its products. A leaf could be borrowed from the
Louvre Museum that has flooded the same environment in Abu Dhabi with billboards and
sculptures to draw the attention of tourists.
Notes
1.
In the price review of some exotic cars in 2019, Car and Driver, a professional automobile
review group has put the price of Ferrari SF90 Stradale, being one of Ferrari’s most expensive
brands at the starting price of $600,000. The lowest in the Ferrari series by that ranking is the
488 GTB at $256,550. Lamborghini’s brands are less expensive with the Aventador in the
uppermost class at $421,145 and Urus at $200,000. Porsche’s highest priced vehicle is a sports
car 911GT2RS, going for $294,450. BMW’s highest is the i8 at $148,495; Mercedes brands
have much lower values with the highest being CLS Class at 70,195. Generally, all these exotic
brands provide options to buyers and are certainly competing with Ferrari.
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