An evaluation of attendee experience’s of the 2011 Galway St. Patrick’s festival parade: an ethnographic observation Tomas Mangan.

Slides:



Advertisements
Similar presentations
Creative Development. 1: Explores different media and responds to a variety of sensory experiences. Engages in representational play. Scale points 1 –
Advertisements

Writing a film review Achievement Standard 2.2. Writing a film review Films are an important part of our lives, both as the focus of social events and.
Assessment Photo Album
The Dimensions of Experience & Meaning
Since plays (or scene studies) must go from start to finish in front of a live audience, rehearsals are important and extensive.
Computer Games Digital Games Design Level 5. Three Outcomes Demonstrate understanding of – different digital gaming platforms and related technologies.
Sales Concepts and Apps Module 12 The Experience Economy.
CHAPTER 7 MARKETING.
Years ago an educator named Edgar Dale (Educational Media, 1960), often cited as the father of modern media in education, developed from his experience.
Promotional Products Work. It’s Just A Matter Of Fact. Insert Name Insert Title Insert Company Name.
Events, experiences and stories The Experience Economy Pine and Gilmore 1999 Commodity Services Goods Undifferentiated Differentiated Market Premium.
Chapter 2 Perception. Perception is Important Differences in perception are widespread Not all differences are of equal importance Not everyone’s perceptions.
Media Radio Production Evaluation Charlotte Price.
Beginning Theatre Standards. 1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique.
Factors that Influence Evaluation Utilisation. Theoretical Perspectives Michael Quinn Patton’s ‘Utilisation Focused Evaluation’ Addresses issue of use.
Mock Exam Revision Your step by step guide to getting a great result! Name: Target grade:
Third Wall Theatre Company Outline Where Third Wall is Where Third Wall is  Audience, strengths, weaknesses Strategy for marketing The Misanthrope.
Building a Training Agenda Focus, Structure and Variety.
Description; compare-contrast; narrative; definition; opinion; cause- effect; classification; process.
Lesson 4.2: 4E-based Strategy Formulation
DRAMA TERMINOLOGY. DRAMA Is a play that is put on for the public A movie or television show is a play that is caught on camera.
CAHSEE BOOTCAMP Distinguishing different essay styles ~Ms. Gieser Biographical Narrative Biographical Narrative Expository Essay Expository Essay Response.
Scripting: Practicing Verbal Interaction Chapter 33, p Idalia Gannon Brenda Ayala Lewis EDC S382S- ESL Methods Summer 2010.
Communicating your Message through the Media. Overview This session will teach you to: – Respond to media requests – Communicate your message in interviews.
UDL Presentation: Sharing Ideas and Building Resources By: Vickie P. Murphy.
The Performance Category. The Performance Category: The Script Each member should brainstorm the major elements of your project and major characters involved.
1 Lesson 2.1: The 4E Strategies to Differentiate Your Business From Competitors Lesson 2.2: Making Offerings Memorable Through Experience Economy Strategies.
Brew up a MAGICAL book club discussion with these potent ingredients!
Practical Events Management Lecture 5: Event Design Jenny Flinn
Practical Events Management Lecture Five: Event Design.
Advanced Portfolio Film Promotion Package consisting of a film trailer, front cover of a film magazine and film poster Evaluation Question 3 ‘The Other.
Discourse and Pragmatics The Ethnography of Speaking.
UNIT PORTFOLIO PRESENTATION. WE MAKE SENSE: A Unit for discovering the Human Sense Organs Prepared by: Escabusa, Phoebe Charmenne N. Gardones, Graciel.
Descriptive Essays Writing. What is a descriptive essay? It is a written assignment intended to describe the subject matter to the readers so that they.
Know The Audience Adult audiences are very diverse Learn as much about them as you can Try to match the learning experience to the audience (timing, educational.
World Marketing Conference Field Marketing Workshop 2015January, Team Name: Team Number: Team Concept: Team Members:
Basic Design Process These steps are common for al design areas to be covered in detail within the next few weeks: Scene Design, Costume Design, Lighting.
UNIT 2 COMMUNITY GROWTH AND INVOLVEMENT PPL 4O V. WILSON.
Critical Media Literacy Ketevan Barkhudanashvili June, 2013.
Immediacy Impermanence Diversity Flexibility. A Theatre Of Mind Medium of sound and words Production Cost is less Profile and size of Audience relatively.
Investigating Identity Unit. Unit Summary During this unit students will participate in different activities that are all a part of Project-Based Learning.
Copywriting and Design. Advertising Writing Style Copy should be as simple as possible Should have a clear focus and try to convey only one selling point.
Lights, Camera, ACTION! Writing Workshop: An Introduction to Narrative Writing.
Discourse and Pragmatics Week 8 Context and Culture.
National four/Five Drama Purpose Revision Created by L McCarry.
Short Story The short story is a work of fiction that is shorter and more limited than the novel. It usually focuses on one important event in the lives.
Short Stories a literary prose piece, usually a narrative, which focuses sharply on one character or event; generally readable in a single sitting.
National Confectioners Association Live Branded Media Strategy.
Meeting the Grading Criteria Evaluation asks the question 'Is this the best way of doing it?'
St Albans City & District Council City Centre Events Programme 2016 Sponsorship Opportunities.
Observation vs. Inference An observation is actually what we perceive using our senses - touch, smell, sound, sight – in chemistry, we never use taste.
Building Awareness To increase knowledge and understanding by sharing information or experiences 1 District Centennial Coordinator Training.
Chapter 6 Designing the Event Experience. Chapter Objectives 1.Clearly define the characteristics of the event experience 2.Recognize the importance of.
Overview of Narrative Writing 5th grade. Defining Narrative Writing Narrative Writing: Writing that tells a story or gives an account of something that.
A POCKET GUIDE TO PUBLIC SPEAKING 5 TH EDITION Chapter 5 Listeners and Speakers.
Characters Themes Writing Style Language Societal/Political References Use of Similes and Metaphors Use of Setting.
Advertising and Sales Promotion ©2013 Cengage Learning. All Rights Reserved. Chapter 10.
“Setting” Definition In works of narrative (especially fictional), the literary element setting includes the historical moment in time and geographic.
Describing a moment in time
Strategies for Reading Fiction
GCSE Film Studies.
Pages 3 and 4 of “text” (packet in your binder)
Largs Academy Department of Drama Directing Reference Booklet.
Personal Narrative.
year 8 Level 5 – ‘NEARLY ALWAYS’ GOOD -
Engaging the senses to explore community events
What is the secret of effective descriptions?
11 Qualitative v. Quantitative Observations
Description and Narration
Presentation transcript:

