ArdiantoAiImaginative Experience Gadjah Mada International Journal of Business September-December 2007.
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IMAGINATIVE EXPERIENCE
A Narrative-Dialogic Ethnography of the Community Who Adores Its Idol Eka Ardianto Managing customer loyalty becomes an important activity in marketing management.
One of the reasons is that loyal consumers tend to make good financial performances to producer.
Unfortunately, gaining a loyal customer is not a trivial activity since there are gaps to understand consumer experience comprehensively.
fulfill the gaps, this article explores imaginative experience of the community who adores its idol in the light of cultural perspective.
The members of the community who adores its idol experience the imaginative experience.
The author argues that those phenomena are cultural perspective, because they are meaningful to the members.
Through narrative-dialogic ethnography, the author builds the concept of imaginative experience that through the imaginative media, the members do narrative-dialogic between Authe realm of arealAy and Authe realm of afotikAy then activate the imaginative relations in Authe realm of aktinikAy.
Every member constructs its imaginative relations into imaginative constructions formed in a personal story.
Managing imaginative experience could benefit the It can be the AuImaginative Experience ManagementAy (IEM) that accommodates imaginative consumersAo experiences with the companyAos products deeply and sustainably through managing the story of its consumersAo imaginative experiences.
It can also be linked to the customer loyalty programs.
In this matter.
IEM should be integrated with brand management.
Keywords: community.
consumer behavior.
customer loyalty.
consumer experience.
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Introduction One of the major tasks of every brand manager is to understand more closely how consumer experiences its products (Schmitt 1.
Furthermore.
Holbrook .
argues that experiential perspective is one of the millennial consumers in the texts of our times.
Furthermore, consumer experiences should be viewed in cultural perspective (Spradley and Mc Curdy 1.
From that view, loyal customers tend to relate to cultural experiences, because of a status symbol, and it is meaningful (Kelly 1.
This paper explores imaginative experience of the community who adores its idol through a narrativedialogic ethnography.
In brand management literature, the brand image is one of Aothe sacred assetsAo that should be managed seriously (Keller 2.
, but there are gaps to understand closely how consumers experience their product imaginatively.
Moreover, ethnography is effectively used when fresh insights are desired about consumerrelated behavior (Mariampolski 2.
Therefore, the objective of this paper is to build the concept of imaginative experience through a narrative-dialogic The Concept of Idol In consumer behavior literature, there are close definitions of the concept of idol.
First, the concept of vicarious learning that refers to process by which people change their behaviors because they observed the actions of other people and the consequences that occurred.
In general, people tend to imitate the behavior of others when they see that it leads to positive consequences, and they tend to avoid performing the behavior of others when they see that it leads to negative consequences.
Vicarious learning is also called modeling.
Overt modeling involves consumers who are actually observing the model (Peter and Olson Secondly, the concept of reference group that involves one or more people that someone uses for a basis for comparison or point of reference or frames of reference in forming affective and cognitive responses and performing behaviors.
Reference groups can be of any size .
rom one person to hundreds of peopl.
and may be tangible .
ctual peopl.
or intangible and symbolic .
uccessful business executives or sports heroe.
(Peter and Olson Schiffman and Kanuk 2.
There are three types of reference groups can be described: aspirational, associative, and dissociative.
Aspirational reference groups are groups that we admire and wish to be like but are not currently a member of.
Associative reference groups are groups that we do belong to.
Dissociative reference groups are groups whose attitudes, values and behaviors we disapprove of and that we do not wish to emulate (Hoyer and MacInnis 1.
Those concepts relate to how the model become a frame of reference and could influence its consumers to do something, but there is still a gap how the model could influence to its ArdiantoAiImaginative Experience consumers to activate its imaginative The Concept of Imagination In some consumer behavior literature, several authors state the concept of imaginative or imaginations or Stevens and MacLaran .
, who study how womenAos magazines function as Aodream worldsAo of shopping and how contemporary readers consume these imaginary shopping spaces, define imagination as a visual stimulation derived from Aoconsumer gazeAo that blurs the boundary between fantasy and reality.
Martin .
focused on a thematizing of the fantastic imaginary.
The term thematizing refers to how the evoked imaginary is given form as mental imagery that involves quasi-pictorial Martin argues that fantastic imaginary refers to the imaginary that is evoked and thematized in a fantastic context.
Besides that.
Molesworth .
argues that the aspects of reality used to evoke the imaginary may vary, but they may also include brands as ideas that we are used to daydreaming about.
Brands may therefore AoconnectAo fantasies to individualsAo everyday experiences.
Chronis .
argues that the state of Auwhat it really was likeAy may take the form of a mental picture or an imaginary narrative vignette that depicts a specific slice of life in the past.
Those concepts, on one side, are blurred between the concept of imagination and fantasy, on the other side they focus on the past phenomena.
Even though it reveals the representation of image, there is still a gap to understand how imagination can relate to the consumers Aeparticularly the fans- and its idol.
Different from those concepts of imagination.
I consider the concept of imagination derived from Casey .
It is the phenomenological point of view, that the definition of imagination is related to intentional structure.
Intentional refers to consciousness, that the internal experience of being conscious of something.
thus the act of consciousness and the object of consciousness are intentionally related (Moustakas 1.
In short, imagination is a relational concept, between the subject .
s an imagine.
and the object .
s an imag.
Furthermore.
Casey states that structure of imagination can be regarded into an act of imagining and an object For Casey, imagination is a creative activity in contrast to a fantasy.
AuFantasy is mere nonsense, a fleeting impression.
but imagination is active, purposeful creation.
A fantasy is more or less your own invention, and remains on the surface of personal things and conscious expectations.
But active imagination, as term denotes, means that the images have a life of their own and that the symbolic events develop according to their own logicAu (Casey 1991:.
More over Casey argues that:
AuI construe the term AuimageAy not in its usual meaning Aei.
, as a Gadjah Mada International Journal of Business.
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pictorial form of imaginative presentation- but rather as the mode of presentation with which imagined content is given to the imaginerAos consciousness.
