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6-4e Use of Reciprocity 103
6-4f Use of Leasing 103 8 Customer Relationship
Management (CRM) 132
6-4g Types of Business Products 104
6-5 Classifying Business Customers 105 8-1 What Is Customer Relationship Management? 132
6-5a Major Categories of Business Customers 105 8-1a The Other CRM 133
6-5b Classification by Industry 106 8-2 The CRM Cycle 134
6-6 Business Buying Behaviour 107 8-3 Steps in the CRM Cycle 134
6-6a Buying Centres 107 8-3a The CRM Cycle—Stage 1 (Marketing
Research) 134
6-6b Buying Situations 108
8-3b The CRM Cycle—Stage 2 (Business
6-6c Evaluative Criteria for Business Buyers 109
Development) 136
6-7 Business Marketing Online 110
8-3c The CRM Cycle—Stage 3 (Customer
6-7a Trends in B2B Online Marketing 111 Feedback) 145
Awake Chocolate Continuing Case: 2B2B or Not 8-4 Privacy Concerns and CRM 148
2B2B 112
8-5 The Future of CRM 149
7 Segmenting, Targeting, and

Positioning 114
Awake Chocolate Continuing Case: Mindset More
than Machine 151
7-1 Market Segmentation 114

Part 2 Case: Indigo
Where? 153
7-1a The Importance of Market Segmentation 115
7-2 Bases for Segmenting Consumer Markets 115
7-2a Geographic Segmentation 116
7-2b Demographic Segmentation 116
Part 3
7-2c Psychographic Segmentation 119 PRODUCT
7-2d Benefit Segmentation 121
7-2e Usage-Rate Segmentation 122 DECISIONS
7-2f Bases for Segmenting Business Markets 122
7-3 Criteria for Successful Segmentation 123
7-4 Steps in Segmenting a Market 123
Zapp2Photo/Shutterstock.com
7-5 Strategies for Selecting Target Markets 124

7-5a Undifferentiated Targeting 124
7-5b Concentrated Targeting 125
7-5c Multisegment Targeting 125
7-5d One-to-One Marketing 126
7-6 Positioning 127
7-6a Perceptual Mapping 128
7-6b Positioning Bases 128
9 Product Concepts 156
9-1 What Is a Product? 156
7-6c Repositioning 129
9-2 Types of Consumer Products 157
7-6d Developing a Positioning Statement 129
9-2a Convenience Products 158
Awake Chocolate Continuing Case: Target Market
Time Traveller 130 9-2b Shopping Products 158
CONTENTS vii
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9-2c Specialty Products 159 10-5b Growth Stage 191
9-2d Unsought Products 159 10-5c Maturity Stage 191
9-3 Product Items, Lines, and Mixes 160 10-5d Decline Stage 191
9-3a Adjustments to Product Items, Lines, and 10-5e Implications for Marketing
Mixes 161 Management 192
9-4 Branding 163 Awake Chocolate Continuing Case: Disrupting
9-4a Benefits of Branding 164 Energy 193
9-4b Branding Strategies 164

9-4c Trademarks 167
9-5 Packaging 168
11 Services and Non-profit
Organization Marketing 196
9-5a Packaging Functions 168
11-1 How Services Differ from Goods 196
9-5b Labelling 169
11-1a Intangibility 196
9-5c Universal Product Codes (UPCs) 170
11-1b Inseparability 198
9-6 Global Issues in Branding and Packaging 170
11-1c Heterogeneity 198
9-7 Product Warranties 172
11-1d Perishability 198
Awake Chocolate Continuing Case: Approachable
11-2 Service Quality 199
Packaging 173
11-2a Evaluating Service Quality 199
10 Products
Developing and Managing
176
11-2b The Gap Model of Service Quality 199
11-3 Marketing Mixes for Services 203
11-3a Product (Service) Strategy 203
10-1 The Importance of New Products 176 11-3b Process Strategy 204
10-1a Categories of New Products 177 11-3c People Strategy 205
10-2 The New-Product Development Process 178 11-3d Place (Distribution) Strategy 205
10-2a New-Product Strategy 178 11-3e Physical Evidence Strategy 206
10-2b Idea Generation 179 11-3f Promotion Strategy 206
10-2c Idea Screening 181 11-3g Price Strategy 206
10-2d Business Analysis 181 11-3h Productivity Strategy 207
10-2e Development 182 11-4 Relationship Marketing in Services 207
10-2f Test Marketing 182 11-5 Internal Marketing in Service Companies 208
10-2g Commercialization 184 11-6 Non-profit Organization Marketing 209
10-3 Global Issues in New-Product Development 186 11-6a What Is Non-profit Organization
10-4 The Spread of New Products 186 Marketing? 210
10-4a Diffusion of Innovation 186 11-6b Unique Aspects of Non-profit Organization
10-4b Product Characteristics and the Rate of Marketing Strategies 210
Adoption 187 Awake Chocolate Continuing Case: Essential
10-4c Marketing Implications of the Adoption Service of Caffeine 213
Process 188
10-5 Product Life Cycles 188 Part 3 Case: Hershey’s Focus on
10-5a Introductory Stage 189 Innovation 216
viii CONTENTS
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Part 4 Part 5
PRICING DECISIONS DISTRIBUTING
DECISIONS
iStock.com/Hispanolistic
iStock.com/ Tryaging
12 Setting the Right Price 218 13 Marketing Channels
and Supply Chain
12-1 The Importance of Price and the Pricing
Process 218 Management 240
12-1a What Is Price? 218 13-1 The Nature of Marketing Channels 240
12-1b The Importance of Price to Marketing 13-1a Change the Channel 240
Managers 219 13-1b The Marketing Channel and Intermediaries
12-2 The Pricing Process 220 Defined 242
12-2a Step 1—Establishing Pricing Objectives 220 13-1c How Intermediaries Help the Supply Chain 242
12-2b S tep 2—Estimating Demand, Costs, and 13-2 Channel Intermediaries and Their Functions 245
Profits 222 13-2a Channel Functions Performed by
12-2c Step 3—Choosing a Price Strategy 225 Intermediaries 245
12-2d Step 4—Using a Price Tactic 228 13-3 Types of Marketing Channels 246
12-3 The Legality and Ethics of Setting a Price 233 13-3a Channels for Consumer Products 246
12-3a Bait Pricing 233 13-3b Channels for Business and Industrial
12-3b Deceptive Pricing 234 Products 247
12-3c Price Fixing 234 13-3c Alternative Channel Arrangements 248
12-3d Predatory Pricing 234 13-4 Making Channel Strategy Decisions 249
12-3e Resale Price Maintenance 235 13-4a Factors Affecting Channel Choice 249
12-3f Price Discrimination 235 13-4b Levels of Distribution Intensity 251
Awake Chocolate Continuing Case: Sell Value over 13-5 Handling Channel Relationships 252
Price 236 13-5a Channel Power, Control, and Leadership 252
13-5b Channel Conflict 252
Part 4 Case: Pricing Tactics 13-5c Channel Partnering 253

