Category Archives: Creative Concepting

La Clappeye = creative concepting in 360 graden. Imagineering, concepting, storycrafting en event-design, ze vragen allemaal om een creatieve en heldere geest. Met je hoofd in de wolken en je voeten op de grond!

Leisure communities of practice

Using leisure as knowledgebuilding

A practice is defined (Shove) as  ‘a process of integration resulting in a structured arrangement’. It results in a practice that exists for a while as a recognisable entity (Richards; Shove)

Within leisure and community of practice, all the basic elements are present to facilitate learning-environments. However inherent to the structure of international citytour companies and the way they function, also gives little affordance to co-learn, collaborative teaching and flow of knowledge through actual practice. The quality of staff is not always high enough to do it, although all the ingredients for successful knowledgebuilding are present.

Quote Greg Richards:

Most leisure practices also involve the development of particular skills, competences or knowledge. When we play sport we increase our level of skill, and this increases our desire to participate (what Scitovsky (1976) has termed ‘skilled consumption’).

Ofcourse, most activities in travel and leisure have a more or less fixed timescale and are modular. In travel, people share a space and place and move on, either into their ordinary lives or the next travel location.

Let guides learn from eachother, from experience, co-production and co-creation, and let them pass the knowledge on to eachother.

Knowledge creation takes place through practical interaction and informal learning, making it accessable to new and even temporary tourguides and several stronger local leadership-roles. They create “communities of practice.”

Why optimism guides your guiding

Optimists are attractive!

Your guides in the various European cities are valuable hubs of knowledge! They are usually popular- certainly withing pubcrawls and partytype groups and the have an optimistic quality about them.

In networks- both virtual and in real-life, optimism is seen as attractiveness. Further more, other people react to an attractive quality in a positive way. Optimists are usually more liked. Even the ones that don’t like him or her, will react in a positive way, as it is strategically unwise not to, as other perceive them with a positive outlook.

They have a high-degree centrality within their networks, which means they are the local connectors, the hubs; although perhaps not the best connector to the wider network.

Organisations like yours can be made to be perceived as entities, with structures, a face of faces, local presence and be laden with attractive traits. They can alternate in being extraverted and intraverted. That requires depth! Depth you cannot give if you are too transient in your local presence.

Hostels and the city: 5 ways to engage local networks

Hostels and local networks: Scaling up your localness!

You can be a big ass hostelchain or a small and cozy local hostel, running on volunteers, depending on your uniqueness locally. In both cases there are effective and affordable ways of making the most of your localness!

Below are 5 scalable ways to engage local networks with. Scalable in the sense that all 5 of them are reachable for small and big hostels alike!

1) Be a local stakeholder, not (just) an international one

A hostel or cityguiding company, aswell as touroperator, should try and be a local institution. Tapping into the local urban grain actually connects you to the local culture, cultural institutions, startups and local networks;

Source: Bevolo 2016
Source: Bevolo 2016

2) Local culture is a carrier of localness, not of your brand

You’re being all wonderfully local and all that, ofcourse. Remember to see local culture as carriers of localness- your main trait -and not neccesarily lf your brand. Don’t make them wear your t-shirt but BE  the t-shirt; adopt it and it’s underground qualities!

(...) we’ve set up programmes like Stay ‘n’ Play and ClinkCREATIVE which give musicians and artists free accommodation at the hostels in exchange for playing a gig or displaying their work (...) Liam Doyle (Clink Hostels)

3) Use your international network!

Most tourism stakeholders forget to utilise to local stakeholders, that what would give them actual influence: their own international networks!

4) Utilise the non-tangible networks the city has to offer

Where there is culture, there are buildings. Where there are buidings there is place, mobility, perception of practice and hundreds of years of mobility along the same structures. They are more often than not tangible in their form, nor are they easy to discover and address. People around cultural hubs in cities, are highly mobile within different kinds of networks.

