Some people visit heritage sites in order to learn new knowledge about a specific ..... basically used to generate an image of the heritage city promoting its urban fabric ... development process in the seven creative disciplines as the built forms: ...
Faculty of Tourism and Hotel Management Helwan University
Heritage Branding: Promoting The UNESCO Creative Cities
Presented to Dr. Myriam Bakhoum "Tools for a Better Management of Heritage Project" By MOHAMED BADRY K AMEL BASUNY AMER Ph.D. candidate in Heritage & Museum Studies
CAIRO 2018
Heritage Branding: Promoting the UNESCO Creative Cities By Mohamed Badry Kamel Basuny Amer
Abstract Cultural heritage is a wide knowledge that its representations includes a group of factors such as quality, authenticity, creativity and so on. Matching a branding with a cultural heritage, a branding is a significant tool which through, the state party can invest effectively and professionally the outstanding universal values of the heritage sites including the historical, aesthetic, and social values. An assignment aims at reviewing the concept of heritage branding and its function. Moreover, it presents the effective role of inscribing some world cities under the branded category "UNESCO Creative Cities" and its impact operationalizing the sustainable development process.
Introduction Internationally, there are some missions for heritage attractions which are focused on the visitors and their experiences and perception. The visitors should get involved in ideological, innovative, and passionate procedures encouraging conversation and managing a discussion beyond various views. The heritage site's components, elements, or zones are hence a great entity in their life. This entity is used to spread history and heritage experience through the storytelling process. (Doering, 2007, p. 338) Regarding the visitors' significance, they are the lifeblood of the heritage sites. They are one of the fundamental components for the sustainability of the heritage destinations. It has been asserted by Lowenthal that the cultural heritage is a legacy which create the social rapports in a city. Thus, it has been indicated that the heritage sites should construct strong bridges with visitors, transforming them from single-time visitors to regular visitors or in other form, to be members by consolidating their heritage experiences. (Dicks, 2000; Kotler, Kotler, & Kotler, 2008, pp. 153, 154; Lowenthal, 1998; Misiura, 2006, pp. 81, 87; Smith, 2006) Regarding the visitors' motivations, in an informal way, visitors are often planning their trip or visits based on word-of-mouth communication, therefore "formal communication can play a significant role" (Kotler et al., 2008, p. 173). Usually, the visitors have high expectations when leaving behind the daily life routine in exchange for leisure-time during visits to heritage destinations (Csikszentmihalyi, 1991, pp. 125, 126; Kotler et al., 2008, p. 85). There is much diversification among the visitors' motivations and behaviors in regard to visiting heritage attractions. Some people visit heritage sites in order to learn new knowledge about a specific
cultural heritage and enhance their experience, while others may only visit for entertainment and to have a nice time with their relatives and friends. (Horner & Swarbrooke, 2004, p. 193; Kotler et al., 2008, pp. 160, 161; Leader-Elliott, 2014, p. 3339; Misiura, 2006, p. 87; Park, 2014, p. 32; Smithsonian Institution, 2004) Regarding the identification of the visitors' motivations, the heritage marketer must take into consideration the demographic factors, which form the visitor's motivations, as these demographics can assist in answering the question of the target market and help improve the marketing strategy (Park, 2014, p. 32). For the visitors' demand in terms of marketing, the heritage sites regulate high or low demand though the selling of tickets and setting the allowed entry time for visitors. Sites in low demand reduce the entrance fees, grant discounts for groups, or cancel admission fees on low demand days. Suggesting some ideas in order to raise the demand, the marketing team of the heritage site, e.g. Edinburg - World Heritage City, create the social events and celebration programs in relation to the cultural and historical significance on weekends, holidays, and off-peak seasons, and to renew tour programs especially with group tours and school visits. (Kotler et al., 2008, p. 175) For augmenting the visitation of the heritage sites, one of the marketing aims is to augment the visitor numbers through altering radically the believing attitude without depending only on the educational approach of the heritage sites (Tobelem, 2007, p. 302). It has been mentioned that some of promoting methods, which assist in attracting heritage visitors, are such as "advertising, outreach programs, and affordable membership programs" as well as "books, magazines, newspapers, and more recently, the expanding electronic media," moreover, adding some facilities and services to the heritage site like "restaurants, shops, and theaters" (Doering, 2007, pp. 334, 337). In addition, it has been indicated that the heritage marketer can, through studying the needs and wants of the heritage sites' visitors, develop the marketing policy using various media tools and public relations, creating information offices to receive the new visitors, and organizing new programs and/ or numerous events. Thereby, all of these assist in attracting international visitors who often form a significant rate of the visitor numbers, as well as joining the international partners in carrying out the principle of the sustainable development. (Kotler et al., 2008, pp. 34–36; Tobelem, 2007, pp. 304–306) From a marketing perspective, a cultural heritage product or service has a life cycle. This cycle is the main factor of reformatting a heritage product through numerous steps: "exploration,
