Interpreting the ICH story through value co-creation – A tourism perspective sharing

production base so piki please yeah thanks elena for your introduction and so first i would like to take this off refer then from icons invitations for me to share with you my insights so also the previous talks in this macau series i think that the audience who joined their previous talk probably have a comprehensive understanding on their heritage context in macau so especially for the intangible cultural heritage context so then for the previous speakers who laid a solid foundation on the background in macau so in particular the practitioners would really dedicate a lot of effort in interpreting and reaching the traditions in the long run so i really appreciate their because without their practice and documentation our academics cannot have a full source of information we can which we can use for research and also sharing to more readers so therefore what we need is just to use our own effort to integrate the cultures who are wider audience through publications in english so especially those westerners who may know less about traditional chinese culture i think it's really an attentive arrangement on the sequence of the talk of macau series with mine on the last because the previous talk of mainly sharing the insights and also the implications from the heritage field so with my background in both heritage and tourism so i will share with you my previous research efforts uh in ich context so especially from the tourism perspective so a kind of different perspective on how the different stakeholders and tourists in perceiving their roles of ich in tourism so if we know that for heritage appreciation so both the locals and also the visitors are key audience so heritage has become a unique resource that attracts the visitors coming to the destinations and that's why there is a race on their categories of cultural tourism or heritage tourism which refers to the visitors who come to the destinations with motivations related to cultural heritage so compared to the mass tourism the tourists are more interested in unique characters of the place and tend to join unique culture events to make their treat more meaningful and memorable so in my sharing today's are the interpreting of their ich scoring rule of corporation and from a tourism perspective so the content i will cover today is to first to give you some general ideas about relationship between heritage host community and tourism in particular for those ones who are not quite familiar with their tourism uh fields and then review the ich context in macau so briefly because the previous talk has already covered a lot and comprehensively and then to introduce the concept and nature of work value cooperation and lastly to share with you my understanding and research previous research funding on tourism reflections on some real practice related to the ich in macau so first let's let's look at something that related to uh culture and also tourism the works their relationship and based on the uw and it is trying to give us some ideas of uh under symbolizing relationship between culture and tourism so what they say is that the different forms of uh culture they probably at the risk of being forgotten so they think that they can be revitalized uh by the younger generations which the tourists can use some of the interests to go to a destination to travel for the cultural effects and at the same time uh the monuments or some cultural relics can be preserved by using the funds like the economic benefit we generate from the tourism so they all tell the relationship in a positive way and in fact some of their buildings and they may have been abandoned decay from lack of visitation so that's why they're trying to promote tourism other ways to remember the heritage and also to revitalize the building structures so that is a kind of ideal uh state of the relationship between culture and tourism and re regarding their relationship so they're trying to say that there is a synergy between tourism and culture and because they think that culture can be used as a way of tourism products so although i know that for heritage field we try to avoid using the products to describe culture or heritage because when we use the tourism product isn't that it's a kind of product that they sell for money or mainly for the economic benefits but in another way probably it's better for us to use the words like resource right and so culture it can be used as the ways for definition imaging or destination and tourism can also be integrated into the culture strategy as a way for us to supporting the so-called culture heritage and also cultural production and at the same time we say that tourism can bring quite a lot of different aspects of impact to the culture so like the political impact like it can be used as a ways for us to build up any national agendas of building their culture uh aspects in terms of so-called the cultural uh branding and at the same time as i said that tourism can bring some economic benefits like we can charging the fees for visiting uh cultural or heritage related buildings or it may bring some social benefits like it may let the locals get proud about their own cultures and it can be used of the ways or for us to achieve something like the harmonious relationship between the different cultures so we say that is a kind of basic descriptions about relationship between tourism and culture so what about some of their international practice or how we perceive the roles of culture so based on this european conditions and it has the motto saying that unity in diversity so in this case they're trying to use the culture as a theme for them to promote the different capitals or the cities so therefore they use this a program of european capitals or cultures to promote the different uh cities in europeans by using the different culture related things and trying to achieve what they say about unity in diversity so trying to uh promote the diversity of the culture but at the same time to tell that is the entity so if we look at what european commissions is trying to promote it to us uh this kind of their or the framework and on the top we say that they say the urban policies on culture and cultural heritage are they different pillars to support what we trying to achieve for the entire urban policies of the entire cultural heritage and you can see that cultural tourism is one of the key pillars that is trying to promote this sustainable tourism as a way to bring the benefits to the communities and also the city while respecting the needs of the local populations and ensuring the sustainability of heritage so it can be used on the way and in the positive ways for us to support what we exam uh expect to achieve for the cultural heritage sustainable development and also in this ways we can use these kind of the frameworks as a tool to balance the touristic flows between the major touristic pubs and also those less visitor sites and cities so give you adjust the general pictures about the roles or how we shift their cultural tourism in the entire cultural heritage management system and in general people also