at Costco 238
CONTENTS ix
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13-6 Managing the Supply Chain 254
13-6a Benefits of Supply Chain Management 254 Part 6
PROMOTION
13-6b Managing Logistics in the Supply Chain 255
13-6c Sourcing and Procurement 255
13-6d Production Scheduling 255
13-6e Order Processing 256
DECISIONS
13-6f Inventory Control 257
13-7 Distribution Challenges in World Markets 258
JeremyRichards/Shutterstock.com
13-7a Developing Global Marketing
Channels 258
13-7b Electronic Distribution 258
Awake Chocolate Continuing Case: A Taste for
Channel Success 260
14 Retailing 262
14-1 The Role of Retailing 262
14-2 Classification and Types of Retail Operations 263
15 Marketing
Communications 284
14-2a Classification of Retail Operations 263 15-1 The Role of Promotion in the Marketing Mix 284
14-2b Major Types of Retail Operations 264 15-2 Marketing Communication 286
14-3 The Rise of Nonstore Retailing 267 15-2a The Communication Process 287
14-3a Automatic Vending 268 15-3 The Goals of Promotion 290
14-3b Self-Service Technologies (SST) 268 15-3a Informing 290
14-3c Direct Retailing 268 15-3b Persuading 291
14-3d Direct Marketing (DM) 268 15-3c Reminding 291
14-3e Online Retailing or E-tailing 269 15-3d Connecting 291
14-3f Sharing Economy 269 15-4 The Promotional Mix (AKA Integrated Marketing
14-4 Franchising 270 Communications—IMC) 291
14-5 Retail Marketing Strategy 271 15-4a Advertising 292
14-5a Defining a Target Market 271 15-4b Public Relations (PR) and Publicity 292
14-5b Choosing the Retailing Mix 271 15-4c Sales Promotion 293
14-5c Retailing Decisions for Services 276 15-4d Personal Selling 293
14-6 Addressing Retail Product/Service Failures 277 15-4e Direct-Response Communication 294
14-7 Retailer and Retail Consumer Trends and 15-4f Online Marketing, Content Marketing, and
Advancements 277 Social Media 294
14-7a Big Data 277 15-4g The Communication Process and the
14-7b Shopper Marketing and Analytics 278 Promotional Mix 295
14-7c Future Developments in Retail 15-5 Promotional Goals and the AIDA Concept 297
Management 278 15-5a AIDA and the Promotional Mix 298
Awake Chocolate Continuing Case: Micro Mart, 15-6 Integrated Marketing Communications and the
Macro Potential 280 Promotional Mix 299
15-6a Factors Affecting the Promotional Mix 299
Part 5 Case: Apocalypse… Awake Chocolate Continuing Case: Nevil, the
Soon? 282 Communicator 304
x CONTENTS
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16 Aand
dvertising, Public Relations,
Direct Response 306
17-3 Tools for Trade Sales Promotion 336
17-4 Personal Selling 337
17-5 Relationship Selling 338
16-1 What Is Advertising? 306 17-6 The Selling Process 339
16-1a Advertising and Market Share 307 17-6a Some Key Issues in Each Step of the Selling
16-1b The Effects of Advertising on Consumers 308 Process 340
16-2 Major Types of Advertising 308 17-6b Personal Selling in a Global
Marketplace 343
16-2a Institutional Advertising 309
17-6c The Impact of Technology on Personal
16-2b Product Advertising 309 Selling 343
16-3 Creative Decisions in Advertising 310 Awake Chocolate Continuing Case: Strategic
16-3a Identifying Product Benefits 310 Sampling 344
16-3b Developing and Evaluating Advertising
Appeals 311
16-3c Executing the Message 312
18 SStrategies
ocial Media and Digital
346
16-3d Postcampaign Evaluation 312
18-1 What Is Social Media’s Role in Integrated Marketing
16-4 Media Decisions in Advertising 313
Communications? 346
16-4a Media Types 314
18-1a How Canadians Use Social Media 348
16-4b Media Selection Considerations 318
18-2 The Tools of Social Engagement 350
16-4c Media Scheduling 320
18-2a Social Networks 350
16-4d Media Buying 320
18-2b Social News Sites 352
16-5 Public Relations 321
18-2c Blogs 353
16-5a Major Public Relations Tools 321
18-2d Microblogs 353
16-5b Managing Unfavourable Publicity 324
18-2e Location-Based Social Networking
16-6 Direct-Response Communication 324 Sites 354
16-6a The Tools of Direct-Response 18-2f Review Sites 354
Communication 325
18-2g Audio: Podcasts and Beyond 355
Awake Chocolate Continuing Case: Terms of
18-2h Virtual Worlds and Online Gaming 355
Engagement 327
18-2i Evaluation and Measurement of Social
17 SSelling
ales Promotion and Personal
330
18-2j
Media 355
The Changing World of Social Media 356
18-3 Mobile’s Role in Digital Marketing 356
17-1 What Is Sales Promotion? 330 18-3a Mobile and Smartphone Technology 356
17-1a The Sales Promotion Target 331 18-3b The Second Coming of Text 357
17-1b The Objectives of Sales Promotion 332 18-3c Apps and Widgets 357
17-2 Tools for Consumer Sales Promotion 333 18-4 Search: SEO and SEM 358
17-2a Discounts and Coupons 333 18-5 Designing a Digital Marketing Strategy 360
17-2b Rebates 334 18-5a The Listening System 360
17-2c Premiums 334 Awake Chocolate Continuing Case: Influencers at
17-2d Loyalty Marketing Programs 335 the Ready 362
17-2e Contests and Sweepstakes 335
17-2f Sampling 336 Part 6 Case: Connection in
17-2g Shopper Marketing 336 a Contagion 364
CONTENTS xi
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19 (Global
Online Chapter) Developing a
Vision 19-1
19-4c
19-4d
Contract Manufacturing 19-15
Joint Venture 19-15
19-4e Direct Investment 19-16
19-1 Rewards of Global Marketing 19-1 19-5 The Global Marketing Mix 19-16
19-1a Importance of Global Marketing 19-5a Product Decisions 19-17
to Canada 19-3 19-5b Promotion Adaptation 19-18
19-2 Multinational Companies 19-4 19-5c Place (Distribution) 19-18
19-2a Global Marketing Standardization 19-5 19-5d Pricing 19-18
19-3 External Environment—Facing Global Marketers 19-5 19-6 The Impact of the Internet 19-20
19-3a Culture 19-5
Glossary 367
19-3b Economic and Technological
Development 19-6 Endnotes 380
19-3c The Global Economy 19-6 Index 390
19-3d Political Structure and Actions 19-7 Tear-Out Cards
19-3e Demographic Makeup 19-12
19-3f Natural Resources 19-13
19-4 Global Marketing by the Individual Company 19-13
19-4a Exporting 19-13
19-4b Licensing and Franchising 19-14
xii CONTENTS
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PREFACE
The fifth Canadian edition of MKTG and the a deep look at the kinds of market research businesses
accompanying MindTap is the number one, most used should do, segmenting, targeting and positioning, and
textbook in Canada for the Introduction to Marketing customer relationship management. In Part 3, we focus
course. This resource was developed in consultation on developing and managing products from concept to
with instructors and more than 400 students over the execution. In Part 4, the importance of setting the right
course of more than 10 years, with the goal of creating price is explored in great detail. In Part 5, the details of
a comprehensive yet efficient resource that engages, marketing channels and supply chain management are
develops critical thinking skills, and helps learners to explored. In Part 6, we look at decisions related to pro-
move up Bloom’s Taxonomy, from memorization to motions including the ways in which marketers commu-
mastery of course concepts. nicate to the target audience through advertising, public
In MKTG, Fifth Canadian Edition, we begin in relations, and direct response. Further, there is a focus
Part 1 with an introduction to marketing, including a on sales promotion and personal selling and strategies
look at social responsibility and ethics. In Part 2, we take related to social media.
xiii
10075_fm_ptg01.indd 13 30/11/20 6:20 PM

FEATURES
MINDTAP • Concept Checks appear throughout the ebook. This

formative assessment ensures that students understand
MKTG, Fifth Canadian Edition, is a digital learning
each concept before moving on to the next.
solution that presents concepts in a way that resonates
with the needs of today’s learners. This resource not Through extensive research with Canadian students,
only helps introduce students to all the important we have seen that students respond to this type of format
concepts that they need to learn in the Introduction to and come to class more prepared and engaged.
Marketing course, but also does so through interactive, Additionally, the MindTap Reader has the following
media-rich activities that help them better retain functionality to engage students and support self-study:
those concepts and get the hands-on decision-making
• ReadSpeaker will read the text aloud.
practice they need for continued success in school and
in business. • Highlighting and Note Taking allow students
MindTap can be fully integrated with most Learning to highlight text and make notes in the MindTap
Management Systems (LMS), providing students with Reader. These notes will flow into Evernote,
one place to log in, and allowing you to sync to your LMS the electronic notebook app that you can access
gradebook if you wish. MindTap can be personalized for anywhere when it’s time to study for the exam.
your course needs. You can hide lessons, move content
Within MindTap, students also have access to study
around, and assign the things you find most useful!
tools, including the following:
Learn, Apply, Succeed • Adaptive Test Prep, which reduces exam

anxiety and allows students to create practice
To meet the needs of today’s students and to ultimately
quizzes covering multiple chapters in a low-stakes
provide a more interactive course experience,
environment. Students receive immediate feedback
the MindTap for MKTG, Fifth Canadian Edition,
so they know where they need additional help, and
encourages students to learn, apply, and succeed in
the test bank–like questions prepare students for
mastering the concepts featured throughout the book.
what to expect on the exam.
MindTap for MKTG presents the core concepts taught
in the Introduction to Marketing course in a variety • Flashcards, which are prepopulated to provide a
of ways, including short paragraphs of text and the jump-start for review; there is an option to create
following assets that appear right in-line in the ebook: new ones.
• Interactive Figures allow students to apply the key
concepts of each lesson by manipulating content and
therefore deepening their understanding of concepts.
xiv
10075_fm_ptg01.indd 14 30/11/20 6:20 PM

on behalf of the company. The scenario changes at
each decision point so that students receive a unique
experience based on the choices they make. The
effectiveness of the business decisions they make
along the way will result in success, failure, or
something in between.
Connecting Concepts through

Multimedia and Active Learning
MindTap for MKTG, Fifth Canadian Edition, also
contains a variety of activities intended to help students
deepen their understanding of concepts and move from
memorization to mastery. These activities include
• Three Different Types of Cases
– The Continuing Case at the end of each

chapter features the Awake Chocolate Company,
a Canadian caffeinated-chocolate company. • Mind Doodle videos are whiteboard animation–style
videos that engage and prepare students for the content
– Chapter Case Studies ask students to provide
in the ebook.
solutions and recommendations to a variety of
real challenges facing Canadian and global • Interviews with industry professionals: Canadian
businesses. professionals from a cross-section of industries
reinforce the readings, activities, and highlighted
– Part Cases ask students to respond to business
skills of chapter concepts. Students watch and receive
situations that relate to multiple chapters at a
multiple choice questions to assess their understanding.
time.
• Multitude of activities, including Application
• Mini Simulations help students focus on thinking
Exercises, Review/Discussion Questions, and
critically. These activities place students in
Ethics Exercises
interactive scenarios and ask them to make decisions
FEATURES xv
10075_fm_ptg01.indd 15 30/11/20 6:20 PM