involvement, development, consolidation, stagnation, decline and rejuvenation" (Morrison, 2013, p. 70) [see fig. 1]. Developing the image of the heritage site and/or city, an assignment focuses here on the augmented level that to be the branding level where the heritage marketer improves the site programs and strategies and increases the added-value services. (Kotler et al., 2008, pp. 28, 29; Kumar, 2014, pp. 14, 15; Misiura, 2006, pp. 16, 131)
Figure 1 Life Cycle of Heritage Destination Source: (Butler, 1980; Morrison, 2013, p. 71, fig. 3.2)
Heritage Branding Through the literature review, Ulldemolins summarized the concept of "Branding" and its requirements stating that "… a branding process cannot start from scratch or banish a previously existing culture… the branding process must be based on the local identity because artificial narratives are not effective. That is, to be effective, branding narratives should be based on authentic values associated with the location and establish a connection with the genuine local identity. An authenticity that distinguishes the product helps the product compete with other products. In addition, authenticity can combine a constant reinterpretation (to suit consumer taste) with an idealized evocation of the past to strengthen a brand’s popularity."(Ulldemolins, 2014, p. 3029)
It has been defined the brand as "multidimensional construct, consisting of functional, emotional, relational and strategic elements that collectively generate a unique set of associations in the public mind" (Botschen, Promberger, & Bernhart, 2017, p. 154) indicating to the significant of the multidisciplinary collaborations either by the specialists, or the city residents that "Branding is a slow and long-term process based on strategically defined goals and programs for regeneration, planning and promotion. Branding entails an integrated aspect of economic, social, ecological and cultural measures designed at local, regional and state level (….) Due to a long-term process of branding, cooperation of all relevant actors is important, and what is extremely significant is the city residents’ support, determination and their cooperation since the changes are meant primarily for the well-being of the residents…"(Guzijan & Cvijic, 2018, p. 320) Branding is globally so significant as a tool for strengthening the attraction that to compete a t the market place. It generates an inter-exchanged value between the destination and the visitor. (Kaplan, Yurt, Guneri, & Kurtulus, 2010, p. 1286) Therefore, a branding is related to the final level of marketing "Augmentation". Branding is a defensive tool in the competitive marketplace which creates loyalty via developing a direct emotional rapport with the visitors, and charges a suitable price. As well as, it is considered a messaging process. Depending on a unique story, the heritage site / city can create a great rapport between it and its history and visitors evoking the visitors' memories which through, to activate their nostalgic emotions (Chaney, Pulh, & Mencarelli, 2018, p. 455). It has been defined a place branding in 2005 and 2009 by Kavaratzis, Ashowrth and Popescu as a communication methodology compiling a group of social, physical and psychological components that to assist the destination competing others through linking its function with its uniqueness symbolic values. Moreover, they refer that to control the people' perception, the brand image of a city or an attraction and its quality are in some cases more significant than the symbolic, social and emotional values. Therefore, a place branding is an administrative strategy which enhances the attraction image and to have a group of tools that through control the target audience's perceptions and minds. This strategy generally depends on the visual, verbal, and behavioral representations which are embodied within the goals, values, communication, and the culture of the stakeholders of the place and its layout. (Ashowrth & Kavaratzis, 2009, p. 521; Botschen et al., 2017, p. 154; Guzijan & Cvijic, 2018, pp. 314, 315; Kavaratzis & Ashworth, 2005, p. 508; Popescu, 2009, p. 177) In addition, it has been asserted that a place branding is not as same as goods and services' branding. It is so complex that its process considers a group of factors such as a geographical
