Philippine Pop Culture and Experience Economy PDF

***[PHILIPPINE POP CULTURE AND EXPERIENCE ECONOMY]*** **LEARNING OBJECTIVES:** **The student must be able to:** - **Demonstrate a better understanding on the Philippine Pop Culture and Experience Economy.** - **Apply these concepts in Philippine context.** - **Assess its implications...

***[PHILIPPINE POP CULTURE AND EXPERIENCE ECONOMY]*** **LEARNING OBJECTIVES:** **The student must be able to:** - **Demonstrate a better understanding on the Philippine Pop Culture and Experience Economy.** - **Apply these concepts in Philippine context.** - **Assess its implications in society's situation.** Economic development normally carries with its cultural development. Economic and scientific advancement transforms the culture of the nation. The First Wave civilization has the agricultural feudal culture; the Second Wave civilization has the industrial modern culture, while the Third Wave civilization has the postindustrial postmodern culture. The Philippines right now is basically a First Wave (agricultural) country that experiences elements of a Third Wave civilization. That is why it appears logical for this country to shift or "pole-vault" from the First Wave to the Third Wave civilization. **Figure 1. Economic Societies.** **Experience as Product** Increasing competition in the market means that "goods and services are no longer enough" and that producers must differentiate their products by transforming them into "experiences" which engage the consumer. An experience can be considered a product since it must be produced or staged to be made available. Experiences represent an existing but previously unarticulated genre of economic output that have the potential to distinguish business offerings. Elements that make up an experience including those elements that render an experience meaningful. **Table 1. Elements of Experience.**  **The Characteristics of Experiences** Before a company can charge admission, it must design an experience that customers judge to be worth the price. Excellent design, marketing, and delivery will be every bit as crucial for experiences as they are for goods and services. Ingenuity and innovation will always precede growth in revenue. Yet experiences, like goods and services, have their own distinct qualities and characteristics and present their own design challenges. One way to think about experiences is across two dimensions. The first corresponds to *customer participation*. At one end of the spectrum lies passive participation, in which customers don't affect the performance at all. Such participants include symphony-goers, for example, who experience the event as observers or listeners. At the other end of the spectrum lies active participation, in which customers play key roles in creating the performance or event that yields the experience. These participants include skiers. But even people who turn out to watch a ski race are not completely passive participants; simply by being there, they contribute to the visual and aural event that others experience. The second dimension of experience describes the *connection,* or environmental relationship, that unites customers with the event or performance. At one end of the connection spectrum lies absorption, at the other end, immersion. People viewing the Kentucky Derby from the grandstand can absorb the event taking place beneath and in front of them; meanwhile, people standing in the infield are immersed in the sights, sounds, and smells that surround them. Furiously scribbling notes while listening to a physics lecture is more absorbing than reading a textbook; seeing a film at the theater with an audience, large screen, and stereophonic sound is more immersing than watching the same film on video at home. We can sort experiences into four broad categories according to where they fall along the spectra of the two dimensions. (See the exhibit "The Four Realms of an Experience.") The kinds of experiences most people think of as entertainment---watching television, attending a concert---tend to be those in which customers participate more passively than actively; their connection with the event is more likely one of absorption than of immersion. Educational events---attending a class, taking a ski lesson---tend to involve more active participation, but students (customers, if you will) are still more outside the event than immersed in the action. Escapist experiences can teach just as well as educational events can, or amuse just as well as entertainment, but they involve greater customer immersion. Acting in a play, playing in an orchestra, or descending the Grand Canyon involve both active participation and immersion in the experience. If you minimize the customers' active participation, however, an escapist event becomes an experience of the fourth kind---the esthetic. Here customers or participants are immersed in an activity or environment, but they themselves have little or no effect on it---like a tourist who merely views the Grand Canyon from its rim or like a visitor to an art gallery. **Figure 2. The Four Realms of Experience** **4.2 Experience Sector** Experiences are even more immaterial and intangible than services since the users must be more engaged than in services because the experience takes place in their minds, being the customer a co-producer. The aim of services is to solve the customers' problems, the experience industry seeks to give the customers what can be defined as a mental journey (people may experience the same performance in different ways). Pine and Gilmore (1999) take "the experience" beyond the provision of goods and services to the recognition of experience as a distinct economic offering. As an economic offering, experiences can add value to a business's goods and services