«Μελέτη για το Brand POLYPHΟNIA» Παραδοτέο Έργου 3.1.2
ΣΥΜΒΑΣΗ: «Παροχή Υπηρεσιών Τεχνικής Υποστήριξης της Π.Ε.Δ. Ηπείρου για το έργο “Thematic Tourism Development Through The Preservation Of Polyphonic Music, Unique Element Of The Cross-Border Cultural Heritage”» ΠΑΚΕΤΟ ΕΡΓΑΣΙΑΣ: «Ανάλυση και Ανάπτυξη του Έργου POLYPHONIA (POLYPHONIA Analysis and Development)»
ΠΑΡΑΔΟΤΕΟ «3.1.2 Πολιτιστικό Brand ΕΡΓΟΥ: POLYPHONIA (POLYPHONIA Cultural Brand)»
ΠΑΡΑΔΟΤΕΟ «3.1.2.1 Μελέτη για το Brand POLYPHΟNIA» ΑΝΑΔΟΧΟΥ:
ΥΠΟΠΑΡΑΔΟΤΕΟ «Μελέτη για το Brand POLYPHΟNIA» ΑΝΑΔΟΧΟΥ:
ΗΜΕΡΟΜΗΝΙΑ: 18/01/2020
«Παροχή Υπηρεσιών Τεχνικής Υποστήριξης της Π.Ε.Δ. 1 Ηπείρου για το έργο “Thematic Tourism Development Through The Preservation Of Polyphonic Music, Unique Element Of The Cross-Border Cultural Heritage»
«Μελέτη για το Brand POLYPHΟNIA» Παραδοτέο Έργου 3.1.2
Table of Contents
1. Introduction ...... 4
1.1 Aim & Purpose of the Study ...... 5
1.2 The Programme & The POLYPHONIA Project ...... 6
1.3 The Partnership ...... 8
2. Theoretical Framework...... 12
2.1 The Polyphonic Music Tradition ...... 12
2.1.1 Historical Elements ...... 12
2.1.2 Geographical Elements ...... 13
2.1.3 Musical Elements ...... 14
2.2 Polyphonic Music as Cultural Heritage ...... 16
2.3 Cultural Heritage Tourism & Branding ...... 21
2.3.1 Cultural Heritage Tourism ...... 21
2.3.2 Cultural Heritage Branding ...... 24
3. Research Methodology ...... 27
3.1 Research Method ...... 27
3.2 Sampling & Data Collection ...... 28
3.3 Research Design ...... 31
4. Primary Research Findings ...... 34
5. Secondary Research Findings ...... 39
5.1 Cultural Tourism in the Intervention Areas ...... 39
5.2 SWOT Analysis ...... 41
6. POLYPHONIA Cultural Brand Communication toolbox ...... 48
6.1 Brand Awareness & Loyalty ...... 48
«Παροχή Υπηρεσιών Τεχνικής Υποστήριξης της Π.Ε.Δ. 2 Ηπείρου για το έργο “Thematic Tourism Development Through The Preservation Of Polyphonic Music, Unique Element Of The Cross-Border Cultural Heritage»
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6.2 Brand Communication ...... 48
6.3 Branding Strategy ...... 51
7. Final Conclusion ...... 58
8. References ...... 59
9. Appendices ...... 64
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1. Introduction
The contemporary tourism under the changing digital and globalized era, promotes the need for competitiveness and strategic marketing among the different countries and touristic destinations. At the same time, today’s traveler desires authentic experiences, and demands exceptional service, challenging cultural heritage tourism to evolve in sustainability, authenticity, quality, cultural sensitivity, and valued experiences that set one place apart from all others (Hargrove, 2017).
Taking the above into consideration, cultural heritage tourism requires planning, investment, and responsible management in order to produce a positive economic impact, while preserving local traditions. This is why “cultural heritage branding”, the branding positioning and valuing proposition based on cultural heritage should be considered as an essential tool the strategic purpose of arouse a pattern of strong identity shared by a certain culture that is authentic, genuine, compelling and credible at the cultural level (Woodside, 2011).
This study researches the concept of “cultural heritage branding” in relation to the polyphonic music tradition of the Areas of Epirus and South Albania under the POLYPHONIA Project, included in the Interreg IPA II Cross-border Cooperation Programme “Greece–Albania 2014–2020”. To be more specific, the development of POLYPHONIA Cultural Brand constitutes a strategic tool in the international antagonistic environment which guarantees the uniqueness of the cultural identity built upon the intangible heritage of Polyphonic music, through a specific tourist product.
The definition and promotion of what the polyphonic culture and the related tourist products represent, will constitute a strategic tourist advantage, which will be antagonistic and will offer specific facilities, services and «Παροχή Υπηρεσιών Τεχνικής Υποστήριξης της Π.Ε.Δ. 4 Ηπείρου για το έργο “Thematic Tourism Development Through The Preservation Of Polyphonic Music, Unique Element Of The Cross-Border Cultural Heritage»
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experiences to the tourists. Thus, the development of the specific identified cultural brand will provide a strong, common and distinctive identity to the intervention area, will respect and promote the culture of the cross-border area and will last after the end of the Project.
1.1 Aim & Purpose of the Study
The purpose of this study is to research and develop the POLYPHONIA Cultural Brand which will concern the areas of Epirus and South Albania, and will encompass a set of marketing and communication methods that will help to distinguish the POLYPHONIA touristic product (destinations, routes, activities, etc.) and create a lasting impression in the minds of tourists. The Cultural Brand will also be related to a recommended set of services in the areas (e.g. accessibility to disabled, internet connection, correspondence with mass transport means, etc.).
The key components that will shape the POLYPHONIA Brand’s communication toolbox include its identity, brand communication (e.g. logos and trademarks), brand awareness, brand loyalty (defined as positive feelings towards POLYPHONIA brand and dedication to its products or services repeatedly with profound benefits), and various branding (brand management) strategies.
In order to achieve the above, the study used both research and theoretical data, that aim to result in a successful POLYPHONIA Cultural Brand. The methodology was primarily focused on:
The designing of a unique image for the Intervention Areas, strongly connected to the polyphonic music, in the context of which the logo, slogan, strategic promotional and managerial tools will be designed. The systematic and targeted promotion of that unique image.
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The continuous market and audience growth. The meaningful participation of local residents, institutions and business in the creation and promotion of the POLYPHONIA Brand. The connection of the promotion plan to the main goals of the Development Plan of the cultural music tourism that will be created for the Intervention Area. The best possible management of human resources in the context of touristic development through educational and training programs for residents, as well as visitors of the area. The systematic research of employment characteristics of the touristic sector as it will be created.
For this reason, the research was implemented both on a primary and a secondary level, in order to achieve optimal results that manage to define the POLYPHONIA Cultural Brand and provide the main strategic tools for its promotion, under the context of the cross-border cooperation and the overall effort to preserve and promote the polyphonic heritage.
1.2 The Programme & The POLYPHONIA Project
The Interreg IPA II Cross-border Cooperation Programme “Greece–Albania 2014–2020” supports the cooperation between the two countries of Greece and Albania. Under a common fund, the two countries join forces and capitalize on the advantages of the cross-border region to achieve common benefits. Cultural Heritage is the basis for this cross-border (CB) cooperation. The preservation of the common cultural heritage is not only important to foster the common cultural identity, but can also contribute to the increase of economic growth.
Taking into consideration, that a key common cultural feature of Greece and Albania is the polyphonic music, the POLYPHONIA seeks to preserve
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this cultural asset as an integral element of the intervention area and also valorize, through the instrument of thematic tourism, tapping significant inland undeveloped potential (traditional villages etc.) and improving the region’s attractiveness, to bring about prosperity and economic growth, while building bridges between the people and the Nations.
To be more specific, the regions of Epirus, Gjirokaster & Vlora have a rich polyphonic tradition, while extensive similarities exist to the songs and music culture, unfolding and flourishing through the ages, exceeding the borders of history to meet the structures of myth. Indeed, musical folklore constitutes one of the most precious assets of Albania & Epirus. In Paris, on the 25 November 2005 Albanian polyphonic music was proclaimed by UNESCO as a Masterpiece of the Oral & Intangible Heritage of Humanity.
The geographic isolation has contributed greatly to the fact that this particular genre is so distinctly different from the rest of the Balkans and surrounding European countries. In the past years there has been a revived interest in the preservation of traditional customs, music, folklore, and dances both in Epirus and Albania. However, far initiatives have been primarily articulated towards the general cultural development of the regions without truly recognizing the historical, aesthetic and artistic value of polyphonic music, as a long-lived monument of popular culture.