location, tourism destinations, environmental resources, local products, residents' attitudes, and infrastructure. Thus, there are some experts, e.g. Einwiller and Will, who clarified that a place branding as a concept is so related to "the corporate branding" which was defined as "a systematically planned and implemented process of creating and maintaining favorable images and consequently a favorable reputation of the [attraction] as a whole by sending signals to all stakeholders". (Einwiller & Will, 2002, p. 101; Kaplan et al., 2010, p. 1289) Respectively, it has been clarified that the conservation of a historical attraction and its related memorial events and moments contributes preserving, enhancing and curating the heritage city throughout linking the branding process with the local identity. This linkage has a great ability to demonstrate the perception of the visitors using the method of a collective memory. (Guzijan & Cvijic, 2018, p. 319; Kavaratzis, 2004, p. 62) Referring to the significant of heritage, Hakala, Lätti, & Sandberg argued in their article that such attraction can't convey the confidence factor to its visitors without emerging its historical features. Moreover, they asserted that visitors become so attracted to get back into the nostalgic context especially with a brand image which to be included the factors of authenticity and heritage. Therefore, they stated that "symbolic and emotional attachment between a brand and a consumer is more probable with brands that connect heritage and authenticity to their image (…) to consider heritage a cultural resource (i.e. cultural capital) and thus evaluate its benefits to a country/region, or … analyze it as a determinant of organizational behavior (….) Brands representing stability, familiarity and trust can speak to people in periods of uncertainty, helping to create an image of authenticity and integrity that is likely to appeal to today’s [visitors]".(Hakala, Lätti, & Sandberg, 2011, pp. 447, 448) Reviewing the statement of Mr. Philippe, the director of the Laughing Cow House, that “ when people enjoy a brand, they want to know more about it … people ask many questions about the different products they like” (Chaney et al., 2018, p. 455). Therefore, it has been asserted that when communicating with the target visitors, the brand message must be "simple, consistent and reinforced by experience" catching the audience's eye and their imagination. It requires name, term, sign, symbol, logo 1, slogans / straplines, taglines, design, advertising, public relations or a collection of these which enhance the recombination of pleasurable memorial experiences of the heritage attraction / city and sell the site / city services. (Hassan & Rahman, 2015, p. 211; Park, 2014, pp. 135, 136; Renbarger, n.d., pp. 7, 8; The Manitoba Electrical Museum & Education 1
“Logo appears on all museum correspondence, promotional and marketing material, and related information, plus
the community website and travel brochures.” (The Manitoba Electrical Museum & Education Centre, 2014, p. 16)
Centre, 2014, p. 17) Consequently, it has been identified the features of a successful brand by De Chernatony and McDonald as "an identifiable product, service, person or place, augmented in such a way that the buyer or user perceives relevant, unique, sustainable added values, which match their needs most closely".(De Chernatony & McDonald, 1992, p. 237; Kaplan et al., 2010, p. 1288) In 2007, Urde et al. clarified the characteristics of heritage branding including a track record, longevity, core values, history, and the use of symbols, graphics, nostalgia, packaging and advertising that "A track record means demonstrated proof that the company has lived up to its values and promises over time, whereas longevity reflects consistent performance among other heritage elements. Core values are an integral part of a brand’s identity, and over time may constitute its heritage. History is another significant element of identity, and for the heritage brands at issue embraces three timeframes: the past, the present and the future (….) brand heritage is seen here as a composite of the history as well as the consistency and continuity of a company’s core values, product brands and use of symbols (…..), and a potential measurement mechanism is proposed. The elements, in turn, produce an image of quality, enhanced trust, customer loyalty and a strong reputation – eventually leading to stronger brand equity."(Hakala et al., 2011, p. 449; Urde, Greyser, & Balmer, 2007)
Figure 2 The Characteristics of Heritage Branding Source: (Hakala et al., 2011, p. 449)
On the other hand, in 2008, Banerjee stated the four pillar of heritage branding including history, image, expectancy and equity that
"History represents its rich eventful past, and the image “an after effect of the brand communication and positioning based on the benefits to be enjoyed by the [visitors]”. Brand expectancy refers to the physical and emotional benefits that consumers receive from the brand. Finally, equity comprises two subsets: a homogeneous and a heterogeneous set of competences that, respectively, facilitate progression and give the edge over the competition." (Banerjee, 2008, p. 314; Hakala et al., 2011, p. 448)