The image is not what is present to awareness -this is the content proper- but how this content is presented Au(Casey 1991:39, original emphasi.
because in imagination, a AuleapAy between two wholly disparate states can occur, indeterminacy and possibility consequently are the characteristics of the imageAu (Casey 1991: .
Creative activity in imagination happens both in the structure of subject-object imagined.
it is the subject dominated .
ecause the subject has motivation and intentio.
and the object dominated .
ecause one image lives and can appear synthetically with another imag.
The former is imagining, and the latter is imaging (Casey Imaging is not only how certain object looks but also how it might feel to the touch.
By specifically sensory, as characterized by predicates that specify whether the imagined object is visualized, audialized, smelled in the mindAos nose, or felt in the mindAos He gives us an example of imagining and imaging when we imagine that a speeding car is running us In that imagination we can also entertain whole complexes of simultaneously apprehend entities-what he shall call states of affairs.
From those Casey arguments.
I consider that both imagining and imaging cannot be separated in the imagination.
For that rea382 son, in this paper, imagination contains both imagining and imaging.
The Concept of Experience Holbrook and Hirschman .
in their monumental paper argue that fantasies, feelings, and fun as the Auexperiential viewAy.
Since then, there are various studies in the area of experience.
For instance.
Cary and Cova .
developed a more detailed approach to the process of immersion in a consumption experience using the notion of operations of appropriation.
Besides that.
Moisio and Arnould .
studied the extended dramaturgical framework incorporates distinctions between drama structure, drama interaction, and drama content and offers marketing researchers and managers a more comprehensive understanding of the ways in which cultural resources, active consumer agency and formal components of shopping performances contribute to shopping experiences.
Others authors.
Chan and McNeal .
, argue that shopping experience increased significantly among older children, apparently those who have some knowledge of products and some money to spend on them .
s compared to the younger childre.
Those concepts relate to how consumers feel their experience, but the gap of Auwhat experience isAy still remains.
For that reason.
I consider the concept of experience derived from the German thinker.
Wilhelm Dilthey .
His concept of experience is Erlebnis.
In German Erlebnis is ArdiantoAiImaginative Experience contrasted to Erfahrung, while English uses experience for both.
The latter has the sense as the actual observation of facts or events, considered as a source of knowledge.
Erlebnis corresponds to the fact of being consciously the subject of a state or condition, or of being consciously affected by an event.
Dilthey frequently and emphatically used Erlebnis because he wanted to distinguish his own empiricism from that concerned with sense data, by stressing personal, emotionally colored experience .
n Rickman 1.
Furthermore Dilthey describes that every particular experience refers to a self of which it is a part.
it is structurally interrelated to other parts.
Everything that pertains to mind is interrelated.
Furthermore Dilthey .
calls Ausystems interactionsAy of categories, such as part and whole with means and ends with inner and outer with past and future with individual and mankind with mental and physical, and with abstractions and physical objects.
System of interactions assumes that the propositions into which the concepts are linked must not contain contradictions either within or among themselves.
From that concept.
Dilthey differentiate between Aumere experienceAy and Auan experienceAy (Turner 1.
He argues that:
AuLooking back at the past in memory we see the connections between the parts of life in terms of the category of meaning.
In the present we feel the positive or negative value of the realities which feel it and, as we look towards the future, the category of purpose arisesAy (Dilthey 1910: .
Turner .
further elaborates that: AuMere experience is simply the passive endurance and acceptance of events.
An experience, like a rock in a Zen sand garden, stands out from the evenness of passing hours and yearsAy.
Throop .
also explains the DiltheyAos distinction between the immediate living through of experience as a sequence of events (Erlebe.
and the retrospective attribution of meaning tied to the structuring of experience as a particular coherent unit or form (Erlebni.
Furthermore.
Dilthey argues that system of interactions as such is always complex, and we must remember that they work with abstractions.
leads Dilthey relates the interactions of abstractions to physical objects, that is the concept of expression.
He argues that the individual in which it occurred takes part as a person in the system of interactions and what he expresses is the product of the person as a whole.
To make them comprehensible we must in practice and treat them as emanation from physical objects.
From that concept, experience is never truly completed until it is expressed, that is a physical manifestation of mental states.
They are some AoformsAo of expressions, the first is literary works, such as autobiographies, and letters, the second is performance works, such as drama (Dilthey 1.
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The Concep of Culture In consumer research, the concept of culture can be viewed as a cognitive model (Thompson and Arsel 2.
their paper.
Thompson and Arsel refer to DAoAndradeAos concept of cultural model .
0: .
DAoAndrade defines a cultural model as a cognitive schema that is intersubjectively shared by a cultural group.
However, cultural models are not just in-the-head entities.
Cultural models are also socially shared because they are objectified .
ee Miller 1.
through public discourses, material objects, and the design of the physical environment (Shore 1.
cultural model shapes individualsAo actions through conventionalized social practices, interactions with its material objectifications, and internalization of its discourses via cognitive structures and embodied habits.
Besides that, the concept of culture can also be viewed as a transition that is moving from one cultural environment to another (Davies and Fitchett 2.
Those concepts of culture relate to how they shape and accommodate a new discourse from social to individual and from one environment to another in Aua one-way processAy.
In short, the gap of Aua two-way processAy such as interaction between social and individual.
and interaction between the environments to another still remain.
For that reason, in this paper I argue that the concept of culture can also be viewed as revitalization.
Clemmer .
concludes that revitalization is a conflict between cultural change and between adoption and maintaining.
It means how the members of a society respond to specific situations in terms of those beliefs or values.
Case The Slank is a pop-rock group band in Indonesia, which was formed on 26 December 1983 in Jakarta.
The word AuSlankAy is derived from AuSlengeanAy, meaning straightforward, guileless, just the way they are.
Its well known slogan is peace, which is applied universally, such as in politics, environment, and love.
In 1993 two of five its group members.
Bimbim and Kaka, used to be drugs consumers.
Because of that, image of the Slank was unfortunately going bad.
In 1995 with the assistance of Bunda Aemother of Bimbim- Bimbim and Kaka totally stopped to consume drugs.
The group band initiatively lunched many albums to convey how bad if they consume drugs, and to declare that everybody, especially to its community, to stay away from drugs.