For this reason, the POLYPHONIA Project focuses on the preservation and enhancement of polyphonic music as a common and distinctive cultural element and a potential tourism development resource. More precisely, the Project aims at creating a complete database of the all the polyphonic songs with reference to their history, as well as folklore, historical and cultural information on the ever-lasting presence of polyphonic music, as an element of common origin and eternal communication.
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Moreover, the polyphonic groups of the region will also benefit greatly by this effort to revive, enhance & promote their area of expertise. Professional organization of the tourism industry will be provided with sufficient tools to promote tourism development of thematic tourism and boost economic growth of undeveloped regions with unexploited tourism potential.
1.3 The Partnership
The selected areas for the project are two (2) Regions located in Greece and three (3) Regions located in Albania: Regional Union of Municipality of Epirus (Lead Beneficiary, GR) Municipality of Pogoni (GR) Institution of Prefect in Gjirokstra Region (AL) Regional Directory of National Culture Vlore (AL) Municipality of Dropull (AL)
Regarding the Greek Intervention Area, both of the regions have strong values associated with the EU cooperation context, as well as a long history and tradition of polyphonic music.
Specifically, the Regional Union of Municipalities of Epirus, (PED Epirus), is a collegiate Body constituted by the 18 Municipalities of Epirus. The main objectives of the activities implemented by PED Epirus, are: Collaboration between the Municipalities-members. Research and study of issues related to local government and growth. Data collection, processing of elements and information relative to the mission and activities of the municipalities. Collaboration with all related bodies for the development of a Local Government and the common understanding of local issues.
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Cooperation with bodies & institutions of the local and regional government of EU, as well as international Organizations. Collaboration with bodies of the state and private sector on issues of Local Government, Culture, Decentralization and Growth. Participation in bodies and institutions, planning, aiding and supporting any initiative that strengthens decentralization, local growth, culture, economy & tourism.
The PED Epirus has participated in various EU co-funded projects in the previous programming periods both as LP (STONE.TRAD; BRIDGE.TRAD; VOL.NET /Programme GR-IT 2007-2013) & PP (Indicatively: “Business Women”/Programme Leonardo Da Vinci) gaining significant experience in the management, coordination control & monitor of the overall implementation of EU co-financed projects, predominantly in the field of Cultural Heritage, Tourism, Innovation, Environment, Entrepreneurship. As LB of POLYPHONIA, PED Epirus, will coordinate & manage project administrative & financial activities, ensure the achievement of set objectives & involve PBs in all Project phases.
In addition to the above, the Municipality of Pogoni (MP), is situated in the region of Epirus, formed in 2011, with a key geographical position & natural beauty, while it is often characterized as one of the cultural cradles of Epirus. MP has proven experience in the successful implementation of co- financed CB projects, as well as established ability to exchange, transfer & adopt knowledge & innovative practices. MP has also participated in various EU Projects in the field of cultural & natural heritage valorization (“CRAFTIN”/Programme | GR-AL | 2007-2013, “LA.ROUTE”,“PILTOUR”,“POLYSONG” | Programme GR-IT 2007-2013), as well as in the field of community integration & common identity (“BrandINode” | Programme GR-Al 2007-2013).
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Regarding the Albanian Intervention Areas, the Institution of Prefect in Gjirokastra Region, is a public authority with concrete responsibilities for the cooperation & coordination of the local & the central institutions. The prefect is the guarantor of the compliance with the law & public policy at local level & works for the implementation in the region of the objectives included in the government programme, providing necessary measures to attain them. It is experienced in the implementation of EU Projects about tourism & culture (Ne.T.Routes;Stonewood;Net Castle/GR-AL 2007-2013 Programme).
The Regional Directorate of National Culture, Vlorë (D.R.K.K.Vlorë) is a public institution that depends on Ministry of Culture. The directory is composed by five sectors:
Architecture, archaeology, arts & intangible culture sector Archaeological parks sector Himara sector Saranda sector Support services sector
D.R.K.K. Vlorë has successfully implemented the Project ""MileSTONES""/Programme GR-AL 2007-2013,related to cultural heritage preservation.
Lastly, the Municipality of Dropull (MD), is situated in Gjirokastër Region. It has participated in the Project “CraftIn” in the GR-AL 2007-2013 Programme. It has also implemented cultural activities as part of the regional joint Programme funded by the EU & implemented by the Council of Europe “Promoting Human Rights & Minority Protection in South East Europe”.
Overall, the partnership consists of beneficiaries which complement each other in terms of statutory responsibilities,experience in the field of sustainable development, tourism, cultural preservation, as well as the
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required competences & employee aptitudes,for the successful implementation of the POLYPHONIA.
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2. Theoretical Framework
2.1 The Polyphonic Music Tradition
2.1.1 Historical Elements
The presence of polyphonic singing has been strong in the borderline of Greece and Albania for many generations. Musical traditions, as those of the polyphonic singing, are considered to represent both a symbol for the promotion of national ideologies and a tool for the performance of national identities.
Having said that, the polyphonic singing could be described as a cultural phenomenon, influenced and shaped by the historical, social, economic, geographical and cultural conditions over time. The scholars, who have tried to confirm the continuity of polyphonic singing in Greece and Albania, have used the long-term union of the speech – body-movement as their guidance.
Based on the above model of development, we can distinguish the polyphonic songs in the existence of “iambic fifteen”, which connects these species with Greek folk songs and highlights the continuity in time (Liavas, 2008). Many scholars also associate the music of the Balkans with the regions of South Asia, America, and Europe (Zotos. 1978), while some others explain and connect it with ancient theater, mainly based on the rhetorical elements and the content, which preserves many ancient myths (Liavas, 2008).
This reminds us of the ancient roots of the songs, since all of them have a rhetorical nature (narrative, rhetorical, musical recitations), and puts emphasis on the deep roots that can get lost with time. It is obvious that the folk songs get really affected by the ancient times, since they were «Παροχή Υπηρεσιών Τεχνικής Υποστήριξης της Π.Ε.Δ. 12 Ηπείρου για το έργο “Thematic Tourism Development Through The Preservation Of Polyphonic Music, Unique Element Of The Cross-Border Cultural Heritage»
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shaped with common linguistic, metric and aesthetic rules, but this of course doesn’t mean that they haven’t changed over the years. The connection of the song with the ancient times is based on the pentatonic scale on which the polyphonic singing is developing. The pentatonic scale is the main scale that used and, in fact, Lavdas (1967) reports that the songs are part of the old musical traditions of Europe and they never stopped changing and forming new elements.
2.1.2 Geographical Elements
The geographic area where there are Greek-speaking polyphonic songs beyond Greek territory, is the entire area of the Upper and Lower Deropolis, of Rizas and Upper Pogoni (it contains 6 villages of Pogoniou that are currently part of the Albanian state), the villages of Theologos and Vourkos and the Greek-speaking villages of Himara. The polyphonic singing continues in all Albanian-speaking regions that are bordering with the geographical area of the National Greek Minority in Albania.
Lolis (2006) reports that the ethnic Albanian vocal polyphony is spreading from the northeastern regions around Struga and east of Lake Prespa and Ohrida and goes deep in the western and southern Albania. The Albanian scholars divide it into "toskiki" and "liampiki" based on structure differences. The first spreads from the west bank of river Gionousou (Shkumbini) to the river (Vjosa). The second one is related to the Greek-speaking polyphonic song, located in the areas of Avlona, Saints Saranda, Delvino, Argirokastra, Tepeleni, Balsi and Fieri, where the main population is the Liampides race. In essence, the term "labe" doesn’t include just the Liampides because in this geographical area there are also races like Chams, Lioutziotes, Zagorisioi, etc. that sing in the same way (Lolis, 2006).
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The polyphonic tradition of Greece is concentrated mainly in the regions of Epirus and Thessaly and in some areas of Western Macedonia. It is argued that "In Greek folk music the melodies of the chants are built on tropical musical scales, with or without halftones. The polyphonic song operates melodically with pentatonic scales” (Lolis, 2006).
2.1.3 Musical Elements
Various types of polyphonic songs are often dominated by phonetic and tetra-phonic scales as is the case with isocratic polyphonic songs. The tonal basis of the scale may be different among areas, however, the same tonic layout is used in most music interpretations of intervals. The majority of researchers conclude that "the pentatonic scale", which means that all voices-and not in each voice separately-develop a common musical arrangement, that stems from America and Africa. In Europe it stands out mainly in the Balkan music tradition.