Heritage Branding Functions It has been indicated in the study of praxeology-based branding by Chaney et al. that the branding process or aspect has high significant role within the marketing plan. This concept plays a part of transmitting the memorial moment, that to be based on the history and the representations of the local community, through the destinations. Through this study, it has been referred that a branding assists to upgrade the quality of the heritage destination; to form socially a linkage between the destination stakeholders; and to create the additional distribution channels. Thus, a branding adds a new symbolic added-value associating the commercial purpose with the real function of a cultural heritage. (Chaney et al., 2018, pp. 452, 453; Lowenthal, 1998)
Figure 3 Brand Roles in a Brand Museum, Heritage Site and/or City Source: (Chaney et al., 2018, p. 456, fig. 1)
The main function of heritage branding is to illustrate the main characteristics of the heritage destination and to develop the site identity and image overtime in the minds of visitors and other stakeholders. Consequently, "visitors experience the promoted brand values and feel the authenticity of a unique place". According to the UNESCO World Heritage Center, “a site’s inscription on the World Heritage List often coincides with a boost in visitation rates”. Additionally, "World Heritage Site is assumed to create a platform for offering the optimal level
of conservation and appropriate level of service standards for tourists, encouraging proper management of the site and thus fostering economic and tourism regeneration". Subsequently, the World Heritage icon, as a converted brand and a marker of quality and authenticity, can play a great role in supporting the brand image of the heritage destination. Thus, Nyadzayo et al. stated that "too often [World Heritage State Parties] complacently expect the brand to sell itself based on the assumption that it is well established". (Adie, 2017, pp. 48, 49; Hassan & Rahman, 2015, p. 210; Kotler et al., 2008, pp. 138–142; Kumar, 2014, p. 15; Misiura, 2006, pp. 168–170, 243; Morrison, 2013, p. 91; Nyadzayo, Matanda, & Ewing, 2011, p. 1108; Pedersen, 2002, p. 11; Silvanto & Ryan, 2011, p. 306)
Promoting the UNESCO Creative Cities' Image As a result of the modernization gestures and tourism updates, the heritage cities' promotion process is economically difficult something. These gestures and update contribute to valorize the competition among the heritage cities and the modern cities as potential destinations for development projects and tourism investments. Thus, the concept of the heritage branding is basically used to generate an image of the heritage city promoting its urban fabric and the historic buildings. (Guzijan & Cvijic, 2018, pp. 313, 314)
Figure 4 The Significant of City Branding Image and Urban Regeneration Source (Guzijan & Cvijic, 2018, p. 315; Prilenska, 2012, p. 14)
There are some scholars who alarm defining the branding context as a social aspect that to depend on the target group perception. So, they stated that there are no restriction to integrate the concepts of heritage branding and urban regeneration but, this integration process must take into account a group of criteria, such as an increase of the tourists' number and buildings; an increase of the residents' number; and an increase of the real estate prices, and so on, which probably do a degeneration of cultural heritage and environment.(Guzijan & Cvijic, 2018, p. 314; Sevin, 2014, p. 48; Ulldemolins, 2014, pp. 3027, 3029) As a result of that, Chaney et al. valorized the role of the local community to deliver the heritage brand stating that "By becoming a heritage object, the brand also endorses a role of community representation. Similar to national heritage that symbolically represents a nation, the construction of heritage allows the brand to be part of a community—to represent and embody the community and thus to value its main identity features." (Chaney et al., 2018, p. 455) Therefore, in 2010, Kaplan et al. defined the city branding personality as a process which links between the human characteristics and the city brand image that to be emerged as a result of compiling the utilitarian, symbolic and experiential factors as "outcome of the heritage, environmental and spatial aspects, inhabitants and activities of the city". Thus, according to this definition, it has been explored the six brand dimensions of the city, : excitement; malignancy; peacefulness; competence; conservatism; and ruggedness, which are demonstrated by multistakeholders such as governormental authorities, municipalities, urban strategists, nongovernmental organizations, tourism agencies and related research centers. (Kaplan et al., 2010, pp. 1293, 1297, 1298)
Figure 2 Brand Dimensions of the City Source: (Kaplan et al., 2010, pp. 1296, Fig. 1)
In 2000, Landry defined the creative environment as a place where provides the main requirements generating ideas and innovations. Additionally, he referred that this environment provides a suitable contexts for the entrepreneurs, social activists, artists and so on who operate in an open-