An evaluation of attendee experience’s of the 2011 Galway St. Patrick’s festival parade: an ethnographic observation Tomas Mangan

Overview Purpose Memorable experience Value of study “Experience factors”

Pine & Gilmore’s Experience factors The main elements required to achieve a memorable experience are: clear discernable theme, opportunities for participation and absorption, support of positive cues and memorabilia, sensory stimulation, satisfaction of a psychological or internal need, and the perception by the consumer that the experience is personal to them

Methodology of study 1.Described and set experience factors for St Patrick’s festival parade. (HO1) 2.Measured by Ethnographic observation – Getz (2008) – 28 – make observations and record.

Experience factors required to create a memorable experience for St. Patrick’s festival parade Pine and Gilmore’s Experience FactorsExperience Factors Galway St. Patrick’s Festival parade themed experience Defined theme that is suitable for the festival. The theme has to be reinforced and evident throughout the event. The theme was “World of Wonder”. There is also a historical theme of Irishness associated with the festival. This should be evident in costume design, float decoration and character performance. individualise guests’ encounters Audience members should feel that the experience is individual to them. This is achieved by personal encounters with the event. When speaking about this experience an audience member might say that “St Patrick shook my hand or waved at me”. Cast interaction with the audience is key. create targeted impressions This is to impress upon the audience an idea or mindset for their experience. This is constructed prior to the event and usually involves pre publicity. Akin to film trailers for forthcoming cinema releases. Media exposure by press releases, radio advertising or signage to communicate the message and set the scene for the audience. The organisers used phrases like “carnival atmosphere” “cultural experience”. engage multiple senses The 5 senses, sight, sound, smell, touch and taste are all memory and experience cues. Colour of costumes, floats, flags and banners. Music played and performances acted. Sense of smell engaged. Performers interacting with audience, shaking hands, hugging etc. Sweet and treats give by performers to audience. memorabilia Providing memorabilia is an aid to allow the audience members to remember the event with a souvenir or merchandise of some description. Shamrocks, tricolour hats, green balloons, Irish herbs, leprechaun hats and ginger beards are items that may be associated with memorabilia. stay in character The performer must stay in their designated role the entire time they are engaged with the audience. Performers continue in their designated role for the entire parade. St Patrick should not have a mobile phone to his ear. perform to form The style of theatre or acting that is required in the event. An experience can be fully scripted in advance that has minimal audience involvement (platform theatre) or a loose script is presented that allows for audience interaction (street theatre). There should be a mixture of styles evident. Float performer would have a scripted performance while those performers closer to the audience should engage in street theatre.

Findings of research FactorStrengthsWeaknessesThreatsTotal themed experience individualised guests' encounters create targeted impressions engage multiple senses memorabilia stay in character perform to form Total

Strengths The top three experience factors that had a strength classification were memorabilia, create targeted impressions and themed experience.

Weaknesses The top three experience factors that had a weakness classification were themed experience, stay in character and engage multiple senses.

Threats The top three experience factors that had a threat classification were themed experienced, create targeted impressions and individualised guests' encounters.

Conclusion Experience factors present for a memorable experience - yes Memorable experience – no why 1 Theme experience – not clear or realised abundant of community groups and clubs but mostly focused on their own unique identity of sport, ethnicity or commercial interests. 2 mis-match between theme and memorabilia