Generator Hostels has become known for its successful use of urban, local networks. ClinkNoord in Amsterdam, part of Clink Hostels, try to integrate local culture and art as much as possible within design and events.

www.urbanexploringtours.nl/
www.urbanexploringtours.nl/
Urban grain and tourism-coproductions
Urban Exploring tours seeks to integrate local urban grain into the localness as understood by the travel industry.

The commercial interaction-chain of buying, using and selling, has different rules there, as it utilises ways of reciprocation that run through several layers of exchange and mobilty, often hidden from sight by for instance local habits, festivals, exchanging gifts, producing services and by perceptions of the urban grain.

Artists are wellconnected and move around different networks they don’t neccesarily use directly, but will know when to access through embeddedness and communities of practice.

Liam Doyle of Clink hostels continues:
It gives creativity and collaboration – between tourists and locals, artists and audiences – the chance to flow through our hostels and out into the cities. We really love that and think it makes Clink really unique,
Liam Doyle at WYSE Tavel conference 2016

5) When you’re starting up, why not be a startup?

Since you’re starting out- beit a hostel, a cityguiding company or even just a new local project, why not actually be a local startup?

  • It positions you on the new-and-happening side of entrepeneurship;
  • You can actively penetrate the local businessmarket;
  • Tap into local business-networks and expats;
  • Leverage your ideas and investments
  • Expect to be smiled upon by large community of highly skilled and well networked people.
  1. https://angel.co/amsterdam/online-travel/jobs
  2. https://www.startupfesteurope.com/site/traveling-to-amsterdam/
  3. http://startupamsterdam.org/partner/travel-bird/
  4. http://www.eu-startups.com/2016/03/amsterdam-based-travel-tracking-app-polarsteps-secures-e500k-in-funding/
  5. amsterdam startups-list.com/startups/travel

City PubCall – Calling the shots!

Why crawl the shots if you can call them?

City PubCall is a completely new way of creating & market pubcrawls, connecting travellers to the local!

Test your hostelmanagement skills and apply to testdrive a course for free!

Hostelmanager or aspiring to be? Hotelmanager, front-of-house? Leisure professional?

Test your knowledge and skills below. After the quiz you can apply to be a testdriver for one of the courses, completely free of charge!

  • Full course worth between 400 and 900 eur.
  • Including service and live-chat
  • Assignments with personal coaching

quiz-area ">

After the quiz you can apply to be a testdriver for one of the courses, completely free of charge! Including all paid services and coaching.

quiz-form" id="quiz-5" >

Please enter your email:

1.

A stay in a hostel is a social experience and does not require the outlines of a service.

 
 

2.

It’s never nice to think in terms of threats. But if you had you, which of the following aspects might possibly constiture a threat to hostels in Europe?

 
 
 
 
 

3.

In the courses Touringguide training and Practical touringguide training, I provide methods and tools to analyse locations and behaviour with. Which tools and methods would you use?

 

 

In Spatial tour-design: http://blog.la-clappeye.nl/conceptinglesson/spatial-tour-design/

In video and media analysis tools: http://blog.la-clappeye.nl/conceptinglesson/video-and-media-analysis-tools/

In customer journeys, personae and scenariobuilding techniques: http://blog.la-clappeye.nl/conceptinglesson/customer-journeys-personae-and-scenariobuilding-techniques/

 
 
 
 
 
 

4.

Basically there are 3 levels of tourism products:

Which ones?

 

 

 
 
 

Question 1 of 4

Free course

Keepers of souvenirs as meaningmakers

Carrying ‘m home

In grannies cupboard, lies an old pen with mountainview and a fluid, in which a little ship goes up and down if you hold the pen upside down. The pen never really worked properly and the fluid has leaked away. Nevertheless, it was a souvenir and we keep it. They have a special place in our house, minds and memories. They transfer meanings, but only through its owner.

You could say, the souvenir was already purchased when we were still at home. The souvenir relates to our bodies, our homes, the construction of our sense of self and place.