In Epirus, the pentatonic scale co-exists with ousak, niavend, hijaz and other well-known music scales that have been developed in the eastern Mediterranean and beyond. Concerning the melodic style of polyphonic songs, it is argued that the melodic phrases are more rhetorical and the melodic movements are better expressed by medium voices rather than low or high voices. Their interpretation on the pentagram is quite an almost impossible task, due to its spontaneous nature and the emotional performance the singer. Lolis (2003), highlights that harmonic synonyms are directly related to the nature of the melodies, and the polyphonic singing “progresses in a passage, it drops, and ends up as syllables that are varied and are a genuine expression throughout the Greek music tradition”.
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Thus, polyphony develops through unwritten musical rules established in the collective consciousness of singers over the years, while the traditional technique of polyphonic singing is characterized by three key points:
1. Polyphonic evolution has historically been based on improvisation that does not create dissonance, rhythmic confusion and harmonic instability. 2. Each melodic line has formed its traditional structure repeated in space and time, song by song, group by group, generation by generation. 3. The polyphonic flow is stimulated by the the heterogeneous motion of the performers (Lolis, 2006). In the performance of polyphonic song, melodic relationships are developed between the singer, spinner, string and isocratic singers who become discrete and governed by the above-mentioned rules and not only.
The performance of these songs, according to Liavas (2008) is performed by a group of singers that must include at least four people. The most common number is five, but it can reach up to six, seven or even ten or twelve singers- depending on the Isocrates. The performance groups can be either purely male, feminine or mixed. The lead singer sings the main melody, that "picks up" the song and is called “partis”, “picker”. Then, follows a second singer who "turns" or "crushes" the song, and is called “giristis”, while the rest, the “isocrates”, hold the song "equal", that is, they maintain a stable tone of the melody. To this group may be added (in addition to or replacement of the filmmaker) another singer, the “klostis”, who makes peculiar sounds in a "falcetto" voice, "spinning" the song in between a tonal and a subdued melody (Peristeris, 1950; Liavas, 1998).
The most common polyphonic performance structures are three, as quoted by Kanellatou (2017):
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The first is “trifonia”, a three-part melodic motif that develops as follows: The “partis” begins, then the “giristis” enters, and finally come the “isocrates”. then the spinner may also be involved in some parts of the plot. The “giristis” may also appear in some parts but is not necessarily present throughout the entire song. The second is “tetrafonia”, a four-part melodic motif that develops as follows: The “partis” begins and gets interrupted by the “rihtis”. After that, follow the “partis”, the “giristis” and the “Isocrates”. The third is “pentafonia”, a five-part melodic motif that develops as follows: First, begins the “prologistis”, a performer who announces musically the lyrics that will be developed melodically by the “partis”. Then, follows the “rihtis” as well as the rest vocal roles, as mentioned earlier.
Taking the above into consideration, it can be observed that the melodic lines of all the aforementioned roles, are structured on the same melodic line and are developed interdependently. This proves that polyphonic harmony is structured "vertically" and depends on the musical plot developed by the various vocal roles (Kanellatou, 2010).
2.2 Polyphonic Music as Cultural Heritage
Apart from the above elements, the polyphonic music tradition is nowadays considered as a distinct, common cultural feature of the areas. In fact, in Paris, on the 25 November 2005 Albanian polyphonic music was proclaimed by UNESCO as a “Masterpiece of the Oral and Intangible Heritage of Humanity”. For this reason, both in Greece and Albania there is an urgent need to study, collate and preserve this rich and varied musical heritage which reflects both the uniqueness of these nations and their distinguishing characteristics, lifestyle, culture and tradition.
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The polyphonic songs have accompanied the people of these regions wherever they have migrated, as a carrier of meaning and expression of their culture and identity, passing orally from one generation to the next, from parents to children, bringing life to the deepest emotions of human nature through their melody and lyrics and providing a sense of continuity.
The study of ethnologist Alexakis (2001), showcases polyphonic tradition as a feature that adds the meaning of 'belonging' to the collective. Through the polyphonic songs and events, the individual is integrated into a group of people with common experiences, a common daily life and a shared worldview, a group that is greater than the sum of a family and smaller than the sum of an ethnic group or nation-state (Kanellatou, 2017).
At the level of an ethnic group or nation-state, the polyphonic singing can be incorporated into the body of cultural elements that are included in the national collective identity. This 'national' dimension of popular cultures, according to Kyriakidou (1998), was introduced in the beginning of the 19th century, when the concept of popular culture was defined along the borders of the nation-state and used to create an internal homogenization and common identity.
Polyphonic music in particular, is a very interesting musical expression that “projects” the cultural image of the area and can be outlined by the following practices: The singers have a communal context of ritual and communication. Those who consider themselves 'worthy' teach it and promote it in urban areas, contributing to the development of particular musical species. Learning is defined by 'teaching years' and the repertoire is structured according to the number of music pieces that are being taught throughout the year.
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Learning is based on ethnomusicological analysis, and emphasis is given to the technical performance as well as to the way the learner can express themselves personally through the Epirus Polyphonic Song. Singers, who do not belong to indigenous communities, usually have each as a personal goal, to interpret, to be seen by the world, to be applauded, to receive their performance diploma, to 'own' a piece, to sing the most difficult pieces of the repertoire as evidence of their 'skill'. The value structure of the Continental Polyphonic Song is now given by teachers and directors in bodies, music groups and vocal groups; the organizers of musical performances, festivals and cultural excursions; and the cultural managers of research institutes, archives and cultural institutions. Polyphonic tradition is promoted in the context of cultural organizations (festivals, performances, discography, television and radio broadcasts). The cultural and social function of the polyphonic music tradition is defined by the ideological, political, and economic ends it is intended to serve. Specifically, its social function has been recorded as: o Musical training and leisure time. o Cultural rescue, promotion and dissemination. o Professional competence. o Growth instrument. o 'New age' way of re-aligning to older Community ideals.
Due to the changing social and economic conditions, the cultural function of the polyphonic heritage is now slowly moving away from its indigenous community sites towards a multicultural, globalized society. In Epirus, for instance, this change in the function of the songs and their re-meaning is
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related to the wider social change that has been observed in Greece since the post-war years.
One of the "products" of urbanization since the last war and afterwards is the founding of Cultural and Ethnic Associations, as well as Cultural Centers for the dissemination of traditional polyphonic song. The purpose of these centers is to promote and study the traditional music and to maintain ties with the particular homelands.
The early versions of folk songs used to complement the polyphonic songs. Specifically, the first recordings included one or two polyphonic songs, while the first few record releases consisted exclusively of polyphonic songs that made their appearance in the post-war years. Most of these have been published by various non-profit organizations and clubs (disc companies, foundations, etc.) and not by local village associations that are the main expressors of the songs.
The above activity is probably related to the commercialization of songs and comes in part to cover the absence of a national design to maintain pluralism despite the fact that national rhetoric on the phenomenon is redundant. The contemporary studies of polyphonic music are now limited to a few cultural events where polyphonic singing is performed. That being said, its form and function is now explored, through the events where it revives, the actions of the persons, the role of the performers, and of course the relationships that are created and composed through the new character of the polyphonic song.
Nowadays, there are several polyphonic song groups that operate in various cultural centers of Greece and Albania, that revive the polyphonic song. The songs that are selected and performed by those groups, are derived respectively from the wider area of polyphonic singing. The bands that have
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the title of the place of origin of the singers are made up of the majority of members who come from the same village and give a more 'limited', local repertoire of songs.
Apart from that, the way the polyphonic song is transmitted has also changed. The oral process of learning is gradually abandoned and replaced by systematic teaching (in most cases written) in public conservatories or private schools. The remaining experiential singers of polyphonic song are few. As experiential singers, we should consider those who were initiated into polyphonic singing orally, within a community where this singing was multi-layered and an integral part of most customary procedures.
Of course, efforts to preserve polyphonic song are also being made in larger urban centers. The motives for that range from professional to creative. In other words, the polyphonic singing is the subject of professional occupation by the most skilled of those who teach it, and creative occupation related to the management of leisure time for learners. Nonetheless, polyphonic singing nowadays, even if it revives in small confined groups organized in urban centers or in small residual communities, seems to be multi-layered and has more to do with ancestral identity, politics and the economy.
Overall, the polyphonic singing tradition as a dynamic cultural phenomenon takes on specific forms and meaning at certain times according to the people who express it and the different social economic context in which they fit (Raptis, 2014).
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2.3 Cultural Heritage Tourism & Branding
2.3.1 Cultural Heritage Tourism
Specific forms of tourism predate both mass tourism and new forms of tourism. They operated however in most cases as an additional form of mass tourism, while the new types occurred predominantly in recent years in response to the changing incentives of tourists with an emphasis on those related to culture, ecology and the environment.
