My city – my brand: the different roles of residents in place branding
Citations
215 citations
Cites background from "My city – my brand: the different r..."
...…a strand of publications that deal directly with the consequences of such thinking for place brands (Warnaby, 2009), the role of stakeholders (eg, Braun et al, 2013; Houghton and Stevens, 2010; Merrilees et al, 2012), and with the dynamic nature of place brands (eg, Aitken and Campelo, 2011;…...
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...…approach that sees place branding as the development of promotional devices and identity claims, projects are clearly top-down rather than bottom-up (eg, Bennett and Savani, 2003; Merrilees et al, 2012) and exclusive rather than participatory (eg, Braun et al, 2013; Houghton and Stevens, 2010)....
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187 citations
Cites background from "My city – my brand: the different r..."
...Braun et al. (2013) also highlight the role of citizens in the legitimization of place planning and development in general....
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...Third, the study contributes to the field of place advocacy and place ambassadorship (Braun et al., 2013; Palmer et al., 2013), since it can serve as one explanation of the motivation of residents becoming a place brand ambassador....
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...Through (positive) word-of-mouth communication, residents become place ambassadors, in addition to being voters and citizens who initiate and legitimate place branding activities (Braun et al., 2013)....
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...However, we assume this effect to be much stronger for residents, since they are not only brand ambassadors but also part of the place brand (Braun et al., 2013)....
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...This higher identification is a precondition for becoming a place brand ambassador (Braun et al., 2013; Rehmet & Dinnie, 2013), making these results highly relevant for practitionersdeven for those solely focusing on tourists as target audiences....
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179 citations
Cites background from "My city – my brand: the different r..."
...Also within the place branding literature, the co-creation of value was identified to “lead to increased ownership of the brand and therefore more sense of responsibility for its development, management and external reputation” (Braun et al., 2013, p. 23)....
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117 citations
Cites background from "My city – my brand: the different r..."
...Thus, they increasingly demand a more participatory role in place branding activities (Braun et al., 2013; Kavaratzis, 2012)....
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114 citations
Additional excerpts
...At the same time, creative tourism programmes provide support for endogenous resources by increasing interest in local creativity and culture (Brouder, 2019). Curation is another design process becoming more evident in development programmes, particularly in larger cities and conurbations. The role of the curator is not only to develop a creative story of place, but to highlight particular elements of culture and creativity that are of importance for local and global actors. The experience of the #Urbanana programme shows that cultural icons can act as sources of internal cohesion as well as external attraction. The curation process also allows visitors to ‘read’ the landscape, and apply their own creativity to developing stories of place. Developing tourism through storytelling, curation and co-creation may also provide an antidote to the increased determinacy of new technologies, smart tourism and big data (Xiang & Fesenmaier, 2017). Big data are already being used to ‘predict’ the development of new creative tourism opportunities by the Culture Trip platform (Culture Trip, 2019), and digitally produced or augmented experiences are increasingly common in museums (Grevtsova & Sibina, 2018). But our review suggests that creative experiences are best designed for the relationality and the surprise provided by the unexpected, rather than the predictable. Smart tourism is based on the analysis of past consumption, or a reflection of what Sanders and Stappers (2008) term ‘consumptive mindsets’....
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...Maintaining a broad vision that benefits all place users requires a wide range of local stakeholders, often in the form of a triple or quadruple helix collaboration including public, private, civil and knowledge institutions (Richards & Duif, 2018). Such broad engagement may also help to counteract the challenges of gentrification and commercialisation often identified in creative development (Peck, 2005). The meaning of such programmes is often provided by storytelling, or narratives that link people, events and loci (Harrison & Tatar, 2008). To engage a wide local audience these narratives should be based in the culture or ‘DNA’ of the destination (Richards & Duif, 2018). An important first step in the creative process is therefore to review the resources available (Sacco & Blessi, 2007), and to consider how these can be linked to the needs of residents and the desires of tourists. As the creative placemaking movement suggests (Markusen & Gadwa Nicodemus, 2010) an important role can be played by artists and other cultural intermediaries in this process. The experience of the CREATOUR project in Portugal suggests that such intermediaries are not always locals, but people with a cultural interest in the place (Bakas, Duxbury, & Vinagre de Castro, 2019). Considering the role of tourism in creative development, we can see a trend towards co-creation, in which the tourists become coproducers and co-consumers of experiences. The Thai creative tourism programme uses co-creation as a basic design principle, which guides not just the storytelling aspects of the creative experience, but also the physical design of the experience setting (Wisansing & Vongvisitsin, 2019). The implication of tourists as relative outsiders in the design process helps develop links between the global space of flows and the local space of places, as Fisker, Kwiatkowski, and Hjalager (2019) indicate....
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References
12,021 citations
"My city – my brand: the different r..." refers background in this paper
...This might be a challenge as branding needs a sharp focus in order to differentiate your offering from the offerings of competitors (Keller, 1993)....
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...Fundamentally, this ‘good name’ or reputation exists in the minds of the consumers in terms of brand knowledge and could be seen as a network of associations in consumers’ minds (Keller, 1993; Keller and Lehmann, 2006)....
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2,499 citations
"My city – my brand: the different r..." refers background in this paper
...A brand community – a social aggregation of brand users who share a strong relationship to a brand as well as other members of the brand community (McAlexander et al., 2002) – is developed and altered by the brand users, since they become part of the brand and brand community engagement, those…...
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2,099 citations
"My city – my brand: the different r..." refers background in this paper
...…brand community (McAlexander et al., 2002) – is developed and altered by the brand users, since they become part of the brand and brand community engagement, those members also become ambassadors for the brand through word-of-mouth, social networking, and impression management (Schau et al., 2009)....
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2,050 citations
"My city – my brand: the different r..." refers background in this paper
...Fundamentally, this ‘good name’ or reputation exists in the minds of the consumers in terms of brand knowledge and could be seen as a network of associations in consumers’ minds (Keller, 1993; Keller and Lehmann, 2006)....
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