Souvenirs transfer meaning and culture, by means of their material qualities. A wooden carving, made from a regional kind of wood, gives meaning through the work involved making it, the details made by the craftsman, the time it took to make it, the place where you bought the thing, the context wherein you bought it, its size, its weight, its grainy structure. They are all coupled to its meaning, at the very moment it changed hands.

The relationship between an object and its owner, is almost a magical one, according to many anthropologists and scholars. The object is imbrued with meaning, it has the power to ‘communicate’ and it tangibly occupies a space, whilst symbolising another symbolically-  temporal and geographical.

Mass production

Even mass-produced plastic rubbish, implicitely carries these qualities, although there is a significant loss in containing and transferring meaning, due to lack of forementioned qualities.

The souvenir has meaningful qualities and traits, because of its connection to the owner. Without a narrative, the souvenir is worthless. In mass production there has been given no meaning to the product by means of material qualities. On the contrary, souvenirs bought in mass tourism, exemplifies the very thing people want to escape from: work. (Benson)

Even the simplest mass produced plastic souvenirs, can carry meaning. And they do, ofcourse. However, the constructed narrative of its owner survives this process of exchange, minus many many meaningful material qualities. The remaining narrative, makes the purchased souvenir a ‘ mediating object.’  Something that is amplified by its later place within the house and household, within objects that make you you, but as an outsider’s experience and perception of the experience of a site. (Benson)

Home and the souvenir

Whilst travelling, the souvenir you’re going to buy, already has a connection to you and your home. There’s a bond between your body, the ‘self’ and the construction of identity, primarily because your home is the main place where people create their reality and sense of self, in everyday life. Within this personal museum, you move in the presence of familiar objects ad images- constructing, annotating and forming your personality, your ways of meaning making and transference and ways of telling both yourself and the world, what you find important and what not. Souvenirs usually embody the same characteristics. To name a simple example in the context of materiality: a wooden carving has to fit the salon table.

We inscribe the perception of home on particular places and locations, without necessarily having to be there. Potentially we have the capacity to create our own notion of home. Within post-modern society the sense of place and perceptions of home is both highly standardised and commodified, aswell as constructed by means of tourism. Even the sense of authenticity, embodied by artefacts, souvenirs and totems, is often a constructed one. Some thrive on the sense of nostalgia, not all of them, as the sense of nostalgia is experienced by the tourist, not particularly the locale itself.

Example from forum on the relationship souvenir/ownership
My parents’ souvenir spoons; let me show you them. January 23, 2010 I have inherited a collection of souvenir spoons. Can you suggest funky or creative ways to display these? They came with the standard souvenir spoon display board, which I don’t care for. For what it is worth, I have not visited all of the places that these spoons were obtained, though I respect the fact that my parents chose to go to these places and obviously had nice memories of these trips. posted by Morrigan

Commercialised, mass produced souvenirs, can represent a manufactured notion of nostalgia, building on the desire of constructing a shared narrative. This does still not mean, the bought souvenirs are without meaning! Physical contact with objects collected during travels (like souvenirs), is more important for travellers telling stories, than visual representations (Bationo). Other research shows that people do prefer to recollect memories by using souvenirs rather than photo’s. However among elderly people using objects for reminiscing, 42% of the cases preferred the photograph for “stirring recollections” (Sherman).

“Souvenir photos of Versailles” project

In conclusion

In a way it could  be argued, the commercialised rhythm, velocity and repetitiveness with which the tourist locations are flooded, provide new opportunities to convey clear and present images on current countries, current culture and local life- as an answer to “master narratives” and somewhat colonial ways of looking at other countries and cultures.  Were it not that commercial travel highly manipulates our view and perception of places. Grasping- in essence -to that what communicates culture in a way nothing else can: through souvenirs and objects, carried and annotated by you!

Follow Renk van Oyen’s board objects and souvenirs on Pinterest.

