Fel ysgolwyddoedd yn fawr, dyma'n fawr i chi'n mynd i gael ei wneud yn ddod i gael eu bod ni'n gweithio'n hynny. Mae'n cyfnodd o'r amlwg o gael ymlaen o'r ysgolwydau yn rhan o'r anhyfyrs. Rydyn ni'n gweithio'r bwysigol ac'r bwysigol o'r rhai'r llwyddoedd yn 1851 a 1951, ac mae'n gweithio'r llwyddoedd yn 2007, rydyn ni'n gweithio'r bwysigol o'r anhyfyrs y ddysgu'r unig o'r antichrys ar y bair tyfan yn y rhan. Yn 2017, mae'n gweithio'r rhan o'r cyfrifio ar y syniadau yma yn 1717, a'r ystafell y cysylltu'r rhan o'r cyfrifio ar y syniadau, byddwn yn William Stucly. Cyfrifio'r cyfrifio ar y syniadau yn y cysylltu'r cyfrifio. Yn yw gweld ei wneud y cyfrifio ar yr hynny'n angen y mynd yn cael eu bair tyfan i'r cyfrifio ar y syniadau o'r cyfrifio ar y syniadau yma yn y cyfrifio ar y syniadau yma. Fel y cael ei wneud, rydym ni'n iawn i gael ei wneud am brifysgol yn siŵr. Mae'r ffordd fawr yn ymbym ni wedi'u bach, ond n seculariaethau, a'r cyfrifio ar yr ystafell ar gyfer cyfrifio ar yr ystafellaethau eu cysylltu'r cyfrifio ar y syniadau. which marked a significant moment in the society's��haw ride, quite a turning point. So what I'm going to do is start by looking at the society in 2007, then consider the ways in which we've changed since that time and how those changes have been achieved, and then finally think about our plans moving forward for the next 10 years. So what was going on in the society in 2007? We were a smaller society then. Fe gyda'r gwirioneddau i'r 1,500, ac mae'r mynedd nesaf ar y gyfer y dyfodol, i gweithio'r mynedd i'r 3,000 o'r cyfnod ar y ddegad. Mae'r cyfnodol y byddau i'r gwirioneddau i'r bobl yn ymgyrchu'n gwirioneddau oherwydd i gwybodaeth, gwirioneddau, ymgyrchu cyfnod, ysbyty bwysig, a'r gwirioneddau i'u gwirioneddau i'r gwirioneddau i'r gwirioneddau i'r gwirioneddau, arall y fawr, oherwydd eich ysbyty a'u 300 oes. Ond, gallwn gwneud i gefnogaeth, bod yr hollu maen nhw, bod yna chi'n mynd i gael gwynedd yn bulliedig ar lawr i gyda'r meddwl. Felly, mae'na'n fwyaf gyda'r gweithredu i gyda lywodraeth, a byddwch yn gweithio'r gweithredu. 2007, rwyf wedi'i wneud yw'r cmflaenau yn ymgeigol, ar 59 yma yw'r fyrddol i gael i gael While the deaths of both Geoff and Di Morgan Evans this March has been a particularly sad and difficult time for the Society. Both Geoff and Di loved the Society and in their different ways made a tremendous contribution to life here at той gyda llwyddeidwyr a lewfodd o'r tyfu ar y llwyddoedd Cymru. Mae gennym ni'n cael ffordd i gyweithio'r awdurdod i'r arfer o'r drws. Mae'r hynny yn tynnu cymunedol sydd mewn gwahodd wrthion i'r llwyster o'r llwyddoedd Merthyn, a'r grws-dwryn Nalligol. Jeff Wainwright's predecessor as president, Eric Fernie. There was a clear ambition that as many members of the public as possible should attend lectures and events and fellows were encouraged to do all they could to make this happen. This drive for greater public engagement was a significant development particularly given that at that time this far from welcoming notice sat firmly across the steps of Burlington House only to be removed in 2010 with the arrival of our current general secretary. The Tercentenary programme was launched in September 2007 and publicised over the course of the year in a run of no less than 12 issues of Fellowship News and it's been fascinating reading. The big showpiece of course was of course the making history exhibition, the first to be held by the society since the exhibition to celebrate the Bicentenary in 1951. The 1951 exhibition had been small scale and held in the society's rooms mainly just across the hall there but the ambitious scale of the 2007 exhibition led to its being held in the Royal Academy's main galleries. The exhibition colour catalogue together with the visions of antiquity volume also published in 2007 represent an important legacy of the Tercentenary as was the recognition that fellows pulling together can achieve great things. Fellowship News records that above all making history has been a team effort it would simply not have been possible to put on an exhibition of this scale without the help of so many fellows. While the exhibition itself was deemed a success there was a significant downside as unfortunately it resulted in a substantial financial loss due partly to inadequate sponsorship and an insufficient number of paying visitors. We've learned from this experience and as I shall show later now aim to hold more frequent but smaller scale exhibitions and only when all funding is secured in advance. At Kelmscott things were going rather less well than at Burlington House. The worst flood for 50 years hit the village in July, the house had to close the remainder of the season for repairs and conservation work and considerable misgivings were being expressed within the fellowship as to why the society was burdening itself with the effort and expense of running a country estate. We've come a long way in addressing that particular issue, a topic to which I shall return later. So what's happened since? How did the events of the Tercentenary Year change us in particularly the efforts to improve our public benefit and reach a wider audience? An early success in achieving this was the award of a Heritage Lottery Fund grant which allowed making history to tour to four UK regional museums. From late 2008 to early 2010, and this was followed in late 2011 by the first ever trip of the society's collections to America, enabled by partnership with Boston and Yale universities. When the exhibits finally returned to Burlington House in 2012, over 200,000 people had seen them in the UK and the US, public access to the society's collections on a scale never achieved before. Public interest in the society and its collections was thus becoming very clear and under the presidency of my predecessor, Maurice Howard, council began to debate how this might be encouraged further. Mounting more exhibitions was an obvious initial step as long as they could be made to pay for themselves. 2014 saw nearly 3,000 visitors coming to the first exhibition in our rooms since the 1951 Bicentenary Exhibition. Portraying the past was a tentative first step and a very successful one, emboldening us to be far more ambitious in 2015 with the Magna Carter Exhibition bottom right. That event attracted over 14,000 visitors to Burlington House and included activities, events and an accompanying public lecture series organised by fellows. At Calmscott we also launched a programme of exhibitions. In 2012 a collection of Byrne Jones drawings, lent by the V&A, and in 2014, bottom left, an exhibition marking the centenary of Jane Morris' death, mounted in partnership with the National Portrait Gallery. Prior to 2007, the principal way in which we had made our collections publicly accessible was through loans. If anything, this strand of our activities increased after the Making History Exhibition, when the extent and importance of our collections became more widely appreciated. Over the course of the last ten years, we've made loans to a number of important and prestigious exhibitions, including the 2009 108th Queen Centenary Exhibition at the British Library bottom right, the Loan of the Blue Silk Dress from Calmscott to the National Gallery of Art in Washington, and William Morris' bed to Tate Britain. Our Loans and Exhibition programme has had the additional benefit of promoting the conservation of our collections. We used to pay for conservation as the need arose and as we could afford it. Nowadays, major pieces of conservation are frequently initiated by exhibitions or projects and are paid for by external funding. Conservation of two of our copies of Magna Carta, for example, was undertaken prior to the 2015 exhibition, thanks to a grant from the Bank of America, and a number of our pictures were conserved prior to their inclusion in the picture catalogue published in 2015 due to the generosity of fellows. Our ability to extract external funding has been considerably enhanced by establishing a development office with a permanent fundraiser. An initial appointment was made in 2009 and funding for the first five years was supported by a generous bequest from our fellow Raymond Connolly. Recognition of the society's high standards and the management of its collections at both Calmscorp and Burlington House was achieved in late 2009 with the award of full accredited museum status by the Arts Council. This was a significant achievement on which our collection staff, Heather Rowlands and Anushka Rodden, ought to be congratulated. Anushka, of course, has now left the society to join the science museum group. Accreditation means that the society has demonstrated its commitment to effective collections care, good governance and the development of visitor and user services. We successfully renewed it in 2014 and it will be up for renewal again later this year. In 2007, so exhibition and loans were seen as a principal means of introducing our collections to new audiences and promoting knowledge of the past. Since then, we've continued with those programmes, as I've just shown, but there have been significant developments in the way these are delivered, which has moved beyond simply telling people about the past to offering more opportunities for people to engage with the