To go to the Häagen-Dazs theater or the MySpace, in Madrid, does not sound to us already so rare, and is that nowadays the marks are winning the theaters, and the world of the culture generally… Naming right is at your service of the day and its use more and more is generalized; in order to enter us in the subject we have considered opportune to bring to the Forum the International of Marketing an article of Rosary Fernandez, journalist of the economic newspaper Expansion in which it approaches east concept.

“That has become a habitual practice in the sport of our country equipment or the stages adopt the name of the marks sponsor that them. The league of soccer of first division even takes the name of a banking organization. Nevertheless, this same formula, but taken to the field of the culture and especially to the one of the theater, is something much more recent. The idea has been concerned of the United States, where most of the cultural spaces use this tool of communication. Many examples exist, like the well-known Kodak theater, of Los Angeles - that the finery of the Oscar, Pepsi Center, the theater American Lines, of New York, or the Chrysler Center welcome every year, of Detroit.

Thirty years later that the Americans, our cultural theaters and spaces are concerning that same concept. Thus, or it is possible to be present at a function in Madrid in the theater Rialto MySpace, in Compac-Great Via or in the Häagen-Dazs Calderón and, until days ago, also it was possible to be gone to a concert, exhibition of art or cinematographic projection in the Movistar Space of Barcelona (the contract, with a duration of two years, finalized).

The advertizing supports so are saturated that the companies have to look for new alternatives to occur to know and to be. That is the origin of this new tool of communication and sponsorship, well-known like naming rights (right of name). The formula allows the advertiser to acquire a greater visibility when giving its name to an installation - or it is theater, cinema, commercial center or stage during a certain time or by a period bound to the duration of a spectacle. In return, the theater obtains a new source of income.

But so that the agreement is successful for the advertiser it is fundamental that this form of sponsorship comprises of an integrated plan of communication, in which the mark is not limited solely to put his name to the theater. The benefits that are in game are multiple. As a result of this plan, the mark obtains that their potential clients know not only it, but a feeling of affection, identification and commitment of the culture is generated in them and, in addition, that share values like the creativity, at the same time as, by all means, the last aim is obtained: that the mark is consumed.

The advantages for the cultural space come, mainly, of the hand of the income, since they make possible that the culture becomes a business that can subsist by itself, without aid of no type.

Nevertheless, it is noticed that the theater does not have to base its income on this type of formulas, but have to be a complement, since most important it is the spectacle and the spectators, without them is no theater. So that everything goes on wheels for the two implied parts, it is necessary that both marks contribute value and that they are not contradictory. In that case, the relation is a good marriage in which the sum is superior to two. But everything is not advantages. The main disadvantage of this type in agreements is a loss of certain personality of the theater, that is transferred to a mark that can be deteriorated more. The marks have a personality, and the more important it is, the more capacity to transmit the value of that mark have, which can cause that the sponsored one loses historical relevance like institution”.