In 2000 the Slank lunched PLUR (Peace.
Love.
Unity, and Respec.
The Slank says that its slogan is not only peace, but also love of self and others, unity of brotherhood, and respect of self and For Slank, disseminating PLUR means disseminates Auvirus,Ay that is Aoa good virus.
Ao The Slankers is a community who adores the Slank.
Its members are around 2 millions in Indonesia spread across regions, they named as their region, such as Jakarta Slankers, and ArdiantoAiImaginative Experience Surabaya Slankers.
In Jakarta.
Slankers usually hang out in the SlankAos base For Slankers, the presence of the Slank is not just on a stage performance, but also in its imagination, it means, the Slank is not just a physical posture, but also an image.
We argue that Slankers not just experience the Slank in Authe realm of physicalAy, but also in Authe realm of imaginationAy.
Its imaginative experience is expressed in AuKansAy media, that is a printed media of Slank and Slankers sold in SlankersAo Research Pradigm Consumer behavior is a complex phenomenon and an eclectic field.
The majority of published researches are done by marketing academics who vary greatly in their training, objectives, and methods (Peter and Olson 2002:.
As shown in Table 1, there are three major approaches to studying consumer The interpretive approach is relatively new in the field and has become quite influential.
It is based on theories and methods from cultural anthropology (Peter and Olson 2002:.
There are literature of consumer behavior and consumer research that are anthropologically based such as Mc CrackenAos .
SherryAos .
, and Elliott and Elliott .
The complexity and specificity of consumer phenomenon lead to variety of anthropological context, such as Economic Anthropology (Firth 2.
Business Anthropology (Jordan 2.
Tourism Anthropology (Bruner 2.
, and Media Anthropology (Askew and Wilk 2.
Ethnography is Aothe trade markAo research method from anthropology.
As variety of anthropological context, there are various ethnography, such as autobiography ethnography (Hannabuss 2.
, internet ethnography (Kozinets 2.
, visual ethnography (Pink 2.
, communication ethnography (SavilleTroike 2.
, consumption ethnography (Schouten and McAlexander Table 1.
Approaches to the Study of Consumer Behavior Approaches Core Disciplines Primary Objectives Primary Methods Interpretive Cultural anthropology Understanding consumption Long interview and its meanings Focus groups Traditional PsychologySociology Explain consumer decision making and behavior Experiments Surveys Marketing Science EconomicsStatistics Predict consumer choice and behavior Math-modeling Simulation Source: Peter and Olson .
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, and market-oriented ethnography (Arnould and Wallendorf 1.
Ethnographic Revolution Denzin .
argues that history of ethnography has three phases: Realism phase [Market .
0-World War II) to Blatant .
] that is an objective ethnography.
Modernism/ high modernism phase [Monopoly (World War II-1.
to Voyeurism Repressed .
] that is a Golden age.
Postmodernism [Multinational .
0-presen.
to Transgressive .
0-presen.
] that is Blurred genres and Writing culture.
Besides.
Denzin .
refers to Vidich and Lyman .
that interpretive inquiry .
ncluding ethnograph.
is a revolutionary path, from the traditional period to the fifth moment.
that is the present, defined and shaped by the crisis previously described.
From the concept of imagination.
Casey .
argues that in imagination, a AuleapAy between two wholly disparate states may occur.
Besides that, from the concept of experience.
Dilthey .
argues that experience is a Ausystems of interactionsAy of categories.
Furthermore, from the concept of culture.
Clemmer .
underlines that revitalization is a conflict between cultural change and resistance.
adoption and maintaining.
From those three underlying concepts.
I consider that there are three points: .
there are two conflicting categories that they are equally treated.
there is a AuleapAy between conflicting categories that they are togetherness treated.
there is interaction between conflicting categories that they are sequentially treated.
Those points lead me to argue that this research paradigm as a circularity point of view or Aua two-way processAy of ethnography rather than a revolutionary point of view or Aua one-way Ay I coin that Autwo-way processAy of ethnography is the narrativedialogic ethnography.
In this ethnography, opposed categories treat on an equal level, and make circular among those categories.
It means that there are no phases that one category treats traditional or lower than that of the other, rather one category through circularity can influences the other.
Dialogic Dialogic is to make tense, as well as to confront, relate, and interact some More specifically, tension is to oppose among categories.
confrontation is to assemble one category with the other.
relation is to share different source from those opposed categories.
and interaction is to compete similar source from those opposed categories.
Therefore, dialogic contains a My definition of dialogic is different from that of Bruner .
Dialogic for Bruner is not restricted to describing a two-way binary interchange but calls for attention to multiple languages, to plural voices, and to heterogeneity of speech acts, genres, and styles.
Bruner pointed out the heterogeneity rather homogeneity.
In my opinion, dialogic based on both heterogeneity Aethat is relation-, and ho- ArdiantoAiImaginative Experience mogeneity Aethat is interaction (Wagner Based on that definition, narrative-dialogic ethnography is different from that of DenzinAos three phases of ethnography .
In narrative-dialogic ethnography there is dialogic between opposed categories, it includes between structuralism .
r modernis.
ethnography (Strauss 1963, 1.
and posstructuralism .
r postmodernis.
ethnography (Clifford 1988.
Marcus Tyler 1.
Narrative Narrative is representation of events or series of events.
Event is the key word here, though some people prefer the word action (Abbott 2002:.
Furthermore.
Abbot states that the difference between events and their representation is the difference between story .
equence of event.
and discourse .
ow the story is conveye.
I can make many other changes in the discourse and still deal with the same story.
Abbott give example to us:
A When I woke up.
I packed two loaded guns and ski mask, drove to the bank, robbed it, and was back in time for A I was back in time for dinner, having robbed the bank to which I had driven with a ski mask and two loaded guns just after my nap.
A He loved that old familiar, yet always strangely new, sensation of being someone else inside his ski mask, a pistol in each hand, watch- ing the frightened teller count out a cool million.
Nothing like it to wake a guy up.
Nothing like it to give him a good appetite.
Representation in AbbotAos word is not similar to that of Cartesianism.