See also:

Ruimtes en het alledaagse ding, deel 1 (Dutch)

Ruimtes en het alledaagse ding, deel 2 (Dutch)

Narratives of travel (English)

Leren kijken naar een ding, deel 1 (Dutch)

Leren kijken naar een ding, deel 2 (Dutch)

Your place isn’t just anywhere

And neither are you

It takes understanding your customer, their movement and expectations, but also the pacing of their day and time and their perception of “homeness” . In that respect, the locations travelled through some of the locative games, are consumption zones, without semiotic narratives or meaning, other than the often very real sense of fun, associated with it. However not as authentic.

Creating Homeness with more than optional thrillseeking

Due to several factors such as better infrastructure and public transport and commodification of rural difficult to reach areas- formerly the realm of the adventure-backpacker, the thrill and exitement for the actual act of traveling, has decreased. At the same time, the desire to engage in other specifically designed activities within a smaller scale, has increased greatly. A sense of authenticity is still very important.

Backpackers want to feel the real atmosphere of the destination and therefore do not fit within the the package arrangements, often intended for mass tourism.

Remember, there is a difference between backpackers, travellers and tourists. I will go into these differences some other time, but the point is: they all share the same infrastructure. Different needs, wants and expectations.

Travel and the body

The mind does not only exists within the bounderies of our skulls. We experience the world and the act of travel through our bodies aswell. Mediated by, guided by, formed and transformed by the landscape and our bodies.

Through walking, we are allowed to know the landscape in all its features. Step-rhythm generates thought rhythm. The path through the landscape activates a path of thought.

A new thought often looks like an old landscape feature, as if thinking were travelling» (Solnit, 2000). There is a vast body of knowledge on the relationships between travel, the body and mind and landscapes. It is quite impossible to create a singular structure within the boundaries of this blog (and my expertise). However, a few founded and grounded topics, I shal not withhold from you.

A lived experience

Backpackers use their body as an instrument of passage, not just movement. The act of leaving for a new destination and arriving there, through travel, is as much meaningful to his sense of selfness, as is the pre-travel dream and its representations. There is a shift in research towards the multisensory experience and corporeal engagement. Big hotel chains have yet to embrace this, which gives them an immense backward position. Embracing new and less common insights, does not make everything else obsolete! As experience designer and concepter, I find this highly remarkable and ignorant. Furthermore is the tourist not just gazed upon as a mere consumer, but approached from a wide variety of scientific research.

As a professional, I find this highly remarkable and ignorant.

The bodily sensation, corporeal experience has gained in interest and popularity, also by professionals such as myself. I use all manner of research from different scientific sources, to be able to do my work as best I can. The deliverables usually, are written in the language of the client and stakeholders. I can acknowledge the fact that a more holistic approach in the deliverable, usually conjures up more questions than can be answered in a few oneliners.

Tourism research is very much focussed on the visual. By commodification of image culture, place branding, city marketing, placeboosting, this was very much about politics of representation.

To be perceptive of the landscape, is more than just travelling in it. The landscape has given us- since the time ot the hunter-gatherers -ways to make meaning and to remember. To remember more than just the individual life and lifespan. To cite Ingold:

‘‘To perceive the landscape is to carry out an act of remembrance, and remembering is not so much a matter of calling up an internal image, stored in the mind, as of engaging perceptually with an environment that is itself pregnant with the past.’’

Landscape, travel, mind and body are very much culturally linked. Vast distances to travel between families for instance, will produce a totally different sense of space and distance, aswell as time. Tourism has both spatial and temporal dimensions. After the journey people describe themselves as being wiser and emotionally and more socially adept. A very noticeable characteristic of backpacking narratives is the way they describe deep and profound personal changes, after having made the trip.

The experience of mobility is conditioned and co-produced through interaction and engagement (willingly, non-willingly, accidental, subconsciously) with ordinary structures, shapes and materials, such as a folded newspaper, a laptop, mobile phone. Not to mention the circulation of affects such as stress, being tired, irritated etc. They all play roles in the creation of a particular travel atmosphere.