SUPPLEMENTS FOR SUCCESS
INSTRUCTOR RESOURCES Fifth Canadian Edition. Principles of clear design and

engaging content have been incorporated throughout,
The following instructor resources have been created for
making it simple for instructors to customize for their
MKTG, Fifth Canadian Edition. Access these ultimate
courses.
tools for customizing lectures and presentations at
http://login.cengage.com.
Image Library
Annually Updated Integrative Cases This resource consists of digital copies of figures, short
tables, and photographs used in the book. Instructors
A unique feature to the MKTG, Fifth Canadian Edition,
may use these jpegs to customize the PowerPoints or
resource package is the annually updated Integrative
create their own PowerPoint presentations.
Casebank. Each case features accompanying questions
with answers and teaching notes.
Instructor Guide
Test Bank This resource is organized according to the lessons and
addresses and key educational concerns. Other features
The Test Bank for MKTG, Fifth Canadian Edition, is
include classroom activity and discussion suggestions
available in Cognero®,
and additional exercises.
a secure online testing
system that allows
Microlearning Presentations
instructors to author,
edit, and manage test bank content from anywhere These narrative-based PowerPoint Presentations
Internet access is available. No special installations provide different stories to illustrate marketing concepts.
or downloads are needed, and the desktop-inspired Scripts, discussion questions, and activities are included.
interface, with its drop-down menus and familiar,
intuitive tools, allows instructors to create and manage
Marketing Math Lessons Plans
tests with ease. Multiple test versions can be created in and Workbook
an instant, and content can be imported or exported into These tutorials introduce students to key marketing
other systems. Tests can be delivered from a learning math concepts and tools used by marketers to analyze,
management system, the classroom, or wherever an develop, support, and evaluate their marketing plans.
instructor chooses. Cognero for MKTG, Fifth Canadian
Edition, can be accessed through http://login.cengage Marketing Plan and Planning
.com. Worksheets
PowerPoint Presentations This comprises a series of exercises to guide students
through the development of a marketing plan for a
Microsoft® PowerPoint® lecture slides for every lesson chosen company.
feature key figures, tables, and photographs from MKTG,
xvi
10075_fm_ptg01.indd 16 30/11/20 6:20 PM

ABOUT THE CANADIAN AUTHORS
MARC BOIVIN some of Canada’s most successful radio stations. This

evolved into his first entrepreneurial pursuit—a market
Marc Boivin is a Senior Instructor at the Haskayne research company that studied media audience trends.
School of Business at the University of Calgary. He has This expanded into channeling his passion for communi-
been a faculty member of the marketing department at cations across a broad variety of industries, advising and
Haskayne since 2005. He coordinates and teaches the producing content for companies in energy, hospitality,
Marketing Principles course, in addition to teaching transportation, entertainment, and education sectors.
senior marketing electives in marketing strategy and David completed his MBA from the University of
business-to-business marketing. Marc received his Southern Queensland in Australia, with High Dis-
Bachelor of Commerce degree in Marketing from the tinction.
University of Calgary and has an MBA in Strategy from These days, when not teaching, consulting or helping
McGill University. His work experience includes inter- raise his two daughters, he can be found podcasting and
national trade, new product development, marketing producing digital content either for clients or his own
research, non-profit consulting, strategy consulting, and companies.
academic research and writing. His main area of research
focuses on competencies and competency-based edu-
cation. When not working or writing textbooks, Marc KIM SNOW
enjoys spending time with his wonderful wife and two
amazing daughters. Kim Snow is an associate professor of marketing at York
University in Toronto. Dr. Snow received her MBA
and PhD from the University of Bradford, UK and
DAVID GAUDET her Diploma in Business Administration from Wilfrid
David Gaudet is an instructor/course designer at The Laurier University, Waterloo, Ontario. She has taught
Southern Alberta Institute of Technology. He has also undergraduate and graduate programs both in Canada
taught and developed business courses for the Uni- and Europe. She has published articles in the area of
versity of Calgary and Mount Royal University. He is service marketing, customer satisfaction, and marketing
a contributing author to marketing textbooks in the research. She has coauthored Canadian editions of text-
United States and Canada and provides consulting ser- books in management and marketing. She has worked
vices to a variety of companies through his marketing with the American Marketing Association to develop
firm, Triceratops Brand Logic Inc. student chapters and has been a judge on several inter-
David is also a graduate of SAIT, jumping into a national competitions for the American Marketing
broadcast/media career in the mid-1980s that spanned Association. Kim also spent 17 years working in the
15 years, during which he helped launch and manage financial services industry.
xvii
10075_fm_ptg01.indd 17 30/11/20 6:20 PM

ACKNOWLEDGMENTS
The authors would like to gratefully acknowledge Portfolio Manager; and our detailed and thorough
the original authors of the American edition for the copyeditor Karen Rolfe. Their guidance throughout
thoughtful structure and text with which to work and the development and production of this fifth Canadian
the entire Cengage Canada team who have supported edition have been invaluable.
us in this endeavour. Our thanks in particular to The authors would also like to thank the following
Leanna MacLean, Senior Portfolio Manager; Jackie reviewers for their time and feedback: Sara Mercier,
Wood, Senior Product Director; and Imoinda Romain, Durham College; Jack Michienzi, Fanshawe College;
Senior Content Production Manager, for championing Margaret O’Brien, Algonquin College; Keith Penhall,
this dynamic product, as well as to Courtney Thorne, Red River College; and Victor Sousa, Centennial
Content Development Manager; Alexis Hood, previously College.
xviii
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10075_fm_ptg01.indd 19 30/11/20 6:20 PM

1 An Introduction
to Marketing
LEARNING OUTCOMES
1-1 Define marketing 1-3 Define key marketing terms
1-2 Describe the evolution of marketing 1-4 Explain why marketing matters
“Good marketing makes the company look smart. Great marketing makes
the customer feel smart.”
—Joe Chernov1
1-1 | WHAT IS MARKETING? a business—whether accounting or finance or oper-

ations—are internally focused on achieving goals related
to their functional area. Marketing’s sole focus is on the
Anyone who has picked up this book and is reading this
customer and understanding what makes them tick.
first chapter has a preconceived notion of what mar-
Without marketing to identify a customer to create
keting is. The term marketing is misused and overused in
revenues and profit, there is no need for an accounting
discussions about companies, celebrities, and all aspects
department or manufacturing facility.
of business. Because the term is so broadly interpreted,
It has become a marketer’s job to understand the
we end up in a situation where the word itself begins to
customer, and in doing so, transition marketing from
lose its meaning.
something that is misused and misunderstood to a key
And this meaning is most often associated with a few
component in an organization. Being able to bring an
words that are attached to the promotional activities of
external customer-based approach, marketing can inform
marketing: sales, advertising, and social media. This is
other parts of the organization to focus on the needs of
likely because these types of activities are what we as con-
customers when undertaking any action or decision.
sumers see all the time, on our phones, online, or even
Because, as the quote at the start of this chapter suggests,
out in public. Any message delivered by a company is sim-
the customer is the focus of marketing, not the company.
plified down to becoming part of a company’s marketing.
But marketing is not only seen as a noun. Marketing
1-1a | What Is Marketing?
is also used as a verb: “this company sure is marketing
their services.” Here the function of marketing is dis- Marketing is about understanding the needs of
tilled down to, once again, promotional efforts related to the customer. No other aspect of business has this
advertising or other forms of promotion. focus. Marketing helps to shape the products and
And so the term marketing is used in a variety of services of a company, based on an understanding of
ways and misrepresented in many others. But without what the customer is looking for. Marketing is about
marketing, there is no customer. Most departments in engaging in a conversation with that customer and
2 PART ONE: Marketing—Let’s Get Started
10075_ch01_ptg01.indd 2 30/11/20 6:23 PM

guiding the delivery of what is required to satisfy Marketing is becoming a conversation with the cus-
those needs. tomer rather than a distraction. Companies are finding
The goal of marketing is summarized nicely by the innovative ways in which
marketing concept. At its core, the marketing concept is to lead this conversa-
about offering the customer what they are looking for. It tion, and with access to marketing
includes the following: more tools (Instagram, the activities that develop
TikTok), consumers are an offering in order to
• Focusing on customer wants and needs so that the satisfy a customer need
organization can distinguish its offerings from those now, more than ever, able
to talk back. need
of its competitors
As we can see from a state of being where we
• Integrating all the organization’s activities, including desire something that we
the Dilbert cartoon,
production, to satisfy customers’ wants do not possess but yearn
there is an issue with to acquire
• Achieving long-term goals for the organization by satis- how marketing is per-
fying customers’ wants and needs legally and responsibly ceived. Understanding
DILBERT © 2017 Scott Adams, Inc. Used By permission of
ANDREWS MCMEEL SYNDICATION. All rights reserved.
CHAPTER 1: An Introduction to Marketing 3