past. We've been approaching this in a number of different ways. At Calmscorp, family workshops and children's trails have been introduced and a successful artist in residence season, Bottom Right, was held in 2014. During the Magna Carter exhibition, activities were offered to extend its appeal to the traditional museum goer, including workshops and events for school groups and families, and a late evening with medieval music. We will see that medieval musician a bit later on as well. We'll look out for him. The latter was such a success that it inspired a series of three summer late evenings at Burlington House in summer 2016, which explored the history of the society. They were wonderful evenings. If you didn't attend them, you missed out on quite a treat and the interactive timeline which is produced to support that is on the website. And if you haven't looked, do, it's well worth exploring. The first two evenings included dramatic interludes, one of which was a reenactment of an early meeting of the society. I have to say that this fellow in the middle made me feel quite inadequate and it was hugely enjoyed by guests and fellows alike. Related objects from our collections were on display with the opportunity to discuss them with fellows. At the third event, celebrating the society today, there was the chance to discuss the results of current research projects, including a number which have been supported by society grants. Visitors very clearly appreciated the opportunity to learn more about the society and our collections through talking to fellows who attended. And the nice thing was that fellows also said how much they had enjoyed the opportunity to share their own knowledge and enthusiasm for the past with people who came to the evenings, so a win-win situation. Other initiatives to promote public engagement at Burlington House have included the introduction of our public lecture series in 2012, which has proved immensely popular. Numbers attending have now more than doubled since they were first introduced. And lectures are nearly always fully booked. We've also been engaging with school groups and young scholars. And since 2013, internships have been offered to students at both Burlington House and Camscott Manor. And two postgraduate days have been held in the library with another planned for later this year. Again, the opportunity at all these events to benefit from the knowledge and expertise of fellows has been an important part of the experience. The increased use of technology over the period has revolutionised the ways in which we can reach our potential audiences. Recording of lectures, both the fellows and public series, began in 2012 with that audio-visual equipment, which was installed at the beginning of the Tercentenary. And there is now a remarkable online lecture archive available. Features such as unlocking our collections and on this day are highlighting our collections to a much wider audience. And in addition to website and salon, the email newsletter, the society has Twitter and Facebook accounts and is now on Instagram. And I'm going to say more about the impact of these developments in a minute. A commitment to the higher standards in research and scholarship has always been at the heart of the society's activities. And this has continued throughout the 10-year period. A number of important volumes have been published. And I'd like to extend the society's thanks to our former Publications Manager Kate Owen for her tireless work in virtually eliminating our publication backlog. Kate's role has now been taken over in an extremely capable fashion by Lavinia Porter. A stated aim of the Tercentenary year was to expand the range and value of our research grants. Bequest from fellows since 2007 have enabled the society to achieve this and indeed it couldn't have been realised without fellow support. Grants for Conservation and Research have risen from 76,000 in 2008 to 111,000 in this last year and have supported a wide variety of different projects. Over the last year, we've been most fortunate to have been the beneficiary of the wills of Beatrice Ducardi, Marion Archibald, Christine Mane and John Casey. The gifts made by the two former fellows will support research and library development, while the two latter gifts will make a very welcome contribution to our general fund and will support our increasing running costs. Significant bequests have been made over the last 10 years by a number of fellows, including John Evans, John Sainsbury, Margaret Jones, Andrake, John Coles, Corin Bennett and the list, as you'll probably know, just outside the door there on our benefactors board. All of these have made an important contribution to the life of the society. We're also very grateful to our fellows, Tristan Hillgarth and Edward Harris, for their support for our three-year research grant award first established in 2014. This allows the recipient to pursue a programme of research through to publication and public presentation. While continuing to promote research and publication, the new era of digital technology has significantly changed the manner in which we now do this. In 2009, the online edition of Antichrist Journal was launched, followed in 2012 by making the complete journal archive back to 1770 also accessible online. This considerable achievement has introduced the society to a new global academic audience and it's a tribute to the hard work of library staff led by Heather Rowland. This initiative is now being perpetuated through our new publication strategy and I must extend the society's thanks to our current director, Chris Skull, and his predecessor, John Crichton, for their hard work in preparing this. It's our intention to make all new volumes available on open access. This has now been achieved for the recently published Glastonbury and Sherbourne volumes and it's also our intention to get our entire back series of research report accessible by this means. In the longer term, we intend to have all new reports available through open access to print on demand and it's good to think that we now have a means of making the important contribution the society makes to scholarship through its publications much more widely available. Research by fellows and others has been facilitated by greater accessibility to the library and collections catalogue. The main finding aids for all printed materials now online. In 2008, the library's holdings were included on COPAC which gives unified access to the catalogues of some of the largest university and research libraries in the UK and in 2011, the library's index cards were made accessible online thanks to the generous bequest from fellow Marion Wilson. The five-year library development plan launched earlier this year will now take the library into the 21st century and through the development of online access to free searchable catalogues and to digital resources will make our remarkable collections accessible to a much wider range of scholars and people who are interested in the past. So I think this brief review makes it clear that the aspirations of the tertiary year for the society to deliver increased public benefit across its entire range of activities provided a significant catalyst for change. While continuing to pursue our core purposes through programs of conservation research and dissemination they've been important and beneficial developments in a way in which this is now done. In order to begin to demonstrate the success of the changes which were being introduced it was decided in 2008 that the annual report should be transformed from its existing traditional format to become an impact report providing more quantified information and thereby allowing progress to be more accurately recorded. An impact review has become a standard section in the society's annual review I hope you've all seen this in the recent mail-out and comparison of the data over the period since 2007 reveals some interesting trends. Visitor numbers at Kelmscott have risen considerably over the 10 years partly due to a change in the opening pattern in 2011 but also due to improved promotion and marketing the more ambitious and varied offer to visitors and the hard work of staff and volunteers led by Gavin Williams and Cathy Haslam. In 2008 visitor numbers were around the 12,000 mark whereas for the last few years they've averaged around 20,000. Visitor figures for Burlington House and online were not collected in a consistent way until 2013 but in the four years since figures have been kept increased public engagement can clearly be seen in the number of key areas most dramatically in the area of online engagement which I mentioned earlier. In 1617 the online engagement total was 207,500. 