Although backpackers seek to connect with different cultures and localities, they have the tendency to very easily become part of an isolated and self-contained community of travellers, with little to no local connections. The backpacker enclaves have become important surroundings for exchange. The provide an important source of information and information-exchange.

The backpacking sociability and presence as ” a community on the road” was in the past a fleeting and short-term sight, as a perceivable community. Now, in the age of social media, not only the tourist-geography but also the construction and location of social bubbles and hubs, are more visible and traceable.

As traveller by train or bus, your perception of time, travel time and transit, is part of a delicate interaction-sequence and performative structure that defines mobility; Complex socio-technical systems, that afford, restrict or prevent particular mobile practices. Refer to Wilsons Affordance theory here.

These can be seen as the design-structure of your mode of transport. This design-structure includes not only the above and you- it is comprised of different materialities. Textures, movement, hardness, colour etc.

Tourism research is very much focussed on the visual. By commodification of image culture, place branding, city marketing, placeboosting, this was very much about politics of representation.

The Nature of Cities

To be perceptive of the landscape, is more than just travelling in it. The landscape has given us- since the time ot the hunter-gatherers -ways to make meaning and to remember. To remember more than just the individual life and lifespan. To cite Ingold:

‘‘To perceive the landscape is to carry out an act of remembrance, and remembering is not so much a matter of calling up an internal image, stored in the mind, as of engaging perceptually with an environment that is itself pregnant with the past.’’

Creative gastronomy in your hostel

Gastronomic events?

The consumers’ attention has to be captured by the development of experiences. When you’re planning something special on the gastronomic level, make sure your guests actively participate in the setting you have staged for them. They can be employed to create a sense of community among your guests. Very well suited for lobby-events!

Meals are in essence sequential: breakfast, lunch, dinner and in-between, which provides a natural setting for the framing of a gastronomic event.
Make surprise gastronomic experiences a key- service for your hostel but make it feel like a random and kind event.
Ask guests to provide local recipes for food and drink and invite them into the kitchen.
Why not take it a step furter? Invite guests to cook for other guests. Include a budget and give them a chance to invite other people to their dinner.
Invite local producers into your hotel.
Buy from them for the hostel kitchen and stock.
Have them come over for tastings with guests.

Transform your hostel to a social being-space!

In hostels, guests often use a communal kitchen. Eating with eachother is usually a random act- depending on who is near at that time. Guests are both producers and consumers of the experience. Backpackers are used to the creative and open atmosphere in hostels, aswell as the cheap fees. However, there is a distinct danger that they will primarily see your hostel as being a cool place to stay, but not to participate in! Participation in the creation of experience.

ClinkNOORD-Social-Area-360x180there is a distinct danger that they will primarily see your hostel as being a cool place to stay, but not to participate in

Do your guests cook for themselves in a communal kitchen?

Design a board with recipe cards, emphasising healthy locally produced food.

Reaching the guest with big and rich, full-on experiences, engaging all the senses, is getting somewhat out of fashion. That is to say: we still make them, but tourists increasingly want more “real” and local experiences, lived through the locality and negotiating spaces. Staging such allround and full-on experiences, still apply within settings such as winetasting or a guided visit to the local brewery. You could compare it to the loss of producer generated flow in television. The audience can no longer be captivated on their terms, for the duration of the program (due to commercial breaks), but the viewer can experience a fuller and broader event, within a wider spatial setting. Food is good for tourism experiences as it is often a short detour or entrance to local culture. It brings locals and tourists together.in a shared cultural experience.

Anyone interested in placemaking and the more anthropological side of tourism will know that food bonds  us with place, identity and culture. A very important role to play, considering the growth of the ‘network society’.

Misconception: Gastronomic events are not for small hostels and they are a bit elitist.

