Category Archives: toerisme

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

Volunteering abroad: New tourist or passers by?

Changing travellers and work

Whether be it from loving to travel. doing things for others, having a cheap alternative to travel and stay in another country, having something to do for the summer or fleeing from everyday life and home… All people working as volunteers abroad, have their own reasons for doing so.

Usually, it is a combination of backpacking, wanting to do something for others and sheer opportunism. A combination of both being there for others, and by doing so, implying an reasonable reciprical action. This works usually through social travel and social accommodation. Much like Couchsurfing and houseswapping, the need for symmetrical swapping or exchange, does not apply when bound by certain common qualities. Contact through a community, trust, mutual interests and being endorsed by others, are commonly seen as deciding factors for housing someone, either on their sofa or as guest with more freedom in movement and stay.

Volunteers, working abroad, are usually not familiar with the term volunteer-tourism and don’t like to be called `tourist’, which indicates- similar to backpackers -volunteering abroad is still seen as (partially) idealogical in nature. Baring in mind ofcourse, the idealogical traits can be interpreted as being “social currency”  for travel and staying abroad.

Motives

On the subject of motives for volunteering abroad, there are numerous studies and theories to be addressed. In a study by Tomazos & Butler (The Volunteer Tourist as ‘Hero’; 2010), participants explained their engagement in a programme in different ways:

  • a wish to get away from the everyday routine at the permanent place of residence,
  • a fondness for travel.
  • a wish to repay one’s life of privilege and the need to give help to those who are poor and whose poverty is no fault of their own.
  • growing distrust of all kinds of charity organisations which bring help to victims and collect funds in developed countries.

As the backpacking community changes, so do the parties that provide in voluntary work, that work on a voluntary basis and exceedingly so: the go-between party. Often providing extra services that require payment and registration and work along reciprocal routes that have less bearing on peoples willingness to exchange things without currency, in a symmetric way. When such parties require payment, they can no longer rely on the willingness of travellers, to be as open as they were before. They become “customers” instead of traveller or volunteer, providing and demanding different qualities altogether. People volunteering abroad, increasingly use more bi-directional reciprocity to get where they want to be, meaning that an exchange is made based upon more or less the same value: work for accommodation and food and drink. One example I can mention is the new startup Amons.

amons.co

The way people make use of working abroad as volunteer is highly bound by cultural differences in leisure-experience, the experience of time, global routines and seasonality. American students for instance, will have a summer break for a specific duration. Having a gap-year has more flexible time boundaries and often involve a combination of paid and voluntary work.

You walk the voluntary walk of a pilgrim

Volunteering is specifically popular in Europe. This has a very interesting bit of background. Doing volunteering is related to pilgrimage and religious travel. Although obviously many other factors are important, volunteer-tourism is often been associated with being interested in other cultures; wanting to get to know them better. The length of stay is quite long. Many tourism volunteer projects are also based on the conservation or restauration of heritage. The cultural routes have a strong potential link to volunteer tourism through heritage and through the desire to have intensive experiences with local people. (Greg Richards, 2011)

Poland

In Poland there is a high rise in movement-possibilities, due to emergent new ways of very cheap travel like Polskibus, covering long distances for a very low price. Polish people themselves are as yet less familiar with the concept of Couchsurfing and social travel and are quite pragmatic in their use of transportation and covering large distances, putting an emphasis on the act of arriving, rather than the travel itself. In the past 3 years, the use of and familiarity with social travel and accommodation has increased greatly in Poland.

This brings me to the ideological aspect of social travel within Poland. As much of voluntary work in Poland is regulated through Non Governmental Organisations with quite good and large networks, the possibilities for cultural exchange are huge and rhich in meaning. They provide excellent opportunities for artists applying for grants for cultural exchange programmes and for volunteers abroad, to engage in more spatial experiences, not particular to one single space or place of work. A very good example on a cultural low-threshhold scale, is the work of Kinderzirkus Wanjanini in Germany, with affiliated organisations.