Cartesianism is the distinction between mind and body and the assumption that AurealityAy must be deduced and then rendered in mathematical terms (Zaner Two major metaphors of Cartesianism are the machine and the The machine is restricted by constraints taking the form of principles and laws.
The container is dualism that proposed separation of the mental and the physical worlds (Thompson et al.
In this paper, narrative composed of: .
action, that is: .
story, which is actual chronological sequence of The basic question concerning story is AuWhat happens next?Ay.
discourse, which is story that the sequence depends on the narratorAos sequence.
can be flash back, or flash forward.
plot, which is the logical and causal structure of story.
The basic question concerning plot is AuWhy does this happen?Ay.
voice, that is: .
can be first-person narration, which is narrating me or narrating self, and reflector-mode narration, which is telling the othersAo experience.
The basic question concerning voice is AuWho speaks?Ay.
Narrators can present events from somebody elseAos point of view.
The basic question concerning focalization is AuWho sees?Ay(Jahn 2.
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Several concepts of narrative are also proposed by Bruner .
Crandall and Brown .
, and Turner .
They argue that if someone tells a story, what he or she tells is a story not a discourse.
In this paper.
I follow both narrative meaning.
If I apply AustoryAy, it means one discourse, narration and certain focalization concerning one event, but if I apply AunarrativeAy, there are two meanings, first, it is a theory of narrative -that includes both action and voice-.
second, they are many possibilities of discourses, narrations, and focalizations concerning one event (Gallie 1.
In this matter, if some one telling or retelling into a discourse, it means he or she constructs a pattern, it is a sequence of events .
hat is a stor.
from many possibilities of sequences .
hat is a narrativ.
(Holloway 1.
Narrative-Dialogic Ethnography The narrative-dialogic ethnography is the discourse of ethnographer to make tense, as well as to confront, relate, and interact some categories and accommodate possibilities of sequences of opposed categories.
I consider those possibilities of sequence as circularity rather than revolutionary.
The ethnographerAos discourse is his or her choice from many possibilities of In this matter ethnographer makes a construction.
That is a theory that is not only interrelated constructs (Creswell 1.
or interrelated concepts and propositions (Pelto 1.
, but also a narrative-dialogic.
The discourse is not only the way of telling, and writing, but also the way of seeing and thinking.
In this matter.
I argue that the narrative-dialogic ethnography is a research paradigm, that is composed of (Guba and Lincoln A Ontology: to view reality composed of tension, confrontation, relation, and interaction among categories, and finally becomes construction.
A Epistemology: to treat between categories as the narrative-dialogic.
A Methodology: to make tense, confront, relate, and interact among categories, and accommodate some possibilities of sequences from opposed categories.
If one ethnographerAos choices are possible, therefore it becomes a construction, that is an ethnographerAos theory.
There are two characteristics of the narrative-dialogic ethnography.
First, there is a narrative-dialogic between an expressive data .
hich is an experience phenomeno.
and descriptive data .
hich is a knowledge descriptio.
It is a matter of data.
On one side, expressive data is physical manifestation of mental states.
those are experiences (Dilthey 1.
Rickman elaborates that:
AuComplex structures can, and should, be analyzed so as to reveal the elements they consist of but, if we begin with these, we cannot easily recapture the richness of experience which gives human life its distinctive qualities.
For this reason Dilthey advocated and illustrated in his own work ArdiantoAiImaginative Experience the use of autobiographies, literary works, letters, and diaries as suitable material for researchAy (Rickman 1976: .
Expressive data are written material related (Dilthey 1.
or mediated experience related (Giddens 1.
this written material, hermeneutic research emphasizes an understanding of a text that always reflects a fusion of horizons between the interpretersAo frame of reference and the texts being interpreted (Arnold and Fischer 1994.
Gadamer 1993.
Holbrook and OAoShaughnessy 1988.
Thompson Thompson et al.
On the other side, descriptive data are cognitive based.
those are knowledge (Spradley 1.
In this matter.
I argue that the knowledge is an every memberAos knowledge toward his or her society rather peopleAos knowledge as argued by Spradley and Curdy .
My argument relies on Marcus .
and Geertz .
that: AuSocial spaces whose edges are unfixed, irregular, and difficult to locate.
We are living in the midst of an enormous collage, in the grand assemblage of juxtaposed differenceAy (Geertz 2000:85-.
In the narrative-dialogic ethnography, expressive data is opposed to descriptive data.
The former is both physically and actively based.
In Giddens .
words, the narrative of the self is made explicit, which the individual can ask: AuWhat do I want for myself?Ay.
That is a narrative therapy (Payne 2.
The latter is both cognitively and passively based.
Spradley .
words, there are descriptive questions that ethnographers can ask to their informants, one of those is: AuCan you describe in detail all the events?Ay.
One example of a pair of data, expressive data and descriptive data which subsequently appear as follows:
AuAt that moment my friends and I will go to take a tour to the recreational place, but the tour must pass my enemyAos school.
My friends and I always fight them.
Because of that, one of my friends has an idea to rise up the SlankAos flag if we pass my enemyAos school.
We agree on that.
that moment we pass my enemy at their school, one of my friends rise up the SlankAos flag.
Surprisingly, they just expressionless to see us, they did not throwto us with stones as they did, then they follow us to make a peaceAos sign by their fingers.
We can pass them safely because of the SlankAos Thanks to Slank, you are really to be a virus of peace in IndonesiaAy.
One of Slankers said to me: AuIn our journey to the SlankAos concert I always rise up the SlankAos flag.
At that moment I feel glad.
I believe that the others people know that the day of SlankAos concert.
I think that the SlankAos flag is the sign for SlankAos concertAy.
That expressive data appears in a SlankAos newspaper, a communication media between Slankers and Slank.
The descriptive data is obtained from my interview with one of Slankers.
This ethnography does narrative-dialogic between those types of data.
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are possibilities of sequences, such as expressive data-descriptive data, descriptive data-expressive data, expressive data-descriptive data-expressive data, and descriptive data-expressive data-descriptive data.
Every possibility of sequences of those data leads me to make a different construction.
Back to the above data.