Definitely untrue. This perception of elitist and toffeenosed events. is largely due to the producers of consumer- and tourist-experiences- FOR the consumer -who aimed at the more discerning connaisseur. Nowadays, eating and drinking is very much a broadly accepted and enacted activity. Not in the last place because of new collaboration methods and modes of co-producing experiences. On the consumption side of things, the ‘foodies’ don’t really go for the haute cuisine anymore. Nevertheless, one has to remember that food and gastronomy is highly bound by culture, which automatically creates a sense of both inclusion and exclusion.
Democratising both food and travel has led to a huge amount of food travel websites. Still, they do look or more rare and foreign foods, prefably not easily accessable by the large public, therewith establishing and maintaining there foodie lifestyle plus being able to spread it among other groups.

2015_part-one_cover

Our Community Kickstart program is an in-depth workshop-format that truly prepares your community for success in food and drink tourism.
Our Community Kickstart program is an in-depth workshop-format that truly prepares your community for success in food and drink tourism.

Some links!

Will travel for food

Eat your world: foodblog

Intrepid Travel: Tours for foodies

World Food Travel Association

Foodtourist

Narratives of travel: Telling it to the self

When does an experience become a story?

Anyone travelling loves to tell stories. During travel, after the journey, whenever resting around a campfire. But these stories are more connected than you might think, although they are told at different points and places within the travel experience, using different voices and stances. Together they form a typical narrative. Pre-tour narratives are carried throughout the journey, shaping and scripting the journey. Whatever happens during the journey, provide material for post-tour narratives, which after a period of time, may change the pre-tour stories altogether.

As a traveller you interact with your environment through all of your senses. Sensory modalities are symbolically structured. They are mediated and go far beyond the mere textual. The larger pre-tour narratives are nowadays for a large part construed through visuals, through the use of social media and internet.

A highly superficial way of doing ones pre-tour research but unavoidable. Also the pre-tour planning is a narrative structure, as people tell peers through social media, exactly in which stage of planning they are.

The master narrative

The object of a photograph on the web, is less that of the narrative or actual biographical or ethnological depiction of the main subject, but a visual that was already predestined to provide commercial imagery for the tourist sector, before it was even taken! When it no longer resides within the personal and private domain of the owner or depicted subject, it has no biographical meaning or relationship to its’ context, in whichever country the photo was taken. For the regular tourist, the photograph meets the expectations he has from the destination in very broad and commodified terms.  Photographs offer a point of departure (Barthes, 1984): a pregnant surface from which narratives can be launched, a fertile social soil for memories, identities, daydreams to grow on. (Noy, 2014)

Imagery

The actual time and occasion of taking the photographs are for the larger part staged and framed, both by the tourist industry and by the tourists themselves. The circulation of the imagery is very much NOT coincidental! The way Europeans look at the third world, is still very colonial. Not withstanding recognition of equality and fairness, the view of the third world is still very much of a grown civilisation, based on big 19th century constructed narratives. Mind you, this says nothing about looking down upon them. The big narratives of the 19th century grew within us, but not neccesarily within the same direction as the actual country in question. These established master narratives are of huge significance and influence. They make meaning, shape action and movement, the form tourist behaviour and direct the infrastructure for foreigners. They are therefore stories of power, aswell as meaning.

The master narrative is a perceptual framework that works as a filter which includes as much as it excludes (Bruner, 2005).

Backpackers are usually somewhat quieter when preparing for the journey. The usage of social media by backpackers, is significantly lower than that of the emerging flashpacker. Figures from 2014 indicated 26% of backpackers and 41% for flashpackers (G. Richards).

On a personal note, I wonder if the quest for “otherness” by backpackers- who are more reflective and internal in orientation -creates affordance for both a lower degree of social media use and more methodological and less visual pre-tour planning?

Backpackers often start their journey alone or as a couple. They frequently end up travelling in a small group. When on the road, the sources of information vary greatly by mode of travel. In groups, local guides and agents are the primary storytellers, with additional material by standard guidebooks. Backpackers use hostels or sites along the route as an additional primary source of information.

