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Kagermeier Workshop Aalborg 27_05_2009 def
1. Agenda
Warm-Up
p
The current situation of sites presenting cultural
heritage
Customer / visitor needs and expectations
Experience orientation (yesterday and nowadays)
Traditional ways of staging the cultural product
Present-day ways of giving unique experiences
Possible future options
p
y
Implications for the role of DMCs and culture industry
Cultural heritage sites:
C l
lh i
i
Approaches to attract visitors by
experience orientated staging
Prof. Dr. Andreas Kagermeier
g p y,
Leisure and Tourism Geography,
University of Trier (Germany)
Seminar
Turismeudvikling gennemsamarbejde mellem
u s eud
g ge e sa a bejde e e
destinationer og vidensinstitutioner
Onsdag 27. maj kl. 15.00-17.00
Aalborg Universitet
2
Introduction of the participants
Diagnosis of cultural heritage presentation
Who am I
What do I know about my customers / visitors
What is my professional background
What kind f
Wh t ki d of presentation are we practising
t ti
ti i
Expectations concerning the workshop
What type of experience is conveyed
3
4
2. Objectives of cultural heritage organisations / institutions
Protection
Preservation
Conservation
Number of museums and visitors in Germany
Index: 1991 = 100
160
museums
140
visitors
120
100
80
60
40
Documentation
Research
Studies
20
Presentation
0
Source: Statistical yearbooks of Germany
5
6
open-air museums:
yesterdays f
t d
formulas
l
=
heritage
arts
„I really think museums have the reputation like
I
university professors, and you expect them to show
things which have the backing of scientific methods“
g
g
a young australian
(
(Black 2005)
)
=
solid, but boring
lid b t b i
NAD 10
3. Challenges for marketing cultural heritage
Address new target groups and bind existing ones by
g g p
g
y
interesting offers
Recruit target groups with high income level
g g p
g
Culture and Experience
“Culture is most arguably the most important raw
g
y
p
material for the creation of experiences”
Richards
Ri h d 2001
Increase of expenditure
Optimize the image of a site / destination
Dimensions of experience:
1) Perceived freedom
2) Involvement
3) Arousal
4) Mastery
5) Spontaneity
Make the specific cultural characteristics / features of a
destination
d ti ti well-known
ll k
Improvement of the acceptance by the local
population
l ti
Optimal Marketing-Mix
Unger & Kernan 1983
9
10
This experience ?
Or this experience ?
Own photographs
11
Photos: www.coastersandmore.de
12
4. Interaction as a key factor
Zeche Zollern: Coherence of the Staging
Interaction
Performance factor (important)
h
high
Feeling of
immersion in
the past
Coherent
atmosphere
Friendliness
of personel
Orientation
low
Im
mplicit im
mportanc
ce
Enthusiasm factor
Performance factor
(not important)
low
Source: Projektseminar Uni Paderborn
Variety of
exhibits
Explicit importance
Basic factor
high
Source: Projektseminar Uni Paderborn
Brainstorming
Interim recapitulation
Declining / Stagnating dynamic of demand
development
How might the presentation be intensified
⇒Higher requirements of the demand side
What kind f
Wh t ki d of experience d we want t give
i
do
t to i
to the customers
Experience orientation by staging the rough
E
i
i t ti b t i th
h
product (cultural heritage) as an option
What kind of staging would be possible
g g
p
16
5. The Emperor Constantin exhibition
w
www.trier.d & medienwerksta
de
att
The Roman period as the core of the tourist product in Trier
17
18
Basic facts of the exhibition
The exhibition
156 days from 2 June until 4 November 2007
3 museums
• Rheinisches Landesmuseum
• Bischöfliches Dom und Diözesanmuseum
Dom• Stadtmuseum Simeonstift
1,413 exhibits, thereof 685 as loans
,
,
Overall costs : 6.6 Mio. €
250,000 visitors expected / estimated
353,974 sold tickets (799,034 visits)
More than 15,000 articles in the German press
15 000
Visitor survey by FTG & ETI (face-to-face)
Sample: 2,150 interviews (covering the whole period)
S
l 2 150 i t i
(
i th
h l
i d)
19
20
6. Celebrating the exhibition
21
Cross marketing
22
Cross marketing
Intention of recommendation
not sure
1,5%
probably
11,6%
11 6%
no
0,3%
yes
86,6%
Source: visitor survey FTG/ETI
23
7. Origin of visitors
Schleswig
Holstein
Schwerin
Lüneburg
BrandenNiedersachsen
High portion of visitors from other
“Länder”
Potsdam
Braunschweig
Magdeburg
burg
Düsseldorf
SachsenAnhalt
A h l
Detmold
NordrheinWestfalen
Leipzig
Dresden
Kassel
Arnsberg
first visit
232
25
1/3 from Rhineland-Palatine
Berlin
Niederlande
Münster
%
Every 10th visitor from abroad
E
i it f
b d
Bremen
Weserems
Hannover
number (abs.)