I do narrative-dialogic that start from expressive datadescriptive data-expressive data.
From that narrative-dialogic, my construction is that Slankers construct a new construction of the meaning of SlankAos The second characteristic of the narative-dialogic ethnography, that there is a narrative-dialogic between an interpretation and reflexivity.
It is a matter of epistemology.
The narrativedialogic ethnography treats an equal epistemology between ethnographer and his or her object (Soysal 2.
one side, interpretation is the method of coming to know the objects of this world of mind (Rickman 1.
It contains the relations of Auinner to outerAy (Dilthey 1.
According to Dilthey, in interpretation subject objectifies the It is the way to reduce complexity and abstractions.
Besides, it is also the way to reduce chaos (Geertz 1.
and confusion (Mehan and Wood On the other side, reflexivity means a turning back on oneself.
process of self-reference, in which boundaries between subject and object disappear, the one becomes the other (Davies 1999.
Mead 1934.
Scholte 1.
According to G.
Mead .
, other profoundly influences our personal experience as it enters our awareness in the reflective act.
Reflexivity contains the relations of Auouter to innerAy.
It is the way to open the self for others, so it also contains risks, dangers, and anxiety (Giddens 1991:
During interview with his or her informants, ethnographer does reflexive interview (Denzin 2.
According to Frijda .
, reflexivity has two conditions.
first, it is a transformation of awareness and the creation of subjectivity.
The AumeAy who does the becoming aware becomes part of awareness, rather than merely being its condition or theoretical point of AuI know that I am perceiving XAy takes place of Au There is XAy.
second, it appears to consist of discrete One example of a pair of interpretation and reflexivity subsequently appear as follows:
AuI adore the Slank- the group band care to its fans.
I have known the Slank for two and a half years.
I do not why I obsessed to the Slank.
The Slank also appears in my dream.
Ay That is IstiqomahAos expressive In her written story, she interprets that the Slank take care of their fans.
Besides, she is to be a reflexive actor that she does not know why she obsessed to the Slank.
In my side, as an ethnographer.
I also interpret expressive data.
Istiqomah is obsessed to the Slank, it leads her to dream the Slank.
Before I read IstiqomahAos story, on May 10, 2005.
I was dreaming a mem- ArdiantoAiImaginative Experience ber of Slank, his name is Kaka -he is the band vocalist-.
To be honest.
I did not know why I was dreaming the Slank, and especially Kaka.
I realize that I need to go to the SlankAos base camp because I did not go to that place almost two weeks.
After I read IstiqomahAos story, directly I said that I also can dream the Slank.
That is my In the narrative-dialogic ethnography, ethnographer conducts four First, ethnographer interprets expression to the objects.
Second, ethnographer reflects expression from the There are possibilities of sequences, such as interpretive-reflexivity, reflexivity-interpretive, interpretive-reflexivity-interpretive, and reflexivity-interpretive-reflexivity.
Third, the ethnographerAos self make confession regarding what he or she experiences toward objectAos expression.
Four, ethnographer constructs a sequence of events composed of narrative-dialogic.
In the narrative-dialogic ethnography, the ethnographerAos self is presenting a voice rather than personal silence as argued by GeertzAos AuThe Interpretations of CulturesAy .
The narrative-dialogic ethnography is a narration-based ethnography in which the presence of the ethnographer is acknowledged (Stoler 1999:.
this matter, the ethnographerAos voice is not the egos.
The ego, not a self, would be a self only by becoming reflexive, that is to say, acting toward or on itself (G.
Mead 1.
In G.
Mead words, the voice of ethnographer is a self indication of a moving communicative process in which the individual notes things, assesses them, gives them a meaning, and decides to act on the basis of the meaning.
Besides, the ethnographerAos voice is a narration of the narrator (Clifford,1986: 12.
Maanen 1.
The narrative-dialogic ethnography is categorized as a Being-Here ethnography (Geertz 1.
Geertz opposes a Being-Here ethnography with a Being-There ethnography, as follows: AuBeing There is a postcard experience (AuIAove been to Katmandu, have you?A.
It is being Here, a scholar among scholars, that gets your anthropology read, published, reviewed, cited, taughtAy (Geertz 1988:.
Furthermore Geertz .
argues that Being Here ethnography is getting AutheirAy lives into AuourAy works.
It means there is an ethnographerAos confession (Geertz 1988:.
That confession is realized through reflexivity (Geertz 1988:.
The narrative-dialogic ethnography is also categorized as an Experimental ethnography (Marcus 1.
Marcus opposes a Discovery ethnography with an Experimental ethnography as follows: AuSuch a revision of ethnography changes the understanding of what ethnography is generally In the past, ethnography has been associated with discovery, meaning to describe specific groups of people who have not been treated before as Auone tribe, one ethnographerAy.
Opposingly, postmodernist ethnography derives its critical power and in391 Gadjah Mada International Journal of Business.
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sight from awareness or from reflexivityAy (Marcus 1998:196-.
The narrative-dialogic ethnography is also categorized as a reflexive ethnographic science (Aunger 2.
Aunger argues that: AuThe ethnographer cannot simply leave the reader to contribute the analysis, but has the obligation to interpret ethnographic As a consequence.
I emphasize reflexivity as an aspect of analysis rather than presentation in the ethnographic documentAy (Aunger 2004:15, emphasis as origina.
The implication of reflexivity as an aspect of analysis is that the real issue isnAot so much who is right and who is wrong Aebecause the truth will always be contested- but whether any ethnography has value (Aunger 2004:3, emphasis as origina.
Furthermore Aunger argued that there is no single, hegemonic truth that an ethnographer can adopt, hence the great concern in the newer generations of ethnographers with explicitly representing ethnographic variation (Aunger 2004:5, emphasis as origina.
The Story of Imaginative Experience There are many stories of SlankersAo imaginative experiences.
Its imaginative experiences are expressed in AuKansAy - a Slank and SlankersAo printed media sold in Slankers shops-.
From those stories, by categorizing.
I find three-styles of imaginative experiences First, it is a FadliAos letter.
he is a Slanker form East-Kalimantan.
AuTo be honest, when I was listening to the 8th SlankAos album.