argue or even for the scholars to try to argue the conflict relationship between heritage and tourism so why do they say so i think these quotations from this uh mr lee is very uh i think can help us to understand why there is a conflict so because heritage implies a sense of stability and continuity whereas tourism is by nature it's a form of modern development and consumption so we know that the heritage has become a invaluable tourism resource that is marketed to meet the company complete uh contemporary needs of the people today but when we talk about heritage we need to know about its different values which we uh have continues to make it for long so in this case we know that they may have some conflict just because we are looking at the different aspects of the values with one uh focus on their historical values apart for the tourism probably we focus more on the contemporary and maybe economic values so in this case that we know that tourism plays a significant goal and to increasing the public interest and also their support and in a positive way it can be as a way to raise the awareness of heritage conservation but however the heritage has become more popular and in their contemporary tourism development so we say that this is really they need to encourage each other and also connect with each other but at the same time they may have some conflicts and this new change has lead to the increasing and also the ongoing conflicts among the different ideas are like heritage competitions and also the children development so therefore it's critical to recognize the interrelated and even the interdependent nature of heritage and tourism and the ideological and also institutional context of heritage tourism or we call cultural tourism in general is fundamentally different from that of their general tourism so in tourism disciplines and they say that they think heritage is uh incorporated in a wider framework of economic political and also their cultural globalizations in this different context and it is uh constantly reconstructed and or uh re-interpreted in a attempt to meet this specific demand of tourists and also to reflect the social cultural changes of the contemporary world so it is used as a tool for us to manage some contemporary issues and so what they trying to achieve from the heritage asset is to make it more attractive or clean to the wider audience and their main target is the tourists and we know that for heritage contributions and tourism development they're often regarded as being contradictory and even conflicting and the relationship between them is complicated in fact in the practice and since the main aims of the heritage organizations is to preserve and to protect the historic environment but for tourism probably this drives more to maximum the economic use of the heritage so that gives you a sense of what the difference thoughts about heritage and also tourism so therefore for the different concerns and also how this kind of conflict comes out is that the heritage and tourism they're as i said they are interdependent so it's hard to divide them clearly but at the same time for heritage is mainly associated with fulfilling the social functions like conservation and also the protections of pittsburgh settings and assets but for tourism is categorized by its business driven approach and also the economic focus so therefore if we too much focus on preserving heritage probably we may undermine the economic potentials of the heritage but at the same time on the contrary that excessive uh tourism development will lead to the damaging or even destroying the heritage in the long run and tourism development is without any proper consideration for the conservation that may result in excessive commodification of heritage sites but at the same time they may increase the risk of permanent physical damage and even the laws of cultural values and authenticity so these are some of the typical conflict that we exist in their heritage and tourism field and so therefore for heritage professionals and managers and they need to try to keep our invited relationship between uh their conservation and tourism development but at the same time we know that there are also other different concerns and even the conflict between the locals use of the living environment and how to meet their tourism expectations so some of the typical issues that we observe in our daily life or if you visit or travel to a destination like authenticity issues or commodifications issues commodification is a process by which the things or the activities comes to be evaluated primarily in terms of their exchange values so in their context like the tradings or becoming a goods and service so what we are trying to avoid in their heritage context is not to make it us too uh commodified and also due to the growing popularity the heritage side and so also the uh section are being uh modified or even transformed in uh consumptible product to enhance its tourism experience so which is also uh criticize us resulting in the losing of their meanings and also uh authenticity and in tangible heritage so other event like events or performances they are also increasingly being modified for the tourism consumption so some of the issues like commodification commercializations or gentrifications so all the different issues trying to reflect there is a conflict between heritage and tourism so we are trying to ideally we are trying to achieve the kind of the balance or a symbolic relationship between conservation and tourism but at the same time we have to admit that in the real practice there are really quite a lot of conflict we are still finding the solution so this background is trying to highlight the relationship between heritage host communities and tourism so this is a cooperative approach so in this case so let us say that for visitors so when the visit or destination to come to encounter in the tourism in industries they're trying to bring their economic benefits to the destinations like if you go through the destination you will have their dining experience to have their uh different expenses on their accommodations and traveling transportation so we are trying to bring the benefits and at the same time what the visitors receive from their tourism industries is their experience so what the roles of the local people or the heritage so we say that for heritage and cultures they also encountered with tourism industries because for the local communities they may share the space with the tourists because they may leave near to the uh like the world heritage sites or the different tourism objections and uh they are sharing the resource from the post community but at the same time the whole community can also be part of the tourism industries like if they are the tourism business operators and they may earn warnings from operating tourism-related businesses so in this case they are also trying to get some of the positive benefits from the tourism industries so we see that tourism industries and also heritage cultures they're trying to inter uh related with each other or if possibly there is what we are trying to achieve is their cooperative approach to