Relevant bibliographies by topics / Experiential creative arts

Academic literature on the topic 'Experiential creative arts'

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Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Experiential creative arts"

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Travis, Raphael. "All Awareness and No Action: Can Social Work Leverage Creative Arts’ Potential?" Research on Social Work Practice 29, no. 6 (November 7, 2017): 708–20. http://dx.doi.org/10.1177/1049731517735178.

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Social work is grounded with an emphasis on promoting the well-being being of individuals and families with an explicit recognition of how the environment plays a significant role in the unfolding of well-being. Unfortunately, the profession’s commitment to maintaining the infrastructure for social work research, education, and practice that helps students and professionals focus on the environmental forces that create, contribute to, and address problems of the living sometimes feels superficial. These trends have made it difficult to realize the effectiveness and promise of integrating creative arts into social work practice. The present article discusses how social work efforts with creative arts will have limited influence if their context, underlying assumptions, and framing are misaligned with the experiential realities of clients; if gatekeeping is too rigid or biased to effectively grow the arts-based infrastructure; and if the underlying assumptions that define well-being outcomes are proportionately narrow, deficit oriented, and short-term focused.
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Reynolds, Frances. "Taking up Arts and Crafts in Later Life: A Qualitative Study of the Experiential Factors That Encourage Participation in Creative Activities." British Journal of Occupational Therapy 72, no. 9 (September 2009): 393–400. http://dx.doi.org/10.1177/030802260907200905.

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Background and aim: Creative occupations promote wellbeing among older people, but how people discover creative occupations in later life, or why they intensify their participation in certain creative occupations after retirement, is unclear. The aim of this study was to explore the experiential factors that older women perceive as encouraging their take-up of, and participation in, visual art-making during later life. Method: Twelve older women (aged 61–80 years) were recruited through a magazine for an older readership. Their interview transcripts were subject to interpretative phenomenological analysis. Findings: A variety of distal and proximal factors appeared to encourage the take-up of art-making in later life. Distal factors included pre-existing craft skills, family role models and positive attitudes to managing change. Proximal factors included the need to fill occupational voids and the sensitive encouragement of husbands and friends. Serendipitous events featured in some accounts. Conclusion: The participants did not uniformly regard themselves as creative. None had participated in the visual arts throughout adulthood. The multiplicity of influences that enabled these older women to participate in art in later life extends previous research findings and may encourage occupational therapists to help clients to regain wellbeing through exploring novel creative arts occupations.
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Yeo, Narelle, and Jennifer Rowley. "'Putting on a Show' Non-Placement WIL in the Performing Arts: Documenting Professional Rehearsal And Performance Using Eportfolio Reflections." Journal of University Teaching and Learning Practice 17, no. 4 (October 1, 2020): 62–79. http://dx.doi.org/10.53761/1.17.4.5.

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his study explores the utility of employing a student-created experiential narrative ePortfolio as a multimodal tool for reflective practice in WIL. It does so by examining a case study situated within the performing arts, where WIL discourses are rarely adopted, and few examples are present in the literature. This paper introduces a circular mentoring framework that extends Kolb’s experiential learning model, whereby learning is facilitated through the interchange of roles through rehearsal and reflection. In this study, participants prepared and performed an opera in a professional venue over a five-day period of intense creative studio work. The 2017 and 2018 Inclusion Project is an innovative teaching and learning opportunity that offered authentic industry-based experience to undergraduate music students in a closely monitored, non-placement WIL setting. Participants (n=18) undertaking a semester long elective, reported their experience through online journaling in an ePortfolio allowing them to create narrative responses. A qualitative analysis using narrative inquiry on the ePortfolio reflections indicated a direct benefit for student’s career readiness as creative artists.
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Niedderer, Kristina, and Linden Reilly. "New knowledge in the creative disciplines – proceedings of the first Experiential Knowledge Conference 2007." Journal of Visual Art Practice 6, no. 2 (October 3, 2007): 81–87. http://dx.doi.org/10.1386/jvap.6.2.81_2.

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Gray, Tonia, and Cameron Thomson. "Transforming Environmental Awareness of Students Through the Arts and Place-Based Pedagogies." LEARNing Landscapes 9, no. 2 (April 1, 2016): 239–60. http://dx.doi.org/10.36510/learnland.v9i2.774.