and are distinct from both. Economic actors gain an advantage in the market by staging and selling memorable experiences that are enjoyable and personally engaging the customer. The customer who buys a service buys a set of intangible activities carried out on his/her behalf. The purchase of an experience, on the other hand, buys time enjoying a series of memorable events that engage the consumer in a personal way. Examples of experience are sport, art, and culture (the theatre, film, music, TV, etc.), museums, tourism, gastronomy, design and architecture, computer games, entertainment on mobile phones, and advertising. **EXPERIENCE ECONOMY** Experience economy is a notion that intends to conceptualize a new trend in economic development, in which the driver is people's search for identity and involvement in an increasingly rich society. In this context, the experience economy does not refer to a particular industry or a specific segment of the economy since the experience component of a product or service is increasingly becoming the basis for profit and because an experience component in theory can be added to all products and services. The experience economy can be conceived as the next step in the development of new economically dynamic sectors. Economy and society had developed "from the ancient agrarian economy, to the industrial economy, to the latter service economy and that the current economy is shifting to the experience economy". The "cultural sector" is non-reproducible and aimed at being consumed on the spot (a concert, an art fair, an exhibition) and mass-dissemination and export (a book, a film, a sound recording). The "creative sector" may also enter into the production process of other economic sectors and become a "creative" input in the production of non-cultural goods. Bille and Lorenzen (2008) reached a tentative demarcation of the experience economy by defining 3 areas: ***1. Creative experience areas*** (areas that have experience as the primary goal and where artistic creativity is essential to its production). For example, theatre, music, visual arts, literature, film, computer games. ***2. Experience areas*** (areas that have experience as the primary goal, but where artistic creativity is not essential). For example, museums, libraries, cultural heritage sites, natural and green areas, restaurants, the pornography industry, spectator sports. ***3. Creative areas*** (areas where artistic creativity is essential but which do not have experience as a primary goal: they are not intended directly for the consumer market but instead provide services to business (B2B), which are built into or around mixed products). For example, design, architecture, advertising. Much of the experience economy is composed of mixed products that combine experience and functionality and of companies that attempt, through the use of experience design, experience marketing, events, storytelling and branding, to invest their products and services with a range of experiences, histories and values which can differentiate them from those of their competitors. The question of how art and culture is to be defined is an issue that has been under debate for centuries. The discussion will not be continued here, but it is enough to state that obvious parallels may be drawn between the discussion of the definition of art and culture, and to the discussion of the definition of experiences and the experience economy. Where culture can be defined as either art, cultural areas or as an aspect, experience can be defined as good (subjective) experiences, as experience areas or as a \"mega trend\". **Table 2. Definitions of art and culture versus experiences** +-----------------------+-----------------------+-----------------------+ | | Culture | Experiences | +=======================+=======================+=======================+ | Quality Evaluation | Culture as "*Art"* | *"The Good | | | | Experience"* | | | Evaluated by: | | | | professionals (art | Quality evaluated by: | | | critics, peer review, | consumers as | | | columnists) | "guests/visitors/comm | | | | unity" | +-----------------------+-----------------------+-----------------------+ | Sector | Cultural Areas | Experience Areas | +-----------------------+-----------------------+-----------------------+ | Societal Trend | *Aspect* | *Megatrend* | | | | | | | Linked to societal | Linked to the market | | | values and norms | and consumption | +-----------------------+-----------------------+-----------------------+ From the merger between culture and business, a new kind of economy is growing. An economy that is based on an increasing demand for experiences and that builds upon the added value that creativity lends to both new and traditional products and services (Danish government report, 2003). At the same time, it expresses a general expectation that the experience economy will grow: that the culture and experience economy has come into focus, both at home and abroad, correlates closely with the fact that it is a field that is increasingly expanding within the economy. (Government, 2003). KEYWORDS Communication Competition Creative Area Creative Experience ---------------------- ----------------- ---------------------- --------------------- Cultural Development Cultural Area Economic Development Education Experience Experience Area Experience Economy Experience Sector REFERENCES: ----------- Bill, Trine (2010). The Nordic approach to the Experience Economy -- does it make sense?. Copenhagen Business School. Retrieved from\ Pine, B.J. and J.H. Gilmore (1999). The Experience Economy -- Work is Theatre & Every Business a Stage, Harvard Business School Press, Boston Mass. Ramos, Luis Moura (n.d.). The Experience Economy and Local Development. University of Coimbra. Retrieved from \