link them together and all of them are trying to emerge or even cooperate with each other and in the entire tourism system and what we are trying to achieve is the mutual respect that at the same time we can bring some tourism benefits to the local people but at the same time we're supposed to respect the local peoples and not to destroy the original resource they have so trying to mitigate the negative impacts brings to the whole community but as i said this is the ideal uh conditions that we are trying to achieve but in practice we will encounter quite a lot of different challenges for us to towards achieving such kind of ultimate goals so comes to the main topic today about value cooperation so i will not go through every detail to tell you uh these terms from their academic perspective we're trying to give you some ideas about the natures and meanings about this value cooperation and they're learning later to tell you something like how or why uh value corporation is related to their heritage context so value cooperation it is derived from the concept of experience economy so what is experience economy and it's trying to tell that rather than the products and service it's more significant to explore their experience of the individual satisfaction with a given product or visit so previously you may think that in the entire economic system we are trying to let the people buy the products buy the service that we think that if the product or the service is good enough and then people will come and buy it so that's the original ideas about this uh government economy but later they're trying to argue that okay apart from productive service we are tend to uh stick for more experience like the experience of values of the products and the service so economic uh experience economy is used as an overarching concept that encompassing a variety of industries whose purpose is to create such experience and it's uh experienced economy it's the final basis of our economic progressing that has evolved uh through the stages of accommodated goods and services and economics so it's the final phase that this is emphasizing on staging experience so that means maybe the current government service is not the most important thing but what we are trying to provide to the customers is the experience so that's why this co-creation is a experience orientated concept with emphasizing the interactions between supply and demand so in another way they're saying is the relationship between the suppliers and the customers so they co-create the so-called experience and values to both sides so therefore sometimes people will use the value cooperation and experience corporations interchangeably so for experienced cooperation they are trying to also emphasize the combined and also interacting efforts of customers and suppliers in creating their experience so i will later give you some examples so for this weather cooperation it mainly applied in the service ecosystem and also the marketing field so for the suppliers or the business uh to how to attracts more customers to come to consume their experience product and service so the marketing efforts they also try to argue that they have switched from the good dominant logic to a service dominant logic so that means originally they think that the good is good is good enough and then people will come to buy and then later they think that okay good is not good enough and then he's supposed to provide more service to incar increase the values of the product so later that they think that the goods dominate logic focus more on the tangible products and separate transactions so as long as the transactions it's large enough that they think that the business values is good enough but later they emphasize their intangibility so that's their service so trying to emphasize their relationship and also the exchange process and also value cooperation is recognized as a core concept in this service dominant logic so venal corporations code can be our extensions of the service dominant logic so that service rather than the group forms the poor uh objects of the consumption but at the same time we say that probably it reignites something like the values uh standard understanding of experience and maybe also the roles of customers and in this co-creating values so in fact what is value cooperation surveillance cooperation it refers to the project through which the customers and also the service providers they collaborate to jointly create values that distinctive to the customers but at the same time still sustainable for the service providers so i think later generally refers to the collaborative activities of the different actors so we we can also say stakeholders who exercise their agency and also coordinate efforts and apply companies and integrated resources to improve the mutual benefits being used so if we see value cooperation so it is not only the service dominant logic but we are trying to say that now we are focusing on the experience so within this co-creation framework so customer is no longer stay at the end of the value chain so that means just passively receive the product or service but they are playing significant role in production process so they're playing this active lows in the process of entire value corporations rather than so-called they've been practically received of their good and service so for instance so if you join uh if you have ever joined any diy workshops you know that you enjoy the entire process right to make your own products and which is quite unique to to you so in such way that you are actively participating in such process and then you get your products on the souvenirs also your experience so such kind of ways we say is an example of value corporations but does it mean that only the activity acting participation in the entire person is valuable cooperation but no but in fact that if you are passively participating in the entire process it's also considered as a way of value cooperation because uh some behaviors like their uh information sharing or even being informed about some of their information or you give some of their feedback or even receiving the help from the service providers we see this is also a ways of value cooperation because both you and also the suppliers you call corporate to [Music] produce the final product so that's the ideas about value cooperation and so how does it related to the content what we are going to talk about today so experience so that that experience economy the experience is produced and also consumed in the relationship in relation to the values so that is created from both the demand and also the supply perspective so from the supplier percent perspective they think that if they can engage more participate in the creation of experience and then it can contribute to their achievement of their different organizational and also the business operation goals so in that case they think that if they can engage more of the active participants or being led them to enjoy more of their experience and then they can achieve a sustainable business but at the same time for the participants so they can also benefit from such a way of or in income