Experiences are at the core of tourism and hospitality. Understanding how to design, manage and measure such experiences has become a key topic in academic literature focused on this sector. This paper presents the characteristics of an optimal design process model for experiences, based on the results of a meta-ethnographic synthesis of such processes. The characteristics can be seen as critical success factors in delivering the right solution to the right problem efficiently and effectively. Depending on the context, starting level and aim of the design, designers can benefit from applying several different design processes. Such a process benefits from design capabilities developed in multi-disciplinary teams. Moreover, the design process aids design teams through steering the collection of explicit and tacit knowledge on problem and solution aspects with stakeholders in a specific order. The success of a design process depends on procedural knowledge of lead designers and their ability to orchestrate and integrate contributions from various disciplines and stakeholders at the right times. Existing design processes for tourism and hospitality experiences lack maturity and flexibility, resulting in them having poor structural validity. However these processes, with insights from design science, can form a base for further theoretical development.
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While live event experiences have become increasingly mediatized, the prevalence of ephemeral content and diverse forms of (semi)private communication in social media platforms have complicated the study of these mediatized experiences as an outsider. This article proposes an ethnographic approach to studying mediatized event experiences from the inside, carrying out participatory fieldwork in online and offline festival environments. I argue that this approach both stimulates ethical research behavior and provides unique insights into mediatized practices. To develop this argument, I apply the proposed methodology to examine how festival-goers perceive differences between public and private, permanent and ephemeral when sharing their live event experiences through social media platforms. Drawing on a substantial dataset containing online and offline participant observations, media diaries, and (short in situ and longer in-depth) interviews with 379 event-goers, this article demonstrates the value of an ethnographic approach for creating thick descriptions of mediatized behavior in digital platforms.
Ethnographic fieldwork is a balancing act between distancing and immersing. Fieldworkers need to come close to meaningfully grasp the sense-making efforts of the researched. In methodological textbooks on ethnography, immersion tends to be emphasized at the expense of its counterpart. In fact, ‘distancing’ is often ignored as a central tenet of good ethnographic conduct. In this article we redirect attention away from familiarization and towards ‘defamiliarization’ by suggesting six estrangement strategies (three theoretical and three methodological) that allow the researcher to develop a more detached viewpoint from which to interpret data. We demonstrate the workings of these strategies by giving illustrations from Machteld de Jong’s field- and text-work, conducted among Moroccan-Dutch students in an institution of higher vocational education.
The development of a training for musicians aspiring to work in contexts with people with dementia in the Netherlands. This project was inspired by the renowned Music for Life programme by Wigmore Hall Learning in London, UK and its in-depth ethnographic study by the research group Lifelong Learning in Music which was published as While the Music Lasts by Smilde, Page and Alheit (2012).
In leaving the more traditional territories of the concert performance for broader societal contexts, professional musicians increasingly devise music in closer collaboration with their audience rather than present it on a stage. Although the interest for such forms of devising co-creative musicking within the (elderly) health care sector is growing, the work can be considered relatively new. In terms of research, multiple studies have sought to understand the impact of such work on musicians and participants, however little is known about what underpins the musicians’ actions in these settings. With this study, I sought to address this gap by investigating professional musicians’ emerging practices when devising co-creative musicking with elderly people. Three broad concepts were used as a theoretical background to the study: Theory of Practice, co-creative musicking, and Praxialism. Firstly, I used Theory of Practice to help understand the nature of emerging practices in a wider context of change in the field of music and habitus of musicians and participants. Theory of Practice enabled me to consider a practice as “a routinized type of behaviour which consists of several elements, interconnected to one another: forms of bodily activities, forms of mental activities, ‘things’ and their use, a background knowledge in the form of understanding, know-how, states of emotion, and motivational knowledge” (Reckwitz, 2002, p. 249). Secondly, I drew the knowledge from co-creative musicking, which is a concept I gathered from two existing concepts: co-creation and musicking. Musicking (Small, 1998), which considers music as something we do (including any mode of engagement with music), provided a holistic and inclusive way of looking at participation in music-making. The co-creation paradigm encompasses a view on enterprise that consists of bringing together parties to jointly create an outcome that is meaningful to all (Prahalad & Ramaswamy, 2004; Ramaswamy & Ozcan, 2014). The concept served as a lens to specify the jointness of the musicking and challenge issues of power in the engagement of participants in the creative-productive process. Thirdly, Praxialism considers musicking as an activity that encompasses “musical doers, musical doing, something done and contexts in which the former take place” (Elliott, 1995). Praxialism sets out a vision on music that goes beyond the musical work and includes the meanings and values of those involved (Silverman, Davis & Elliott, 2014). The concept allowed me to examine the work and emerging relationships as a result of devising co-creative musicking from an ethical perspective. Given the subject’s relative newness and rather unexplored status, I examined existing work empirically through an ethnographic approach (Hammersley & Atkinson, 2007). Four cases were selected where data was gathered through episodic interviewing (Flick, 2009) and participant observation. Elements of a constructivist Grounded Theory (Charmaz, 2014) were used for performing an abductive analysis. The analysis included initial coding, focused coding, the use of sensitizing concepts (Blumer 1969 in Hammersley, 2013) and memoing. I wrote a thick description (Geertz, 1973) for each case portraying the work from my personal experience. The descriptions are included in the dissertation as one separate chapter and foreshadow the exposition of the analysis in a next chapter. In-depth study of the creative-productive processes of the cases showed the involvement of multiple co-creative elements, such as a dialogical interaction between musicians and audience. However, participants’ contributions were often adopted implicitly, through the musicians interpreting behaviour and situations. This created a particular power dynamic and challenges as to what extent the negotiation can be considered co-creative. The implicitness of ‘making use’ of another person’s behaviour with the other not (always) being aware of this also triggered an ethical perspective, especially because some of the cases involved participants that were vulnerable. The imbalance in power made me examine the relationship that emerges between musicians and participants. As a result of a closer contact in the co-creative negotiation, I witnessed a contact of a highly personal, sometimes intimate, nature. I recognized elements of two types of connections. One type could be called ‘humanistic’, as a friendship in which there is reciprocal care and interest for the other. The other could be seen as ‘functional’, which means that the relationship is used as a resource for providing input for the creative musicking process. From this angle, I have compared the relationship with that of a relationship of an artist with a muse. After having examined the co-creative and relational sides of the interaction in the four cases, I tuned in to the musicians’ contribution to these processes and relationships. I discovered that their devising in practice consisted of a continuous double balancing act on two axes: one axis considers the other and oneself as its two ends. Another axis concerns the preparedness and unpredictability at its ends. Situated at the intersection of the two axes are the musicians’ intentionality, which is fed by their intentions, values and ethics. The implicitness of the co-creation, the two-sided relationship, the potential vulnerability of participants, and the musicians’ freedom in navigating and negotiation, together, make the devising of co-creative musicking with elderly people an activity that involves ethical challenges that are centred around a tension between prioritizing doing good for the other, associated with a eudaimonic intention, and prioritizing values of the musical art form, resembling a musicianist intention. The results therefore call for a musicianship that involves acting reflectively from an ethical perspective. Doctoral study by Karolien Dons