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where marketing came from and how it has evolved 1-2b | The Sales Era
should help to provide the necessary context to under-
The sales era is highlighted by the increased power of
stand the importance and relevance of marketing to
customer choice. Companies no longer simply produce a
any company in the marketplace today.
product and expect customers to be waiting to buy what-
ever they are selling. Sales techniques were established
1-2 | THE EVOLUTION OF MARKETING and evolved to convince consumers to buy, giving con-
sumers choice and ensuring companies focused on cre-
The misconceptions surrounding marketing come ating market share and building sales volume in a highly
from the evolution of how marketing has been used in competitive environment.
businesses for more than a century. The conceptual- Sales pitches are encouraged during this era, in which
ization of marketing into distinct eras began back in savvy salespeople use their understanding of human
1960, with a seminal article written in the Journal of nature to convince customers to purchase their prod-
Marketing. Titled “The Marketing Revolution,” the ucts. Answer the door at home to a company using the
article was written by Robert J. Keith, who was not sales-era approach, and you may see a well-dressed person
an academic at the time, but rather the executive vice attempting to sell vacuum cleaners or encyclopedias.
president of the Pillsbury Company.2 Keith split up the The need to coax the customer is paramount in the
history of marketing, going back to the 19th century, sales era. Behind this belief, companies place resources,
in three eras: production oriented, sales oriented, and specifically sales materials (brochures, print ads, etc.)
marketing oriented. Since his article, more eras have that are used in great quantities to encourage sales of
been added to the history of marketing, reflecting the their products. Companies respond to a marketplace
shift away from selling and products toward consumer with more competition by overwhelming customers with
and societal focuses. promotional activities that focus on the hard sell.
Numerous terms and ideologies are used to describe Today, some companies still believe in the importance
these shifts in thinking, and below are the eras in mar- of hard selling to customers. Companies are still using
keting that have been part of these periodic shifts. It aggressive sales tactics to entice customers, which is why
is important to investigate some prior perspectives on consumers associate marketing with selling and why
marketing to provide a better understanding of how marketing is often considered intrusive.
marketing is perceived today and why there is so much The majority of companies and marketers do not sub-
confusion around what truly constitutes marketing. scribe to a marketing approach heavy only on selling. While
1-2a | The Production Era

The production era focuses on marketing as a mes-
senger. Marketing is seen as a way to let customers know
about products and assumes that those customers will beat a
path to the producer’s door.
This perspective can best be described as the “Field
of Dreams” era, thanks to the movie of the same name
in which a character
Chronicle/Alamy Stock Photo
states, “If you build it,

production era they will come.” The
a focus on manufacturing
production era focuses
and production quantity in
which customers are meant on products because of
to choose based on what is a lack of product options
most abundantly available in the marketplace. Henry Ford of the Ford Motor Company once stated,
sales era Companies are free to “Any customer can have a car painted any colour that
hard selling to the customer, create whatever prod- he wants, so long as it is black.” Ford was describing
who has greater choice thanks ucts they deem appro- the line of Model T cars that were available to the
to more competition in the priate, and customers customer. His perspective is a great example of the
marketplace have to accept what is production era way of thinking.
offered.
10075_ch01_ptg01.indd 4 30/11/20 6:23 PM

sales makes up an important part of the marketing offering,
it is only one part of the promotional activities available to
today’s marketer. Management thinker and innovator Peter
Drucker put it best: “There will always, one can assume, be
a need for some selling. But the aim of marketing is to make
selling superfluous. The aim of marketing is to know and
understand the customer so well that the product or service
Daniel Krason/Shutterstock.com
fits him and sells itself. Ideally, marketing should result in a
customer who is ready to buy.”3
1-2c | The Marketing Company Era

The marketing company era is highlighted by the
coordination of marketing activities—advertising, sales,
In bringing the elements of the marketing com-
and public relations—into one department in an organ-
pany era together, it becomes clear that marketing and
ization. Much of how a marketing department is organ-
persuasion are intermixed. Marketing professionals
ized is based on the need to include those elements. The
focus on how to be shrewder about convincing cus-
job of this department is to better understand the cus-
tomers to buy. Emotions are tied to basic-need prod-
tomer rather than just trying to sell to them.
As society evolves and consumers become more ucts, higher-order benefits are attached to everyday
sophisticated, products and services previously seen as products, and the customer is as much of a target of
exclusive and out of reach are now seen as possible pur- focus as the product.
chases. In this era, customers are grouped into market However, this stage in the marketing era process is
segments, with marketing professionals tasked with not devoid of any counteraction from the customer. Con-
understanding their customer before making their move. sumers are becoming shrewd themselves, as they begin
A term that is important in many eras, and very much to ask for more from the companies providing them
so in a marketing company era, is the marketing concept. products and services. While consumers are focused on
The marketing concept focuses on linking the needs aspects of value and service, they begin to seek out new
of customers with the competencies of an organization ways to satisfy their needs. As seen by the prominence
seeking to meet those needs. of the sharing phenomenon, through companies like
Uber and Airbnb, consumers flock toward new offerings
that satisfy their needs in
ways not previously con-
sidered. Companies can
no longer simply focus on
persuasion to a passive cus-
tomer; the customer begins
to demand more from the
companies that serve them,
both for the individual and
for society at large.
marketing company era

a strong emphasis on the
marketing concept and
Old Visuals/Alamy Stock Photo
development of a more
comprehensive approach
to understanding the
customer
CHAPTER 1: An Introduction to Marketing 5

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BODY OF WORK
In the era of socially responsible marketing, the Body of the new direction, but the company had a lot to do in
Shop stands out. The company was founded by Anita order to meet its lofty goals.
Roddick in 1976 on principles of sustainability long before In late 2019, the Body Shop announced it would not be
the term became the norm in business and society. Over able to meet all of its 2016 goals. It had done well with
the years, the company spearheaded campaigns to raise biodiversity goals but fell behind in promised innovations
awareness on social and environmental issues while in sustainable product packaging. Some “closed-loop”
creating value for customers with product lines that were packaging goals the company had targeted for 2020 had
innovative and often environmentally sustainable at the to be moved to 2025.5
same time. Roddick was an activist and human rights The case of the Body Shop shows us the inherent
campaigner, and took pride in the company’s stance on no challenge of the societal marketing era: it is very difficult
animal testing just as much as the products produced by to do right by the environment and the bottom line. Most
the multinational company. companies that try to achieve sustainability goals are
All of which made the sale of the Body Shop to L’Oreal, faced with challenges that range from financing large-
the large French cosmetics company that was linked to scale projects to keeping shareholders satisfied.
animal testing so difficult for customers to accept. The
result was a downward spiral for the Body Shop, as many
customers went elsewhere.
However, in 2017, the Body Shop was sold by L’Oreal to
Brazil’s largest cosmetics company, Natura. This pur-
chase made much more sense, and customers began to
re-engage with the Body Shop as a company aligned with
JHVEPhoto/Shutterstock.com
their social and ethical beliefs. In 2016, the Body Shop had
announced a new company focus of “Enrich not Exploit.”
The company listed 14 efforts that would help the busi-
ness move as a leader in the societal marketing space.4
Getting back to its green roots was the overall purpose
1-2d | Societal Marketing Era solutions to deal with greater consumerism. Health
issues relating to product use are at the forefront of this
It is apparent when we distill the marketing concept down era, with greater awareness of the safety and dietary
to a basic idea (give customers what they want) that its pur- issues attached to products. This era brings a greater
suit can have potentially unsavoury consequences (what if government involvement in consumer needs and wants.
what they want isn’t good for them?). Dealing with this Thanks to better customer education and extremely
challenge created the societal marketing era, where strict promotional restrictions, sales of products such
a dual emphasis results: looking at not only what the cus- as cigarettes have dropped drastically. Industries and
tomer wants but also what companies are placing an emphasis on self-regulation
society wants. before more strict government involvement created
societal marketing era Societal marketing
looking not only at the bottom-line and public relations issues.
examines the longer-term
customer but expand-
impacts on the customer
ing marketing efforts to 1-2e | Relationship Marketing Era
include aspects from the and the environment
external environment when customers seek to Today, the relationship marketing era is about devel-
that go beyond a compa- satisfy needs. New move- oping a real and sustainable relationship with the cus-
ny’s customers, suppliers, ments, such as recycling tomer. The key movement in this era has to do with
and competitors moving from interruption to interaction in a company’s
and waste reduction,
sought out companies’ marketing efforts.6 Marketing can no longer look for a
10075_ch01_ptg01.indd 6 30/11/20 6:23 PM