experience which involving the complex uh psychological perceptions so in my later sharing so i will also tell you how such psychological perceptions are evolving in this co-creation progress and in this venue cooperation the emphasize a quite important concept is about this experience uh environment because this is quite critical for the co-creation because without such environment such experience and also interaction environment is hard for us to really produce co-produce the final outcome and at the same time this experience environment can also foster the stakeholders interactions and through such constructive combinations of place and time so this is about value corporation so what about value co-creator because we we talked about stakeholders different suppliers customers right there are different actors so who are the possible value co-creators so those different stakeholders so here i am trying to highlight the key stakeholders so they are involved in co-creating the values and also they are constantly contributing to the significance and also the impact of the festival so here i just applied these cooperatives in the festival content so i'm sharing today so definitely in the other context they may have different data value cooperators so these key stakeholders so they can involve in their festival uh preparation stage even uh overtly or behind the scenes so you may see those uh stakeholders when you join the festivals or maybe some of the people there behind the scenes but definitely they also involves a part of this value corporations so definitely for those on-site staging and they need to ensure that there is a smooth delivery of the festivals and at the same time there are con considerable attentions uh paid to their local residents and the focus on the local residents because they think that they can uh bring some economic and social benefits of the festivals to the local people and at the same time they are also being affected by their participation like the tourists to their own environment so there are key persons in these value cooperators and some of their arguments in the tourism field is trying to to tell that the different local residents their perceptions about the tourism development in their own space and trying to understand their perspective either positive way or negative ways and some of the concerns like what the role of local residents in uh bringing their tourism destination image or the place makings or how they involve as part of tourism industries and then the festival manager so they are the key stakeholders because without them we cannot see those festivals so for festival managers we may focus on their roles of powers or hegemonies in planning a strategic approach or they may concern something like their issues of sustainability and course benefit even the policing public policies related to their own concerns own festivals and the performers as part of their key components and they also place a key role to deliver what they think that is the authentic experience to the audience so such audience includes both the visitors and also the locals and policy makers so they tend to give some greater emphasize to the economic and also political issues in organizing the cultural events so we see that for the current pandemic during the pandemic uh some of their uh festivals uh celebrations the skills uh is their skill is affected just because of to conform to the public policies the government policies uh to mitigate some of their uh potential uh threats to to the public talk uh health so in such case the policy makers they also place a key roles how they want to develop or promote and even help to transmitting their festival values and there are also other supporters and they may join the planning entire festival planning process and also uh sometimes they may criticize about the absence of attention to the community opinions but sometimes we recruit volunteers for us to join the festival of preparation stage so all of them are also valuable corporations so eventually other than the participants their audience and they also plays a role as value corporation so even you are passively joining the festivals part you still value population so because you helped to create the atmosphere or trying to generate some of the emotional energies of the events because when you join the event you may find there are quite a lot of crowds atmosphere or the entire lively living atmos atmosphere to trying to stimulate other audience interests to participate in such festivals so in this case they also pre play a key role so later i will also share with the details in the cockpit and they may also contribute actively through the transmission of the cultural knowledge or their understandings to the other potential customers or potential participants so in these things page i'm trying to give you uh ideas about who may be the possible value corporation so why are trying to use this topic or how this ich is related to their value corporation and for value cooperation process it mainly takes place through the human interactions we know that for festivals it needs a participle participation and it has a lot of social connections among the different parties right so in such case it's the same with the nature of value cooperation because they all talk about the human interactions no matter it is uh in a business context or in a cultural context and first of all it's a typical ich access and it may involve the real ich domains so like their performing arts social practice results and faithful events and it helps us to offer a comprehensive context to reflect the ich content so that's why i choose festivals uh a part of ways to understand ich and for festivals it is experienced by the different parties and they may involve different meaning and also the values because for the performers they may have their own perceptions on values and meanings but at the same time for the people who trying to understand the this festival they may interpret the meanings and values in different ways and even for the tourism operators they may trade the festivals in another perspective of their values and meanings in their case they may think that they are terms of products or tourism resources for them to generate more of their business and for festivals it involves social environment and in which the participants forms their subjective perceptions about value cooperation experience so you your experience may be different from mine even though we join their festivals at the same time and such values is created through a project so we know that we are trying to sustain the practice of ich but at the same time it's a way for us to create or trying to retain such values so therefore the context like there are different festivals art or different forms of cultures they involve a conducting or principal assessments of the conditions within which such practice occurs so this is just um what i said is about experience environment that is what is covered in cooperation values so cooperating values in festival contests they will involve the exchange and also the interactions among the multiple parties and so later i will also tell what