Scholarly travel

Researchers also find an increase in scholarship schemes, to provide Polish young people to travel, work, stay and study. The two largest programs now, are Erasmus and CEEPUS, covering most of Europe. (Joanna Kowalczyk-Anioł)

In commercial tourism, research is often directed towards conversion, to understand motivation just enough to earn money.

In my personal opinion, the tourist geography of both backpacker and volunteer-tourist, should be seen as an organic entity, bound by structures that rise above and flee from the commodified nature of spatial and experiential structure of the everyday world. Don’t forget, travel is an act of cultural production, of meaning making and placemaking along a network of incorporated symbolic boundaries.

Angloville banner

Zach
Volunteer at Angloville (Poland)

Circus-game-in-Malaysia

Polskibus routes
Polskibus routes

Music-travel and opportunities

Working abroad as an artist or busker? There is an increasingly larger amount of academic funding you can apply for, for working and work-exchange on an academic level.

There are numerous reasons why art in general and street theatre and busking, are important in everyday life. Music travels through time and space through a number of modalities, most of which are nowadays considered to have “un-natural” rhythms, in the sense that we are so much attuned and formed by the commercialisation of both music and rhythm that it is hard to concentrate on, and be influenced by sounds that matter for wayfinding, for instance.

Ofcourse, music transforms particular places into tourist hotspots. If you’ve been to Rynek square in Krakow, you know how throughout the day, the square is filled with music. The place is filled with sound and the sound of a place, enters the consciousness of the tourist and becomes part of the experience of the place.

Some links

Interested in more background? A few (of many) readings:

  • Tourist product in experience economy (Institute of Urban and Tourism Geography andrzej.stasiak)
  • The role of experience in consumer behaviour in the tourism market: concept of experience economy and experiential marketing; (Agnieszka Niezgoda)
  • Motivations and Behaviour of Independent Travellers Worldwide (Greg Richards and Julie Wilson)
  • The Volunteer Tourist as ‘Hero (Tomazos & Butler; 2010)

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

Renk van Oyen

Contact me

Takes on eventing for hostels

Thoughts on time and perception

Creativity in hostels is not just important for your guest-experience, it also enhances the quality of life in general. Literature has moved away from objective indicators of quality of life, into the understanding that subjectivity plays a larger role, connected to place, context and perception of time and time-related experiences. Quality of life is connected to leisure wellbeing, depending on factors such as :

  • Arousal;
  • Intrinsic satisfaction;
  • Involvement;
  • Mastery;
  • Perceived freedom and
  • Spontaneity

(Unger and Kernan, 1983)

In eventing for your guests in or from your hostel, make sure their time-perception is different from the commodified urban rhythms most guests are already acustomed to.

New Year in Krakow(1)

Rhythm and spaces

Nighttime should not be the mere opposite of daytime-rhythms. Remember to emphasise local big events, as they hold an important ritual meaning, important for the guest to construct their experiences with. Events as ritual, are bounded and seperated from everyday life.

Events can create ‘small spaces’ (Friedman, 1999), in which the time-experience is enclosed and can be marked and beautified by you as an event-maker. By length and nature and intensity of their qualities (Sorokin, Merton)

The events you organise and present, can create a sense of collective emotional entrainment (Collins), by introducing them to shared rhythms, marked by `zeitgebers’, like the gathering on a square at local big events, in which the guests’ participation within collectiveness is marked by larger markings, like a pre-party in your hostel, a fancy dress or themed gathering.

interaction ritual chain

As signals, they lead to interaction and shared behaviour. The experience and experience of time can be constructed by entrainment and a shared sense of ritual factors, but in this case it can be externally constructed through ‘micro-temporal coordination’, making sure the conditions for entrainment are present: physical density and barriers to outside involvement (Collins; 2004)

Creative hostel?

How creative are you? And your staff?

Hostel guests are primed for gaining new experiences. They have to be actively approached by the hostel staff. Creativity is a very important trait to have for them.

Contrary to cheap and affordable hotels, hostel customers usually seek for a bit more than just a low price. They also want social interaction. Due to the communal character of the hostelpopulation on location, it is easier to control the social situations There is a desire to meet and socialise, with other travelers and with the locals.