The specific forms of tourism are characterized by the existence of a specific and dominant incentive in demand and by the development of a respective specific infrastructure in the tourist areas, designed to serve the tourists of any special form. Alternative forms form part of the special forms, where the tourists often choose how to organize and lead the trip, which is dominated by the autonomy of options and the browsing with little use of the services of organized tourism. (Tsartas, 1999).
Alternative forms of tourism are the very opposite of mass tourism and especially of the international tourism market model characterized by massiveness, the burden on the environment, the reduction of the quality of the services provided and aims at maximizing profit at the expense of local communities, of the local economy and of the environment.
The alternative forms include those whose primary characteristic is the contrast to the classical type of mass tourism, having as starting point the need of protecting the natural environment, preservation of the cultural heritage and the natural life. Natural and cultural resources are now placed in the forefront of tourism development.
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Each special form of tourism has a special feature, which by acting as an incentive, becomes an integral constituent element and gives its name to this special form. The majority of these forms involves the active participation of tourists in the activities of these alternative forms. Also in the special forms of tourism, apart from the determinant incentive, other features can be also distinguished, such as its organization and operation, but also infrastructure required, all which are aimed to meet the specific needs of the tourists-visitors.
In the field of travel and tourism there is a growing trend towards sustainable tourism, as it is considered that it brings significant benefits to the local population while enriching the visits of tourists and retains the tourist products for future generations (Edgell, 2006). This interest in sustainable tourism coincides with the growing trend towards cultural tourism and its role in economic development, investment and poverty reduction around the world.
According to WTO, “Cultural Heritage Tourism is the journey that is done with a basically cultural motivation - including educational tours, theatre, festivals, pilgrimages, visits to archaeological sites, monuments and museums, as well as the study of popular culture and art” (World Tourism Organization, 2004).
Cultural tourism occurs when the visitor wants to understand and appreciate the basic character of a place and its culture as a whole, including:
the history and archaeology the people and lifestyle the cultural evolution the arts and architecture
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the food, wine and local produce social, economic and political structure the morphology of the area the various festivals and events
Cultural tourism, a very important part of the global travel and tourism industry today, is considered to have the potential to play an important role in achieving the goals of sustainable tourism development (World Tourism Organization, 1997). The tourism industry is increasingly aware that "the future of tourism depends on whether its development is in harmony with the environment and the culture» (Edgell, 2006).
According to the Organization of Economic Cooperation and Development (OECD), the increased interest in cultural tourism is caused by a number of factors of supply and demand (Economic, 2005). On the demand side, such factors include the desire of acquiring new experiences and the aging of the population. On the supply side, are the incentives provided by the public sector for the development of cultural tourism as a way of creating jobs and increasing incomes
The Regional Union of Epirus, as well as the areas of South Albania, are all rich in history and cultural tourism elements as well as in cultural events. By analyzing their cultural assets, the possibility of utilizing them is acknowledged by the development of activities of cultural tours with visits to monasteries, churches, museums, caves, archaeological sites, and other points of cultural interest.
The combination of cultural heritage tourism with the marketing techniques that will be developed further on, can provide a valuable strategic plan for the promotion of polyphonic music as a cultural product and brand. Taking into consideration the historical evolution of polyphonic tradition, it can be
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observed, that an organized planning is required, as well as the collaboration of the public and private sectors on a local basis. Moreover, an upgrading of the services of the archaeological sites and monasteries should occur, enriching the product and modernizing their infrastructure with modern ways of promoting and marketing the products. Finally, an extra measure of development is the connection of polyphonic music tradition to museums, folk culture, modern visual arts, and other cultural touristic activities implemented in the area.
2.3.2 Cultural Heritage Branding
According to Woodside (2011), “cultural heritage brand is a brand with positioning and value proposition based on cultural heritage”. He argues, that although the term is relatively newly introduced, the concept of cultural heritage branding has been important in the marketing industry, as it is related to the strategic perspective in which a brand makes heritage a part of its value proposition. It is also highlighted that, because the modern concept of branding is identity-oriented, branding with cultural heritage can create authenticity, uniqueness and credible at a cultural level.
It is apparent, that under the changing social, economic and technological conditions of our era, cultural heritage branding should be an essential strategic tool for cultural heritage tourism and, consequently, for the overall development of the cultural industry. Because cultural industries combine creation, production and commercialization of contents which are intangible in nature, the cultural products require a ‘creative act’ of the producer on the one side, and the ‘experience’ of the consumer-user on the other (UNESCO, 2000; Hutter, 2011).
Accordingly, the intangible nature of tradition and cultural heritage, places experience in the core of consumption and engagement. Cultural
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psychologists highlight that worldviews and behavioral patterns are products of personal experiences and the socialization process. Culture, by providing a context for cognition, serves as an important influence on the representations of reality and the way we act within it (Ng & Lee, 2015).
Therefore, the different consumption patterns can reveal different preferences, attitudes and motivations that drive the willingness to purchase a cultural experience good. This direct relationship between preferences and demand is a unique characteristic of cultural consumption and fits in the theory of taste formation. Regarding taste in the arts, Throsby (1994) argued that “the endogenization of tastes in economic models is likely to be essential if any progress is to be made in explaining demand for the arts” and he believed that taste is cultivated by past experiences, leading to present satisfaction and affecting future consumption” (Throsby, 1994, 18, pp. 3).
Taking the above into consideration, and as experience economy is growing, a shift from goods and services to experiences is observed (Pine & Gilmore, 1999). In fact, the contemporary way of travelling demands exceptional service that includes authenticity and quality, cultural sensitivity, and valued experiences that set one place apart from all others (Hargrove, 2017). Under such circumstances, “tourism sensemaking” focuses on the emotional and experiential interpretation of touristic and leisure activities (Woodside, 2011).
Thus, the cultural heritage experiences should enhance a destination’s overall brand and market appeal. Taking this into account, cultural heritage tourism should provide meaningful experiences and a “sense of place” that is valued and cherished. Moreover, cultural heritage tourism today is in need of proper planning, prioritization, investment, and responsible management (Hargrove, 2017).
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As Hargrove (2017) argues, there are five stages of travel: Dreaming Researching Booking Experiencing Sharing
Combining Hargrove’s theory with Pine & Gillmore’s (1999) experience realms, as well as Mclntosh’s (1999) research on the touristic mindset of the cultural heritage experience, it can be concluded that there is a multidimensionality that should be taken under consideration when trying to attract tourists in a heritage destination. Specifically, McIntosh (1999) argues
“The achievement of a consumer perspective through attention to ‘affective’ or experiential components of the service encounter, requires recognition of the fact that valued dimensions of the visitor experience are produced in part by the visitors themselves through their personal thoughts, feelings, imaginations and the unique ‘contexts’ or backgrounds” (McIntosh, 1999, p. 44)
Having said that, cultural heritage branding and marketing strategies must address each of those elements, promoting messages and visual cues to target audiences. Such marketing strategies may include campaigns to ensure interactions and loyalty, mobile services to take for sharing images and important happenings, as well as the creation of a “social calendar” to inform on when, what, how, and where to post (Hargrove, 2017).
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3. Research Methodology
3.1 Research Method
The purpose of this Study is to create the Cultural Brand POLYPHONIA which will support and promote the cultural identity of polyphonic music in the regions of Epirus and South Albania. Having framed the theoretical context, the methodological approach will be now discussed in this chapter.
To begin with, the methodology that was used for the implementation of the Cultural Brand POLYPHONIA, followed a series of steps to achieve the optimum result. Specifically, the steps followed are: 1. Organization 2. Execution 3. Evaluation
These steps were necessary in order for the research to: Specify the requirements for the creation of the Brand. Identify potential risks and critical success factors. Organize communication and cooperation procedures with the Contracting Authority. Prepare the techniques, methods and tools to be used. Implement and monitor the data collection. Apply specific criteria for the qualitative and technical evaluation of the research.
Based on the above, the implementation of the research consisted of four main sections, as presented below: 1. Touristic Product Research: It is about designing, developing and testing new products and services, improving existing ones and anticipating trends in consumer preferences.
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2. Sales Research: It provides information on the potential geographic distribution of the product, the profitability of distribution, and the potential impact that changes may have on the market (economic, social, political or even legal). 3. Customer Survey Research: It provides information on the characteristics of the consumer behavior of potential and / or existing buyers of tourism services. It explores the motivations and typology of tourists or their expectations. 4. Promotion (or Communication) Research: Its purpose is to test and evaluate the effectiveness of the various methods that can be used to design Brand POLYPHONIA. The successful formulation of a communication policy usually depends on the data collected each time during a promotional research program.
In the context of the implementation of the Work Package, a mixed research model will be followed as both primary and secondary research will be carried out for the most complete and reliable collection of the necessary data. Along with this tactic, issues of reduced responsiveness to the sample under investigation can be resolved and the validity of the information obtained through and cross-checking can be guaranteed.