are the possible key stakeholders involved in such veto cooperation and they also reflect either the collective or desperate interests of the rarest key stakeholders so regarding ich so i will uh not talk in details because the previous talk has already laid down of solid foundations and for previous scholars so they are trying to highlight that the importance of culture inexperience based so where the market of their uh experience has a cultural base and truth experience should be understood in a much broader sense so what experience is packages and also commodified for sales in the global market they should take account of reverse forms of cultural expressions such as songs downs music and art so it is exactly what the ich is trying to express to us so cultural perspective of experience is located entirely in the mind of the individuals and culture it can be treated as a medium to connect the heritage and tourism using the different themes so like the traditional cultural practice like the different beliefs so we use the different themes for rugs to connect the rest service and product together for tourists to create their own experience and for tourists so they are also quite demanding and they are seeking for the meaningful unique and also the lively cultural experience in the current chain so they are no longer being satisfied with their primary attractions but they are trying to tend to get close to their local people and to find some hidden gestures of the place and be free to pursue a flexible and spontaneous experience in the destination so therefore the physical aspect of cultural heritage is no longer enough in providing a desirable experience but instead the consumption of the cultural resource is expanding from their fifth tangible heritage towards the mobile intangible forms of culture such as events festival dance and music so therefore the marketing of the destinations they tend to promote uh experiential and also these intangible aspects of the destinations like the atmosphere or the stance of planes that which allows the tourists to have experience by themselves so therefore ich is obtaining important positions in boosting their tourism and also assembling the heritage in telling the full stories about the place so that is what we are uh always talk about the inter inseparable uh relationship between tangible and intangible so all these different measures is trying to point to the directions to create new experience and also the culture base for approaching the ich so talk about the macau's content so we know that if you have joined the previous talk you know the general information about macau so we can quickly uh uh review such uh context so macau is a world charities city which explains in conquer tourism which can potentially contribute to the economics so the appealing powers of the ich is closely connect to the tourist perceptions of the real or emerging cultures of the local community and the place and in macau there is a harmonious coexistence of their ceiling contracting gaming industries and heritage assets that they constantly a limited geographical amongst the other that uh makes this cities quite exceptional among the other destinations so macau's unique cultural assets differentiate this territories from other cities in asia and also the regions to make it attractive uh to a broader tourism market so therefore the rich heritage asset of macau provides cultural diversity thereby enabling the locals at different levels of their society to activate pride of such cultural richness and macau is also appreciated as a place of cultural inclusiveness because of its history so that is the higher the sense of inclusiveness the higher the potential to develop special cultural events so there is a strong contract reflecting the cultural complexity so if you look at the photos that are showing on the screen on the uh lower right corner so this is the rules of simple and beside that is the naja temple so it exactly to tell us the contract relationship and also the harmonious existence of the different uh complex cultures in macau and they're trying to tell that for this structure we know that rules of simple is a iconic representation of historical religions influence and currently it is a cultural district with lively atmospheres where there are different red arch events lecture and culture event it helped in these areas so there is a at the same time for macau uh there is a emerging interests of government authority on the significant culture and traditions in macau and to represent and to present the ich to enhance the cultural appeals in macau so since 2008 the macau government tourism office they put quite a lot of efforts in promoting ich items such as magnet cuisine local festivals and even in 2014 the macau cultural heritage protection law was enforced and among which the importance and necessities of protecting ich is highlighted so although we don't have a law for its part actually if you look at the current uh macau cultural heritage protection law and sch is an important component there so it's trying to stimulate and also to protect protect such uh ich in montpal and which is also included in the macau uh development five-year development plan and at the same time whereas uh ich symposium also held successfully successfully in macau and uh there are also different culprit funds that is also available to support organizations to promote the different continuities for the local festival and events so later i will show you in the practical examples so therefore in my sharing today i'm trying to focus uh on how to evaluate this uh multi-percent nature of values that is uh uh a treatable link to the involvement of multiple stakeholders in a festival getting their epitome of our experience based occasions so therefore i will look at three main ich festivals so the first one will be amma festivals so the reason why i chose ich events or that they include quite a lot of ich domains which is not only about performing art but also their social practice and also the other different visual beliefs so in this case it can offer me a comprehensive understanding about ich in the tourism context and at the same time those festivals i choose they mainly held in their famous tourism sites like the russian halls or the squares in front of amma temples and these are the iconic structures that for the tourists who travel when they come to macau and for alma festivals we know that macau is developed from a fishing village and as a coastal city it's dedicated to the popularity and the gunness of the seafarers and we call it uh in macau we called amma but in many uh southern eastern countries they may call it jingo and naja festival so every year on the 18th days of the fifth lunar month and the fifth of naja celebrate at the naja temples so not only the najaf temple near the russian simple but also the asian natural temples and through such activities they are trying to plant other planting ceremonies and to celebrate the toys ratio and also the cantonese or club performance and people will worship najas of their uh to worship its powers to water the evil experience and also to free for the good health