Hostels’ customers have usually travelled themselves, have been in other hostels aswell and are familiar with them. They themselves form creativity by their active participation in hostel events. Guests without the urge to communicate that much in hostels but are mostly in search of cheap accommodation, may not engage in efforts to get them participating. This can have a direct effect on the internal use of space and group-agility.

The key element for hostel is ambience.

Your role is everything

Role 1: hostel owner aiming at profits without taking efforts to create a specific marketing environment. Remember, the low cost of stay, is not the defining trait for guests to come and stay at a hostel, you have to provide additional services.

Role 2: The caring and participating hostel owner. They care about ambiance. Many hostel owners have travelled extensively themselves before opening a hostel. They are more familiar with other hostel culture and other travelers. The caring hostel owner is an active participant in creation and is able to weave this into the daily running and operations of his hostel.

So what if you’re in a bad mood? Or your staff is hungover? Being creative and affording to meet your guests, cannot be left to mere chance or spur of the moment. It needs to be an integral part of your servicedesign. This means you have to think it through and know what you’re talking about. It does NOT mean (I can hear you think it… 😉  ) it is veigned and masked performance. Creativity is both spatial and eventual in charactre. Creativity in hospitality includes approaches to space organisation and an active role on your part to build interactions in behavioural and in the marketing environment.

mymarriotthotel

Interwoven wit custumer experience management. Does that mean it’s all rather fakey? Absolutely not. As long as you’re sinsere and know what you’re doing, where you’re doing it and why.

If it is a family run hostel, it has the capacity of being the most welcoming place possible. However, beware of the wear and tear! Showing routine behaviour to your guests is a killer!

Most hostels do not give a lot of comfort in their design and organisation of space. This is compensated by other traits. The use of themed design or familiar decorations, gives an extra affordance to the internal space of the building. It gives guests an extra- albeit conceptual -livingspace, in which they are invited to move around in and make use of.

Four managerial directions:

(Irina Borovskaya, Mariya Dedova Creativity in hospitality industry: study of hostels.)

Targeted recruitment

Segmentation of customers

Organization of space

Organization of communications

Great expectations

Becoming strangely aquainted

There are numerous ways of ensuring your guest have a good time. One of the mistakes you could make, is to try and standardise staff-behaviour too much.
Travel is by all means a sense-making process. Travelers construct te touristic experiences by learning, understanding and feeling the places they have visited.

How strange or astranging is arriving in a hostel full of other cultural influences? Travelers construct a touristic experience by getting to know the places they visit, through interaction, understanding and sensing the embedded culture of a place.

The places they visit and cultures they encounter and experience, are connected to them by “stakeholders”, such as tourists, the government, original inhabitants and minority groups. The touristic experience is mediated through representation by stakeholders or by their being part of the tourism context. Backpackers themselves are certainly stakeholders in the sense that they meet eachother regularly and word of mouth is a big source of information for them.

Check-in

The length oIf the service-encounter at the check-in area can define the service quality in a negative way, if the service is not mediated in a proper way. Short check-in moments can actually be perceived as loose and easy in a nice manner. But not every type of information can be conveyed in that period of time, without giving off all the wrong signals. A longer check- in moment can be really irritating if the check- in desk is too high and there is nowhere for the guest to sit down. It creates a distance between the staffmember and the guest that is hard to correct later. If the check-in moment is short, be careful you only give out information that has a high service level. In Little Havana hostel in Krakow for instance. you were given a long waifer sheet for you to sign with all the restrictions the hostel wants to impose. It would have been better to bring some towels to the room with the waifer discretely tucked away in an envelope.

For backpackers and long time travellers especially, the actual proces of checking in at the desk is not a hugely significant event. However you must realise that the actual act of arriving and leaving at a venue, still holdsa large ritual value. The act of distancing oneself from newly befriended people and the actual physical shift in location when they left home to travel, has been compared to a rite of passage. The mediated environment of homeness in a hostel, can act as a new ‘fire-up’ for the rest of the travel. It is therefore important to make sure their departure is not only noticed but noticebly marked at check-out.

