Cultural marketing and digital presence
Communication that organizes presence, audiences and continuity.
We structure positioning, channels, pages, content, campaigns and indicators to connect cultural projects to the audiences they need to reach.
Publishing is one stage.To communicate is to build a relationship.
Integrated communications
Outreach does not begin when the event is ready.
Communication needs to accompany project building from the first definitions.
Name, positioning, audiences, regulation, registrations, programming, channels, content, accessibility, coverage and reports depend on information produced by different areas.
When communication is planned only at the end, contradictory messages, incomplete materials, rework and difficulty guiding the public arise.
At JA Produções, the Cultural Marketing front is articulated with production, technology, audiovisual, circulation and impact.
- 01Understand the project.
- 02Define the message.
- 03Organize the channels.
- 04Follow up on the response.
- 05Preserve the evidence.
Before the channels
Every public presence needs a clear foundation.
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Base
Positioning
Definition of what the project represents, what its differential is and how it should be understood.
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Direction
Communication objectives
Identification of what communication needs to inform, mobilize, present, record or prove.
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People
Audiences
Understanding of the different groups involved and the information needed for each one.
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Message
Narrative
Organization of themes, messages, arguments and stories that sustain the project’s presence.
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Visual
Applied identity
Consistent use of visual identity across different channels, materials and communication stages.
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Voice
Tone and language
Adaptation of text, presentation form and information level to contexts and audiences.
Choosing the channel before defining the message inverts the strategy.
Organized digital presence
Each channel needs to fulfill a function.
A project may use different digital environments, but presence should not be built by simply repeating the same content across all of them. Each channel needs to answer a specific need in the audience journey.
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Institutional website
Permanence
Permanent presentation of the organization, its work, trajectory, projects and contact channels.
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Landing page or hotsite
Campaign
Environment concentrated on a specific campaign, project, registration, programming or launch.
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Registration page
Operations
Access to regulation, criteria, forms, deadlines, guidance and confirmation of participation.
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Social media
Distribution
Content distribution, relationship, updating, mobilization, coverage and creation of public memory.
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Email and direct communication
Guidance
Sending confirmations, guidance, reminders, results and specific information to the audiences involved.
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Press and institutional channels
Distribution
Relationship with outlets, partners, sponsors, institutions and dissemination networks, according to each project’s needs.
From presentation to memory
Communication changes as the project advances.
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01
Presentation
Explain purpose, context, proposal, differentiators and institutions involved.
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02
Mobilization
Connect artists, groups, participants, partners, press and audiences of interest.
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03
Registration or enrollment
Make regulations, criteria, deadlines, forms, guidance and support available.
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04
Preparation
Share programming, schedules, venues, documents, recommendations and changes.
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05
Delivery
Deliver coverage, service information, relationship, recording and channel updates.
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06
Results and continuity
Present deliverables, data, content, repercussion, reports, memory and next steps.
Post-project communication is not closure.It turns execution into memory, evidence and continuity.
Possible deliverables
What can be structured within a cultural communication front.
Scope depends on each project’s objectives, stage, audiences, resources and channels.
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Planning
Strategy and planning
Organization of the logic that will guide the project’s public presence.
- diagnosis
- objectives
- audiences
- calendar
- indicators
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Identity
Applied identity
Organized application of the existing identity across materials required by the project.
- guidelines
- templates
- assets
- formats
- consistency
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Environments
Pages and digital environments
Structuring of environments that centralize information and reduce communication dispersion.
- websites
- hotsites
- registration
- programming
- results
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Editorial
Editorial planning
Organization of what will be communicated at each moment and for what purpose.
- themes
- agendas
- formats
- calendar
- distribution
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Production
Content and campaigns
Production and distribution of content aligned with the project’s objectives and audiences, according to available resources.
- texts
- assets
- short videos
- calls
- launches
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Execution
Coverage and service information
Communication during execution to guide the public and preserve the memory of the event.
- updates
- schedules
- venues
- behind the scenes
- records
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Relations
Institutional relationship
Organization of information and deliverables destined for the project’s different interlocutors.
- sponsors
- partners
- press
- institutions
- artists
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Evidence
Monitoring and reports
Consolidation of available data for evaluation, accountability reporting and planning.
- publications
- reach
- engagement
- visits
- evidence
Purpose-driven content
Each piece must respond to a real need.
Cultural content should not be produced merely to fill a calendar. A publication may present a work, guide a participant, acknowledge a sponsor, explain an action, record a process or lead the audience to a next step.
Presentation
Explain the project, concept, trajectory, team and context.
Service
Inform dates, times, venues, rules, registrations and changes.
Training
Share references, pedagogical content, interviews and knowledge related to the project.
Mobilization
Invite audiences, artists, schools, institutions and communities.
Coverage
Record the development of activities and present the project while it happens.
Recognition
Give appropriate visibility to artists, teams, supporters, sponsors and partners.
Memory
Organize content that remains accessible after programming ends.
Number of publications should not be used alone as an indicator of quality or impact.