and also the national uh prosperity and i think most of us the audience probably know about the face of drunken dragon so thanks for mr kran and also kate they give us a proof for sharing on this festival so we know that this is a unique traditional folk festival celebrated by the uh fish mongers of macau and later it has also become quite unique and influential traditional folk festivals in macau and celebrated by a wider range of audience so both the locals and also tourists will come and see that so here is a table that trying to summarize their uh basic information about this event to tell you the main location and also the different forms of celebrations about this festival so what is worth mentioning is that if you look at the three festivals they also uh they compress uh some of the items that is the least item either at the local level or uh inscribed in the national uh ich lis so such as cantonese opera or the face of trump congratulations jumping jack and downs or goes racial traditions so here are some photoshops for you to understand the fight uh group four and typical performative elements of fish of nadja so i will not use the examples of visual junk and dragon since so you have already get a few fear ideas about that from the previous part so here you can see that this is quite uh rich uh performance performative elements so for my previous insights it's mainly look at the different stakeholders so such stakeholders include tourists uh different ngos uh ich mieras or mgtos and cultural affairs build roads and even local business operators which i defined it as the different value cooperators in the heritage festivals context so let us look at the tourism perspective first so again that you may find that why locals locals appealing local audience opinions is missing because i'm focusing at the tourism content but it doesn't mean that local opinions or local participants their experience is not important and for truth before they travel for this uh festivals i found that majority of them they joined the event spontaneously that uh i used some of the code for you to understand their opinions so like one of them said that uh we don't know anything about this in particular so we just pass by and we hear the sound of dom and then we go and have a look so let me give you our ideas about the entire environment in terms of the sound or the lively atmosphere it brings to the audience to the path by patterns [Music] so see so if you are a passenger i mean that if you pop by this area you heard such kind of loud uh song probably you are curious to know what happened there so that's why you can see that quite a lot of visitors they stand by and stop over and trying to understand what is happening here so what about their uh so what are those really uh physical stimuli of uh that attracts them to join this event are the performances because they see their performances there and the lively atmospheres even the performers with their talking and the decorations of the entire environment so these are also tell the reasons why people stopped over and joined the event and some of their uh participants they may say that they are quite curious about these events like they may say oh by attending this event i could understand the different culture so i want to see how different people perceive religions differently so they're trying to demonstrate they have a priority in joining the event and song has some specific purpose like they want to experience the local culture and they think that festivals is part of the ways for them to understand a different culture in particular for those veterans like they say that it is very good unbelievable uh unbelievable so i really like to experience asian culture especially the traditional culture so i like to know about traditions and also family of the place and some of their audience and they may join this uh when they join this event they may trying to record some of the memories that they have before uh but not all of them uh and for those ones who are uh living in the southern part of china they may encounter similar events so that's why they they may have uh helped them to record some of their top memories so like this uh participant said that this event also has some similar performance elements in other parts of china i travel like the uh defending song of the gongs and jumps no matter in the southern or northern part of china there are lying performance and sometimes with dragon so although i think they are not quite familiar to how to distinguish their the jungle dragon downs or the other ones but they think that in their perspective their all can be summarized as the lying performance on chicken gum and even for some of the travelers they didn't have such similar culture in their own place but they also require some of their top traveling experience in other places so like this tourist it reminds us of some of the memories in japan where we we cannot describe that clearly but this happens then or have some things that they saw before so to us we cannot easily distinguish asian culture like this traditional practice but we feel that they are almost the same in japan and because when we see something that we don't really understand it could cause confusion of family but as i said not all of them will record their previous similar event experience so when they joined the event uh more tourists they engage in this event physically by just taking photos or videos or recording purposes uh so compared to for those ones who engage this event emotionally but most of them they only physically participate in this event like they just take photos and go around the event and then they move to the next stop but for some of their audience they may engage in this event emotionally so like this person who joined their cantonese operas that is performed during this arma festivals so the person even surprised so she think that uh i couldn't imagine that i can stay here for that long so i came here around 3 o'clock 3 p.m but you can see the time so it's now already 2 or 3 hours apart so i found their performance quite humorous and interesting so i can't stop enjoying it for so long so this person is from guangdong province so she can understand cantonese so one day she enjoyed her chemist operas she found it quite interesting but even for those one who cannot understand the dialect that they use but they also enjoy the atmosphere so even they say that we sit there listen and they think that they can memorize the performance and even record in their mind and what about their psychological state and process so when they join this festival actually they have a quite complex and psychological state and they may have their image on their uh in both the intangible and tangible components of the festival such as they may have their image on their lively atmosphere cantonese or class or the different decorations and they may also have their different thoughts on the cultures like they think that they can learning about the traditional cultures and they can realize the importance of preservation and even they can feel the power of religion and some of them also reflect their emotions different