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Incorporating the Arts into immersive place-based education programs can increase connectivity with the environment and facilitate the development of socially responsible and pro-environmental learners. Increasingly, children and adolescents are alienated and detached from the natural world. Given this noticeable shift, educators working in the outdoor setting need to rethink their modus operandi. Past attempts to promote learner connection with the environment have centred upon short-term stays and risk-centric approaches that embrace high adrenaline activities. This is the antithesis of Touched By The Earth, a yearlong place-based enrichment program using multi-modal creative methods with young learners to delve into the impact of experiential learning and how the Arts promote a personal relationship with the environment.
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Reel, Candice. "ART TO LIFE: THE IMPACT OF AN EXPERIENTIAL ARTS PROGRAM ON ENGAGEMENT IN PERSONS LIVING WITH DEMENTIAS." Innovation in Aging 3, Supplement_1 (November 2019): S888. http://dx.doi.org/10.1093/geroni/igz038.3250.

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Abstract The Art to Life (ATL) program aims to improve the quality of life for persons living with dementia (PWD) through art therapy, intergenerational contact with college students, and life story preservation within an adult day service. This poster will present the results of an ongoing program evaluation to determine the effects of the intervention on PWDs’ engagement in (1) communication with others and (2) art/creative activity. A two-member analysis team independently coded ethnographic field notes utilizing operational definitions of PWDs’ observed behavior during momentary time sampling, and recording events of communication and art engagement using the modified ENGAGE measure (Hartmann et. al, 2017). Results across sessions (N=97) reveal communication engagement (M=28.30, SD=13.36) significantly exceeded art engagement (M=9.86, SD=5.56), t (96)=20.85, p=0.001). These results suggest that engagement in reminiscence via intergenerational contact is a fundamental feature in comparison to art and creative activity within the ATL program. Exploratory qualitative content analysis of ethnographic field notes by a three-member coding team identified two key themes within the communication engagements. These emergent themes included validation of personhood and reminiscence of family ties. More studies are needed to determine if the scope and reach of intergenerational interventions may be increased through the nationwide translation of the ATL program.
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Howard, Frances. "“It’s Like Being Back in GCSE Art”—Engaging with Music, Film-Making and Boardgames. Creative Pedagogies within Youth Work Education." Education Sciences 11, no. 8 (July 22, 2021): 374. http://dx.doi.org/10.3390/educsci11080374.

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Creative pedagogies within youth work practice are well established. Practitioners working with young people are often called upon to utilise their own personal and professional ‘toolboxes’, as a way of supporting ‘Creative Arts Youth Work’. However, within Higher Education (HE), creative methods for teaching and learning within the university context are often overlooked. The problem posed by this article is: how can HE ‘catch-up’ with more advanced pedagogies in the field of practice? Despite a recent focus on the personalisation of learning within HE, how can arts-based pedagogies, including digital storytelling, be drawn upon to enhance the learning experience? This article reports on three areas of pedagogical innovation engaged with by students undertaking the Youth Studies degree at Nottingham Trent University. Three experimental initiatives are explored, which assisted in educating informal educators, through creative learning techniques. Engaging with music, film-making and boardgames are given as examples of creative pedagogy, reporting on both my own practical experience in organising these activities and student feedback. Results showed that the symbiosis of creative pedagogies with relational and experiential learning, key tenets of youth work practice, offered expressive and authentic conditions for learning that are based upon student’s experiences. Therefore, there is much to learn from youth work courses within HE, not only in terms of engaging and encouraging students through creativity, but also setting the scene for the future of creative youth work practice.
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Gu, Xin, and Justin O'Connor. "Teaching ‘tacit knowledge' in cultural and creative industries to international students." Arts and Humanities in Higher Education 18, no. 2-3 (May 2019): 140–58. http://dx.doi.org/10.1177/1474022218824554.