Great catchment area of the exhibition
MecklenburgVorpommern
Hamburg
Number of visits to Trier (only overnight guests)
2nd or 3rd time
359
38
4th – 10th time
202
21
more often
147
16
Erfurt
Sachsen
Thüringen
1/6 from the Trier region
Chemnitz
Köln
Gießen
Symbolgröße:
Hessen
Min.: 1
Belgien
Koblenz
Darmstadt
Luxemburg
Max.: 363
350
RheinlandPfalz
Oberfranken
Unterfranken
250
150
Trier
100
50
30
Saarland
Mittelfranken
Rheinhessen
Karlsruhe
Oberpfalz
BadenWürttemberg
Anzahl der Besucher
Bayern
Stuttgart
Frankreich
Niederbayern
Almost half of the visitors were
overnight guests!
Schwaben
Tübingen
Freiburg
Oberbayern
Source: visitor survey FTG/ETI
Characteristics of the visitors
Source: visitor survey FTG/ETI
Main motives for the visit
general cultural interest
interest in Roman times
Majority in the 50+ segment (about two third)
interest in the person of the emperor Konstantin
Roman times in Trier
Accompanied by partner or friend
A
i db
t
fi d
gerneral interest
High level of education
its a "must"
(about two third with university degree; ¾ A-level)
A level)
High income level (1/4 > 4.000 € per month)
part of my life style
got interested by the media
curiosity
=> target group with a high affinity towards (high) culture
professional reasons
tourist attraction
interst in architecture
bad weather program
0
Source: visitor survey FTG/ETI
opening period
i
i d
20
40
percentage
summer h lid
holidays
60
80
wine t i
i tourism period
i d
Source:
visitor
survey
FTG/ETI
8. Visitor satisfaction with aspects of the exhibition
1
2
3
4
Economic effects of the exhibition
5
treated themes
quality of the exposed objects
clearness of the presentation
specific offers (e. g. children, seniors)
comprehensibility of the information and the…
29,5 mio. € turnover only by the expenditures on the
visiting day
Another 27 2 i
A th 27,2 mio. € t
turnover f
from short-term visitors
h tt
i it
staying up to 5 days
Total Turnover 56 7 mio €
56,7 mio.
legibility of the information and the explanations
audio-guide
Regional net product: 28,4 mio.
R i
l t
d t 28 4 i
About 80% coming from visitors staying overnight
atmosphere in the exhibition
feeling of immersion into the past
competences of the staff
Range from 1 = very good to 5 = not satisfying
Costs of the exhibition: 6,6 mio. € (ratio 1: 4.3)
Source: visitor survey FTG/ETI
Core success factors 1/2
consistency of the event with the core product of the destination
distinct identification of the target group and
appropriate orientation of the product
quality level and
efficient traditional market-communication strategies via the medias
indirect
i di t marketing, using population as multipliers
k ti
i
l ti
lti li
• identification of population in the region with the product
g
• word-of-mouth marketing
supporting collateral activities
• Konstantintaler
• Sculpture of emperors feet
(internal marketing; keep the theme in the peoples mind
31
Core success factors 2/2
cooperation
of three museums acting together generating a critical mass for
• nationwide attention
• Threshold of a mere day trip attractiveness exceeded
day-trip
=> great catchment area & high proportion of overnight guests
=> economic success
with local destination management and marketing organisations
g
g g
(DMOs)
tourism enterprises
32
10. Event performance:
Secrets of the Porta Nigra
Tourism as a dream factory: spectacle guidance
The story ...