12, as you can see there in the big table half way down the page on the right. In 1314 the equivalent figure was 13,000. This slide shows in particular the growth in website hits and YouTube views, I better tell you. The green is website views, a new website that starts at 2013-14, I don't know how clear it is and goes up to 2016-17. The new website was launched in early 2014 hence the website, the big green at the bottom and he's starting the second bar but you can see the increase hits on the website and also very dramatically the number of YouTube views which reflect the numbers who now watch lectures online. Our increased online presence is much to the hard work of our communications manager René Ladoe whose enthusiasm for and knowledge of all things digital never fails to impress me. But the impact reports over the years not only show the increasing number of people who we are reaching they also clearly show that we now have a much more wide and varied audience which is clearly responding with enthusiasm to our work in all its various facets. Before thinking about how we might build on the changes which have taken place in the next 10 years I think it's worth reflecting on the number of underlined developments in the governance and management of the society which have been fundamental to allowing these changes to happen. These developments represent considerable achievement in themselves and have allowed us to streamline our administrative practice enabling us to focus more effectively on the delivery of our charitable purposes. The reform of our charter and statutes approved in December 2015 has brought the governance of the society into the 21st century making it compliant with current legislation and best modern practice. Reform has allowed greater flexibility and transparency and is enabling fellows to become more closely involved with society affairs. You will have seen that a new fellows handbook was circulated with the papers for this meeting, I hope. In all matters governance I'm enormously indebted to our governance officer Helen Cockle whose precision and industry behind the scenes is invaluable. Day-to-day management of the society has been facilitated by the development of the strategic business plan which was introduced in 2007. At that point the plan was essentially focused on the definition of strategic objectives. Today this plan has been refined to include the detailed tasks required to fulfil those objectives with all tasks now clearly linked to budget allocations. The plan is reviewed on a five-year cycle and the introduction of staff time sheets in 2011 has facilitated both monitoring the plan during its implementation and has provided crucial data for forward planning. This leads me onto the issues of the society's financial affairs and the challenge which they pose. Despite the careful stewardship of successive treasurers the society's reached the point where the cost of maintaining the building and services at Burlington House, what are termed core costs are consistently greater than income to a significant degree. As fellows will be aware, recognition of this situation led council to have to take the difficult decision last year to make savings by restructuring staffing arrangements in the library. Options for increasing income and reducing costs are kept constantly under review and have led to some important changes in the way in which we undertake our financial planning. Critically important is the distinction now drawn in annual budget planning between core costs and project costs. As I've already mentioned, the society's incomes fully committed to core costs, the costs of maintaining the building and the staffing. And as a result, additional activities including associated staff costs, in other words, those activities which are defined as projects, can only be pursued if they are fully funded from sources external to the society or can be carried out at minimal cost. Recognition of this situation has highlighted just how important the decision to establish the development office was. We would have been unable to embark on the exhibitions, conservation programmes or indeed our charter and statutes reform without external financial support which the development office has brought in. We are very grateful for the dedication of our head of development, Dominic Wallace, and his considerable successes to date. We anticipate operating deficits in the future, I'm afraid, because of continuing low investment returns, increased employers' pension and national insurance contributions, and rising repair and rent costs at Burlington House. And as an aside, I will just say here that the negotiations which will enable us to sign the lease renewal at Burlington House which was due in 2015, they are unfortunately still ongoing and there's nothing I can presently add about our continued occupation of Burlington House. All of this means that the general fund which supports our core costs continues to have an underlying deficit and this is of course why big costs and donations with unrestricted use are so important to us. The governance and administrative changes I have just outlined do you mean, however, that we are able to allocate the resources which we do have at our disposal to very best effect when fulfilling our public benefit requirement. Our present general secretary, John Lewis, with his background in project management has made a huge contribution to this aspect of our affairs and we owe him a considerable debt of gratitude for his persistence in getting the appropriate systems in place. And I'm also very grateful to our head of finance and operations, Katie Drake, and her predecessor Leslie Favagyr for their knowledge and incisiveness in guiding the society's financial affairs. It's not simply improving systems that makes an organisation successful, of course. It's the people who make it. In our case, the fellowship, the staff and the volunteers at Calmscott and Burlington House. As acknowledged in 2007, fellows working together make things happen and since that making history exhibition in 2007, fellows have continued to play a critical role in delivering our charitable objectives. I've already mentioned the generous financial assistance which fellows have given to our programmes of conservation and research through bequests and donations and also the vital assistance given with exhibitions and events. Fellows have also given crucial help with fundraising. In autumn 2014, a very successful auction to raise money for Calmscott was organised by fellows and enabled all the initial planning work which helped us to secure the Heritage Lottery Fund grant. A Calmscott campaign committee of fellows has now been formed, bottom right, to fundraise for the main project. In addition, many fellows make an invaluable contribution on council and in the various committees which provide specialist advice to council. This year, four council members are retiring, all of whom have played an important role in promoting the society's affairs. They are Stephanie Moser, John Hines, Joe Gattel and our treasurer, Stephen Johnson. All four have been immensely supportive, in particular, as members of the policy committee and I'm especially grateful for the contributions which they've made to this new initiative. I must, however, single out Stephen Johnson for special mention. Not only has he been a most assiduous chair of the policy committee, he's also served the society for not just one, but two terms as our treasurer, a role that requires a considerable commitment of time and energy and which he has filled in an exemplary fashion. And somehow, amidst all of this, he also found the time to provide the lead on our charter and statutory form and bring that to a successful conclusion. We're deeply grateful for the efforts on our behalf, Stephen, and speaking for myself, I know I shall miss your advice and support which I have personally greatly appreciated. An interesting outcome of the exhibition programme at Burlington House has been the formation of a very loyal group of volunteers who love being here and it seems simply can't wait for the next event to come around. Volunteers continue to play a vital role. In the library, for example, NADFAS volunteers have undertaken a rolling programme of basic conservation over the last 25 years, including completing the rebinding of all the minute books I showed earlier. We simply couldn't run Calmscott Manor without the volunteers at Calmscott, right? And we're remarkably fortunate in having a pool of over 100, many of whom are very knowledgeable about the site and do much to enhance the enjoyment of our visitors. I've already mentioned a number of the staff by name and every single one deserves special mention. I continue to be so impressed and deeply grateful for the hard work and real commitment shown by all the staff here at Burlington House and at Calmscott Manor, led so ably by our general secretary. At events like last year's Summer Lates, with Stephen Papworth at the door, Yola making everyone welcome, not least providing carrot cake, and fellow volunteers and staff all pulling together, it's events like that that really show what we can do when we all work together. So, where do we go from here? I hope that I've now given some indication of just how much has been achieved since our tert centenary under the leadership and guidance of Presidents Jeff Wainwright and Maurice Howard and general secretaries David Gamester and John Lewis, and promoted by successive groups of trustees on council. In essence, the commitment to delivering greater public benefit supported by the revolution in technology which has taken place over the last 10 years has allowed us to fulfil our core purposes in new, interesting and more effective ways. So, where do we go from here? While thinking about how we currently approach