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Universities in Australia – as in many other Anglophone countries – have benefited from an influx of full fee paying international students. Cultural and Creative Industries (CCIs) as an increasingly desirable career for these students and associated with rising state investment has given Anglophone universities the privilege in this international educational market. The disembeddedness of these students from very different urban context impact further their learning experiences. The unprecedented growth of ‘internationals’ has also put the curriculum at odds with its original intent based on tacit knowledge training targeting local professionals. The Master of Cultural and Creative Industries at Monash University is illustrative of this multiplicity of conflicts and tensions. Via the two field trip units designed based on ‘experiential learning', the model for tacit learning, we lay out how conflicts on fundamental cultural values have been important in our course design as part of acquiring ‘a special kind of city knowledge'.
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Groth, Camilla, Margherita Pevere, Kirsi Niinimäki, and Pirjo Kääriäinen. "Conditions for experiential knowledge exchange in collaborative research across the sciences and creative practice." CoDesign 16, no. 4 (September 17, 2020): 328–44. http://dx.doi.org/10.1080/15710882.2020.1821713.

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Müller, Marguerite. "Little We Know of Each Other." Cultural Studies ↔ Critical Methodologies 19, no. 1 (January 2, 2018): 39–42. http://dx.doi.org/10.1177/1532708617750991.

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This performative text is rooted in arts-based inquiry and expressed as the textual portraits of five educators working at the University of the Free State (UFS), South Africa. These portraits were created as part of a collaborative research project in which participants shared their experiential knowledge of working toward antioppressive practice in higher education at the UFS between 2014 and 2016. The textual portraits highlight the contradictions, uncertainty, and messiness of educator identity in this complex and volatile space. Furthermore, the performative text serves as a creative expression of different ways of knowing and different ways of becoming.
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Dissertations / Theses on the topic "Experiential creative arts"

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Lovey, Christina. "A pilgrimage into the liminal : an experiential enquiry into the psychological and embodied space of grief and its re-representation in film." Thesis, University of Brighton, 2016. https://research.brighton.ac.uk/en/studentTheses/2589e3c5-e56a-4e90-9284-e819bf3bc110.

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The lived experience of grief is a universal phenomenon that is both a psychological and embodied experience; it finds expression in varying art forms and is considered in multiple discourses, including psychoanalysis. This project identifies a range of responses to loss and grief and critically reflects on their value and efficacy. Through the use of a phenomenological research process, that results in the production of filmworks, the value of using film as a way of managing and processing loss is considered. The notion of a self-relfexive pilgimage is adopted as a mode of engagement with the liminal experience of grief.
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Arjunan, Dorai Raj. "3D Animation: Creating an Experiential Environment." [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-0719104-174201/unrestricted/Arj%20with%20animation%2017KB.pdf.

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Thesis (M.F.A.)--East Tennessee State University, 2004.
Title from electronic submission form. ETSU ETD database URN: etd-0719104-174201 Includes bibliographical references. Also available via Internet at the UMI web site.
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Peres, Edna. "Mindscape - a centre for creative development in Sunnyside." Diss., Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-05182005-112338.

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Pérez-Rementería, Dinorah. "Osvaldo Sánchez's Art Criticism: An Aesthetics of Reconciliation." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_theses/16.

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Aesthetic criticism very often has been overlooked and considered a lesser form. However, many interpretations, applications and discernments can be obtained from this kind of art writing. Using Osvaldo Sánchez's work as a case study, this thesis examines how writerly art criticism offers an active reading framework of the work of art by using philosophical, literary and poetic constructions. In this regard, I will see how the "writerly" condition has contributed compelling insights to the History of Aesthetics, highlighting the connections and disconnections between Sánchez and other writerly critics, which demonstrates the significance of developing a flexible, available and aesthetic learning model of art appreciation. I will analyze as well various models of experience, subjective and objective, that release certain "openness" as a premise for their existences. Here are included the Kantian sublime, Heidegger's ontological Being, the surrealist cultivation of chance, Kaprow's happenings, and the attitude of disinterest developed by the vanishing poets as defended by the scholar Rafael Hernández Rodríguez. I will show that, by choosing an accommodating approach to discover forms of knowledge, an assortment of valuable empirical content can be found. Finally, I investigate the writerly work of Cuban critic Osvaldo Sánchez that does not adopt a fixed critical pattern. Instead, Sánchez's art writing passes through fields, providing us with a heuristic methodology in which the aesthetic emerges not as a preconditioned set of principles/procedures, but as a true lived experience.
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Chen, Yin Whey, and 陳盈蕙. "An Application of the Experiential Marketing to the Cultural ＆ Creative Industries－A Case Study of the Performance Arts Industry." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/55769577140208050547.