A centurion – i the splendor of his parade armament – will abduct us
t i
in th
l d
f hi
d
t
ill bd t
into a time when Rome ruled the world – and the Emperor in Trier
decided the fate of the Empire. Suddenly the audience is standing
in th
i the midst of that eventful time – and not just as passive
id t f th t
tf l ti
d tj t
i
observers!
In his thrilling, entertaining, and humorous manner, the centurion takes
us on an eventful journey back in time. He wrests the many different
secrets from the walls of the Porta Nigra: priceless and puzzling,
delightful and dismal. Suddenly, all those people come to life who
have gone in and out through this gate: Emperor and warrior,
bishops and barbarians, those walled up alive, and devilish demons. And
little by little, the suspicion arises that not only does the Porta Nigra have
a great surprising secret – so does the centurion ...
You will be delighted with this eventful journey through the
centuries: sometimes haunting, often pleasurable – and always thrilling.
www.trier.de
Event performance:
Betrayal in the Imperial Baths
The story ...
It is AD 367 ... Uncertain times! The borders of the Roman Empire
are constantly being threatened. The inner workings of the Empire
are also in turmoil. Uprisings and attempts to overthrow the
p
q
y
g
y
Emperor occur frequently - intrigues are the order of the day.
Emperor Valentinian delegates his veteran tribune Mallobaudes to
a secret mission to Trier. For he knows that only a Frankish
nobleman like Mallobaudes has the influence to divert the
conspirators from th i plan. A suicide mission! When the secret
i t
f
their l
i id
i i ! Wh th
t
mission is leaked, Mallobaudes is branded as a traitor by his
enemies at court. And that can be dangerous for the Emperor as
well. Experience a fascinating epoch live with the Tribune
Mallobaudes during the tour through the Imperial Baths in which
Trier moves into the center of Roman global politics. It is a time of
radical change and insecurity foreboding the approaching end of
Roman power
power.
Mallobaudes will take us along on the thrilling journey into
the past ...
Established / Mainstream approaches of staging
Moselfestwochen &
Antikenfestspiele
g
Historical sites as settings
High quality of the offer
Branding
11. « traditional » staging as popular culture
• Brot & Spiele
Bread & Circuses
(Panem et Circenses)
Adress younger target groups
Burgenfest
Manderscheid
Innovative staging
Brot und Spiele
Moselfestwochen
Traditional staging
g g
Antikenfestspiele
• Medieval castle festival
at Manderscheid
0%
20%
Less than 18 years
40%
19-40 years
60%
41- 65 years
80%
Source: own survey
www.trier.de/brot-spiele.de et www.burgenfest.info
Adress not only the traditional culture orientated
target group
Adress younger target groups
Burgenfest
Manderscheid
100%
More than 65 years
Burgenfest
Manderscheid
Innovative staging
Brot und Spiele
Brot und Spiele
Moselfestwochen
Innovative staging
Moselfestwochen
Traditional staging
g g
Traditional staging
g g
Antikenfestspiele
Antikenfestspiele
0%
Primary School
20%
High School
40%
College
60%
80%
University
100%
0%
20%
40%
rare (1-2/year)
regular (4 -8/year)
PhD
Source: own survey
60%
80%
100%
sometimes (2-4/year)
frequent (>8/year)
Source: own survey
12. Generate additional overnight stays
Burgenfest
Manderscheid
Roman Everyday life
Day trips
Innovative staging
g g
Brot und Spiele
Overnight stays
Moselfestwochen
Traditional staging
Antikenfestspiele
0%
20%
40%
day trip
1-3 overnight stays
60%
80%
100%
4 and more overnight stays
Source: own survey
Rules for the Stage Management
Rules for the Stage Management
Give the visitor an added value.
Give him a non exchangeable
adventure.
Give him wow-effects as much as
possible.
Give the visitor an added value.
Give him a non
exchangeable adventure.
Give him wow-effects as much as
possible.
Combine high tech with high
touch.
touch
Use staff and people of your town
as an attraction.
attraction
Even if people cannot understand
the historical background of your
performances,
performances they should enjoy
the entertaining components.
Combine high tech with high
touch.
touch
Use staff and people of your town
as an attraction.
attraction
Even if people cannot understand
the historical background of your
performances,
performances they should enjoy
the entertaining components.
