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The 5--steps model of storytelling (Hover, 2013, based on: Philips, 2012; McDonald, 2010; Von Franz, 1996) .
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Crossroads is the name of the concept that narratively connects several WWII-‐related cultural institutions in Brabant. It is an overarching paradigm that connects 4 otherwise very diverse World War II sites (namely, 3 museums and a commemoration centre).
Crossroads provides these institutions with a tool in the form of a 3-‐layered matrix to bui...
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... everything that is transmitted as story (orally or in written form, in film or in any other media, factual or fictional, mythological or historical) a basic structure can be recognized. This structure consists of 5 steps as depicted in Figure 3 below. The prologue gives a short overview of the context. ...
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... We chose to determine the intended experience in terms of emotional arousal, as emotional arousal is a prominent element in the dramatic arc, a tool often used in story-driven experiences such as the current theatre show (Calvi & Hover, 2016). The dramatic arc is a storytelling structure that follows an increase in emotional tension or suspense as the story unfolds, peaking at the climax and then returning to normal as the story ends (Calvi & Hover, 2016). ...
... We chose to determine the intended experience in terms of emotional arousal, as emotional arousal is a prominent element in the dramatic arc, a tool often used in story-driven experiences such as the current theatre show (Calvi & Hover, 2016). The dramatic arc is a storytelling structure that follows an increase in emotional tension or suspense as the story unfolds, peaking at the climax and then returning to normal as the story ends (Calvi & Hover, 2016). Also, arousal is the dimension of emotion that is often linked to SC (Boucsein, 2012). ...
Experience is one of the most important constructs in tourism and leisure and as such has received much attention in the scientific tourism and leisure literature. However, at the same time, in the same literature, there is remarkably little conceptual clarity about what exactly constitutes an experience. Recent accounts have tried to change this status quo and have suggested various constituent processes of experience that have already been pick up by various tourism and leisure researchers.This dissertation focuses on emotions as one of the crucial building blocks of experience, as emotions have been argued to be a determining factor for making leisure experiences memorable. Only when experiences are memorable, they can lead to downstream experience outcomes, such as evaluations and behavior. In particular, this dissertation focuses on the temporal dynamics of emotions over the course of tourism and leisure experiences, as it is these temporal dynamics in specific that are of relevance for an experience's memorability and thus its evaluation. The aim of the dissertation was thus to study the relationship between the temporal dynamics of emotions in a tourism and leisure experience and how this experience was evaluated. To this end, a variety of tourism and leisure experiences were examined at different timescales across four empirical studies: from an experience in its entire length (VR movie and musical theatre show) and the individual episodes within an experience (musical theatre show) to the individual events that are the ignitors of an emotional response to begin with (attending to artworks). Several research methods were used in tandem to get a more comprehensive picture of the emotional dynamics at play: from a newly developed self-report-based Experience Reconstruction Method (ERM) to fine-grained physiological measures that can measure emotions with sub-second precision from both body (skin conductance) and brain (EEG). Findings show that the temporal dynamics of emotions in tourism and leisure experiences are strongly related to evaluations of those same experiences. However, this relationship is not straightforward. First, not all episodes within an experience are equally strongly related to its overall evaluations: some are positively related to overall experience evaluations, some are negatively related and some are not related at all. In capturing the temporal dynamics of emotion throughout an entire experience, average emotion measures seem a better representation than peak-and-end related measures of emotion. However, for individual episodes within that experience, peak measures of emotion provide a better representation than average measures of emotion. In capturing these measures of emotion, both established physiological measures of emotion (i.e., skin conductance and EEG) and the newly developed ERM have their merits. ERM-based measures prevail over skin conductance measures for evaluating structured experience designs and design interventions, yet skin conductance prevails over ERM-based measures when predicting overall evaluations from the temporal dynamics of the emotions throughout an experience. Finally, approaching experience as a temporal phenomenon that can be cut into experiential episodes allows for better predicting how an experience will be evaluated than approaching experience as a single. In further enhancing our understanding of experience, it is thus wise to keep an eye on the aspect of time.
... Crossroads 2 (Calvi & Hover, 2016) is the name of the concept that narratively connects very diverse World War II heritage sites in Brabant (from war museums to a commemoration center, to locations where no apparent traces of the war are visible). ...
... To make this possible, we modified the 5-step storytelling model so that the stories told only focused on the life changing events that took place in the life of the 2 A full description of the project is in (Calvi & Hover, 2016). ...