The collection and interpretation of the data resulting from this research will form the necessary basis on which the development of the Brand POLYPHONIA, will be based.
3.2 Sampling & Data Collection
In order to collect all the necessary data, a research was implemented both on a primary and a secondary level.
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On the one hand, a combination of qualitative and quantitative information was collected as a primary source of research data, with the aim to examine the characteristics of the Brand POLYPHONIA and to formulate its strategic development goals, involving stakeholders (Residents, Entrepreneurs, Professionals, etc.) of the Intervention Area as well as the market.
For this reason, it was regarded as necessary to collect primary information both from the “consumers” and the “producers” side. Having said that, a front-end survey analysis was performed through the dissemination of surveys to locals (c.f. Appendix 1), in order to gather information about their perception of polyphonic music, their cultural behavioral patterns, as well as their motivation to remain engaged with the polyphonic tradition in the future (McManus, 1996). The survey analysis was not only considered as an efficient information-gathering tool regarding demographic, attitudinal and developmental characteristics, but also easier to quantify and export general conclusions (Housen, 1987).
On a “producers” level, qualitative interviews took place with bodies, organizations and responsible actors involved in the polyphonic music tradition (c.f. Appendix 2). The aim here, was to deeply understand their current situation in the polyphonic scene, their promotion techniques and what they feel is necessary to be done in order to have a more engaged polyphonic audience.
On the other hand, a secondary research was performed, including the collection of data that already exists within and outside the body conducting the research. Sources for this type of data collection were found on the Internet, on websites that illustrate examples of good practice or provide information on access to development programs (national or European Union). The bibliographic review was also of great importance in order to capture the structured knowledge of the subject matter of interest.
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After the collection of the samples took place, the data were processed in combination with the relevant theoretical background in order to reach the necessary conclusions.
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3.3 Research Design
For the implementation of the research objectives, the primary research was conducted with questionnaires sent via e-mail. Before sending the questionnaire a round of phone calls was conducted in order to explain the purpose of the survey and to provide clarifications.
The sample consists of operators in the Intervention Areas that are involved in the polyphonic music scene, as well as local citizens. The sample of the survey is limited, nonetheless the views are considered very useful for the study and their recording is critical for the in-depth analysis of the polyphonic music as a touristic product and, thus, the development of the POLYPHONIA Cultural Brand.
The design of the surveys and questionnaires was fundamentally based on the Model of Customer Relationship Management (CRM), a marketing tool used especially in the touristic and leisure industry, which is using customer data analysis and statistical tools to evaluate and enhance both customer and organizational value. Ray (2015) uses the following diagram (c.f. Figure 1) to showcase the function of CRM:
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Figure 1: The integrated framework for customer value and CRM performance (Ray, 2015, p. 27)
As described above, the Social, Emotional and Functional value of consumers, as well as their “Perceived Sacrifices”, can have a direct and positive impact on consumption behavior and, thus, revenue streams. At the same time, it is apparent that customer behavior is influenced by the satisfaction and brand loyalty, creating the need for “relationship marketing” to strengthen the mutual benefits and understanding between the brand and the consumer.
According to the above, the “customer” surveys regarding the POLYPHONIA Cultural Brand, that were disseminated to local citizens, involved questions that fit in the context of the above model and were categorized as follows:
1. Overall Perception of Polyphonic Music Under this category, individuals were asked about their familiarity and overall opinion on polyphonic music, as well as their motivations and sources of information regarding polyphonic-related activities and events. This section will be essential for the description and current analysis of POLYPHONIA as Cultural Brand.
2. Cultural Profile This category was necessary, in order to have a deeper understanding in the cultural context of citizens, their relationship with cultural events and their activity on a local level.
3. Polyphonic Musical Experience In order to identify the different experience dimensions (Pine & Gillmore), that trigger individuals when they listen to polyphonic
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music and motivate them to remain engaged with it in the future, participants were asked to listen to a polyphonic music piece and then answer relevant questions.
4. Demographic Profile This category involved questions to collect the demographic information in terms of gender, age, employment status, education, etc. and thus, have a clearer picture of the POLYPHONIA audience characteristics.
Apart from the “customer value” of the POLYPHONIA Cultural Brand, which will be further analyzed in accordance with the above, a qualitative analysis was also performed through interviews referring to the organizations, responsible bodies and institutions of polyphonic tradition. The purpose with this approach was to identify the current promotion tools, success factors, as well as barriers regarding the POLYPHONIA Cultural Brand.
For this reason, the interview questions were mainly focused on their current work, their relationship with local communities, their current effort to promote polyphonic-related events, as well as their aspirations and remarks for the future.
The collected data were carefully processed and evaluated according to both quantitative and qualitative research methods, in order to result in a strategic plan that can be used to promote polyphonic heritage as a cultural brand.
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4. Primary Research Findings
The results of the research, carried out through the aforementioned surveys and interviews, indicated the following: The overall perception of citizens and responsible bodies regarding polyphonic music as a cultural brand. The main means of promotion and exploitation of the polyphonic tradition. The recording of the main problems / obstacles. The identification of views on the possibilities and prospects of POLYPHONIA Cultural Brand development. Recording of proposals and comments regarding the further promotion of polyphonic heritage and tourism development.
In more detail, results can be analyzed among the categories of individuals (travelers/citizens/”consumers”), responsible bodies (municipalities /associations/“producers”) and promotion techniques. Among those categories, the analysis showcases the current situation, highlights and problems that were identified in relation to polyphonic music as a cultural product and brand in the Intervention Areas.
The diagram below (c.f. Figure 2) showcases the main results that were derived from the primary research according to the aforementioned categories:
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Figure 2: Primary Research Findings
1. Overall Perception of Polyphonic Music: The results of the research, combined with the theoretical analysis, showcase that the citizens are familiar with polyphonic music in terms of general information, but do not remain engaged with polyphonic- related activities in the long term. This remark, leads to the conclusion that the polyphonic music, as a cultural product and brand, certainly requires efficient promotion techniques that are in accordance with the audience needs and the overall context of thematic tourism in which it can be developed.
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2. Promotional and utilization actions of the polyphonic tradition: The main promotional activities that are currently observed in the Intervention Area for the polyphonic music tradition, are mostly focused on a local level and a rather traditional approach. More particularly, communication activities are mostly carried out by the local associations and traditional polyphonic groups and they are disseminated mainly with publication of records and CD or musicological and ethnomusicological editions. Moreover, the polyphonic music events were also reported as an effective promotional tool attracting a variety of individuals.
3. Main problems identified: It was mentioned in the responses that "The local community has shrunk, so the core community that reproduces and maintains the local tradition is absent". For this reason, we need an organized plan for utilization and visibility. As the main problem, by all respondents, was considered the lack of organized effort as these actions are fragmentary and organized by "non-specialists".
Other barriers that were reported, were the few financial resources available, and the fact that any efforts highlighting the traditional music, both in Greece and Albania, focus on the promotion of the dance rather than the singing.
Finally, the opinion stated that "the persons responsible for leading the organizations, have no actual training (scientific, technological, artistic, etc.) in order to design and choose properly collaborators and participants in such events”.
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Another typical view that was stated, was that of the inadequacy of responsible bodies. A statement of one of the interviewees was that “The actions for "visibility" are fragmentary and are rarely done by people who exercise or experience as natives the happening of this specific singing. It is common for some "non-profit charitable" civil companies, without any deeper (ethnomusicological, anthropological and musical aesthetics) knowledge, to organize performances, presentations, promotional festivals of polyphony happenings”. Hence, these activities are structured in a folk dimension, resulting in the distortion of aesthetics, as reported especially by younger people.
4. Aspirations and recommendations: As the surveys and interviews indicated, a list of conclusions can be formed regarding the effective promotion and exploitation of polyphonic music tradition. More precisely: Ethnomusicological researches and studies, recordings and publications should take place to enhance and promote the cultural significance of polyphonic heritage. The polyphonic music should not only be disseminated through CDs, but also online, through social media and websites. This will allow reaching a broader audience and especially the younger individuals who use this type of media in their leisure time. The creation of new polyphonic groups is also necessary to teach young people and students in spiritual centers, cultural associations, musical schools, but also in schools, just as it's done with traditional dances The Cultural Centre of the Municipality should set up a small committee with insiders of the local tradition. It is recommended that meetings of polyphonic groups take place in the Municipalities involved in the Regional Union of Epirus (Pogoni, Ktismata, Parakalamos, Dolo, Kefalovrysso, etc.) with
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other groups of the country (Inoro-Ioannina, Chaochia-Athens, Polyphoniko Epirus - Athens, Polyphonic Club of Epirotans - Patra, as well as with known groups from Northern Epirus (Dropolis, Pogoni-Vourko). The respondents, through their responses, consider the opportunity for tourism development through cultural tourism to be important, and highly connected to the polyphonic tradition. In general, the emphasis was made on the development of alternative forms of tourism, and on the combination of all the possibilities and elements of a region, in order to create a comprehensive tourism image. A characteristic view is as follows: “The Popular Culture of each place reflects the education, ethics and social vision of its people.”