Another random document with
no related content on Scribd:
The theatre was a large barn-like structure; and it was filled with an
audience who sat in its boxes, or small, square divisions marked off
by narrow boards, where they arranged themselves for the most part
as they were assorted by domestic or friendly ties. Although they
obviously kept fully aware of what was going on upon the stage, and
at times seemed to look and to listen intently, or to break forth into
irrepressible applause, the most exciting scenes did not appear
greatly to interrupt their incessant smoking and indulgence in various
kinds of cheap drinks and eatables. Incessant tea-drinking went on
as a matter of course.
The principal play on this occasion celebrated the daring and
unflinching loyalty of a confidential servant to his Samurai master.
The purposes of the master were by no means wholly honourable as
judged by our Western standards of morals; and the means
contrived by the servant for carrying out these purposes were
distinctly less so. Especially was this true of the heartless and base
way in which the servant, in furtherance of his master’s interests,
treated the daughter of his master’s enemy, who had trusted him
with her love and her honour. I am sure that for this sort of behaviour
the rascal would have been hissed off the stage of even the lowest
of the Bowery theatres. But when he was detected and caught by the
father of the girl, the servant who was so despicably base toward
others, remained still so splendidly loyal to his master, that the
climax of the entire drama was reached and successfully passed in a
way to astonish and disgust the average audience in Western and
Christian lands. For he cheerfully bares his neck and, kneeling,
stretches it out to catch fully the blow of the father’s sword,—
protesting that he esteems it an honour and a joy to die in this
honourable manner for his lord and master. So impressed, however,
is the would-be executioner with the rascal’s splendid exhibition of
the noblest of all the virtues, that he raises the betrayer of his
daughter from his knees, pardons him, praises him unstintedly for his
honourable excellence, makes peace with the servant’s master, and
gladly bestows upon the servant his own beloved daughter in
honourable marriage.
As I have already said, it was undoubtedly the influence of such
dramas which helped to keep alive the extreme and distorted views
of the supreme excellence of loyalty as a virtue, in the narrower
significance of the terms, that went far toward securing the
remarkable character for self-sacrificing courage and endurance of
the Japanese private soldier during the late war with Russia. It would
not be fair, however, to infer from this, or other similar experiences,
the inferiority of the Japanese as a race in either ethical maxims or
moral practice. For, has not an extravagant and perverted
conception of the Christian virtue of “love” served in Occidental lands
to obscure and overshadow the even more fundamental virtues of
courage, endurance, and a certain necessary and divine sternness
of justice? And, with all its restrictions and deficiencies, the
Japanese Bushidō has hitherto resisted the temptations to avarice
and a selfish indulgence in luxury, on the whole, rather better than
anything which these Western nations have been able to make
effective in its stead. But when Japan gets as far away from the
Knightly spirit of Feudalism as we have for a long time been, its
moral doctrines and practices of the older period are likely to
undergo changes equally notable with those which have taken place
in Europe since feudal times prevailed there.
It was not until my second visit, in 1899, that I enjoyed the
opportunity of seeing Japan’s then most celebrated actor, Ichikawa
Danjuro. “Danjuro” is the name of a family that has been eminent in
the line of histrionic ability for nine or ten generations. Ichikawa, of
that name, was especially remarkable for combining the several
kinds of excellence demanded of the actor by Japanese dramatic art.
He had very uncommon histrionic power; even down to his old age
he was able almost equally well to take all kinds of parts, including
those of women and boys; and he had “marvellous agility as a
dancer.” As respects his ideals and characteristic style—making due
allowance for the wide differences in language and in the traditions
and requirements of the stage in the two countries—Danjuro has
been called “The Irving of Japan,” not altogether unaptly.
On this occasion I had not my usual good fortune of being in the
company of an intelligent and ready interpreter, who could follow
faithfully and sympathetically, but critically, every detail of the
scenery and the wording of the plays, as well as of the performance
of the actors. But the two of the three plays in which Danjuro took
part, between the rising of the curtain at eleven o’clock and our
departure from the theatre at about four in the afternoon, were quite
sufficient to impress me with the high quality of his acting. I need
scarcely say that he gave me that impression of reserve power and
of naturalness which only the greatest of artists can make. But,
indeed, reserve, and the suggestiveness which goes with it and is so
greatly intensified by it, is a chief characteristic of all the best works
of every kind of Oriental art.
It was a still different exhibition of Japanese histrionic skill which I
witnessed on the afternoon and evening of October 15, 1906. In the
most fashionable theatre of Tokyo a Japanese paraphrase of
Sardou’s “La Patrie” was being given by native actors. It was in
every way a most ambitious and even daring attempt to adopt
outright rather than to adapt, foreign dramatic models, in all their
elaborate details. How far would it be—indeed, how far could it be—
successful? I could see and judge for myself; since I was to have the
best of interpreters. The advertised time for the rising of the curtain
was five o’clock; but the actual time was a full half-hour later. The
entire performance lasted for somewhat more than five hours. The
scenery and stage settings were excellent. The scene of the meeting
of the Prince of Orange and the Count of Flanders in the woods by
moonlight was as artistically charming and beautiful a picture as
could be set upon the stage anywhere in the world. Much of the
acting, considering the difficulty of translating the motifs and the
language, was fairly creditable; but the Japanese have yet a great
deal to learn before they can acquire the best Western and modern
style of the dramatic art. Indeed, why should they try? The stilted
stage-manners of their own actors in the past, and the extravagance
of posturing and gesturing for the expression of strong emotions, still
hamper them greatly in this effort. Why then should they spend time
and money on the attempt at this reproduction of foreign models,
rather than in the reproduction and development of the best of their
own dramatic art? Certainly, artistic success in such an endeavour,
even if it could easily be attained, could not have the same influence
upon the conservation of the national virtues which have
distinguished their past that might reasonably be hoped for by a
more strictly conservative course. As a piece of acting the attempt to
reproduce the French play was a failure. The performance of the
drama was followed by a very clever farce called “The Modern
Othello,” which was written by a business man of Tokyo, a friend of
our host on this occasion.
For witnessing the latest developments of the highest-class dramatic
art of Japan, it was a rare opportunity which was afforded by a series
of performances lasting through an entire fortnight in November of
1906. The occasion was a “Memorial,” or “Actor’s Benefit,”
commemorative of the life-work of Kan-ya Morita, who, in a manner
similar to the late John Augustin Daly, had devoted himself to the
improvement and elevation of the theatre. All the best actors in
Tokyo, including the two sons of Morita, took part in these
performances, which consisted of selected portions of the very best
style of the dramas of Old Japan. I cannot, therefore, give a more
graphic picture of what this art actually is, and what it effects by way
of influence upon the audience, than to recite with some detail our
experiences as members of a theatre party for one of these all-day
performances.
A former pupil of mine and his wife were the hosts, and the other
guests, besides my wife and myself, were Minister and Madam U
——, and Professor and Mrs. U——. Since we were the only
foreigners among the members of the party, our hostess came to
conduct us to the tea-house, through which, according to the
established custom, all the arrangements for tickets, reserved seats,
cushions, hibachis, refreshments, and attendance, had been made.
There we met the husband, who had come from his place of
business; and after having tea together, we left our wraps and shoes
at the tea-house, and, being provided with sandals, we shuffled in
them across the street into the theatre. Four of the best boxes in the
gallery, from which a better view of the stage can be obtained than
from the floor, had been thrown into one by removing the partitions of
boards; and every possible provision had been made for the comfort
of the foreigners, who find it much more difficult than do those to the
manner born to sit all day upon the floor with their legs curled up
beneath them. The native audience—and only a very few foreigners
were present—was obviously of the highest class, and was in
general thoroughly acquainted with the myths, traditions, and
histories, which were to be given dramatic representation. As the
event abundantly showed, they were prepared to respond freely with
the appropriate expressions of sentiment. It is an interesting fact that
Japanese gentlemen and ladies, whom no amount of personal grief
or loss could move to tears or other expressions of suffering in
public, are not ashamed to be seen at the theatre weeping copiously
over the misfortunes and sorrows of the mythical divinities, or the
heroes of their own nation’s past history.
The curtain rose at about eleven o’clock; and the first play was a
scene from an old Chinese novel, and bore the name “zakwan-ji.” It
represented three strong men who, meeting in the night, begin to
fight with one another. Snow falls, while the battle grows more fierce.
Two of the men are defeated; and the victor, in his arrogance, then
attacks the door of a shrine near by. But the spirit of the enshrined
hero appears and engages the victor of the other men in combat. Of
course, the mere mortal is easily overcome by his supernatural foe;
but when he yields, all parties speedily become friends. The acting