The visitor should fill a role.
role
Effect should be transmitted to
the visitor immediately.
Combine smells, music, eating
,
,
g
and drinking with information.
The visitor should fill a
The visitor should fill a role.
role
role.
Effect should be transmitted to
the visitor immediately.
Combine smells, music,
Combine smells, music, eating
,
,
g
eating and with information.
drinking with
and drinking
information.
Illustrate the rooms by functions
not by explications.
Integrate ceremonies, rites and
folklore in the city.
Invite people to a time travel at
authentic places.
Illustrate the rooms by functions
not by explications.
Integrate ceremonies, rites and
folklore in the city.
Invite people to travel at
Invite people to a timea time
authentic places.
travel at authentic places.
places
Integrate animals.
Use unusual transport systems.
Use information systems by iPod
and Mobile.
Integrate animals.
Use unusual transport systems.
Use information systems by iPod
and Mobile.
Give the buildings a chance to tell
their stories themselves.
Give visitors from other cultures
the chance to understand the
local history (of the past and the
present).
Give visitors a reason to stay
overnight.
Give the buildings a
Give the buildings a chance to tell
chance to tellthemselves.
their stories
their stories
themselves.
Give visitors from other cultures
the chance to understand the
local history (of the past and the
present).
Give visitors a reason to stay
overnight.
Source: HODES 2006, p. 89
Source: HODES 2006, p. 89
13. Adresses to all spheres of experience
Adresses to all spheres of experience
Reception
Entertainment
Reception
Education
Passive
Participation
Entertainment
Active
Participation
Esthetics
Passive
Participation
Escapist
Active
Participation
Esthetics
Source:
Pine/Gilmore
1999, p. 32
Involvement / Immersion
Adresses to all spheres of experience
Escapist
Source:
Pine/Gilmore
1999, p. 32
Involvement / Immersion
Adresses to all spheres of experience
Reception
Entertainment
Education
Reception
Education
Passive
Participation
Entertainment
Active
Participation
Education
Passive
Participation
Active
Participation
Invite people to a
time travel at
authentic places.
Esthetics
Escapist
Involvement / Immersion
The visitor should fill
a role.
Esthetics
Source:
Pine/Gilmore
1999, p. 32
Give the buildings a
chance to tell their
stories themselves.
themselves
Combine smells, music,
eating and drinking with
information.
Escapist
Involvement / Immersion
Use staff and people
of your town as an
attraction.
Source:
Pine/Gilmore
1999, p. 32
FLOW ?
O
14. personalizing of the cultural heritage
« interactive » experience
« interactive » experience
« interactive » experience
15. consuming cultural sites
Shopping
Stakeholder network
Kulinarik
(Genuss)
Lifestyle
Tradition
Design
Fashion
Heritage
Arts
creative artist
ti
ti t
Heritage
Management
Arts
Municipal
management
DMO
Future options for an intensification of the
personalized experience orientation
innovative
n
v
Staging
a
Involvement
high
tradit
tional
low
Living History ( Historical re-enactment)
(“Historical re enactment)
Living history is an activity that incorporates historical tools, activities and dress
into an interactive presentation that seeks to give observers and participants a
sense of stepping back in time. Although it does not necessarily seek to reenact a
specific event in history, living history is similar to, and sometimes incorporates,
historical reenactment. Living history is an educational medium used by museums,
historic sites, heritage interpreters, schools and historical reenactment groups to
educate the public in particular areas of history, such as clothing styles, pastimes
,
py
y
y y
and handicrafts, or to simply convey a sense of the everyday life of a certain
period in history.
Activities may be confined to wearing period dress and perhaps explaining relevant
historical information, either in role (also called first-person interpretation) or out
of character (also called third-person interpretation). While many museums allow
their staff to move in and out of character to better answer visitor questions, some
encourage their staff to stay in role at all times.
en.wikipedia.org/wiki/Living_history
16. Future options for an intensification of the
personalized experience orientation
Living History: Reconstruction of a Roman Wine Ship
Living History ( Historical re-enactment)
(“Historical re enactment)
Living history portrayal often involves demonstrating everyday activities such as
cooking, cleaning, medical care, or particular skills and handicrafts. Depending on
the historical period portrayed, these might include spinning, sewing, loom
weaving, tablet weaving, inkle weaving or tapestry weaving, cloth dyeing, basket
weaving, rope making, leather-working, shoemaking, metalworking, glassblowing,
woodworking or other crafts. C
d
ki
th
ft Considerable research is often applied to identifying
id bl
h i ft
li d t id tif i
authentic techniques and often recreating replica tools and equipment.