I felt eerie and remembered my best friend, the last Jana.
Here is the story:
Jana was a Slanker.
After he graduated, he has got sick, terrible sick, so that his family took him on hospital.
On the first day I met him in hospital.
I couldnAot believe.
His body was getting thin, he couldnAot speak too.
just smiled.
On the second day.
I gave him a new SlankAos album, the 8th SlankAos album, suddenly he looked bright and happy.
He was enjoying listen that album.
I looked some energy on his face.
But it was a short moment, because in the next day, he passed away.
Good-bye my best Ay What Fadli told is his imaginative It means that his imaginative experience is a story.
In his letter.
Fadli tells back his imaginative experience.
it is his discourse of his story.
Second, it is a MarniAos letter.
she is a Slanker from West-Java.
AuAt the time I was writing this letter.
I felt sad and I missed my father.
adored the Slank, because the songs are both romantic and poetic, also its dress just the way they were.
father passed away on November 10.
After that.
I become adores to the Slank.
When I miss my father, then I will listen to SlanksAos song, so my miss is fulfilled.
Ay ArdiantoAiImaginative Experience In contrast to FadliAos imaginative experience.
Marni writes her letter when she is experiencing her imaginative experiences.
it is her story.
Third, it is a WahyuAos letter.
he is a Slanker from East-Java.
AuI have a story.
Actually it is a story of my best friend Andre, about his friend Kim.
Andre is a Slanker.
One day he asked to Kim to go together to see the SlankAos concert.
Kim had never known and listened before about the Slank and its song.
However, at the time he listened the songs, suddenly he looked happy and danced followto the songs.
The next day Kim told to others friend that he just watched the SlankAos concert.
His friend asked him about what the title of the songs that he heard.
Surprisingly.
Kim said that he did not know what the title was.
Spontaneously all were laughing.
Since then, he still claimed himself as SlankerAy Wahyu writes the story of Kim, but Wahyu did not directly see what Kim did.
In contrast to FadliAos and MarniAos.
Wahyu tells about the story.
it is his discourse of other story.
From the three stories above.
I argue that there are three-style of stories of imaginative experiences: .
Autell back the storyAy.
Autell the story when it is happeningAy.
Autell about the storyAy.
poem: AuResponses from the SlankersAy, who written by Slanker.
AuMars of the SlankersAy This is the place who ones to enjoy This is the wrong place if you just make money This is the place who ones with creativity This is the place who ones to survive This is the place not for lazy people This is the place for hard worker This the place not for the spoiled Less work but many take WorksALetAos go.
AuVirusAy I donAot want to be a Satan to scare you I donAot want to be a devil to mislead What I want you to try to know me What I want you learn to love me HonestlyAthe way we were I donAot need to be a fire to burn your I donAot need to be a spine to hurt you What I know is I try open What I know is deliberately always to HonestlyAthe way we were The Realm I can be a virus to influence you To understand the realm of Slank and Slankers.
I studied three the SlankAos songs: AuMars of the SlankersAy.
AuVirus,Ay AuBlue,Ay and one the SlankersAo AuBlueAy Loose my memory to the past Breaking the time line Gadjah Mada International Journal of Business.
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The Slankers always support you The Slankers donAot want to buy your pirated album I open my mind flying far away Breaking my fear and hesitate Blue .
I miss you.
Blue .
I remember you.
Not adoring so that not loving Please let us know you more closely Never loose my last memories.
Filling my mind.
To complete all my behavior.
If you fall We will up you You canAot die Your song is our voice Our soul is still red and white AuResponses from the SlankersAy We are going to the SlankAos base camp not to be lazy We are going there because you are my family We are going there to look your daily activity We come to look our family that is the Slankers We come to look our Bunda that is the mother of the Slankers We come to look our home In our heart has the peace virus In our heart has the love In our heart has the Slank The real Slankers donAot want to be Figure 1.
The Concept of Imaginative Experience "The realm of "The realm of areal" A A A The imaginative The imaginative "The realm of The imaginative ArdiantoAiImaginative Experience I interpret those songs and poem as three unique categories, each of those is: .
AuMars of the SlankersAy is Authe realm of arealAy Cnamely the category of Authe realm of physicalAy.
The lyrics describe a place to make interpersonal relationship, daily activity, working hard.
This realm contains a presence of people.
AuVirusAy is Authe realm of afotikAy- namely the category of Authe realm of imageAy.
The lyrics convey a non-physical posture.
Aoa good SatanAo.
Aoa good devilAo, a virus.
This realm contains a presence of images.
AuBlueAy is Authe realm of aktinikAynamely the category of Authe realm of imaginationAy.
The lyrics convey relationship between the Slankers as the subject .
ct of consciousnes.
and the Slank as an object of consciousness.
This realm contains a presence both of imagining subject and imagined object.
In the beginning, there is narrative-dialogic between Authe realm of arealAy and Authe realm of afotikAy synthesized by the imaginative mediums.
That narrative-dialogic activates the imaginative relations in Authe realm of Ay At the end, those imaginative relations construct the imaginative Such concept is called the concept of imaginative experience, as depicted in Figure 1.
The Imaginative Mediums As Dilthey argues.
Slankers express their experiences on many expressions.
one of them is the typography on their T-shirt.
At the time I watched Slanker wearing a black Tshirt pictured with the logo of the Slank in front of it with one sentence in the Such T-shirts are sold in the SlankersAos stores that sell merchandises of the Slank and Slankers near the SlankAos base camp.
The sentence is: AuHowever it is.
I have the AuGodAyAy.
I interpret it as both denotative meaning and as narrative meaning.
Denotative meaning is absoluteness of the GodAos existence, that every one indeed has the God.
Another interpretation is narrative meaning.
I interpret the sentence as two sequential events.
AuHowever it isAy is the first event, then AuI have the AuGodAyAy is the second event.
For me.
Auhowever it isAy is Authe realm arealAy of the Slankers.
In the AuI have the AuGodAyAy.
I carefully pay attention on the AuGodAy with apostrophe on that I relate that with synthesis that the essence of the concept of imagination.