was very spirited and impressionistic; but no words were spoken by
the actors. The story was, however, sung by a “chorus” consisting of
a single very fat man, who sat in a box above the stage; but the
language was so archaic that even our learned friend, the professor,
could not understand much of it.
The second play was a version of the celebrated story of the Giant
Benkei and the warrior Yoshitsune. It differed materially from the
version given by Captain Brinkley in his admirable work on Japan. In
this scene, when Yoshitsune and Benkei have arrived at the “barrier,”
disguised as travelling priests, and are discussing the best means of
procedure, three country children appear with baskets and rakes to
gather pine leaves. On seeing the priests, the children warn them
that yesterday and the day before two parties of priests have been
killed by the soldiers at the barrier, on suspicion of their being
Yoshitsune and his followers in disguise. Benkei then comes forward
and asks of the boys the road the travellers ought to take. In very
graceful dances and songs the children give a poetical description of
this road. Benkei then takes an affectionate leave of his master, and
goes up to the gate to ask for passports of its guardian. It is agreed
that the signal for danger shall be one sound of Benkei’s horn; but
that if the horn is sounded three times, it shall mean “good news.”
Soon the horn is sounded once, and Yoshitsune rushes to the
rescue of his faithful attendant. At this point the stage revolves, and
the next scene presents the guardian of the gate seated in his
house, while in the foreground Benkei is being tortured to make him
confess. Yoshitsune attempts to rescue Benkei, but the latter
prevents his master from disclosing his identity. The guardian,
however, suspects the truth; but since he is secretly in favour of
Yoshitsune, he releases Benkei, and after some hesitation grants the
coveted passports and sends the whole party on their way.
The third play, like the first, was also Chinese; it was, however, much
more elaborate. A Tartar General, while in Japan, has married a
beautiful Japanese girl, and has taken her back with him to live in
China. After a great battle the General returns to his home, and an
old woman among the captives is introduced upon the stage to plead
for the release of her son, a Captain in the Japanese army, who had
also been taken captive. The old woman proves to be the step-
mother of the young wife and the Japanese Captain is her brother.
When the wife recognises her mother, she is much overcome, and
joins in pleading for the life of both the captives. The husband
becomes very angry and threatens to kill both mother and daughter;
but the mother, although her arms are bound, throws herself before
him and saves her daughter. The daughter then goes to her room,
and according to a prearranged signal with her brother, opens a vein
and pours the blood into a small stream that runs below. The brother,
who is in waiting on a bridge over the stream, sees the signal and
hurries to the rescue of his sister. He reaches the palace and
compels the men on guard to carry his sword within; it requires eight
men to accomplish this stupendous task, so exceedingly strong is
the swordsman! He overcomes the Tartar General and gets himself
crowned Emperor; but he comes out of the palace in time to see his
sister die of her self-inflicted wound. The aged mother, thinking it
would be dishonourable to allow her step-daughter to make the only
great sacrifice, stabs herself and dies to the sound of doleful music
long drawn-out.
During the intermission which followed this impressive but crudely
conceived and childish tragedy, we enjoyed an excellent Japanese
luncheon in the tea-house near by.
When the curtain rose for the next performance, it disclosed a row of
ten or twelve actors clothed in sombre Japanese dress, all on their
knees, who proceeded to deliver short speeches eulogistic of the
deceased actor in whose memory this series of plays was being
performed. The next play represented Tametomo, one of the twenty-
three sons of a famous Minamoto warrior, who with his concubine,
three sons, his confidential servant, and some other followers, had
been banished to an island off the coast of Japan. The astrologers
had prophesied that he and his oldest son would die; but that his
second son would become the head of a large and powerful family.
Not wishing his future heir to grow up on the barren island, he
manages to get a letter to a powerful friend on the mainland, who
promises that if the boy is sent to him, he will treat him as his own
son and educate him for the important position which he is destined
to fill in the world. But the father does not wish to disclose his plan to
the rest of the family. He therefore bids the two older boys make a
very large and strong kite; and when it is finished and brought with
great pride to show to the father, he praises the workmanship of
both, but calls the younger of the two into the house and presents
him with a flute. The child is much pleased with the gift and at once
runs away to show it to his brother, but stumbles and falls at the foot
of the steps and breaks the flute. This is considered a very ill omen,
and Tametomo pretends to be very angry and threatens to kill his
son. The mother, the old servant, and the other children plead for the
life of the boy; and at last the father says that he will spare his son,
but since he can no longer remain with the rest of the family, he will
bind him to the kite and send him to the mainland. A handkerchief is
then tied over the boy’s mouth and he is bound to the huge kite and
carried by several men to the seashore. Then follows a highly
emotional scene, in which the mother and brothers bewail the fate of
the boy and rebuke the hard-hearted father. The wind is strong, and
all watch the kite eagerly; while the father reveals his true motive for
sending away his son, and the youngest of the brothers, a babe of
four years old, engages in prayer to the gods for the saving of his
brother. The servant announces that the kite has reached the shore;
and soon the signal fire is seen to tell that the boy is safe. Tametomo
then assures his wife that the lives of the family are in danger from
the enemy, whose boats are seen approaching the island. At this the
wife bids farewell to her husband and takes the two children away to
kill them, with herself, before they fall into the hands of the enemy.
Tametomo shoots an arrow at one of the boats, which kills its man;
but the others press forward, and just as they are about to disembark
on the island the curtain falls.
On this lengthy and diversified programme there follows next a
selection of some of the most celebrated of dramatic dances. The
first of these was “The Red and White Lion Dance.” Two dancers
with lion masks and huge red and white manes trailing behind them
on the floor, went through a wild dance to represent the fury of these
beasts. The platforms on which they rested were decorated with red
and white tree-peonies; for lions and peonies are always associated
ideas in the minds of the Japanese. Another graceful dance
followed, in which the dancers, instead of wearing large masks,
carried small lion heads with trailing hair, over the right hand. The
masks of these dancers had small bells, which, as they danced,
tinkled and blended their sound with the music of the chorus. Then
came a comic dance, in which two priests of rival sects exhibited
their skill,—one of them beating a small drum, while his rival
emphasised his chant by striking a metal gong.
The seventh number on the programme was very tragic, and drew
tears and sobbing from the larger part of the audience, so intensely
inspired was it with the “Bushidō,” and so pathetically did it set forth
this spirit. Tokishime, a daughter of the Hōjō Shōgun, is betrothed to
Miura-no-Suké. The young woman goes to stay with the aged
mother of her lover, while he is away in battle. The mother is very ill,
and the son, after being wounded, returns home to see his mother
once more before she dies. The mother from her room hears her
son’s return and denounces his disloyal act in leaving the field of
battle even to bid her farewell; she also sternly forbids him to enter
her room to speak to her. The young man, much overcome, turns to
leave, when his fiancée discovers that his helmet is filled with
precious incense, in preparation for death. She implores him to
return to his home for the night only, pleading that so short a time
can make no difference. When they reach the house, a messenger
from her father in Kamakura presents her with a short sword and
with her father’s orders to use it in killing her lover’s mother, who is
the suspected cause of the son’s treachery. Then ensues one of
those struggles which, among all morally developed peoples, and in
all eras of the world’s history, furnish the essentials of the highest
forms of human tragedy. Such was the moral conflict which
Sophocles set forth in so moving form in his immortal tragedy of
“Antigone.” The poor girl suffers all the tortures of a fierce contention
between loyalty and the duty of obedience to her father and her love
for her betrothed husband; who, when he learns of the message,
demands in turn that the girl go and kill her own father. The daughter,
knowing her father to be a tyrant and the enemy of his country, at
last decides in favour of her lover, and resolves to go to Kamakura
and commit the awful crime of fratricide. After which she will expiate
it by suicide.
The closing performance of the entire day was a spectacle rather
than a play. It represented the ancient myth of the Sun-goddess, who
became angry and shut herself up in a cave, leaving the whole world
in darkness and in sorrow. All the lesser gods and their priests
assembled before the closed mouth of the cave and sang enticing
songs and danced, in the hope of inducing the enraged goddess to
come forth. But all their efforts were in vain. At last, by means of the
magic mirror and a most extraordinarily beautiful dance, as the cock
crows, the cave is opened by the power of the strong god, Tajikara-
o-no-miko-to; and the goddess once more sheds her light upon the
world.
At the close of this entire day of rarely instructive entertainment it
remained only to pick at a delicious supper of fried eels and rice
before retiring,—well spent indeed, but the better informed as to the
national spirit which framed the dramatic art of the Old Japan. It is in
the hope that the reader’s impressions may in some respect
resemble my own that I have described with so much detail this
experience at a Japanese theatre of the highest class.
CHAPTER VIII
THE NO, OR JAPANESE MIRACLE-PLAY
The comparison of the Japanese dramatic performance which bears