emotions related to their psychological state in terms of they appreciate the local cultures when they see the different performers they engage these festivals and also they found that there were quite a lot of local participation and they think that such enthusiasm participation also inspired them in terms of their emotions associated with their understandings about local cultures and some of their other emotions like fresh friendly and even wholly relaxing such kind of psychological states and in fact the psychological states can be divided into two parts like the first is the cognitive feelings so cognitive feeling refers to the total information you know about objects like the knowledge you learn about the play and the effective are those more related to the emotional feelings that uh one reflects about their emotional interactions with the environment so in this case they also find that they have both their physical cognitive feelings and effective feelings so i will not go into the details so regarding the post-event experience so after they attend events they may summarize their uh experience like it is a memorable event uh during their visit to macau and even they will alter the image of macau like they may think arrange language is only about gaming and also heritage sites but they never think that macau has such diverse cultures like the different festivals and such kind of impressive feelings enable them to revisit in cities so they re uh they trying to tell that uh they will revisit this place but at the same time they will recommend people to come to macau about the festival experience so such blue chart is trying to summarize what the tourists think uh experience the entire ich event so like from the spontaneous activity uh activities to participate in events and have the different response which leads to their post-event experience but definitely not all of them will have their previous similar events so that's why it didn't show in the kitchen uh line so now i will move to the organizer's perspective so for the organizers so here i use a quote from the ama believe in custom and these uh council presidents and they said this believe in custom is more than 100 years ago uh old so we do means to preserve this lead from generation to generations and he is the third generation and will continue to do that so in nature that for the organizers they think that this festival what they need to do is to preserve these cultures and before the events they are trying to involve more of the local race funding to organize the event venue programs and during the events and they will coordinate with their performers and organize the events and what they expect to achieve from organizing such events is to promote the ich and also to take this time to strengthen the community relationship and what about the government so i used to interview the representative from mgto so their multiple main tourism organizations in macau and other cultural festivals who may like in charge of their comfort aspects and in fact they both tell that before the event they feel involved that much what they do is to help to support the organizations financially or simply help them to promote and marketing this event from their own role and during the events they have little interventions and what they expect to achieve is differently like for macau or mgto they're trying to promote the culture tourism but for a cultural festival they may not want to recognize the ich to help transmit ich to preserve the idh even though they are not the key uh ich barriers to regarding this iph item so what they did like mgto they will produce this uh kind of the posters to promote the different cultural events and they may have their culture fund or tourism funds for the different organizations to apply for some financial support to support their organizations of the different festivals so for mgto as i said like their slogan experience mental they think that ich had helped to diversify their uh macau cultural tourism uh asset but for ic for cultural uh marriage bureau and they also will respect their opinions and also the organizations of the festival organizers so that's why they have labeled or intervention and they think that the local community school experience organizing this event will keep practicing that and also they feel that uh comfortable for for the organizers to taking charge of this festival instead of the government authority and for the performers they mainly share the similar opinions like the affectable organizers but what they focus is more on their performances so like their own downs so how to ensure that they can perform and uh authentic ones and without changing that much so what they expect is to promote also promote this ich and also to let more people to get recognized about this traditional event so what is really touching is uh this performer when i interview this person and he's also a calligraphy lover and who writes even after the interview he wrote to me with his opinion about this traditional event and in their memories and they also shared how they can ensure the traditional movement of their guns and which they need maybe kung fu foundations in order to practice that well and how they can uh perform in the authentic ways so this is the kind of the handwriting the performers shared with me so by considering the time i will not give you more yeah maybe later when you review the recording you can read through those scripts and for the local community so i i didn't interview the local residents but i focus on those local business so who operates their business around this uh federal area because uh they are the person who may get more closer to the event and to in their perspective they appreciate the cultural celebration and they think that such kind of ich festivals celebrations they can benefit their tourism development uh although they may they didn't think that they will bring the direct economic benefits to their business but in uh in general they think that such kind of celebrations can diversify the cultural offerings in the destination which can help them to boost the tourism development in the destinations so if the tourism development is quite good in macau and they can also generate good vision so that's their opinions but in fact they didn't join that event march for more of spectators so in general uh to summarize the co-creation process probably you get a sense of how they are trying to join together to raise their festival so like their stakeholders so here the stakeholders are key stakeholders which are exclude their touring part because tourists they may have their different perspective and they jointly to co-create what we see today on the festival experience and for the flexible values and stakeholders so in another way to interpret the entire cooperation process and the principle can bring the both the functional value and emotional value so functional value refers to the physical benefit that brings by the festival so such as the tourism diversification good fitness and even the cultural preservation and promotion and for emotional values it's more about how we think about other benefits that brings by