Visibility with responsibility
Counterpart is not only inserting a logo.
Sponsored or cooperatively delivered projects have rules for identity, credits, counterparts, approvals and documentation. Communication must integrate these requirements without erasing the project’s cultural identity or compromising the legibility of materials.
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Manuals and rules
Consultation of official guidance on brands, mechanisms, public calls and institutions involved.
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Credits hierarchy
Correct organization of production, presentation, sponsorship, support and partnership.
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Approvals
Definition of which materials need validation before publication.
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Counterparts
Planning of deliverables agreed for each channel or stage of the project.
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Verification
Record of published pieces, links, captures, dates, formats and delivery evidence.
Do not use the same treatment for sponsor, supporter, partner, producer or public institution. Each link must be identified according to its official instrument.
Communication for participation
Information also needs to be accessible.
Communicational accessibility must be considered in planning content, pages, videos, assets and service information.
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Contrast and legibility
Texts, sizes, colors and hierarchies able to sustain reading on different screens.
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Alternative texts
Adequate description of relevant images in digital environments.
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Subtitles
Audiovisual content accompanied by captions whenever applicable.
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Brazilian Sign Language
Planning of content or streams with interpretation when provided in the project.
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Clear language
Objective information on registration, programming, access, schedules and guidance.
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Digital structure
Pages navigable by keyboard, organized headings, visible focus and understandable content.
These principles guide the front. Full WCAG compliance of all of JA’s historical channels is not claimed here without a specific audit.
Communications data
Measuring requires understanding what each number represents.
Digital channels generate different data. Reach, impressions, views, visits, clicks, registrations and interactions cannot be treated as equivalents. Indicators need to relate to the objectives defined for each communication stage.
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Reach
Number of accounts or profiles potentially reached, according to each platform’s definition.
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Impressions
Number of times a given piece of content was displayed.
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Engagement
Recorded interactions, according to each channel’s criteria and resources.
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Traffic
Visits, pages viewed, origin and behavior in the digital environment, when measurement is configured.
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Operational conversion
Actions related to the project, such as registrations or access to information, when it is technically possible to associate them.
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Evidence
Links, captures, reports, publications, clipping and materials organized for documentation.
A number only becomes an indicator when it has:source, period, definition, context and related objective.
Cumulative digital presence
Communication integrated into the institutional trajectory.
JA’s digital presence accompanies the building of its projects, audience mobilization, circulation, audiovisual production and results dissemination. For institutions and companies, the same front delivers visual identity, pages and digital environments.
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MID
Visual identity, institutional site and Imprensa for Ponto de Cultura MID in Tucuruí. Clipping leaves the system and appears on the public page.
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Tucunaré Grande Show
Hotsite of the Cia Improviso em Tuc circuit: schedule, performance, accessibility and invitation to workshops.
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Macaco Sapeca
Landing page for Instton’s musical: schedule, booking and sponsorship.
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View the set
The three works are gathered in the digital presence hub, with the service scope.
7.2 million
Cumulative digital reach on social media, according to the Institutional Portfolio 2026.
Breakdown by period, platform, project and methodology should be presented only when a corresponding consolidated report exists.
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Dança Carajás Festival
Communication of registrations, programming, sponsor, activities, accessibility, streaming, results and impact initiatives.
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Dançando Além das Fronteiras
Circulation content, teasers, audiovisual materials, press and presentation of the international experience.
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MICBR and creative markets
Institutional communication, producer positioning and repercussion of selections and participations.
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Institutional website
Public organization of the work, projects, results and forms of cooperation.
Integrated communications
Cultural marketing organizes how the work of the other fronts reaches the public.
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Cultural production
Turns programming, registrations, guidance, activities and results into organized public information.
Cultural production -
Cultural technology
Connects channels, pages, forms, operational data and communication with participants.
Cultural technology -
Audiovisual
Uses records, interviews, teasers and documentaries as memory and dissemination content.
Audiovisual -
Circulation
Prepares materials, presentations and narratives suited to markets, festivals and institutions.
Circulation -
Territorial impact
Communicates social, environmental, formative and economic actions with context, evidence and responsibility.
Territorial impact
Communication needs
Projects at different stages need different strategies.
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Project in conception
For those who need to structure positioning, narrative, audiences and initial channel architecture.
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Project with registrations
For initiatives that need to organize regulation, page, forms, guidance, calendar and mobilization.
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Programming in production
For festivals, showcases and actions that need to communicate participants, activities, venues, schedules and accessibility.
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Project in delivery
For operations that need service information, coverage, relationship and recording.
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Completed project
For those who need to present results, organize evidence, maintain memory and prepare new cycles.
The analysis considers objectives, stage, audiences, current channels, available materials, budget, schedule and responsibilities. JA does not promise virality, follower growth, minimum reach, sales, registrations, audience, press, conversion, earned media or financial return.
Cultural communications
What does your project need to communicate — and to whom?
Present the context, audiences, current stage, existing channels, available materials and main challenges. From that information, it will be possible to understand which communication structure makes sense.