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5. Secondary Research Findings
5.1 Cultural Tourism in the Intervention Areas
The Secondary Research that was implemented through the observation and analysis of current statistical evidence, indicated information that were judged as valuable for positioning the POLYPHONIA Cultural Brand in an overall context.
It is evident that, cultural heritage tourism constitutes a significant part of the Greek economy. According to the latest Periodic Study of Tourism by The Greek Tourism Confederation (SETE), the contribution of the tourism economy in Greece's GDP raises more than 21% in 2015, while it is expected to reach 23% in 2021. It is also important to highlight, that almost one out of five Greek employees works in the touristic sector, making tourism a significant contributor to Greek employment (SETE, 2016).
Cultural heritage tourism, in particular, is found to acquire a large part of the Greek touristic activities. The Hellenic Statistical Authority (ELSTAT), has reported that in August 2019, compared with the corresponding month of 2018, Museums experienced a 4.3% increase in the number of visitors, while the archaeological sites recorded an increase of 2.5% (ELSTAT, 2019).
That being said, Greek tourism has an overall satisfactory performance, with a special interest in cultural heritage and alternative touristic activities. For this reason, in order to support tourism, specific policies and strategies are being implemented in the country. Although for many years, tourism was taken for granted, nowadays there is a strong tendency to combine different specific (niche) products.
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There are different kinds of tourists which travel for a specific purpose, but do not want to be limited to this. Even visitors who come for 'sun and sea', we see that they are starting to care also for other experiences. The trend becoming even more frequent is to offer a mix of tourism products, as rich as possible. This is the only way to defeat the seasonality, but also for tourists to stay more days. Thus, they spend more money, the area becomes decongested, they stay longer and benefit more people.
As shown in the theoretical background, the statistical evidence also proves that tourism has shifted from the product concept to the concept of experience. Making the individual traveler-consumer the core of touristic consumption, to have the best and most thorough analysis, it is necessary to examine the main factors that directly affect the demand and supply of tourism.
Based on the research observations and according to Kokkosis and Tsartas (2001), the parameters that affect and determine tourism demand were concluded to be the following: International Demand Trends, with alternative forms of tourism being a key example. Touristic Incentives, which trigger travelling by forming different patterns of tourism development. Advertising, which is a key determinant of tourism demand, since it is the means of visibility of a tourist area. The implementation of a dynamic marketing program on tourism development positively influences the tourism demand. The location of the touristic area is also a demand indicator. If, for example, the area is geographically one of the traditionally developed tourism areas, this affects the composition of demand in a typically positive manner.
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Welfare state policies can enhance tourism development of the host country. The sociopolitical and economic conditions, can also significantly affect touristic demand. The natural and cultural resources of the tourist area, mainly involving factors such as the environment, climate, flora and fauna, cultural events, manners-customs and traditions. The manmade resources. These are resources related to the built environment, such as traditional villages, historical monuments etc. The facilities and services, which are directly or indirectly related to the stay of tourists in the area: hotels, agencies, transport, catering and leisure businesses, health facilities etc.
It is therefore necessary to identify the aforementioned demand factors when examining the POLYPHONIA Cultural Brand, as they can be important indicators for its successful promotion and long-term maintenance. In order to do that, a more thorough analysis of the local touristic market was performed, using the SWOT model.
5.2 SWOT Analysis
It is known that, the SWOT analysis is a starting point for the planning of tourism marketing plans. It is a strategic analysis which constitutes the way a tourist agency can comprehend its relationship with the environment in which it operates. This is done by identifying the advantages and disadvantages in relation to the opportunities and threats present in the environment of the tourism industry (Christou, 2006).
SWOT analysis is divided into internal and external. The internal analysis consists of identifying and evaluating the strengths and weaknesses of the
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tourism agency. The strengths are generally expressed as relative advantages while the weak points as drawbacks. The goal of the internal analysis focuses not only in the eradication of the weaknesses of a tourism business but also for the identification of its strengths. The identification of its existence solely, serves no objective purpose, if is not aiming to exploit them.
The external analysis aims to examine the external environment of a tourist agency. This activity deals with the identification and evaluation of opportunities and threats that exist in the wider environment of the tourism industry. The opportunities and threats arise from changes in the external environment, which is not always controllable by the enterprise, so it is not easy to identify them early. The opportunities constitute competitive advantages, whereas the threats constitute challenges that a tourism business should diagnose and tackle them with the proper marketing activities (Christou, 2000).
According to the analysis of the essential characteristics of the Regional Union of Epirus and key conclusions drawn from this, but also according to the views as those were depicted in the questionnaires, a SWOT analysis was drawn, with a focus on polyphonic music.
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The following Table (c.f. Figure 3) indicates the results of the SWOT Analysis:
Figure 3: Secondary Research Results-SWOT Analysis Strengths As shown above, among the Strengths of the Area, it was found that there is a very rich polyphonic history and tradition that is strong enough to become a distinct touristic product and, consequently, the core of the POLYPHONIA Cultural Brand. In addition to that, there are plenty of polyphonic musical groups and associations, which could support and promote the polyphonic music as a cultural product through events, performances and information dissemination.
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The has also an overall rich cultural heritage, including monasteries, museums, customs and traditions, that can be combined with the polyphonic tradition for the further development of cultural tourism the Brand POLYPHONIA. Moreover, the area showcases a very rich natural environment with great variety of ecosystems and biodiversity available for tourism development.
It is thus apparent, that there are ideal conditions in the area for the development of alternative tourism forms. This, in combination with the competitive prices of tourist services and the proximity to established tourism destinations in the region, provides could create a prosperous environment for the establishment and promotion of polyphonic music as a cultural product.
Weaknesses One of the main weaknesses that were observed, is the lack of organized tourism development efforts towards alternative tourism, which is a general problem in the country of Greece. Another issue of the country and, consequently, the Area of Epirus are the limited funds that are currently available for tourism development.
In addition, an overall lack of advertising and promotion of the touristic products was found, particularly through digital channels which now dominate in the touristic industry. Another problem that was identified, was that most attempts of drawing attention to the traditional music, focus more on promoting of dance rather than of singing.
Furthermore, one a major weakness caused by the overall urbanization takin place in the Greek rural areas, is that the population size of the Area of Epirus is being reduced, while the age is rising. Thus, the local community has shrunk, making it difficult for local tradition to be maintained. The high
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unemployment rates cause an additional problem to that, making it less possible for younger generations to stay in rural areas and be involve in the local traditions.
On top of the above, the existence of seasonality in tourist arrivals, leading to sub function of tourism enterprises during the remaining days. That, in combination with an often lack of facilities, qualified staff and limited accessibility, could be a disadvantage for the prosperous development of thematic tourism in the area.
Opportunities To begin with, it should be taken under consideration that the utilization of polyphonic songs / dances / music and, hence, the overall POLYPHONIA Cultural Brand, fits in the context of themed tourism, which is now flourishing in the area. In addition, it is a great opportunity that cultural communication networks with locations around the world are projected touristically through the respective cultural values with the aim of their cooperation in tourism related subjects.
The opportunity of connection and communication is also presented through the cooperation between the polyphonic groups of Epirus (Ktismata, Parakalamos, Dolo, Kefalovrysso etc.) with other groups of the country (Inoro-Ioannina, Chaochia-Athens, Polyphoniko Epirus - Athens, Polyphonic Club of Epirotes - Patras, as well as with known groups from Northern Epirus and Italy, with the aim of jointly highlighting the polyphonic music tradition
Moreover, cultural tourism, with emphasis on the polyphonic music tradition, can be connected with other forms of tourism, aimed at creating an integrated tourism product. Considering the increased tourism demand worldwide, there is now the dominance of the view that tourist travel was transformed from a luxury commodity into a basic necessity. This presents
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great opportunities, as travelers-consumers are potentially dissatisfied from the excessive tourism development of other destinations.
Another advantage is the increased involvement of the consuming public with special forms of tourism, in combination with the growth of the independent travel market (with online reservations and use of low-cost airlines). Apart from that, the existence of national and community funding for the strengthening of (semi-) mountainous and disadvantaged areas aimed at accelerating endogenous development, can lead to a more efficient policy framework in which the POLYPHONIA Cultural Brand could be developed.