the name of “Nō” to the miracle-plays of Mediæval Europe is by no
means appropriate throughout. Both, indeed, dealt in the manner of
a childish faith, and with complete freedom, in affairs belonging to
the realm of the invisible, the supernatural, the miraculous; and both
availed themselves of dramatic devices for impressing religious
truths and religious superstitions upon the minds of the audience.
Both also undertook to relieve a protracted seriousness, which might
easily become oppressive, by introducing into these performances a
saving element of the comic. But in some of its prominent external
features, the Japanese drama resembled that of ancient Greece
more closely than the plays of Mediæval Europe; while its literary
merit, and the histrionic skill displayed upon its stage, were on the
whole greatly superior to the Occidental product. In the “Nō,” too, the
comic element was kept separate from the religious, and thus was
never allowed to disturb or degrade the ethical impressions and
teachings of the main dramatic performances.
In the just previous chapter the account of the probable origin of this
form of dramatic art in Japan has been briefly given: and a few
words as to its later developments will serve to make the following
description of some of the performances which I have had the good
fortune to witness, in the company of the best of interpreters, more
interesting and more intelligible. It has already been pointed out that
the Nō was at first performed by Shintō priests in the shrines, and so
the acting, or “dancing,” and the music are of a religious or
ceremonial origin and style. But the texts of the drama called by this
name came from the hands of the Buddhist priests, who were the
sources of nearly all the literature of the earlier periods.
The popularity which these ceremonial entertainments attained at
the court of the Tokugawa Shōguns received a heavy blow at the
time of the Restoration. With all their many faults, the Tokugawas
were active and influential patrons of art and of the Buddhist religion.
After their overthrow, important material and military interests were
so absorbing, and the zeal for making all things new was so
excessive, that there was no small danger of every distinctive form of
native art suffering a quick and final extinction instead of an
intelligent and sympathetic development. Besides, the philosophical
and religious ideas of Buddhism, as well as of every form of belief in
the reality and value of the invisible and spiritual, were at the time in
a deplorable condition of neglect or open contempt. About the
fifteenth year of the Era of Meiji, however, an attempt was made to
revive these religious dramatic performances. And since this
movement has been more and more patronised by the nobility,
including even some of the Imperial family, and by the intellectual
classes, the equipment, the acting, and the intelligent appreciation of
the audiences, have so improved, that it is doubtful whether the “Nō,”
during its entire historical development, has ever been so well
performed as it is at the present time. According to a pamphlet
prepared by a native expert, it is the supreme regard given by the
suggestion of spiritual ideals to a trained and sympathetic
imagination, which furnishes its controlling artistic principles to this
form of the Japanese drama.
“The Nō performance,” says the authority whom I am quoting, “is a
very simple kind of dance, whose chief feature is its exclusive
connection with ideal beauty, wholly regardless of any decorations
on the stage. The old pine-tree we see painted on the back wall of
the stage is only meant to suggest to us the time when performances
were given on a grass plot under a pine-tree. Sometimes such rudely
made things are placed on the stage, but they may be said to
represent almost anything, as a mound, a mountain, a house, etc.;
their chief aim is accomplished if they can be of any service in calling
up even faintly the original to the imagination of the audience. The
movements of the performer, in most cases, are likewise simple and
entirely dependent upon the flourishes of a folding fan in his hand,
for the expression of their natural beauty. Any emotion of the part
played is not studiously expressed by external motions and
appearances, but carelessly left to the susceptibility of the audience.
In short, the Nō performance has to do, first of all, with the interest of
a scene, and then with human passion.”
The last sentences in this quoted description are liable to serious
misunderstanding; for what the author really means is unfortunately
expressed through lack of an accurate knowledge of the value of
English words. That anything about this style of dramatic
performance is “carelessly left” to the audience, is distinctly contrary
to the impression made upon the foreign critical observer of the
Japanese Nō. The truth which the writer probably intended to
express is the truth of fact; both the ideas and the emotions which
are designed for dramatic representation are suggested rather than
declaimed or proclaimed by natural gestures; and this is, for the
most part, so subtly done and so carefully adapted to conventional
rules, that only the most highly instructed of the audience can know
surely and perfectly what ideas and emotions it is intended to
express.
“IN ONE CORNER OF THE STAGE SITS THE CHORUS”