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碩士
淡江大學
企業管理學系
92
The cultural and creative industries are the revolutionary integration with technology, culture and economy. This study employs exploratory research method to look into the cultural and creative industries, and tries to establish a framework for further application. There are 13 kinds of cultural and creative industries in Taiwan. This research explores the performance arts industry and employs exploratory research and quantitative methods to develop a research model based on the“Strategic Experiential Modules”addressed by Schmitt (1999). This study uses questionnaire survey and Analytic Hierarchy Process Method （A.H.P.）to find out an application of the experiential marketing to the performance arts industry. Some important findings as below : 1.About the “experiential modules”: we found the sequence of the performance arts industry creates first the consumer experience by “sense experience”and “feel experience ”, and then to deepen the consumer image by“relate experience ”,“act experience”and“think experience”. 2.About the“experiential medium”: we found the main medium of the performance arts industry is to create the consumer personal experience by “sense experience” and “feel experience”;to create the consumer interaction with others experience by“relate experience”,“act experience”and “think experience”.
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Foster, Sandra Joan. "Crystallising meaning: attitudes of listening to illness narratives." 2008. http://repository.unimelb.edu.au/10187/3289.

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This study involves listening to illness narratives embedded in in-depth life review processes. The method of multiple interview and multi-modal analysis and reflective responding utilised in the study aims to add to the existing field of research by expanding the understanding of what it is like to be heard or not heard, for people who are either patients, or family members. The study also aims to demonstrate how self-aware ,compassionate and reflective listening, particularly in healthcare relationships, can allow meaning to emerge from within the illness experience, thus enriching the wellbeing of patients, family members and their various healthcare professionals.
Stories of disruption arising within healthcare settings often confronted me during more than forty years of nursing experience and also resonated within my personal experiences. These stories express a gulf between patients, family members, or residents in healthcare institutions, and the healthcare organization and its staff. A recurring theme was that these people felt that they had not been listened to by those they trusted to give them care, with a lasting sense of disruption to their wellbeing. In focusing on the dimensions of reflective listening and intersubjective responding, the implications of being heard on the well being of both narrator and listener can be elucidated. An objective of the research became to articulate the attributes and values of compassionate, reflective listening and elucidate the complex nature of the narrating and listening relationship. (For complete abstract open document)
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Curry, Kendra Wynne. "Creative catalysts : a narrative investigation of pivotal learning experience through conversation with six contemporary artists." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-08-1912.

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This thesis is a narrative study that examines significant life experiences of six living artists that were pivotal in their decision to pursue careers in the arts. Although the examples found in these conversations are not exhaustive—many factors play into the individuals sense of identity and agency—they serve to give voice to the multiplicity of the learning experience, underscoring that creative education occurs in the home, the community, and among social groups as frequently as it does in the classroom. Through direct, open-ended conversations with artists, research explores the setting of upbringing and education, the pivotal experiences—catalysts—that propelled these individuals into art careers, and impact of their experience on both creative practice and notions of art learning. Interviews encompass artists whose work is located in public spaces, natural landscapes, and urban environments as often as it appears in the traditional exhibition settings, whose work is both collaborative and socially constructed. They comprise Rick Lowe, artist and founder of Project Row Houses in Houston, Texas whose community-centered social sculpture expands on our cultural assumptions about the artist and Anne Wallace, a public artist whose early work as a human right activist and bi-cultural experiences translate into videos about the complexities of the United States/Mexico border. It includes Vincent Valdez, a self-described “hyper-realist” who depicts his home city and composite life experiences of his family through allegorical paintings and drawings; Marie Lorenz, an artist explorer whose interest in urban waterways brings her work into the waters of forgotten canals and rivers; of Robert Pruitt, who critiques ever-changing political landscapes, conceptions of history, and globalism through hybrid drawings and sculptures; and Franco Mondini-Ruiz who fuses aesthetics of high and low in installations and creative economy widely accessible to people both within and outside the confines of the art world. Through narrative conversation, this thesis enriches overlapping theories that encompass our understandings of education and learning—mentorship, experiential learning, the aesthetic experience, place-based learning, communities of practice—through lived example, underscoring learning as a socially constructed phenomenon. Experiences of learning, unique and wholly individualized, contribute to a one’s sense of self and agency; in the case of the six artists featured in this study, creative experiences contribute to their identity as “artist” and motivated their pursuit of lifework and career.
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Books on the topic "Experiential creative arts"

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Practice-led research, research-led practice in the creative arts. Edinburgh: Edinburgh University Press, 2009.