Lastly, there is the opportunity of the qualitative improvement of the offered tourist product, services and infrastructure, as well as the upgrading of the local workforce through continuing vocational training and lifelong learning and utilization of new technologies for the improvement of tourism employment and to address structural problems.
Threats An important risk that seems to dominate, is that of local traditions being "lost", as the local community shrinking, thus the team of the village that reproduces and maintains the local tradition being absent. This is mainly due to the increased urbanization and unemployment, leading locals to larger cities of the country and detaching them from the polyphonic heritage.
In addition to that, there is increased tourism competition from neighboring areas surrounding Epirus (Zagoria, Konitsa, Metsovo), in the context of sustainable tourism development. This calls for more efficient efforts of promoting Epirus as the core of polyphonic music tourism.
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Lastly, there are risks related to the environmental degradation due to uncontrollable tourism development, as well as to adopting a tourism model that seeks opportunistic and easy profit.
Conclusion As a conclusion of the SWOT analysis that preceded, we conclude that while the region of Epirus shows some weaknesses, nevertheless the dynamics present in the area are very important since it is characterized as a region with a rich cultural heritage and natural environment, which with the appropriate actions it could become a beacon of tourism development.
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6. POLYPHONIA Cultural Brand Communication toolbox
6.1 Brand Awareness & Loyalty
As with any Brand, it is first necessary to clearly define and determine what the POLYPHONIA Cultural Brand indicates, what it stands for and what is the vision that drives the promotion mechanisms of this type of touristic product. Resulting from the aforementioned data and theory, the POLYPHONIA Cultural Brand Identity could be phrased as:
“The POLYPHONIA Cultural Brand represents the polyphonic music heritage as an integral element of thematic tourism improving the region’s attractiveness, prosperity and economic growth, while building bridges between the people and the Nations. It aims at the efficient promotion of polyphonic music in terms of cultural and thematic tourism, in order to enhance the awareness of cross-border cultural heritage.”
The distinguishable identity of the POLYPHONIA Cultural Brand, accompanied by the trademarks and branding strategies, will allow individuals to differentiate polyphonic music as a cultural product from competitive touristic products, by associating the polyphonic tradition with positive feelings and leisure activities implemented in the area.
This will contribute to the “brand loyalty” (Aaker, 2009), in other words, it will be more likely to engage individuals with polyphonic-related activities in the long-term, hence, it will eventually re-enforce the competitive advantage, as well as the cultural and economic prosperity of the areas.
6.2 Brand Communication
For the successful implementation of the promotion and outreach plan, as developed in the previous sections, an efficient communication tool-set is
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required. Such a tool-set should include the main features of the brand which are, specifically a project logo, banner and slogan.
These elements are essential, not only because they visually represent what the POLYPHONIA Cultural Brand stands for and aims at promoting, but also because they can be used in all the related activities and events and, thus, familiarize citizens with polyphonic music.
Following, the information and publicity guidelines of the Interreg-IPA CBC Greece-Albania manual, the communication tools of POLYPHONIA were developed as showcased below:
Picture 1: The POLYPHONIA Logo
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Picture 2: The POLYPHONIA Banner Advertisment
Every European Territorial Cooperation Programme seeks to develop valuable projects that have a real impact on the life of European Citizens and in order to attract new people and new projects, a Programme has to be visible (Interreg, 2018). That being said, the above tools can be really valuable for the promotion of polyphonic music as a cultural product and brand. More specifically, they can be used to visually represent the polyphonic music heritage in: Buildings Events Equipment Publications Information and advertising material Digital information carriers and material
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Television shows, articles and other texts in a technically possible and suitable manner Advertisements in print or digital media Souvenirs.
Therefore, by using the aforementioned trademarks, the polyphonic music will be established as a cultural and touristic product, as it will be connected to relevant activities and services offered in the regions of Greece and South Albania.
6.3 Branding Strategy
For the POLYPHONIA Cultural Brand to be developed, a strategic planning is needed. This planning should combine marketing techniques with the theoretical and research approach that was conducted in the previous chapters. As a consequence, the development strategy should primarily focus on the following points:
1. Coordination of the POLYPHONIA Cultural Brand with the overall tourist image of the area. After defining the vision and aim of the Brand, it is essential to properly place it within the overall touristic context of the area. To achieve that, it is necessary to use the POLYPHONIA Cultural Brand communication tools and references to polyphonic music in events and activities taking place. Moreover, the details of space, time and facilities should be taken under consideration.
For instance, if a polyphonic music festival is going to take place, it may be preferable to take place during the low season. However, it is necessary that the hotels and restaurants are operating during this period and the basic tourism services are available. To showcase the POLYPHONIA Cultural
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Brand in musical events of the area, is not only a great way to establish polyphonic music as a touristic product, but can also generate further tourism as a thematic and unique leisure activity.
When organizing a music event, the objective is for the fans to pursue tourism in other area attractions, to spend the night in local hotels and eat at local restaurants, leaving money on all businesses in the area. Towards this goal it is essential to create spaces / stands at the music event with recommendations for night stay, food and tourist activities in the area.
2. Using new media & attracting new audiences As mentioned in the questionnaires, the younger audience groups seem to be absent from activities related to polyphonic tradition, mainly because they are not efficiently informed about them. Thus, an urgent need for the successful development of the POLYPHONIA Cultural Brand, is the use of new media, particularly online, not only to engage and inform existing audience, but also to attract new ones.
That being said, it is important to use Social Media accounts, as well as Websites, TV and Radio Spots in order to promote the message of the POLYPHONIA Cultural Brand and the activities related to it.
3. Utilizing collaborations & clusters The music supply is better to be combined with that of neighboring regions. Just like many other forms of tourism, in the music tourism, the creation of a common tourism identity of a broader region can increase the value of the tourism product.
If only a single concert is performed, the guests will just attend the concert and leave. But if the concert is part of a total tourist package, then it will act as a pole of attraction that will generate proliferative gains throughout
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the region. The success of music tourism and, consequently, a more efficient promotion of the POLYPHONIA Cultural Brand, depends on collaborations and touristic clusters developed in the area: the larger the number of collaborations and the stronger the relationships, the more successful is music tourism in terms of promotion, audience outreach and implementation of touristic activities.
Therefore, the production, organization and promotion of the POLYPHONIA Cultural Brand at regional level, as well as the process of marketing and sales requires an inter-territorial and transnational networking, a prerequisite of the effectiveness of the marketing operations, within the operating conditions of tourism market, for instance, the fierce competition and internationalization.
Combining the theoretical analysis, with the research results, the following Table (c.f. Figure 4) was composed to showcase a set of recommended promotion and outreach actions for the POLYPHONIA Cultural Brand:
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Figure 4: POLYPHONIA Cultural Brand Focus Areas & Actions
As shown above, it is recommended that the POLYPHONIA Cultural Brand promotion techniques, focus on context, quality, marketing and human resources.
Specifically, regarding the marketing, the promotion strategy for the thematic products is based on an approach of market segmentation (Holloway, Plant, 1990). It is obvious that an important contribution, specific benefits and added value to the above will result from a transnational networking.
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Thus, the need is acknowledged for the continuous advertising and promotion of the tourism product of the area and highlighting of its qualitative elements remaining in a dormant state. For this purpose, specific promotional and advertising actions must be identified.
The best use of the Internet for tourism marketing is a key priority. It is necessary to make a full presentation of what is offered in Epirus to visitors, with attractive descriptions of places of tourist interest and all the necessary useful information.
Apart from upgrading the tourist site of the region, the implementation of other online activities is also proposed. For example, for both the music and for the cultural tourism, it is necessary to develop an internet portal which hosts an online museum, an electronic library and an e-learning application.
Particular emphasis should be placed on creating a website for the polyphonic music, with relevant information, photos and video, information about the festival, contact details with polyphonic shapes etc. Both residents and visitors to the municipality but also more generally fans of polyphonic music, should be encouraged to contribute text, photos, knowledge and experiences.
The promotion of the POLYPHONIA Cultural Brand in the context of music tourism, is the primary way of the utilization of polyphonic songs / dances / music in the Regional Union of Epirus. That being said, it is recommended on an annual basis, that polyphonic music festivals with the participation of distinguished polyphonic groups from the country and abroad (Polyphonic clubs from Albania, Bulgaria, Italy, Georgia), as well as the participation of known instrument troupes are organized.
The festivals can be accompanied by activities, such as lectures or conference days and their implementation requires detailed planning: scientific, organizational, artistic and economical. In this way the polyphonic tradition of the Municipality will be projected and will create acquaintances
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and collaborations with other groups. To achieve this goal, it is necessary to have organizational and economic support by the municipalities.