The eventmaker in your hostel can be a powerful mediator, in the right context. They link the tourist to the surrounding strangeness and translates the strangeness into a cultural idiom, that becomes shared and familiar to the visitors. Make sure you give your guests the opportunity to explore. Prefably experiences that are local and experienced through the eyes of the guests.

A tourism experience contains primary and secondary products and services. Although some may be seen as more significant than others, without te smaller or supporting experiences, the peak experience does not happen. If it ails in the supporting experiences, the main or key experience is in danger, no matter how strong the peak experience is.

It is neccesary to identify also the daily routine experiences, experienced by the guest. As guests are continually informed by the world around them, throughout the day he will be continually fed information and new impressions on your hostel; through the media, through other guests and travelers, through leaflets and pictures. It is not possible to deliver a continuous produced “flow”.

Further reading:

The Social Affordances of Flashpacking: Exploring the Mobility Nexus of Travel and Communication

Richards, Greg -Tourism trends: The convergence of culture and tourism

Richards, Greg – Backpacker tourism: the contemporary face of youth tourism

Hostel servicedesign: making the obvious seem extra special

CONCEPTUAL Framework hospitality.pngServicedesign: making the obvious seem extra special

Even when a hostel provides only the most elementary and basic service, these too are called products. Ofcourse they are only a small part of the whole deal. Each element within this deal, contributes to either satisfaction or dissatisfaction and a negative recollection of their stay.

A bed is a bed is a bed, you might think? Through applying different features to your services, the products and the surroundings within you place them, you differentiate from others. A dormitory room with twin-beds, standard room, etc.

Tourism-products

There are 3 levels of tourism products:

  1. The core-product: The essential service or benefit, designed to satisfy the identified needs;
  2. The formal or tangible product: the special offer on sale.
  3. The augmented product: all the forms of added value produced, to make the core-product more attractive.

Complexity

Tourism products can be categorised in different ways. One criterium is the level of complexity, or number of services, embedded within a single offer. You can say you can divide them into simple and compound products.

A good way to let your services standout, is to combine several elements in such a way, that the most important one you want to convey- albeit a “simple” one, stands out.

Basically there are 4 types of simple products:

  1. A service: like guidance, gastromic- or hotelservice, tourist info
  2. An Item: like a guide, map, souvenir.
  3. An object: like a museum, a castle, church
  4. An event: a show, presentation etc.

Simple products can be combined together, to make it into a more complex and advanced product.

Overview Renk on Linkedin

Mediation of homeness

an-introduction-to-marketing-semiotics-8-1024.jpgMediation of homeness

You as a hostel, are the mediator of homeness. Some of these commercially led immersive locative games, miss one very important factor: sense of place. The hostel- although not the actual home of the traveller -is able to recreate a setting that is very near a home situation, familiar to the young backpacker.

Urban is not a corporate word

Urban is not a corporate word

In every city big franchise companies take over part of the touring- aswel as the locative gaming market. They target their audience well and look for places to easily get at them. Gues where? Yup, your hostel is one of these places. Every time you simply point at the rack of leaflets, you are very kindly providing all other parties with customers at your own expense.

Hostels can easiliy provide tours and immersive experiences for their guests.

Nieuw: Experience design for hostels and B&B

Experience Design for Hostels and Bed & Breakfast

Experience design for hostels is an as yet not fully explored way of engaging and maintaining their clientèle aswell as the hostel, in a way that suits the scale of their venue and ambitions, is maintainable on all sides and is highly social.

Hostel experience design is fully customisable, consisting of :

  • pre-defined programs in several relevant subjects, in loose modules;
  • Custom made experiential Concepts- in theory aswell as in practice, following the hostels core-values and strengths
  • Custom made events for hostels;
  • Implementation of Event-Concepts

Including locative- and urban gaming for hostels!

General information

Click here for abbreviated outline.

Experience Design for low-budget or small hostels!