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Book chapters on the topic "Experiential creative arts"

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Chang, Shu-Hua. "The Strategies of Experiential Design in the Creative Life Industry." In Cross-Cultural Design. Applications in Arts, Learning, Well-being, and Social Development, 3–17. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77077-8_1.

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Sadler, Margaret. "Using Experiential Learning to Engage Aboriginal Students in the Visual Arts Classroom." In Creative Dimensions of Teaching and Learning in the 21st Century, 245–51. Rotterdam: SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6351-047-9_24.

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Giacomucci, Scott. "Creating an Evidence Base for Social Work, Group Work, and Psychodrama." In Social Work, Sociometry, and Psychodrama, 187–210. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-6342-7_10.

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AbstractThis chapter is devoted to outlining the research literature of psychodrama and group therapy. Evidence-based practice trends and their impact on practice in the field of social work are described. Psychodrama is also framed within the research bases of the humanistic-experiential psychotherapies, creative arts therapies, and body- and movement-oriented therapies. While the quality and quantity of research available on the effectiveness of psychodrama are limited, current findings support its use to as a treatment for various mental health conditions. Shortcomings and critiques of research in psychodrama are included while indicating a need for higher quality psychodrama research studies. The research history of psychodrama’s founder, Jacob Moreno, is also described to provide insight on psychodrama’s historical relationship to research.
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Di Prete, Barbara. "Urban Interior Design." In Advances in Media, Entertainment, and the Arts, 156–85. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0666-9.ch008.

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This chapter analyses the 'urban interiors', a significant disciplinary field in contemporary design researches because it appears as a territory in which the human being can express its subjectivity within larger communities, though which he can reaffirm faded identities and share stratified memories. To imagine new rituals and new urban spatial patterns, that can perform also symbolic-affective functions, becomes the priority task of those involved in urban interiors' sphere: the goal is to rediscover the city as a place for meeting and social gatherings. The strategies to do it are various, but they are all pursuing a wide involvement and an active co-participation of people in structuring the space, marked by recreational and creative processes. As a result, we witness the emergence of cities characterized by experiential moments that create spaces and spaces like theatre scenographies that receive, exhibit and narrate the urban living.
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atrick bell, adam p., and Benjamin Bolden. "Sonic Signatures (Beginner)." In The Music Technology Cookbook, 165–70. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0026.

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This experiential activity is comprised of a series of exercises with the end goal of creating “sonic signatures”—micro-compositions of just a few seconds that represent the individual as a musical being. Creating a sonic signature is typically associated with marketing, but engaging in this exercise can also serve as a way to: (1) reflect and share on how we experience and make meaning from music in everyday life, (2) consider how these experiences shape our respective personal identities, and (3) create representations of these identities through the visual and sonic arts.
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Page, Morgan C. "Cultivating Visual Analysis and Critical Thinking Skills Through Experiential Art." In Critical Literacy Initiatives for Civic Engagement, 123–40. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8082-9.ch006.

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Employing visual analysis in the production and critique of artwork is an essential task of an art educator. By encouraging the basic principles of Edmund Burke Feldman's Practical Art Criticism in the development of art making and art analysis, art educators can create a learning environment that guides students toward the practice of higher order thinking skills. Examples of immersive art education that activates space and invites participation from the viewer will be cited as systems for inspiring civic engagement in the classroom.
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Van Wingerden, Christina, Gloria Burgess, and Joanne DeMark. "Crossing Disciplines to Connect Across Cultures." In Advances in Library and Information Science, 326–48. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-9531-1.ch023.

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This chapter shares seven examples of transdisciplinary practices in the areas of assessment, undergraduate and graduate classroom learning, with accomplished industry leaders, and using educational technology (in the form of a learning management site) to create inclusive communities. The application of the Critical Incident Questionnaire for classroom and program assessment amplifies the voices of diverse students coming from different disciplines to dynamically impact class and curriculum design for broader engagement. Classroom and industry leader examples include integration of image, artifact, case study, reflection, documentary, image and metaphor generation, movement, orchestral music, chosen art forms, leadership studies and practices, experiential learning, writing, speaking, and discussing to create deep learning experiences that provoke growth, creativity, and the building of communities. Undergraduate students with jobs in a multi-department unit report that a planned and creative use of a learning management system for an online work orientation program results in their perceptions of belonging and connection to the work unit and each other.
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Anzani, Anna, and Claudia Caramel. "Design and Restoration." In Advances in Media, Entertainment, and the Arts, 68–84. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2823-5.ch003.