Myths can be part of the established narratives of tourist destinations: they offer a perspective on reality that may alter it but that makes it also more insightful by highlighting its inner contradictions and idiosyncrasies and challenging the universal values underlying it. This altered perspective on a place ensures visitors will feel touched by the myth and connected to the place, and the myth itself will be retold. In this paper, we discuss how we have connected narrative to story and story to myth to (re)tell the narratives of people and places and to enhance, in this way, the overall visitor experience in (tourist) destinations. We review two storytelling/placemaking projects that were commissioned to us by several regional, tourism organizations in Brabant, a province in the South of the Netherlands. The projects are: Becoming Vincent, a project about Vincent van Gogh; and Crossroads, a project about heritage from WWII. The aim of these projects was to draft a unique, narrative concept and design storylines that would link and upgrade the sites related to that heritage to eventually attract tourists there, and/or to stimulate visitors to visit more sites connected to the same theme. Finally, we draw lessons we learnt from these projects and highlight the insights we gained in the use of storytelling for mythmaking in tourist destinations.
... They were then asked to draw a temporal profile of the intended emotional arousal for the whole show (for clarity, we henceforth refer to this temporal profile as the intended experience). We chose to determine the intended experience in terms of emotional arousal, as emotional arousal is a prominent element in the dramatic arc, a tool often used in story-driven experiences such as the current theater show (Calvi & Hover, 2016). The dramatic arc is a storytelling structure that follows an increase in emotional tension or suspense as the story unfolds, peaking at the climax and then returning to normal as the story ends (Calvi & Hover, 2016). ...
... We chose to determine the intended experience in terms of emotional arousal, as emotional arousal is a prominent element in the dramatic arc, a tool often used in story-driven experiences such as the current theater show (Calvi & Hover, 2016). The dramatic arc is a storytelling structure that follows an increase in emotional tension or suspense as the story unfolds, peaking at the climax and then returning to normal as the story ends (Calvi & Hover, 2016). Also, arousal is the dimension of emotion that is often linked to SC (Boucsein, 2012). ...
Structured experience (SE) providers continuously evaluate and improve their experiential offerings to make them more memorable. Arguably, the temporal dynamics of the emotions in an experience have a crucial influence on its memorability. Traditional post-experience evaluation procedures tend to ignore these temporal dynamics, thus offering imprecise feedback for providers on exactly when and where to optimize their experiential offerings. In this paper, we use two methods as a tool for evaluating how closely the lived experience of a SE follows the experience as intended by the provider: real-time skin conductance (SC) and experience reconstruction measures (ERMs). We demonstrate that both SC and ERMs are significantly related to intended experience. This link was found to be stronger for later sections of the experience than for earlier sections. In addition , SC and ERMs appear to be useful tools to assess the effectiveness of design interventions, thus providing valuable feedback for SE providers.
... A different approach is offered by the research project Crossroads, in the frame of which fifteen narratives were created, influenced by historical events, which also took place in the Second World War in the province of Brabant in the Netherlands [32]. The design of the storytelling approach was based on the exploration of themes and events under a narrative structure model which followed five stages [33,34]: a) defining the setting, which includes defining space, time, main characters and other introductory events, b) defining the moment when events are set in motion and activate the next steps, c) defining the turning points, where decisions on the storyline and acceleration of action happens, and e) defining the ends/or resolution to a drama. ...
Digital storytelling has been extensively used in cultural heritage sites with the aim to construct knowledge about the past and promote its significance to the present. From the body of research and practical implementations that are concerned with hybrid forms of storytelling in cultural heritage sites, only a few systematically explore the interplay between narrative form and space. Focusing on the interactive paradox as it manifests in the connection between the narrative structure and the physical space of heritage sites, this paper explores the theory and practice of place-based storytelling and provides an analytic and comparative discussion based on best practice examples in an attempt to identify current challenges and lessons learnt.
... A different approach is offered by the research project Crossroads, in the frame of which fifteen narratives were created, influenced by historical events, which also took place in the Second World War in the province of Brabant in the Netherlands [32]. The design of the storytelling approach was based on the exploration of themes and events under a narrative structure model which followed five stages [33,34]: a) defining the setting, which includes defining space, time, main characters and other introductory events, b) defining the moment when events are set in motion and activate the next steps, c) defining the turning points, where decisions on the storyline and acceleration of action happens, and e) defining the ends/or resolution to a drama. ...