the delivery of our charitable purposes, two events in recent months have set me thinking. The first was a comment by an eminent fellow who, while observing that society represents a wide range of interests across the heritage sector, made it clear that he thought this was a weakness. He assumed that I would agree with him, which I didn't. The second was an altogether more positive experience and that was the Shakespeare fundraising event which some of you may have come to in January this year. It was held to raise funds for our library development campaign and we were thrilled that Simon Russell Beall agreed to play a leading role alongside our fellow Maurice Howard and musician Jez Smith, seen earlier in a different guise. This event showed that the breadth of our interests does in fact represent a considerable strength. At the event, there was very evident appreciation of the fact that the society had brought together leading exponents of literature, art and music, integrating different strands of knowledge to achieve a fuller appreciation and understanding of the past. I think that currently, we're overlooking the opportunity to promote this vital aspect of the society. The breadth of knowledge of the heritage sector represented by the fellowship makes us, I think, unique amongst heritage organisations and makes us perfectly placed to speak out as an informed and independent voice in the sector. I should like to see this better acknowledged and celebrated and before concluding, I'd like to suggest a couple of ways in which this might be pursued. Firstly, I should like to see the society expand its policy, its public policy work. Over the last 10 years, the society has contributed to debate on public policy through participating in groups such as the Archaeology Forum and by responding to consultation documents by a number of organisation and government departments. Until recently, however, there was no established mechanism for doing this. And the formation of the policy committee, which I mentioned earlier, has changed all that. We now have a statement of our core values which acts as the reference point for the committee's deliberations. Committee members keep a look out for issues on which the society might wish to express a view. There is ongoing debate in meetings and by email, and fellows are kept informed of responses made or about to be made through Salon and on the website as here. An impressive number of responses have been made over the course of the 18 months since the committee was set up and council has recently confirmed that its work should continue. There are two ways in which this could now be developed. Firstly, it's rightly been observed that responses to date have mainly concerned archaeological issues. We have the perfect opportunity to demonstrate our role as a voice for the wider sector by speaking out on a greater range of issues, and I would now like to see fellows with an interest in other areas of heritage and archaeology participating in the committee's work. And secondly, you'll notice, perhaps, that I've spoken about responses made by the committee. In the longer term, I'd like to see us taking a more proactive role, publishing policy papers which initiate discussion and debate in the sector, rather than simply reacting to agendas set by others. The second area in which we have the opportunity to demonstrate the diversity and strength of the fellowship is CELLMSCOT. Fellows will be aware that, since the last anniversary meeting, we've secured the initial support for a major grant from the Heritage Lottery Fund. We have ambitious plans to reinterpret the history and archaeology of CELLMSCOT and its landscape through the eyes of William Morris as a fellow of this society, exploring the impact CELLMSCOT had on Morris and how Morris continues to influence us to this day. The project will entail improved interpretation and displays, new activities, including community archaeology projects, as well as major repairs to the listed buildings. The project thus provides the opportunity to demonstrate the importance of the past to a wider public through direct involvement of the fellowship in conservation, research and dissemination. This slide illustrates the framework within which the society's new vision for CELLMSCOT will be delivered and describes a process moving from left to right. The assets in the first column, both in the society's ownership and that of others, which relate to CELLMSCOT in its widest sense and which we wish to ensure are properly cared for and made accessible. The second defines the three principal periods through CELLMSCOT history that we will be exploring. The third key sets out the areas of expertise which exist within the fellowship, something I'm going to return to, and the fourth sets out the proposed means by which the results of the society's research in the third column will be communicated to the public. The fifth describes the audience that we intend to reach, inform and engage. The pivotal role of the fellowship is clear. History, art, architecture, archaeology and ancient landscapes are the academic disciplines at the heart of our society and they were also an inspiration for Morris at CELLMSCOT. The society is uniquely positioned to take a multidisciplinary approach to research which will allow the potential of the CELLMSCOT estate to be fully explored. While it is clear that society has an important role in supporting research by way of small grants as we have been doing in recent years, I believe that we should be exploring the possibility of undertaking programs of research ourselves as we have done in the past. This is something which I drew attention to last year and I was interested to see that in 2007, Geoff Wainwright highlighted the need for us to engage as a society in carefully selected projects. CELLMSCOT then, I suggest, would be a good candidate for a society-wide research project over the next few years. The project once delivered will do better justice to the significance of the site and more accurately reflect the mission of the society. We'll be making it evident at last who owns and runs the manner for too long people have visited without realising that the society owns the property. This flyer, promoting both the society's properties on one piece of paper in 2014, may look simple and sensible, but was in fact quite revolutionary. There should no longer be any doubt about why we own and run this remarkable estate. We now make the most of this wonderful opportunity to tell people who we are and to demonstrate the importance of the past to a wider public, so let's make it happen and let's get fundraising in earnest. So, in conclusion, yes, we're facing challenges. We must continue to take every opportunity to improve our financial situation through fundraising and excellent financial management. The basis of our continued occupation here at Burlington House remains uncertain and must be resolved as it's proving a significant constraint on all aspects of forward planning, and you may be assured that every effort is being made to make sure that that is being pursued vigorously. Despite these challenges, there's much to take forward into the next period in the society's life, building on the achievements in public engagement made over the last 10 years. We shall continue with exhibitions, lectures and events with sustained emphasis on engaging the public rather than simply telling them about the past, with the perfect opportunity to pursue this at Cumscott. We shall continue with our efforts to get as many of our publications online as possible and to make a wider audience aware of the importance of our library and collections. We shall continue to support programmes of research and scholarship of the highest standards. And last, but by no means least, we must celebrate our diversity as a strength and speak out as an authoritative voice in the sector, telling the public about what the society stands for and why the past matters. Would the Fellows of 300 years ago recognise the society today? Well, I hope that they would see that we are still pursuing the same goals, the study of antiquity and the history of former times as it says in our charter. But of course, we now do this in a very different way. Change is inevitable and we must be ready to adapt if we are to remain relevant to the heritage sector, the wider public and life in the 21st century. It will be fascinating to see where the next 10 years takes us.