An experience- as it happens -is much more laden with rich sensations than any story could begin to approach. An experience turns into a narrative, as soon as you say to yourself what is happening on tour. When transforming a sensory occurrence into a plot structure.

” From the point of view of the experiencing self, the journey consists of a series of sensations, but from the point of view of the remembering self, it becomes a narrative, and a severe selection from reality (Kahneman 2005). “

However, the routes create their own sources for information- outside the tourist-industry – as can be read in the blog on volunteering abroad.

Volunteers and the knowledge created through volunteer-travel and religious travel, supply important modes of information and narration, like well informed non-professional guides, offering services. Some of them are skilled, other less so.

Most of the ones I have listened to over the years want to be entertaining as well as educational, but most do not have an anthropological understanding of culture but rather present unrelated snippets of information, or interesting random stories about the people or locality. Bruner; 2005

toerist

Learn it from a pro?

Servicedesign and guest citisenship

Recovering poor service on the workfloor

As could be read in earlier blogs, even if you are a small hostel, a familiy-run bed and breakfast, a low-budget accommodation: It is inexcusable not to think thoroughly about the services you provide. Simply NOT doing something, does not constitute a service! Nor does leaving things out, because it is your hostels policy not to provide too much guest-services for not being economical or simply too much work for the staff you have or don’t have.

Loyalty

Your guest really is perceptive enough to see the contours of the `deal’ that he is presented with. Chances are he was already familiar with it, before he even came to the hostel. That is- however -not the same as guest loyalty. He is simply providing behaviour that ties in with his side of the bargain! As written in earlier blogs, low prices are not the only thing the backpacker chooses your hostel for. The matter of ambiance is hugely improtant (see the post on creativity). Not only does a creative ambiance give the guest a good feeling on a personal level, it also creates a space for him, in which to interact with others, causing him to use the interaction with fellow-guests and space, as an interface for social interactions.

Service provided by guests

Many hostels employ volunteering travellers and backpackers as their staff. See also the post on volunteering abroad. It is important to give your volunteering traveller a good deal aswell, always making sure you remain on the giving side of the deal. It is perfectly acceptable to ask your volunteer to maintain certain standards and behaviours in handling guests. Instructing them, providing scripts, making sure they read a servicedesign manual you might have created. But make sure you discuss these things before they arrive. Furhermore, motivate them beforehand to apply if they have the personality traits ands skills you require of them, to communicate your servicelevel with. But again, make sure you remain on the giving side of the deal.

Contrary to popular belief, the loyalty of your guest can still be maintained and be put to good use, if they are happy with your service recovery effort. If something goes wrong, make sure you correct it and use the dimensions:

  • Competence
  • Excitement
  • Sincerity
  • Sophistication and
  • Ruggedness.

In short, make sure there is room for your guest to experience empathy for you and your efforts. When you have recovered their satisfaction, make sure the guest experiences this in a full recovery of the expected services, including all dimensions- tangible and intangible.

Loyal guests usually attribute errors to unstable factors, over which the supplier has little control. In the case of volunteering staff, guests are more likely to accept service-recovery, but it is important to understand that volunteers are often part of the group, with little to no distance to the guests, and therefore likely to choose the side of the peer-group rather than playing the role of experienced hostel manager. And who can blame them? Ashforth and Mael (1989) found that social identification lead persons to perform activities that are congruent with their identity and support institutions that embody that identity. So the volunteer-employee might be just the person to handle these things. If handles correctly, they will identify with the hotel organisation.

complaints

Guest behaviour after service-recovery, is much more likely to be a guest-citisen- also known as customer voluntary performance, varying in behaviour from using less towels as to have less costs for the hostel, to helping out during breakfast and giving advice to other guests.

So the production of your service is very much a joint effort with volunteers, paid staff and ofcourse your guests, which includes a good briefing of volunteers before they arrive.

Interested in putting everything into practise and see welldevised concepts turn into proper, unforgettable experiences? Contact me!

Renk van Oyen

Contact me