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This study uses a design-based approach that is focused on the human dimension in all its complexity to give value not only to a functional or rational use of spaces, but also to an experiential one, gaining further significant inspiration from the memory layered in complex historical spaces. Interestingly, psychological studies highlight the collective base characterizing a number of disorders and suggest that changing the outside world can be just as therapeutic as changing the subject's feelings, indicating that psychology merges with ecology. From an interdisciplinary approach, emphasizing a cultural inclination more than a technical attitude, opportunities seem to develop to promote beauty, identity, and memory as essential dimensions for collective and individual wellbeing. Design-oriented processes could bring out the potential of the built environment, promoting multiple functions and reuse methods, inspired by quality and capable of creating hospitable and welcoming physical and relational spaces.
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Anzani, Anna, and Claudia Caramel. "Design and Restoration." In Advances in Media, Entertainment, and the Arts, 241–57. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0666-9.ch013.

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This study uses a design based approach which is focused on the human dimension in all its complexity to give value not only to a functional or rational use of spaces, but also to an experiential one, gaining further significant inspiration from the memory layered in complex historical spaces. Interestingly, psychological studies highlight the collective base characterizing a number of disorders and suggest that changing the outside world can be just as therapeutic as changing the subject's feelings, indicating that psychology merges with ecology. From an intersection between design, psychology and restoration, emphasizing a cultural inclination more than a technicistic attitude, opportunities seem to develop to promote beauty, identity and memory as essential dimensions for collective and individual well-being. Design oriented processes could bring out the potential of the built environment, promoting multiple functions and reuse methods, inspired by quality and capable of creating hospitable and welcoming physical and relational spaces. 1
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Page, Tara. "Placemaking: The Australian Bush." In Placemaking, 11–62. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474428774.003.0002.

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Chapter One is an assemblage of data of the socio-material embodied ways of making a place-world, the Australian bush. This chapter is an intra-action of the participants and authors everyday and artistic practices-makings and critical reflections. This intra-action of experiential-embodied prose and art practices-outcomes, is a sharing of the senses of place and to ‘work’ the differences that make a difference. The content of this chapter enables an understanding of the ways of making place, and how through everyday practices with creative-artistic makings place and belonging is made and learned https://www.tarapage.org/placemaking
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Conference papers on the topic "Experiential creative arts"

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Kusnadi and Kusnadi Kusnadi. "Experiential Learning and Differential Instructional in Dance Creation Learning for Teacher Education Students." In Proceedings of the International Conference on Art and Arts Education (ICAAE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icaae-18.2019.50.

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Özmen, Alparslan. "An Emotional Approach to City Branding: Experiential Marketing." In International Conference on Eurasian Economies. Eurasian Economists Association, 2016. http://dx.doi.org/10.36880/c07.01753.

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Nowadays, transportation, communication, technology and scientific developments are rapidly changing all areas. Consumers have been changed by the intensification of rivalry. Businesses have to produce proper products and services by giving more attention to changing consumer demands and needs against this rivalry. So, the experience economy is seen to take the place of the service economy. In this context, marketing strategies rather than selling products and services varies as to ensure consumer experience. Thus, the experience economy is starting with proposing products and services as a theater or visual art. Service here; to put on the stage is to create unforgettable moments and memories for customers. Today consumers are looking for features that address to their emotions and feelings. In this sense, experience takes the place of the functional value by providing mental, emotional, cognitive, behavioral and relational values. Consumption experience, is composing the focal point of the experiential approach, creating fantasies, emotions and entertainment. From this point they entered rivalry and began branding in cities. Therefore, all the dynamics of the city is necessary to make a difference by staging features that the experiential marketing has revealed. With which properties cities must be at the forefront, they should be identified and tried to be marketed. Experiential marketing will create an unforgettable experience by making the biggest help for city branding. By taking experiential marketing, the study will attempt to evaluate its effect to city branding with making conceptual analysis in the theoretical structure framework.
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