Digital storytelling has been extensively used in cultural heritage sites with the aim to construct knowledge about the past and promote its significance to the present. From the body of research and practical implementations that are concerned with hybrid forms of storytelling in cultural heritage sites, only a few systematically explore the interplay between narrative form and space. Focusing on the interactive paradox as it manifests in the connection between the narrative structure and the physical space of heritage sites, this paper explores the theory and practice of place-based storytelling and provides an analytic and comparative discussion based on best practice examples in an attempt to identify current challenges and lessons learned.
... Backstory is an important element when telling and creating a compelling story and an immersive experience. Our literature research concerning storytelling for extended reality applications in the cultural heritage field shows a minimum of attention for this aspect [1][2][3][4][5][6][7][8][9][10][11][12][13]. Backstory, however, is often used in theme parks, where the backstory is needed to provide a cohesive narrative with unfamiliar characters [14] and in cinema where the backstory of the characters is unfolded throughout the story [15]. ...
The research presented below is an early-stage research project regarding the role and importance of backstory in an augmented reality application for cultural heritage. Literature and desk research show little attention for backstory when developing a storyline for extended reality applications in the cultural heritage field. However when looking at cinematic productions, theme parks and games for example, it can be stated that backstory plays an important role as a storytelling element to create a cohesive and immersive narrative. The hypothesis presented by Scan4Stories is that adding a backstory to the applications designed for cultural heritage sites, could help enhance the immersivity of the experience. To test the hypothesis presented above, we will develop a prototype, examining how the backstory of characters can be presented to the audience in an extended reality application on a cultural heritage site. By eventually combining the results from literature research and the development of a prototype we aim to formulate preliminary results concerning the use of backstory in cultural heritage extended reality applications.
... The Crossroads MAR application Brabant Remembers that is developed in the context of World War 2 based on tangible and intangible heritage (such as personal stories) is used as the case study for this research. The MAR application includes several personal life-changing stories that are narrated in line with the Crossroads brand and storytelling principles (Calvi & Hover, 2016). Second, the study embeds knowledge from the perspective of curators and other stakeholders and compares them to the consumer perspective based on a user experience study. ...
As the expanding awareness of AR technology has sparked more interest among businesses to design and enhance experiences, there is an emerging discussion on different ways MAR applications can contribute to the user experience. A prevalent way to make information more attractive to consumers is argued to be the employment of storytelling. This study aims to provide insights and recommendations on designing emotionally engaging and memorable AR user experiences using storytelling as the mediating tool. It is based on a MAR application that uses historical locations related to personal stories from WWII called Brabant Remembers. The findings of the paper provide a more holistic perspective on the literature of MAR experience design that blends the context (physical location), user-relevance and emotional user engagement. Through the use of a temporal case study, the paper discusses practical implications with regards to stakeholder management for MAR design and implementation. Finally, the study offers insights and recommendations on how the design and implementation of MAR can be approached using storytelling as the mediating tool to emotionally engage users.
... We start this illustration with the client giving us an indication of the event that could be portrayed in the virtual experience and that he considered as a turning point (see for a discussion of the 5-phase storytelling approach in Calvi and Hover, 2016) in Vincent's life. This event took place just before Christmas in 1881 when Vincent had announced to his parents that he wanted to devote his life to art, going against his father's will who wanted him to follow his footsteps as a vicar. ...
This chapter presents the process that led to the development of a virtual experience for the church in Etten-Leur, which is part of the heritage related to Vincent van Gogh and which hosts a permanent exhibition related to the artist’s life in the area. As such, it is one of the elements in the Becoming Vincent project. This chapter highlights the complexity of the heritage ecosystem underlying the project, consisting of various stakeholders with diverse, sometimes diverging or even incompatible, interests and goals. In this chapter, we discuss how we coped with this diversity and we draw some of the lessons we learnt from this process for future use. The most important lesson is the need to involve all stakeholders from the start of the process and to treat them equally, despite visible differences in their relative interest in the outcome of the project, in order to give them the feeling to have ownership on the expected outcome, and therefore to enhance the chances that they will still support the project after its completion. At the same time, it is important to keep the network structure simple and clear in order to avoid unnecessary or redundant passages in the knowledge transmission within this web of relations. While not specific for museums but prone to be applied to any complex networked situation, this approach has helped us cope with a complex cultural ecosystem.