As-Salam-Alaikum-Khawwati-Nuh-Hazrat. The Basim As-Sin welcomes you to the last lecture of the course on Brand Management, MKT 624. In the hope that whatever we have learned so far about the course is going to find its expression in an effective way by way of a brand plan, I start talking about the very left in the previous lecture. You will recall I was talking about the brand analysis for the part of the planning process when the time ran out. So let us pick up the threads from there. Under the brand analysis, I was talking about products and their variants. And talk about packaging the side of the products and their variants. Let us now talk about the next step that you have to take and that is in terms of pricing. Pricing, as we all know very well by now, is based on two different models. You can opt for either a market based model or a cost based model. Depending upon your circumstances, you have to make the most optimal decision. What really is to be kept in mind is that the pricing is the cornerstone of margins that you are going to generate for the company. But then at the same time, you also have to be mindful of the value for money aspect or the proposition to your consumers. So therefore, a balance between the two is not to be maintained. And based on those considerations, you can go for either cost based or market based. Do take the competition into account and do not go for a price which is exorbitant because that will attract competition unnecessarily. So pricing in other words has got to be very effective and very practical and related to the positioning of the product. The next step that you have to take into consideration is advertising and promotions. When it comes to this area, we all know that we've got to have an integrated campaign which is part advertising, part promotions and part all other tools or a combination of a few tools that we have at our disposal. The basic idea is to create the optimal level of impact on our consumers so that we really can relate those impacts to the various stages and phases of the consumer response effect. And having said that, we have to be very sensitive to the phase the brand is passing through and design up a campaign accordingly. The next step in the brand analysis area is the channel partners. You have to look for the channel partners and go for a channel structure which is best suited under your circumstances. The basic objective is to achieve the cost efficiencies and also at the same time to make sure that your system remains customer friendly. Meaning it is very effective from the point of view of outreach and the convenience to your customers. Once you are clear about the channels then you get on to the next area which is the competitors.  Take into consideration any possible big moves on part of your competitors that may disrupt your planning. Meaning all those moves which are not avoidable and have to be considered in terms of staging a change you must consider those. Because that way you can preempt the negative developments that might come up and if those come up you have got to be prepared with some level of contingency plans. And you may have a strategy which talks about that contingency like if it happens like the following then we should do that. So those kind of relationships between if and then that you should come up with. And the next step in the brand analysis is the control measures. You have got to take a certain of the measures if you think your brand is going off course. In order for the brand to get back on course what you are supposed to be doing is take some corrective actions. Now how do you take these corrective actions and how you are going to set the stage for correcting those things which you can have gone wrong. With the help of certain brand measures and you have got to undertake certain dynamics that are going to provide you with the right most feedback about your brand. So that you really can respond to the changes which are taking place in the market. Or in the absence of changes if something has gone wrong internally and you have got to fix the situation you should do that from that point of view as well. And coming to you know talking about the brand dynamics I think your knowledge of those measures should be pretty much fresh in your minds. Because it wasn't very long ago that it talked about so many different measures on so many different strategic aspects and angles. Make sure that you really have a strategy in place while you analyze your brand in relation to such measures. If you are a large corporation you have got to make the whole process very well structured and very highly formalized talking about the measures. If you are a small company then all the efforts are going to revolve around just about a few individuals and you can undertake this process informally. But then you have to analyze the brand situation and have to be prepared to get into such measures which provide you with the right most feedback. The last step as part of the brand analysis is new developments. We have to look at the brand from so many different angles. And one of the important angles is why is it that so many companies have brands more than one within the same category. Well it is all due to competitive pressures which are of different forms and shapes and of different intensities. But what is important is that you have got to stay alert to your competition and you have got to have the complete feedback from the mechanism of the brand's performance measurement. And it is only through these two things that you are going to bring about changes in the positioning of the brand. And hence go for the variations in terms of new offerings and new entries. You have to consider the drivers for change and of course when you are alert and you have the results of the brand's performance. You are responsive to those changes with the meaning those dominant forces that cause those changes. And you bring in the key success factors and you put everything together and just get cracking. The challenge at this juncture is that you do not introduce those variations which cannibalize your existing ones. Meaning you do not really eat into the volumes that you already have. The beauty of this concept is that you eat into the competition and not into your own self. So be careful about the segmentation and positioning and you will get all the answers toward the right approach. Now talking about variations and talking about why companies have more than one brand within the same category. Let me tell you very briefly that generally in the market you have three major categories of the brands by your company and by your competitors. First is the premium brand. Now premium brand is the high quality with the premium price. And that is the brand which must occupy the center stage in the marketplace. The second type is the flanking brand. Now this is a brand you see which flanks your premium brand if your premium brand is threatened by a competitor. You also can get the PM under certain circumstances if you think that you have to have a flanking brand. But generally you do that in order to keep competition away. Whether you do that before competition has been set in or whether you do that after competition has been set in. The decision is yours and I think it is obvious that you should opt for the proactive approach and not reactive approach. This flanker is a brand which is a little lower in price as compared to your premium brand. And this is the brand which offers a little different set of the benefits. So the level of benefits and the pricing are different. If you refer to the illustration which I drew your attention toward in relation to the sandwiches, you will know what I am talking about. And that is how you are really going to make realistic decisions about what the brand should be a flanking brand. The third category is the fighting brands. Now fighting brand is basically a fighter which fights competition and it fights competition head on. Whether when you plan to introduce that kind of a brand, of course the pricing point is on a much lower side and the benefits that you offer have got to be very basic in nature because the idea is just to fight competition at a ground which is away from the premium brand. The objective again I would say is to safeguard your position to the further premium brand because that brand is the one which must occupy the center stage. And it has to be in the center of the defined market, meaning your target market. You should be very careful right from the outset about the market situation and the defined brand accordingly. Meaning you should not be in a hurry just to create a flanking brand or just to create a fighting brand. Because you are not supposed to be stirring in a competition out of its slumber. If the competition is not really bothering you and things are pretty peaceful in the marketplace, you do not really have to create a situation where competitors start responding to you with full ferocity. That is not really prudent. The whole planning process will revolve around definition of the market and the brand because that will define the essence, identity, values and position of the brand accordingly. So this is all about the second phase of the planning process which is in itself known as the planning process. So again let me summarize. I talked about the first phase which is about corporate strategy and brands. And the second phase which is the planning process. And while talking about the planning process, I basically have talked about all those concepts and all those elements of strategy that you must consider while putting your plan together. Now with this understanding in place, I would like to take you to the final step which is the brand plan in itself. And I told you earlier it is a long-term document. It is a template which is an expression of the total effort that you have carried out so far towards your strategic considerations. And strategic considerations starting with just two elements meaning the brand essence and the brand architecture leads you into so many different concepts which you