I interpret that Slankers synthesize the Slank image with the God It leads me to say that AuI have the AuGodAyAy is Authe realm of afotikAy.
turn, it leads me to state that there is imaginative medium that assembles Authe realm of arealAy with Authe realm of afotikAy, and then it can activate Authe realm of aktinikAy.
Imaginative mediums could take any form, as I found in this study, there are many kinds of imaginative medium, such as a sentence on that T-shirt, song, specific number, signature, information on video clip, even self.
I categorize four narrative-dialogic of imaginative medium, as follows.
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First, imaginative medium rises Aoin the middle ofAo and then assembles Authe realm of arealAy and Authe realm of afotik,Ay as WawanAos story:
AuI run my own small business.
One reason is that I seriously collect SlankAos merchandise, so that I take my business to make money as fast as I can, so I can buy another SlankAos At that moment.
I unintentionally founded information on one piece of pamphlet regarding the SlankAos Jamboree on next month.
registered directly to be a member of that Jamboree, but I did not consider that my capital loose.
After registration I really have no business, but it is ok because the most important I can joint with Slank, took photographs and its signature on that Jamboree.
believe that I would rather loose my capital than I canAot get my golden Ay That information on a piece of pamphlet assemble both Authe realm of arealAy Aenamely uncertainty of getting a jobAe and Authe realm of afotikAy Cnamely certainty of presence of the Slank image.
Second, imaginative medium rises simultaneously with Authe realm of arealAy then assembles with Authe realm of afotikAy, as AdiAos story:
Adi tells his first story:
AuI complain to the staff of the Slank [Slank and Slankers called Authe Fairy RescuerAy or AuFRA.
On one of its performances, there was a Slanker who went to the stage and shook hand with one member of the band and AuFRAy directly hit that Slanker.
I hope that event wonAot happen anymore.
Ay He continuous his story:
AuI did apologize, because I made bad image to the AuFRAy.
At that moment.
I actually founded a nameless newspaper, and I read information regarding that event.
I should never trust on it, because I do believe that AuFRAy never did like written on it.
Since I told the first story I couldnAot sleep well and Once again I do apologize to the Slankers in Indonesia, especially the AuFR.
Ay I promise not to do it I hope there is wisdom.
PLUR.
Ay That information on one piece of nameless newspaper rises simultaneously with Authe realm of arealAy Cnamely uncertainty of informationthen assembles with Authe realm of afotikAy Cnamely certainty of presence of the Slank image.
Third, imaginative medium rises simultaneously with Authe realm of afotikAy then assembles with Authe realm of arealAy, as YusufAos story:
AuI have adored Slank since 1994.
always hunt any kind of SlankAos merchandise.
My dream was when I got married some day.
I want to invite Slank.
Unfortunately I couldnAot make My next dream is when I have a baby I will name my baby with the SlankAos personnel name.
My dream comes true.
I named my baby: AuBIMO ADRI AZZUARYAy.
It stands for:
BIMO
: BimbimAos real name : Abdee : Ridho ArdiantoAiImaginative Experience : Ivan AZZUARY : BimbimAos daughter.
The real name is Mezzaluna Azzuary, and her nick name is Una.
Ay That YusufAos imaginative medium rises simultaneously with Authe realm of afotikAyAenamely always present .
he Slank always present in his drea.
Ae then assembles with Authe realm of arealAy Cnamely never present .
he Slank never present in YusufAos marriag.
Four, imaginative medium rises after Authe realm of afotikAy experienced then assembles with Authe realm of arealAy, as DonkAos story:
AuOne day.
Una just arrived from her school and took her father to go somewhere.
Here is their conversation:
Una : Dad, is it true that Indonesia is a poor country? Father: Please, do not talk loudly, we are ashamed for that!!! Una : Why we should be ashamed? Father : Our hero will get up from their grave.
We should be ashamed for thatA Una: Could the dead body get up.
Father: ????Ay Una AeBimbimAos daughter nameis also one of the SlanksAos song titles which tells whether BimbimAos family can grow up Una in Indonesia.
The lyric of that song is as follows:
AuIndonesianization of UnaAy Reny Please I need to talk to you About the future of my life About our Mezzaluna Reny please I want to know The schoolAos fee When we are getting sick, how much do we pay doctor and medicine? Can we be growing up Una in this Oh Reny do you sure? Human being just becomes un human And the truth just become a commodity Can we be protecting Una in this Reny please do not always follow Going to buy toys in Toy Story, and to eat in Mc Donald But going to teach her how to play with traditional toys and to eat in traditional canteen Will we open her mind in this country? Will we be strong to Indonesianization of Una in this country? That story rises because Authe realm of afotikAy is experienced Cnamely AuwealthyAy (BimbimAos image that give various instructions to their daughte.
and then assembles Authe realm of arealAyCnamely AupoorlyAy ( DonkAos everyday lif.
Five, imaginative medium rises after Authe realm of arealAy is experienced and then assembles with Authe realm of afotikAy, as PipitAos story:
AuI have already finished my middle school exam.
At that time, the result was bad, so my mother blamed me.
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cried, and then my friends tried to cheer me up.
I stopped crying, but I was still sad.
Then I hang out with my At that time a newspaper seller gave me the Kans Aethe SlankAos newspaper-, in which I have tried to read for so long.
I felt better and happy.
didnAot care about my examAos result and my KansAo debt [KansAo costs around 1 dollar US] because my mother just gave me money to go HaAha.
haAitAos ok, because KanS can make me fell better and Ay After Pipit experienced Authe realm of arealAyAenamely sadnessAe and then the KanS rises together with Authe realm of afotikAyCnamely happiness.
Six, imaginative medium rises because Authe realm of arealAy is experienced and then assembles with Authe realm of afotikAy, as AgusAos story:
AuI have a younger brother.
his name is Yudi a nine-year old.
He is also a Slanker.
One day, we went to the market, unsurprisingly we saw one cassette and CD shop that sold many pirated albums including SlankAos album.
I looked to SlankAos album, suddenly my brother held my arm and said: AuWe are Slankers, so donAot look any SlankAos pirated albums, because Slank warns us to stay away from pirated albumAy.
I was both shocked and proud of him.