the festivals like we may increase our culture or cognitions or tourists may get more about incomes experience satisfactions even behavioral intentions so to conclude so through my previous research that started so it demonstrated that venom cooperation so can be applied in the context of cultural tourism in particular for the intangible forms so previously that is only focus in the service domains like the different business and like the hospitalities but in fact we can also use this concept in their cultural tourism context and it can help us to better understand uh this entire uh vessel experience using this uh value cooperation person but at the same time we can extend such conceptual frameworks into a broader context like the greater bay area so we know that uh there is a uh software in borders among the cities in greater bay area so in such case is it possible for us to collaborately to understand the cooperation uh process in the entire broader context and for when a cooperation it helps us understand two key words like actors so who are the key stakeholders who play the critical roles to bring the ich experience and what they did to this practical experience so it's about their actions and for the tourism uh dmos the definition management organizations like mgto they're trying to highlight the experiential values of current resource so in this case it's a festival but at the same time although they did a lot of promotional efforts so i i need to give the credit to the mgo because they're really trying to help to increase the visibility of the event but from the response of their choice not all of them know them notice the existence of the festivals in their uh in these definitions they join that spontaneously so that's why they only know that when they have already entered into account so that's why probably more on-site guidance and interpretations is needed so even though they joined the effective but they didn't know the meaning and value of the festival so that's why if we want to uh educate the meaningful tourists probably we need more outside guidance and interpretation and at the same time we are trying to achieve this ideal objective is to promote both the culture and also the tourism at the same time but definitely it needs the collaborative efforts from different stakeholders so what i covered before like the festival organizers even the government authority even tourists can be part of it to help us to spread the meanings about festivals to others so at least for the more audience to know the existence about the festivals and then they may stimulate more interesting to know more about these festivals so that's the reference i use and using the what the slogan mgp was trying to tell to share to the tourists who are going to macau and to see the different experience macau so thank you yeah thank you vicky i think this is like really relevant in two days i mean like in macau at this time what's it like when we talk about experience macau it has become difficult because of the pandemic like we can't experience my car whatever like i guess a lot of the festivals have been caught off so i think i'll start with my first question that if like co-creation can be done remotely could it be done kind of virtually because we've been talking about festivals right like and festivals um are based on participation so i guess at this like in macau we're quite stuck and we cannot like really i like we can participate we can hardly participate but like how we can really kind of promote the experience macau tagline is i think what like the the what the difficulty we're facing now right so you have any sort of like idea on how we can take co-creation further maybe on kind of like matter verse the matter verse is the key word now i or maybe not so like like hubble can take it a lot like maybe like virtually or remotely maybe but like yeah my by sending sort of work like kind of like kids i kind of you know like maybe almond cookie making kids to like people i don't know i'm just like i thinking of like kind of ideas that like we we cannot like really we cannot stop this sort of like experienced macau thing right yeah and we have to think of ways to revive this yeah you have any sort of comments and thoughts yeah and for this better population i think that is more suitable for the content like the physical even because when it applies in their service uh things that you must involve in this experience environment like the physical space and then you can start to interact with the other players but probably that could be possible for virtual environments one day because people can still join or even with you vr or are they trying to [Music] engage in the physical environment could possible yeah for for festival this content is quite indeed because we know that we are like like you and me and quite a lot of other audience we used to join the traditional faculty like if you you can see some of the festival celebrations on tvs or screens but the feeling is quite different because when you join that physically you will definitely have some emotional or that set of psychological states that change the entire process so i think that is hard to achieve through the virtual environment yeah i agree i'm just thinking like if there's anything we can do like maybe maybe like um say like i i went to work like you mentioned about diy right so like the you know the tiles the produce tile painting kind of kit that we can possibly kind of distribute but it's not really like an immersive environment you just want to work on that tile on your own so yeah i remember like in hong kong i'm not sure if like other participants i have like there's a um kind of terrazzo making workshop that during the pandemic they you can just pick up the material from kind of what level center and they would just sort of like zoom they would have the zoom workshop of like teaching you how to make terrazzo with your two kids at home so it's sort of like ways to get by but it's not ideal i know yeah how long do you think we can last like this i mean like the co-creation process has been put on hold like for i guess like two years now yeah right yeah oh i'm open to questions that anybody has any questions or some proposal for us to kind of like um to work on this side co-creation process because i know what we can talk about right it's sort of like history now we have to make sort of we have to keep the authenticity of the festival alive and also the co-creation process sort of going yeah i can't wait to participate but it's not up to us and um say like um say um for elisabella's i um talk on patois and also kate's talk on drunken dragon festival they both happened this year yeah and my because i i have been in macau i got the pleasure to participate in both of them and i can attest to vicky's um kind of um slides about like cognitive and effective and it's really i think like that's why it's really crucial in sort of like um kind of pinpointing the importance of festivals and also your flowchart so you make the whole sort of co-creation process as systematic like we can really count o

2022-08-19 02:33

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