studied. Before I started talking about the brand architecture and even after I was done with the brand architecture. So this is the document which is the final, final thing and this is something about which you can say at the start, okay fine I have the complete understanding of the strategic elements and I know what are the considerations I have to undertake before proceeding with my plan. Now I am going to get down to the structured planning form of the whole thinking. And I have to come up with a document which is going to serve the basis of all the execution which will take place not only on part of the company members, meaning people within marketing and your colleagues all over but also the agencies and the research agencies and any other companies involved into the promotional activities. So this document in a very summarized way records in a very structured manner your whole planning process. And this is where I would tell you things that you must take into account in order I am going to talk about preferably but the choice is yours. Since the brand plan is your strategic framework you must understand first of all what a strategy is and what is the difference between a strategy and tactics. Now this is not to assume on my part that after having talked so much about strategies that you do not understand what a strategy is. Now this only is to bring home the point that brand plan is going to be a set of so many different strategies expressed in very few sentences and expressed in a form which is very concise and yet very comprehensive. By going through the one strategy of two to three sentences a reader must know what you are arriving at and a reader must know what could have been the background of this strategy. So with that objective in mind let me tell you that strategy is a long term document that sets a course of action for the foreseeable future. That is just about it. It is a game plan that defines the means to achieve the real objective very simple and tactics is execution. It is all about how you achieve your sales results this year or carry out your campaign this year and the year after. So the reason I really want you to make a distinction between a strategy and tactics is that you have got to be very concise and very to the point when you put down strategies as part of your strategic framework because after you are done with the brand plan let me tell you the next step which is going to be very important on your part and which I leave to your education and training and the comprehension so far is going to be all the details of the budgets. In other words if you are talking about an advertising strategy you have to have the execution side of it and you mention all the media elements that you are going to take into account in relation to the number of insertions and the costs and so on and so forth. So that is something which doesn't really call for any further teaching on my part when it comes to your imagination and your expertise on that. Now having understood the difference between the two meaning the strategy and the tactics let me also explain this distinction with the help of one example I always like to make sure that you should have examples because like to say the one example is better than 100 reasons and explanations. This is like an advertising campaign getting to a point where your consumers are getting bored and I think I did talk about this example before also. Strategy is never bored with your consumers it is the tactics. So if you think that there's got to be a little change in whatever you are communicating without having to change the essence of that communication what you should do is to bring about a technical change while remaining within the same strategic framework. So that I think should explain the distinction between the two and what I am saying is tactics will change but strategy still will remain the same. Until the point that you really have to bring about a strategic change something really has taken place in the market which has created a drastic change. You may have to change the strategy and when you change the strategy you start the process all over again. There's not going to be much difference I mean there's not going to be any difference when it comes to all that we have been discussing for the past two lectures and also in this lecture. Written strategy every business larger small consumer or industrial should have a written strategy that goes without saying because a written strategy that brings the whole marketing program into a very sharp focus. If you were to define your business and then come up with a strategy for that business and you know what a strategy is all about means to achieve your objectives and you have to talk in two to three sentences. Well I tell you it is not going to be easy and this is not to say that you cannot do it. No an average student or average person can do it but the objective is when you do that you have to look into the consistencies when you start writing the statement of that strategy. You will see how many inconsistencies would have existed if the strategy was not expressed in a very well structured form. Make no mistake that the whole strategy is concerned about your brand and therefore it cannot have parts which do not really fit into each other. They must fit like all the cogs fit into a wheel that is very important. It has to be a body which has all the organic parts. Even one small minute foreign part is going to disturb the body and it will not remain organic. After you have talked about the strategy and you have written the strategy in the form of a statement which must not be more than two to three sentences you as a second step start writing down your objectives. So in other words as part of the brand plan in a structured way you have written your strategy as statement of strategy as the starting point of the document and the second point of the document is objectives. When I was talking about the process in terms of the elements that you have to consider I did talk about objectives but I talked about objectives after having talked about so many other elements. So here as part of the well structured document objective of the business or the marketing plan or the business plan has got to be number two point after you have written the statement of strategy. You talk about the numbers and the sales figures, the revenues, the market share, the rate of growth and also the margins. I mean there is no harm talking about the financial side of it. So you also talk about the different ratios which you have studied in your basic course on accounting and finance. Do not talk about those numbers which are not achievable. See the basic objective of having your objective written down is that you must convince yourself whatever you are writing has to be achievable and has not to be something which is not based on practicalities. Your figures should show you the increase which you are going to register year after year and your figures should show you the increase in the market share which you are going to register and so on and so forth. So having talked about all this it really will accelerate your thinking about all those numbers which you should talk about and which really can make so many different people within the organization responsible for their achievement. Objectives have got to be very clear. This is what we can summarize. Objectives have got to be measurable and objectives have got to be achievable. So this is the summary of the objective part of the brand plan because objectives reflect your vision to get to the point where you are wanting to get. You know here we are and you know here we want to go. So it is the objective which is going to talk about the growth gap and all those things. Think about all the factors that we talked about earlier. So you are done with the second point of the brand plan and I will repeat. Whatever business you are in you have to start talking about your objective and you must talk in terms of different sales revenue financial numbers. Next point is the need. You have got to define the need. Although I talked about this factor I don't remember in which lecture precisely but not in the very first lecture. But here as part of the brand plan you have to talk about the need after you have put together your objectives. You must talk about your product and brand in terms of its absolute necessity. And you have to think about the question which the top management asked themselves. What is it that the market will do if the brand did not exist? Well if you have answered the question very convincingly you certainly will think to yourself well here is the need. It is very convincing and it is going to be fulfilled by introducing this brand. So you talk about the need and you talk about that in terms of again in terms of a strategy. And that strategy has to be expressed through a very concise statement comprising of not more than two to three sentences. If you cannot really state the need very clearly in those spending the sentences it means the need is not there. And if you still continue with the development of the brand the brand is going to fail. It may sound like a very emphatic statement but that is the way it is going to be. Give the need so many dimensions like how serious