minded, and a globalized context creating new artifacts, products, services as well as other out-ofthe box economic contributions. Therefore, the city branding approach, as a cultural mind shifting, considers the cities as re-appropriate industrial sites housing the creative societies. (Jensen, 2007, p. 214; Landry, 2000, p. 133) Mitigating the current consequences of globalization and modernization, in 2001, UNESCO created a Declaration on Cultural Diversity that was formed the specific standards of the culture. In 2004, launching the UNESCO Creative Cities Network (UCCN), the aspect of creative cities was created as a new urban model referring to mobilize the authenticated creativity in art and culture generating new types of economy that to open new opportunities in the market of industry and employment. Supporting this theory, Richard Florida stated that "creativity— the ability to generate new knowledge or to convert existing knowledge into economically successful applications — is becoming an increasingly important resource for economic development" (Krätke, 2010, p. 835). Therefore, in 2001, the creative city has been defined as "a city that cultivates new trends in arts and culture and promotes innovative and creative industries through the energetic creative activities of artists, creators and ordinary citizens, contains many diverse ‘‘creative milieus” and ‘‘innovative milieus,” and has a regional, grass-roots capability to find solutions to social exclusion problems such as homeless people". (Sasaki, 2010, p. S4) Completing the former definition, UNESCO has been stated that "... cities play three key roles in spearheading “creative” economic development. First, cities house the entire plethora of cultural actors within the creative industry chain ranging from creative production to consumption and distribution. Second, cities are ideal breeding grounds for creative clusters of cultural capital with substantial potentials to be harnessed through connecting cities for global impact. Finally, while a city’s small size enables it to affect the local cultural industries, a city is also reasonably large to function as gateways to global markets." (Leng & Badarulzaman, 2014, p. 323) UCCN put the factor of "creativity" as a main economic driver which guaranteeing the sustainable development process in the seven creative disciplines as the built forms: Crafts and Folk Art; Design; Film; Gastronomy; Literature; Music; and Media Arts. Thus, there are someone who called "the creative city" by other brand themes such as "Science City", "Culture City", "World City", "Compact City", or "Endless City" redefining the urban spaces that a culture is a main strategic tool for operationalizing the Sustainable Development Goals. Safeguarding this aspect, there are some scholars who defined the creative city "is the ‘creative milieu’ and ‘social structure of creativity’ and, above all the social, cultural, and geographical context that are truly vital for
the effective integration of industrial, urban, and cultural policy".(Evans, 2003, 2009, p. 1006; Pratt, 2008, p. 109, 2010, p. 14; Rosi, 2014, p. 108; Sasaki, 2010, pp. S3, S4; UCCN, 2018, p. 3) At the local level, UCCN has been defined the culture and creativity being the daily social practices (or the practical needs of local populations) that to be done at the urban public spaces where the cultural and creative industries are developed and emerged. Based on the partnership goal (the public authorities, the private sector and the civil societies) and operationalizing UCCN mission statement that "The Creative Cities Network seeks to develop international cooperation among cities that have identified creativity as a strategic factor for sustainable development, in the framework of partnerships including the public and private sectors, professional organizations, communities, civil society, and cultural institutions in all regions of the world. The Creative Cities Network facilitates the sharing of experience, knowledge and resources among the member cities as a means to promote the development of local creative industries and to foster worldwide cooperation for sustainable urban development" (Florida, 2005, pp. 68– 86; Krätke, 2010, p. 841; Rosi, 2014, p. 109; UCCN, 2018, pp. 4–8), UCCN has been asserted that the inscribed creative cities have a great ability to support each other operationalizing a real sustainable urban development. Moreover, Network enhances the activated social diversity and cohesion, intercultural dialogue, and citizens’ well-being- based cultural sectors increasing the cultural products of the creative cities including the cultural amenities (in comparison with the traditional urban cultural amenities) and the socio-cultural qualities which take into account the factors of openness and tolerance. (Florida, 2005, pp. 68–86; Krätke, 2010, p. 841; Rosi, 2014, p. 109; UCCN, 2018, pp. 4–8) Musterd and Ostendorf valorized the significance of culture that to be an added-value to the marketing place of the creative cities. With the cultural factor, cities could catch the attention of the creative knowledge workers. Also, culture plays, as a major economic sector, a great role intervening intricately with other sectors of the economy.(Musterd & Ostendorf, 2004, p. 189; O’Connor & Shaw, 2014, p. 165) Thereby, "contemporary cities tend to attract investors within a historical city, presence of countless smaller brands in town and city centers presents a challenge for entertainment [...] since they attract as many sightseers as shoppers" (Evans, 2003, p. 417; Guzijan & Cvijic, 2018, p. 314). Thus, a researcher considers the heritage branding as a tool for enhancing the uniqueness value of the heritage city developing the best image at the market place of heritage tourism as well as the community development projects. (Ulldemolins, 2014, p. 3028)