The regular complement of performers in the Japanese Nō is three
in number: these are a principal (Shité), and his assistant (Waki);
and a third, who may be attached to, and act under, either of the
other two (a so-called Tsuré). In one corner of the stage sits the
chorus (Jiutai), whose duties and privileges are singularly like those
of the chorus in the ancient Greek drama. They sing, or chant, a
considerable portion of the drama, sometimes taking their theme
from the scene and sometimes from the action of the play.
Sometimes, also, they give voice to the unuttered thoughts or fears,
or premonitions of the performer on the stage; and sometimes they
even interpret more fully the ideas and intentions of the writer of the
drama. They may give advice or warning, may express sympathy
and bewail the woes or follies of some one of the actors; or they may
point a moral motif or impress a religious truth. At the rear-centre of
the stage sits the orchestra, which is regularly composed of four
instruments,—a sort of snare-drum at one end and a flute at the
other; while in between, seated on low stools, are two players on
drums of different sizes, but both shaped like an hour-glass. As to
the function of this rather slender, and for the most part lugubrious
orchestra, let me quote again from the same expert native authority.
“Though closely related to one another and so all learned by every
one of the players, the four instruments are specially played by four
respective specialists, each of whom strictly adheres to his own
assigned duty, and is not allowed in the least to interfere with the
others. Now this music is intended to give assistance to the Shité in
his performance, by keeping time with the harmonious flow of his
song, which is usually made up of double notes, one passage being
divided into eight parts. The rule, however, may undergo a little
modification according to circumstances. In short, the essential
feature of the music is to give an immense interest to the audience,
by nicely keeping time with the flow of the Shité’s words, and thus
giving life and harmony to them.” More briefly said: The instrumental
part of the Japanese performance of Nō punctuates the tempo,
emphasises the rhythm of the actor’s chant or recitative, and helps to
define and increase the emotional values of the entire performance.
One or two attendants, dressed in ordinary costume and supposed
to be invisible, whose office is to attend upon the principal actor,
place a seat for him, arrange his costume, and handle the simple
stage properties, complete the personnel of the Nō as performed at
the present time.
It was customary in the period of the Tokugawa Shōgunate, and still
continues to be, that a complete Nō performance should last through
an entire long day, and should consist of not fewer than five
numbers, each of a different kind. As has already been said, these
serious pieces were separated by Kyogen, or comediettas of a
burlesque character. The shorter performances, to which tickets may
be obtained for a moderate fee, have doubtless been visited by
some of my readers. But I doubt whether any of them has ever spent
an entire day in attending the regular monthly performances of the
rival schools, as they are given for the entertainment and instruction
of their patrons among the nobility and literati. It is, perhaps, more
doubtful whether they have had the patience to hold out to the end of
the day; and altogether unlikely that they have had the benefit of any
such an interpretation as that afforded us by the companionship of
my friend, Professor U——. For this reason, as well as for the
intrinsic interest of the subject, I shall venture to describe with some
detail the dramas which I saw performed during two all-day sessions
of the actors and patrons of the Nō, in November, 1906.
The first of these performances was at the house of an actor of note
who, although ill-health had compelled him to retire from the stage,
had built in his own yard a theatre of the most approved conventional
pattern, and who conducted there a school for this kind of the
dramatic art. The enterprise was supported by a society, who paid
the expenses by making yearly subscriptions for their boxes. Two of
the boxes had been kindly surrendered to us for the day by one of
these patrons.
Although we reached the theatre, after early rising, a hasty
breakfast, and a long jinrikisha ride, before nine o’clock, the
performance had been going on for a full hour before our arrival. The
first play for the day which we witnessed bore the title of “Taira-no-
Michimori”; it is one of the most justly celebrated of all the extant Nō
dramas, both for its lofty ethical and religious teaching and also for
its excellent artistic qualities. The scene is supposed to be near
Kobé, on the seashore. A very sketchy representation of a
fisherman’s boat was placed at the left of the stage. The chorus of
ten men came solemnly in, knelt in two rows on the right of the
stage, and laid their closed fans on the floor in front of them. The
four musicians and two assistants then placed themselves at the
rear-centre of the stage. In addition to the use of their instruments,
as already described, they emphasised the performance by the
frequent, monotonous emission of a cry which sounds like—“Yo-hé,
yo-hé, yo-hé.”
This play opens with the appearance of two characters, who
announce themselves as wandering priests, and who proclaim the
wonderful results which their intercessory prayers have already
achieved. They then relate the fact of the battle on this very spot, in
which the hero of the play, Taira-no-Michimori, was slain. So great
was the grief of his wife that, when she heard of the death of her
husband, she threw herself over the sides of the boat in which she
was seated at the time, and was drowned. Since then, the ghosts of
the unhappy pair have been condemned to wander to and fro, in the
guise of simple fisher-folk. When the priests have finished, they seat
themselves at the right-hand corner of the stage; and the chorus
take up the story of the battle and its sequent events. First, they
describe in poetic language the beauty of the moonlight upon the
sea and its shore. But as they enter upon the tale of so great and
hopeless a disaster, the chorus and the orchestra become more
excited, until—to quote the statement of my learned interpreter—
they cease to utter intelligible words, and “the Hayaskikata simply
howl.”
But now the ghosts themselves appear at the end of the long raised
way on the left, by which they must reach the stage; and with that
strange, slow and stately, gliding motion which is characteristic of so
much of the acting in this kind of drama, they make their way to the
skeleton boat, step softly into it, and stand there perfectly
motionless. (It is explained to us that, in Nō “ladies are much
respected” and so the wife stands in the boat, in front of her
husband,—a thing which she would by no means have done in the
real life of the period.)
Standing motionless and speechless in the boat, with their white
death-masks fixed upon the audience, the wretched ghosts hear the
church-bells ringing the summons to evening prayer, and catch the
evening song which is being chanted by the priests within the temple
walls. As though to enhance their wretchedness by contrasting with it
the delights of earth, the chorus begins again to praise the beauty of
the Autumn moonlight scene. The persuasive sounds of the intoning
of the Buddhist scriptures, and the prayers of the priests imploring
mercy upon the faithful dead, are next heard; and at this, the chorus
take up their fans from the floor and begin to extol the saving power
of both scriptures and priestly intercession. And now the ghostly
forms fall upon their knees, and the woman, as though to propitiate
Heaven, magnifies the courage and fidelity of the hero and recites
his death-song in the recent battle. At this the chorus break out into
loud lamentations that the entire family of so famous a hero has
perished and that no soul is left alive to pray for the souls departed.
After a period of kneeling, with their hands covering their faces in an
attitude of hopeless mourning, the ghosts rise and slowly move off
the stage; and the first act of the drama comes to an end.
Between the acts, a man appears and recites in the popular
language what has already been told by the chorus and the actors in
the more archaic language of the drama itself. The priests ask for a
detailed narrative of the character and life of the two noble dead; and
in response to this request, the reciter seats himself at the centre of
the stage and narrates at length the story of the love of Itichi-no-Tami
(the hero’s personal name) for his wife Koshaisho; of his knightly
character; and of her great devotion to her husband. When the
priests confess themselves puzzled by the sudden disappearance of
the fisherman and his wife, the reciter explains that their prayers
have prevailed, and that the ghosts of Itichi-no-Tami and Koshaisho
will now be permitted to resume their proper shape.
During this popular explanation, the audience, who, being for the
most part composed of learned persons, might be supposed not to
stand in need of it, engaged freely in conversation, and availed
themselves of the opportunity to take their luncheons; while through
the window at the end of the “bridge” the ghosts might be seen
changing their costumes and their wigs, with the assistance of
several “green-room” dressers.
In the second act of the drama, the ghost of the hero appears in his
proper form, gorgeously dressed as a prince, and is joined by his
wife upon the stage. He performs a very elaborate dance, and
recalls his parting from his wife, the different events of the battle, his
wounding and defeat, and the wretched conditions that followed.
These recollections work him into a state of fury; the passion for
revenge lays hold of, and so powerfully masters him, that all which
has already been done for his salvation is in danger of being lost.
And now begins a terrible spiritual conflict between the forces for
good and the forces for evil, over a human soul. The priests pray
ever more fervently, and rub their beads ever more vigorously, in
their efforts to exorcise the evil spirits. The beating of the drums and
the “yo-hés” become more frequent and louder. But at last the
prayers of the priests prevail; the soul of the doughty warrior is
reduced to a state of penitence and submission; and Itichi-no-Tami
and Koshaisho enter Paradise together.
No intelligent and sympathetic witness of this dramatic performance
could easily fail to be impressed with the belief that its influence, in
its own days, must have been powerful, and on the whole salutary.
For in spite of its appeal to superstitious fears, it taught the
significant moral truth that knightly courage and loyalty in battle—
important virtues as they are (and nowhere, so far as I am aware, is
there any teaching in the Nō performances which depreciates them)
—are not the only important virtues; nor do they alone fit the human
soul for a happy exit from this life or for a happy reception into the
life eternal. And as to the doctrine of the efficacy of prayers for the
dead: Has not this doctrine been made orthodox by the Roman-
Catholic Church; and is it not taught by the Church of England
prayer-book and believed by not a few in other Protestant churches?
The next of the Nō performances which we saw the same day was
less interesting and less pronouncedly a matter of religious dogma. It
bore the title of Hana-ga-Tami, or “The Flower Token.” This drama
tells the story of a royal personage who lived one thousand years
ago in the country near Nara. For his mistress he had a lovely and
devoted country maiden. Although he had not expected ever to
become Emperor, the reigning monarch dying suddenly, the young
man is selected for the succession, and is summoned in great haste
from his home to ascend the vacant throne. So great, indeed, was
his haste that he could not say farewell to his lady-love, who had
gone on a visit to her parents; but he leaves a letter and a flower for
her as a token of his undiminished affection. Overcome by gratitude
for his goodness and by loneliness in her abandoned condition, the
girl at last decides to follow him to Nara,—at that time the Capital of
the country. She takes with her only one maid and the precious
flower-token. After many frights—for travelling at that time was very
dangerous—by following the birds migrating southward, she at last
reaches Nara. Being poor, and without retinue, she cannot secure
entrance to the Palace; but she manages to intercept a royal
procession. When one of the Imperial followers reprimands her and
attempts to strike from her hand the flower-token, to which she is
trying to call the Emperor’s attention, she becomes indignant and
performs a dance that wins for itself the title of the “mad dance.” In
the procession the part of the Emperor is taken by a young boy;
since to have such a part performed by an adult man would be too
realistic to be consistent with the Imperial dignity. The attention of the
Emperor being attracted by this strange performance, he expresses
a wish to see the “unknown” in her “mad dance.” But when she
appears, dressed in bridal robes of white and red, and tells the story
of her life in a long song accompanied by expressive movements,
and finally sends her love to His Majesty, who “is like the moon,” so
far above a poor girl like her, and like the reflection of the “moon in
the water,” so unobtainable; the Emperor recognises her by the
flower-token and gives orders to admit her to the Palace. She then
exhibits her joy in another song and dance, which ends with the fan
“full-open,” to denote happiness complete and unalloyed and
admitting of “no more beyond.”
The last of this day’s Nō performances dealt again with the power of
the prayer of the minister of religion to exorcise evil spirits. Two
itinerant Buddhist priests find themselves at nightfall in the midst of a
dense forest. They send a servant to discover a place for them,
where they may spend the night. The servant returns to tell them of a
near-by hut, in which an old woman lives alone. They go to the hut,
boasting by the way that their prayers can even bring down a bird on
the wing; but when they reach the hut and ask for shelter, its
occupant at first declines to receive them, on the ground that her
dwelling is too poor and small to shelter them. At last they persuade
her; whereupon she comes out of the bamboo cage, which
represents her hut, and opens an imaginary gate for them. The
priests show much interest in her spinning-wheel. But she appears
sadly disturbed in mind at their presence; and finally announces that,
as the night is so cold, she will go out and gather a supply of
firewood. With an air of mystery she requires from them a promise
not to enter her sleeping-room while she is absent; and having
obtained their promise, she takes her leave.
The aged servant of the priests, however, becomes suspicious of
something wrong, and begs permission of his masters to enter the
forbidden room, since he has himself taken no part in their promise;
but as a point of honour they refuse his earnest request. The
servant, in spite of their refusal, feigns sleep for a time, and then
when his masters have fallen into a sound slumber, he steals away
to the bedroom of the old woman. On the first two or three attempts,
he makes so much noise as to waken the priests; but finally he
succeeds in entering the room which, to his horror, he finds filled with
human bones,—all carefully classified! He then rushes to his
masters and wakens them with the information that their hostess is
really a cannibal witch, and that they must escape for their lives. This
advice he at once puts into practice by making good his own escape.
But the flight of the priests is only symbolised by their standing
perfectly motionless in one corner of the stage, while the chorus
eloquently recites these blood-curdling experiences.
When the witch, in her demon-like form, overtakes the ministers of
the Buddhist religion, the two spiritual forces represented by the
actors then on the stage enter into the same kind of conflict as that
which has already been described. The demon rages furiously; the
priests pray fervently, and rub their rosaries with ever-increasing
vigour; for the contest is over a human soul. But at the last the evil

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7 Segmenting, Targeting, and

7-1 Market Segmentation 114

7-5 Strategies for Selecting Target Markets 124

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9-4b Branding Strategies 164

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Part 4 Case: Pricing Tactics 13-5c Channel Partnering 253

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MINDTAP • Concept Checks appear throughout the ebook. This

Learn, Apply, Succeed • Adaptive Test Prep, which reduces exam

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Connecting Concepts through

– The Continuing Case at the end of each

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INSTRUCTOR RESOURCES Fifth Canadian Edition. Principles of clear design and

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MARC BOIVIN some of Canada’s most successful radio stations. This

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1-1 | WHAT IS MARKETING? a business—whether accounting or finance or oper-

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CHAPTER 1: An Introduction to Marketing 3

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1-2a | The Production Era

states, “If you build it,

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1-2c | The Marketing Company Era

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CHAPTER 1: An Introduction to Marketing 5

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The comparison of the Japanese dramatic performance which bears

“IN ONE CORNER OF THE STAGE SITS THE CHORUS”

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7-1 Market Segmentation 114

7-5 Strategies for Selecting Target Markets 124

9-4b Branding Strategies 164

Part 4 Case: Pricing Tactics 13-5c Channel Partnering 253

– The Continuing Case at the end of each