is it and how unfilled is it and how long is it going to stay like that if not fulfilled. And what is going to be the role of your brand in fulfilling that need. These are the things which you can dimensionalize and bring a lot of substance to the need part of your brand plan. Serious answers as a matter of fact to all these questions through which you are going to give different dimensions to the need aspect are going to tell you how consistent you are in terms of your consideration of all these strategic elements that you have put together so far. And you will be astonished to know that you will be running into a few inconsistencies. And when you reach that situation you will then start thinking about the rightmost strategies or the changes which you will bring about to your thoughts that you must have had in your mind kind of preconceived thoughts. So my point is that by having answers to all the questions you are going to really make sure that the consistencies between and among so many various strategic elements of the whole branding process are in place. And they have very logical linkages and those linkages are going to lead you to making a very useful and a very practical kind of a plan. The more clearly you state the need the greater the chances of being right onto your positioning and right onto summing up the inner core of the brand onto the point of positioning. The next point is the source of the volume. At this section outlines where the volume will come from and this obviously takes into account the size of the segment and what size you think you are going to achieve and how. You talk about your customers by two different ways. By adding new customers and by getting your existing customers to use more. And if you think that your source is the children between the ages of 6 to 15 years then that is going to be the source, the primary source of volume. And any volume that may come to the brand is going to be the secondary volume and you should talk about that also. If you're selling biscuits to the you and there's a brand which really is meant for children between 6 and 15 that is the primary volume. You project that you talk about the segment and then you also talk about those segments from where these volume will also flow into the segment you are in. So that is going to be the incremental or secondary business coming to your brand. Be very clear and absolute about the source because that brings clarity about the growth of your brand. And if you are clear about the growth of brand your total vision about all of the elements really falls into place. The next step that you have to take and talk about as part of the brand plan is target audience. Now this is going to be an extension of what I have talked about and you have to talk very qualitatively in terms of your segment or segments. Whatever you are covering one segment or more than one segment you have to talk about those in terms of who your customers are and why they buy and what they buy and where they buy and so on and so forth. This is something which is going to provide you with complete knowledge of the elements that will form the model for the customer. And this is going to be the foundation of the customer model for which we talked so comprehensively in so many different lectures. So in other words what I am telling you is that starting with the statement of strategy right down to this point of the target audience that you already have talked about all those points which will lay the foundation for the customer model that you must have in place in order for the strategies to work. And that goes without saying that the strategies which you are going to craft are going to be very much in line with the customer model. Meaning they are going to flow out of this model and this model has been based upon the essence of the brand and that essence was based on the overall vision of the corporation. So I am trying to relate everything with everything else so that you can build all those blocks and bring your thinking into a very proper perspective in terms of preparation of this plan. In other words you now have a section of the brand plan which is a beautiful reflection of the customer based brand model. Let us proceed further. You now start talking about the strategies. The first strategy you are going to talk about is the marketing strategy. And like I told you with no strategy should be more than like in a couple of lines or at the most in a three to four lines. Limit yourself. Do not get into the verbosity because clarity is going to bring about that conciseness and that is the objective here. How you talk about this statement of strategy. I would like to explain that with the help of a couple of examples and then you will know how to state a strategy. Just suppose you are going to launch a dress shirt for men and it is going to be something very specialized. Your strategy from that point of view could be, now you are stating that strategy and you say the basic thrust of the strategy is toward introduction of the best tailored dress shirt of high quality fabric comparable with any imported brand at a premium price. So what you have done is that you have talked about the quality of the product that you are wanting to launch that you have talked about the quality. You also have drawn a comparison and you are also talking about the price. And now just start thinking about all the elements that you have to put together in order to come up with the execution part of this strategy. It speaks volumes. Now let me give another example to you from the juice market. You happen to be a manufacturer of juice and you want to introduce a new product for the children and that is the product which is not for the sour. Children do not like anything which is not sweet. So from that point of view your basic marketing strategy would be you state like this. The basic marketing strategy is to introduce a juice with minimal traces of sourness at a competitive price. Here again what you are doing is you are talking about your strategy of bringing about a certain product. You are talking about the product character, its characteristics automatically come to mind and you talk about the price also. And again you see this is an example of a strategy that should lead you to so many different strategic avenues as to what is to be done here and what is to be done there. I will leave it to your imagination. I can come up with a few more examples but for the shortage of time let us move on. These are the statements of strategy which you must keep in mind and you must come up with your strategies wherever you are and whatever product you are dealing with by keeping in mind the success factors also and the linkages among all the elements that are going to provide you with all the consistencies. So in other words if you are talking of a competitive price naturally you are talking about the packaging which has to be very practical and which should not be very, very expensive. Just one example. Maintain consistencies everywhere and consistencies will come as long as you really can develop the right linkages and the right linkages are going to be a function of the cross-functional relationships. You will not like to have a strategy linked with a factor absolutely beyond your control. In other words if you think of something very creative and you think that you really do not have the resources to give that practical shape you must not talk about that because then you are living in a paradise which doesn't belong to wise people and you know what I am saying. The next strategy is about positioning. You state this strategy again in just about a couple of sentences and the statement of strategy deals with how you really wish your customers should perceive your brand. So it is all about your ability to create that perception which is very consistent with the marketing strategy. You did talk about the quality of the product and the comparisons and the pricing aspect of the product. Here you talk about what really is it which must be perceived on part of the consumers or by the consumers. So in terms of the dress shirt you can say that the dress shirt seeks to be perceived as the best crafted shirt on the local market. If you talk about this positioning I believe this will bring into a sharp focus on how many different consistent elements that you must consider. In terms of the juice that you can state the strategy like that I mean like the following. The juice seeks to be perceived by the target market as the best quality, the best priced and the least sold juice within the category. Now when you make this statement that it has to be perceived as the least sold that you've got to do something about the characteristics of the product and when you talk about the quality which has to be second to none again you have to do something about that while remaining within very reasonable pricing limits. So these statements have got to be very consistent with the overall marketing strategy and these two are going to put together the later foundation for other strategies which you might call associated sub-strategies. So in other words the main two strategies are going to be the marketing strategy and the positioning strategy. And before you started talking about these strategies