Historical reenactment groups often attempt to organize such displays in an
encampment or display area at an event and have a separate area for combat
event,
reenactment activities. While some such exhibits may be conducted in character as
a representation of typical everyday life, others are specifically organized to inform
the public and so might include an emphasis on handicrafts or other day-to-day
activities, which are convenient to stage and interesting to watch, and may be
explained out of character. During the 1990s, reenactment groups, primarily
American Civil War groups, began to show interest in this style of interpretation
groups
and began using it at their reenactments.
Photo:Neumagen-Drohn
en.wikipedia.org/wiki/Living_history
Living History: Carnutum (Austria)
Living History: Carnutum (Austria)
Photos: A. Kagermeier
www.carnutum.co.at
17. Future options for an intensification of the
personalized experience orientation
Living History
Living History ( Historical re-enactment)
(“Historical re enactment)
Live Action Role Playing (LARP)
Role-Playing
“A live action role playing game (LARP) is a form of roleA
role-playing
role
playing game where the participants physically act out
their characters’ actions.
The players pursue their characters’ goals within a fictional
setting represented by the real world, while interaction with
one another in character .
character”
(en.wikipedia.org)
Source photos: Tim Mack 2009
LARP as some kind of Fantasy
Fantasy motivated
Reference to mythologie
(heroes, the gods, mythical
, y
)
creatures, mythical creatures)
Historical sites as setting
main target group 18-35
change of values an consumption structures
survival-society: end-40ies until mid-50ies
economic miracle-society: mid-50ies until end-60ies
post-material-society: end-60ies until early-80ies
experience-society: since mid-80ies
Source: Quack 2001
sensual-society ?
Source photos: Tim Mack 2009
18. Maslow´s pyramid of needs
py
reinvention of tourism as a dream factory
selfrealization
needs
sensual holidays
recognition
needs
“experience”
experience
holidays
social needs
visit of friends and
relatives
psychological needs
recovery of the
identity
physical needs
High l
Hi h level of service quality to create a perfect imagination
l f
i
li
f
i
i i
Let them live unique experiences
q
p
To answer this demand it is necessary:
• Rediscover and reinvent the existing tourist attractions
• Repositioning as "icons" in the market
recreation
cure
The destination has to be presented as an unique experience
Own design according to: Maslow 1943 & Weiermair 2006
example for the creation of symbolic places
p
y
p
reinvention of tourism as a dream factory
Challenge for the tourism industry to offer products which
respond to this new tendencies based on genuine
experiences
Modern potential management has to reinterpret the
cultural monuments and the events
Give a new value to traditional touristic resources
Stereotypes and images as a starting point
Usage of theatric techniques
19. point of departure for strategic marketing
Ideas for staging at the sites you are responsible for
..
identification
of needs
CLIENT
recognition
of potentials
potential for success
destination
competitors
seek
competitive
advantage
74
Some remarks on profitability
Affinity Groups (AFG)
Affinity-Groups are people interacting in a loose network
y
p
p p
g
based in a specific milieu who share common interests
Great Events
(once a year) with network of different stakeholder
Continuous offers for everybody
? Special offers (1/2 a day, 1 day with prebooking)
AFGs as typical PROSUMERs
•
•
•
•
•
•
75
Optimizing the experience orientated staging by making use of the knowledge an
engagement of the AFG members
Low cost production
Authenticity
AFG-Network stimulated Cooperation
Consumer Integration
Word-of-mouth
20. „Castle festival“ in Manderscheid
festival
Stakeholder network
Heritage
Management
creative artist
ti
ti t
Affinity
y
Groups
Municipal
management
DMO
Photos: A. Kagermeier
experiencing cultural sites
consuming cultural sites
Shopping
Kulinarik
(Genuss)
Lifestyle
Tradition
Design
Fashion
Heritage
Thanks for your
Arts
attention …
Arts
Any further questions
and remarks ?