As a target market for the Museum of Polyphonic music, the domestic market will have priority, which should be exploited in the early years to create a solid foundation for the presence of the museum. There is also a dynamic and active Greek community abroad which, not only is an important target market but may also serve to promote the POLYPHONIA Cultural Brand abroad.
Neighboring countries will also constitute target markets, especially those which share the polyphonic tradition (Italy, Albania, Bulgaria, Georgia). The identification of the target markets is important so that the tourist product that will be created to be tailored on the specific needs of market segments.
The polyphonic music is inextricably connected to the wider culture, customs and traditions of the region of Epirus. Thus, the music tourism experience can be enriched with other events, combined with activities in the region and with other cultural elements that allow the visitor to gain an overall flavor of the culture of Epirus. The cultural references and influences of the polyphonic music can be best understood if combined with tours to monasteries and archaeological sites.
The combination of music tourism with concerts and festivals of polyphonic music and the visit to the Museum of polyphonic music with the cultural tourism with visits to bridges, caves, monasteries, churches, museums, archaeological sites, can turn the visit to the area in an experiential experience, and thus, make the POLYPHONIA Cultural Brand distinguishable and unique.
For the development of the Brand, an organized planning is required by the collaboration of the public and private sectors on a local basis and the focused strengthening with GNTO and the Ministry of Culture as key actors, by means of financing programs for the creation of cultural routes. An
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upgrading of the services of the archaeological sites and monasteries should occur, enriching the product and modernizing their infrastructure with modern ways of promoting and marketing the products. Finally, an extra measure of development is the design of theme packages with culture heritage, antiquity, museums, folk culture, modern visual arts, combined with the polyphonic music tradition.
The conservation and enhancement of the local customs and traditional activities such as the traditional festivals is also proposed. Their recording and projection with photographs and video, in collaboration with the Centre for Studies in Ioannina but also the Federation of Brotherhoods and Associations of the District of Pogoni based in Athens, is particularly important for the highlighting of the cultural heritage. This material can be suitably used for the promotion of the place.
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7. Final Conclusion
The analysis of this study generated valuable results for the development of the POLYPHONIA Cultural Brand and the establishment of polyphonic music as a distinct and unique touristic product of the Intervention Areas.
As Hargrove (2017) argues, “sustainability of cultural heritage tourism is threatened if visitors don’t know that you exist”. Therefore, planning and strategic marketing have a critical significance in the contemporary touristic market.
As indicated in the previous chapters, in order to successfully promote polyphonic music as a cultural product and brand, the responsible actors and institutions must primarily define the most desired audiences and determine how to best reach them by using a complete branding and communication “toolset”.
More specifically, the research defined a compelling message that represents the identity of the POLYPHONIA Cultural Brand, contributing to the awareness and long-term engagement of citizens. Moreover, the creation of a logo and a banner were found as the necessary visuals that can support marketing activities (promotions, public relations, advertising, or digital and social media).
Lastly, a comprehensive branding strategy was developed, implementing all the aforementioned elements and following specific focus areas, outreach techniques and activities.
It is certain that further research should be conducted in order to ultimately sustain cultural heritage touristic products under the urgent needs and conditions of the modern era. Nonetheless, the study for the POLYPHONIA Cultural Brand is a first step towards that direction and provided results that can add value to the future cultural heritage scene.
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9. Appendices
Appendix 1- POLYPHONIA Cultural Brand Survey
Dear Sir / Madam, This research is conducted under the POLYPHONIA Cultural Brand Study for the effective exploitation of the polyphonic heritage as a cultural brand, under the Act with distinctive title " Thematic Tourism Development Through The Preservation Of Polyphonic Music, Unique Element Of The Cross-Border Cultural Heritage". Towards this direction, your contribution by participating in this survey, is extremely important. Please be assured that the information you provide will be strictly confidential and will only be used for scientific purposes. Thank you in advance for your help.
1. Overall Perception of Polyphonic Music
1) How familiar are you with the polyphonic music? □ Extremely familiar □ Very familiar □ Somewhat familiar □ Not so familiar □ Not at all familiar
2) How would you describe your overall opinion of polyphonic music? □ Extremely favorable □ Very favorable □ Somewhat favorable □Not so favorable □ Not at all favorable □ I have not heard of polyphonic music before
3) Have you attended a polyphonic music event before? □ Yes □ No If yes, what was your motivation to do so? □ I wanted to have fun □ It was a touristic activity □ I wanted to learn more about it □ I wanted to socialize
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If yes, where did you find out about the event? □ TV □ Newspaper □ Website □ Social Media □ Street Poster/Leaflet □ Other:……..
4) Have you purchased a polyphonic music record before? □ Yes □ No
2. Cultural Profile
5) How often do you visit cultural heritage sites? □ Once or less a year □ Every 3 to 6 months or so □Monthly □ 2 or 3 times a month □ Never □Other:….
6) How often do you attend music events? □ Once or less a year □ Every 3 to 6 months or so □Monthly □ 2 or 3 times a month □ Never □Other:….
7) From the scale of 1 to 5, how active are you in the local activities of your area (attending local events/joining local organizations/volunteering in local festivals/etc.)? 1 2 3 4 5 Extremely Very active Somewhat Not so Not at all active active active active
3. Polyphonic Musical Experience
8) Please describe, after listening to a polyphonic music piece, what first comes in your mind? …………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
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9) Please indicate the extent to which you agree or disagree with the following statements based on your experience while listening to a polyphonic music piece:
When listening to Strongly Agree Neither Disagree Strongly polyphonic music… Agree agree disagree nor disagree I feel moved or inspired. I feel engaged in the experience. I feel relaxed and entertained. I feel connected to the polyphonic tradition. I feel motivated to learn more about it in the future. I feel motivated to attend a live polyphonic concert in the future. I feel motivated to purchase a Polyphonic music record in the future.
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10) How likely is it that you would recommend polyphonic music to a friend/colleague/relative? □ Extremely likely □ Very likely □ Somewhat likely □ Not so likely □ Not at all likely
4. Demographic Profile
11) What is your age group? □ less than 12 y.o. □12-17 y.o. □18-24 y.o. □ 25-34 y.o. □35-44 y.o. □ 45-54 y.o. □55-64 y.o. □ 65-74 y.o. □more than 75 y.o.
12) What is your gender? □Male □Female □Other □Prefer not to answer
13) What is the highest degree or level of school you have completed/you are currently enrolled in? □No schooling completed □Elementary □Secondary □High School □Bachelor Degree □Master Degree □Phd □Prefer not to answer
14) What is your current employment status? □Employed □Self-employed □Not Working □Student □Unable to work □Retired □Other. Specify: …………....………. □ Prefer not to answer
15) In which area you are currently living in? …………………………
Thank you!
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Appendix 2- POLYPHONIA Cultural Brand Interview
Dear Sir / Madam, This research is conducted under the POLYPHONIA Cultural Brand Study for the effective exploitation of the polyphonic heritage as a cultural brand, under the Act with distinctive title " Thematic Tourism Development Through The Preservation Of Polyphonic Music, Unique Element Of The Cross-Border Cultural Heritage". Towards this direction, your contribution by participating in this interview, is extremely important. Please be assured that the information you provide will be strictly confidential and will only be used for scientific purposes.
Thank you in advance for your help.
Completion date of interview: ...... /...... /......
Name: ………………………………………………………………………………………………………
Location: …………………………………………………………………………………………………
Role: …………………………………………………………………………………………………………
1) Could you please provide a brief description of your work? …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
2) How is your work related to polyphonic music? …………………………………………………………………………………………………………………… «Παροχή Υπηρεσιών Τεχνικής Υποστήριξης της Π.Ε.Δ. 68 Ηπείρου για το έργο “Thematic Tourism Development Through The Preservation Of Polyphonic Music, Unique Element Of The Cross-Border Cultural Heritage»
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…………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
3) How would you describe that most people in your area perceive polyphonic music? …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
4) Are you satisfied with the current perception and engagement of citizens with polyphonic-related events? □ Yes □ No If yes, what are you most satisfied about? …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
If no, what would you consider should be done differently? …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
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5) What kind of tools are you currently using to promote polyphonic-related activities? …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
6) In what kind of polyphonic-related activity would you say that citizens are participating the most? …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
7) What are your future plans/aspirations to further engage people with polyphonic music? …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
8) Do you believe that the POLYPHONIA Project would be valuable for the engagement with polyphonic tradition? □ Yes □ No If yes, in what way? ……………………………………………………………………………………………………………………
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…………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… If no, why not? …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
9) Is there anything you would like to add? …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………
Thank you!
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