you developed your customer model based on a few steps which you know by now very well. Let me explain one fact to you that these strategies that I'm going to talk about though very briefly are going to form many of the brand plans which you shall be having an opportunity to work on. In other words not all these strategies which I'm going to talk about are going to be part of every plan that you lay your hands on. And by the same token there must be some strategies which I may not be talking now which under your circumstances you would like to incorporate as part of the brand plan. The basic idea is to develop a framework which serves the purpose of a plan which can be adapted which can be improved and which can be adjusted in light of the competitive pressures and not pressures rather competitive situations from time to time. Product strategy as the most important associated sub-strategy as part of the brand plan. You have to talk about the strategically the fundamental elements of the product. So apart from the primary function of the product you must mention all the promises it is going to deliver. The set of promises then should be translated into a contract that you think is consistent with your model and the marketing definition. When you talk about the product you have to take into account the content, the package and the size and all other elements of the product. I don't really have to get into details because all other elements are automatically going to flow out of the marketing and positioning strategies if those are consistent. The next strategy is the packaging strategy. This basically is the domain of the brand's identity and imagery and the brand contract and those kinds of things. So you've got to be very consistent about the graphics and about the functional aspect of the product. Functional in the sense that if you are dealing with a product as an example which is meant for a teenage market you have to come up with a package which really fits well into a teenage female hand and that is very important. And by the same token you've got to have the graphics, the colors and the type phase, meaning the font and the size in a way that really attracts the female customers because they are your target market. Any inconsistencies here are going to cause damage to the brand. The totality of graphics and all the packaging elements have to create an impression in the mind of the customers. That is the objective here. When you pay attention to these factors you will find out many inconsistencies. I repeat, inconsistencies in many brands and why those inconsistencies exist, I leave it to your imagination. After having had this understanding I think whenever you look at a brand you're going to look very analytically and when you do that you might find certain inconsistencies in so many different brands and you will also find consistencies among so many brands and then you will find out why those brands are so powerful and so valuable. The next strategy is the pricing strategy which is all about costs, competition and the overall market. Not to forget that you also have to create an image and you must go for a price which is just about the right price based on the model which you have chosen. This strategy also in a few words and then develop consistencies with the positioning and overall marketing strategy. The next strategy is the distribution strategy. You have to decide about the points of availability for your product. Where is it that your product must sell and in light of that then you make the decision about your channels and mention that also within the space of like 2-3 or at the most 4 sentences talk about the cost effectiveness and talk about the outreach and the efficiency and so on and so forth and I'm sure you really can do that within a few sentences because when it comes to execution you are going to get into all the details and the details to the level of defining even your margins which you are going to offer to various members of the channel. So that is going to be a part which will be a reflection of not only your pricing strategy but also distribution strategy. Anyway, I was diverging for a moment from the main strategic thought. Once you have all these strategies in place you get onto the next set of strategies which are all about communication. Naming strategy. State what name should you note what. Now this is a strategy which you must talk about in terms of the meaning of the name. You must talk about the connotations the impressions or the meanings which come to the mind of the consumers when the consumer thinks of the name or when the consumer hears the name because that really is going to be the reflection of the overall positioning of the brand and that is why I said I will tend to subscribe to the view that name of the brand should be position centric and it should not be the very vague and very general although there are so many names in the market which are very general and which are very powerful but that is not to say that we must follow that practice. The next strategy is the copy strategy. This is a strategy which really relates directly with the brand managers and therefore very important for you guys. You talk about this strategy in a little more detail in comparison with other strategies the statement has to be concise but nevertheless it takes care of the four different points. Number one is that you must talk about the promise the product carries in other words the benefits the product carries number two you must talk about the support which makes the promise deliverable and number three you must talk about the emotional benefit or the emotional relationship that the product develops with your customers meaning if your product makes your customers feel very important you have to take that into account as part of the copy strategy and number four point is the last point you must talk about the tone of advertising or the character which you really want built of your brand or the points that you have to consider while talking about the copy strategy and let us now get on to the next strategy which is the media strategy this basically states how you're going to reach your customers with the message so the statement of strategy is going to the center on the message and the importance of the combination of the various tools you have at your disposal meaning the media be very careful about the diversity and the fragmentation of today's media especially in terms of the television channels also to talk about promotions and the strategy in terms of trade promotions and the consumer promotions do not lose sight of the objectives that you have set to yourselves the meaning of trial the repeat purchase of the promotions the national promotions the need for the stocking and on part of retailers all these things have got to be taken into account the next one which you should talk about is the merchandising strategy which must state the kind of shelf space or display which you must achieve in relation to your brand with this our communication and we have completed yet another part of the brand plan the final part deals with a few very important strategies and the first one is the management strategy what kind of management and organization in other words you must have in order to support the brand and I think the importance of that was talked about in detail under brand based culture and organization all you need to do is come up with a statement which sums up the whole thing within a few sentences so that that does give you a lead into what you are supposed to be looking into from that point of view another strategy that you have to look into is the resource strategy from the point of view of advertising research and the marketing research and other research models that you may undertake from time to time in particular the brand performance do not forget that you must talk about that as one of the strategies and the feedback which you get from that strategy meaning by executing that strategy is going to form the basis of your future improvements and so on and so forth what is important about all these strategies is what I can tell you as a conclusion of this lecture and the whole course is that you may have a different set of strategies but the ones I've talked about are the ones which will be included in most of the brand plans you may keep all of them and you may not keep all of them a few more or you may not add anymore the decision is yours but what is important is that decision has to be taken on the basis of the consistencies of your objectives with the strategies if you think a strategy has got to be added to the framework you must add that a few things that remain common under any sets of circumstances are that you have to have a long term objective and you have to specify a target for the long term and you have to have means for achieving the objectives and strategies that is the lesson of the whole course that I've talked about over 45 lectures in the hope that whatever I've talked about that makes sense to you people and the brand plan which is the final final expression of the total effort that we all have undertaken is going to be useful I wish you the best of luck in all the future endeavors that you may undertake Thank you very much and Allah Hafiz