Have a hostel.. big one, small one, familiy hostel? Discover a new way to get your guests to have a superior experience for little money, at your hostel- before and beyond their stay.

Experience concepts are not only meant for big companies, large hotels and events.
Also smaller and family run hostels, can benefit from an allround, well thought through concept, to get your guests to have a wonderful time, remember their stay and to tell fellow travellers about their experiences. Although within the leisure- and tourist industry, hostels participate in a world where common tourist geographies apply in a very different way.
Even with a small budget, it is wholely possible to make it work!

Read some reviews for examples.

Abbreviated outline of the service

  • Quickscan of the hostel facilities
  • Interviews with the hostel owner, manager and staff
  • Guest-safari: Going on a trip as your guests’ guest

Topics

  • Domestic bliss as tourist-geography
  • Changing characteristics of the backpacker
  • Off-season trafic
  • Experiencemapping the custumers stay
  • Defining and using rhythmic behaviour and patterns
  • Servicedesign;
  • The hostel as a being-space or point of sale? Different functions
  • Your guests as a group

Modeling hostel entertainment

The machinations and meaning of pubcrawls and stag nights

  • Why do they do it?
  • How to handle drunk people
  • How to maintain authority over your group
  • Why it is a good idea to dress them as ducks
  • Offering an external photographer to accompany your group, reduces bad behaviour

Eventing en event-design for hostels & small hotels

  • How to handle changing tourist-geographies?

  • How to co-create your services with your guests;

  • How important are your guests? The hugely important backpacker.

Tourguide training

Basics

  • Pacing the tour, pacing the experience

An itinerary is about scenography and tension planning, not just about logistics;

  • Tour-operation training for guides!

Advanced and themed tourguiding

  • Immersive guiding: Keep your distance?
  • Being part of the group is only one of the guides many roles
  • Several types of analysing tours. Annotating video and hypervideo, from different points of view.

All observational notes, texts of the guides, their scripts and interviews, will be transcribed in software called ADVENE . ADVENE is designed to analyse audiovisual documents.

http://liris.cnrs.fr/advene/examples/nosferatu/exercises.html

Analysis of audiovisual content’ (http:// www./liris.cnrs.fr/advene/)

For instance:

  • POV1: Films te tourguide, talking about an item on the tour;
  • POV2: Films a spec. groupmember, listening to the guide
  • POV3: Films the behaviour of the group as a whole
  • Using and understanding space, speed, time and the senses
  • Using different modalities, affordances and mediators

Advanced training for museum guides

The use of the five senses allows the interpretation to rely less on the actual words and more on the overall experience,

An individual’s behaviour can be affected by rhe timing of the tour, environmental factors and emotional states.

Locative- and urban gaming

Be the one and only truely original source for unique gaming- and traveling experiences for your guests… wherever they are!

Through local activities and your own already running (succesful??) events and activities, I design urban and locative games, in which your guests get the unique local en special experiences they seek.

Although specifically made for each participating hostel, the backpacer-user of the app and programme, can actually use the app for their further journeys and experiences! The app and its content are only activated after booking at your hostel. After that- besides benefitting from the fluid and adaptive content within, they get to use all the social functions, the app and concept has to offer them and fellow travelers. Discounts, insider tips, curation, motivation, an alarm-system and direct contact.

Concepts are designed with in mind a wide corpus of knowledge about urbanism, tourism, backpacking-behaviours, tourist geographies, gaming-essentials, event-design and lots of hands-on experience.

Locationmanagement and placemaking

  • What makes a spot a tourist location?
  • What is the genus loci and does it matter for you?
  • The trinity of creation

image

CONTACT

Renk van Oyen

ww.la-clappeye.nl
www.blog.la-clappeye.nl

Twitter: @hostelconcepts

La Clappeye Acts

p/a Sint-Lucasstraat 16

5211 ZG, ‘s-Hertogenbosch

acts@la-clappeye.nl

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Locative- and urban gaming for hostels

Site-specific gaming for your guests. Have them explore the city through your eyes, through your connections, through the deals you want them to have!

Ask for more info!

acts@la-clappeye.nl