UCCN has been provided, through its mission statement, a group of factors branding the inscribed creative cities. The following UCCN objectives have been invested the whole resources, experiences and the transmitted knowledge to: -
Develop hubs of creativity and innovation and broaden opportunities for creators and professionals in the cultural sector
-
Strengthen international cooperation between cities that have recognized creativity as a strategic factor of their sustainable development
-
Improve access to and participation in cultural life, notably for marginalized or vulnerable groups and individuals
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Stimulate and enhance initiatives led by member cities to make creativity an essential component of urban development
-
Fully integrate culture and creativity into local development strategies and plans
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Strengthen the creation, production, distribution and dissemination of cultural activities, goods and services (UCCN, 2018, p. 5)
Therefore, these factors assist the creative cities to create the unique identity, position and image of the brand as a "UNESCO Creative City" that "the UCCN membership has been in a number of cases perceived as a means to benefit of the use of UNESCO logo and to boast "outstanding" qualities". Then, the cities' identity is considered a significant defensive shield promoting economically the city image especially with the current rapid globalization waves that the cities are competing between each other and internationally. (Botschen et al., 2017, p. 153; Rosi, 2014, p. 110)
Figure 3 The Stages of Branding Process Source: (Chernatony & Riley, 1998; Popescu, 2009, p. 178)
Supporting the cultural integration approach in the 2030 Agenda for Sustainable Development , UCCN has been referred that inscribing the creative value of each city at this branded network, it gives the inscribed city a unique identity being a branded city. On the other hand, this context is applicable in case of integrating the cultural and creative industries with the local development policies that "to develop and experiment innovative ways to include creativity at the core of their territorial strategies and enhance the impact of culture on urban development". (UCCN, 2017, p. 2; Ulldemolins, 2014, p. 3029) Actually, at the current time, the cultural and experience-oriented policy makers take into account the aspect of "experience" as a kind of economy. According to the German sociologist Gerhard
Schulze, people seek to stimulate their experiences perceiving the surrounding context. Thus, considering this experience and its cultural significance, cities internationally involve creating its urban branding-based image. Lately, cities are considered the fun attractions where the local residents and visitors can get the comfortable life standards. (Boer & Dijkstra, 2003; Jensen, 2007, pp. 212, 213; Pine & Gilmore, 1999; Ritzer, 1999; Ulldemolins, 2014, p. 3029)
Promoting the creative city via the branding aspect, a researcher recommends to apply the framework of Botschen, Promberger, and Bernhart "Brand-driven Identity Development of Places (BIDP model)" that consists of a group of steps in sequence: 1- Analyzing the historical modified layers and the main place identity; 2- Defining the intended place brand identity that to be including the socio-cultural means and the main qualifications;
3- Interpreting the defined brand into a form of multisensory tangible interacted experience and the similar behavioral principles;
4- Interacting the residents, visitors, and other destination stakeholders with a specific vision through such communication devices;
5- Judging the key performance indicators; 6- Aligning and materializing the intended place brand identity; 7- Highlighting the structural and procedural adaptations and role and behavioral modifications ; 8- "Positively
resonating
touchpoint interactions
and
experiences
based
materializations and alignments continuously charge the intended place brand"; 9- Developing a new place brand. (Botschen et al., 2017, pp. 155, 158, 162, 164, 166)
on
these
Figure 4 Brand-driven Identity Development of Places (BIDP model) Source: (Botschen et al., 2017, p. 157, fig. 2)
Conclusion In sum, branding is considered a conservative tool which preserving and enhancing the authentic and creative value of the urban fabric of each city worldwide. It is as a concept to assist to valorize the value of the perspective of a multidisciplinary integrated cooperation and collaborations. Here, a researcher can't present a specific results. An assignment is a part of reviewing the concept of a PhD research project "Cultural Identity and Branding: an Integrated Approach to Enhance the Heritage Value".
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