He is influenced by SlankAos virus apparently.
I hope Slankers could help themselves to stay away from SlankAos pirated album.
PLUR.
Ay Because pirated album is always available in the Aurealm of arealAy, then Agus looked that album, at that time, his younger brother .
s his imaginative mediu.
rises and then assembles with Authe realm of afotikAy- namely the SlankAos image that always convey to stay away from pirated album.
Seventh, imaginative medium rises because Authe realm of afotikAy is experienced and then assembles with Authe realm of arealAy, as BudyAos story:
AuIn the SlankAos clip video AuI Miss U but I Hate UAy, there is a story of two Slankers who want to see its idol, the Slank.
It is written in their diary that on June 11 Slank will perform in the slankAos base camp.
On that day they are going to the SlankAos base camp to see its idol, but there is not alive as they want to.
They are disappointed, and write to its diary that on July 11 the SlankAos performance will be alive on that.
Soon, that story will become a trigger for all Slankers that on July 11 Slankers crowd the SlankAos base camp, but actually there is no SlankAos Ay Because the SlankAos image conveys that the Slank and Slankers will meet in their base camp in Authe realm of afotik,Ay but not on the specific date, at that time the imaginative medium Ae which the specific date that is created by SlankersAe rises and then assembles with Authe realm of areal.
Ay From those stories.
I make Auinternal inferentialAy conclusion based on the narrative-dialogic that there are ArdiantoAiImaginative Experience four narrative-dialogics of imaginative mediums between Authe realm of arealAy and Authe realm of afotikAy, that is how imaginative medium is conveyed.
First, imaginative medium rises Aoin the middle ofAo and then assembles both Authe realm of arealAy and Authe realm of afotikAy.
Second, imaginative medium rises simultaneously with one AurealmAy and then assembles with the other AurealmAy.
Third, imaginative medium rises after one AurealmAy is experienced and then assembles with the other Aurealm.
Ay Four, imaginative medium rises because one AurealmAy is experienced and then assembles with the other AurealmAy.
The Imaginative Relations The imaginative relation is a subject-object relationship in Authe realm of aktinikAy.
There are many SlankersAo stories which describe the imaginative First.
Authe realm of aktinikAy fused in Authe realm of arealAy, as AndiAos story:
AuI promise to myself to be a real Slanker in the rest of my life since in the middle school.
Slank had changed my life from AoeasyAo life to really make a peace.
I promised to my self that when I die, my body would be covered with the flag of Slank.
Amen.
Now my son is 4 years old.
He loves to sing AuVirusAy and AuMars of the SlankersAy.
My family is also Slankers.
Slank is my soul, and Slankers is my spirit.
Wherever I live.
SlankAos virus grows.
Nowadays, around my neighborhood I am spreading SlankAos virus, until to have around 50 Slankers.
I always tell about peace to them.
Peace never I cannot tolerate if anybody does thing bad to Slank and Slankers.
I am not a hero, but if anybody does harmful things to Slank and Slankers in front of my eyes.
I die for it.
Swear! Peace for all IndonesianAos Slankers.
Ay In that story.
Andi does not separate the two AurealmAy.
For him, the imaginative relation in Authe realm of afotikAy is experienced as well as in Authe realm of areal.
Ay Second.
Authe realm of aktinikAy is separated from Authe realm of arealAy, as UlfiAos story:
AuI am a Slanker.
I am absolutely prohibited to see the concert of Slank, because I am a student of a pesantren .
chool of Koranic studies for children and young people, most of whom are boarder.
Nevertheless.
I collect many of SlankAos collections.
I just make correspondence with my friends via mail to collect those collections.
In my school, we make a creativity project every year, and of course I make an art project of SlankAos, such as T-shirts.
I want to know whether Slank has pins, because I wear a veil.
I want to have some SlankAos photographs.
Can I?Ay In that story.
Ulfi separate the two AurealmsAy.
For her, the imaginative relation in Authe realm of afotikAy, is not experienced in Authe realm of areal.
Ay Third.
Authe realm of aktinikAy goes through narrative-dialogic with Authe Gadjah Mada International Journal of Business.
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realm of arealAy.
The sequence is from Authe realm of arealAy to Authe realm of aktinikAy, as FeriAos story:
AuI was a high schoolAos student.
At that time there was a campaign to select a schoolAos student leader, and I was one of the candidates.
Each candidate made posters.
On my poster I stated that the Slank is my idol.
As I gave my speech, surprisingly all of my friends supported me.
I was honored.
But then, the result resembled to that of SlankAos competition.
In several competitions.
Slank is not chosen as the winner.
I failed to be a leader, instead I was chosen as a treasurer.
But itAos ok.
The more important thing is that I was really happy.
I am proud to be a Slanker.
Ay Four.
Authe realm of aktinikAy goes through narrative-dialogics with Authe realm of arealAy.
The sequence is from Authe realm of aktinikAy to Authe realm of areal,Ay as YosAo story:
AuOn 29 March 2003, 3 p.
, our mountain hiking started in a rainy We insist to place the SlankAos flagpole on the mountainAos top.
Our seventh-hoursAo journey is followed by the slanksAos song: Au#1Ay.
Because of it was wet and slippery, we frequently slipped and lost of balance, but we faced them with patience and no regret.
Finally, we reached the top, and placed the SlankAos flagpole.
It was proved that peace and love can never be separated.
Ay From those stories.
I make Auinternal inferentialAy conclusion based on the narrative-dialogic that there are three types of imaginative relations.
First.
Authe realm of aktinikAy fused in Authe realm of arealAy.
Second.
Authe realm of aktinikAy is separated from Authe realm of areal.
Ay Third.
Authe realm of aktinikAy goes through narrative-dialogic with Authe realm of areal.
Ay The Imaginative Constructions I define that construction is based on distinction between story and narrative.
In this matter, if someone is telling or retelling a discourse, it means that he or she constructs a pattern (Holloway 1.
It is a sequence of events Aea storyAe from many possibilities of sequences Aea narrative.
I analyze some SlankersAo figures about Slank to understand the imaginative construction.
In this paper I show two of some SlankersAo figures, one of that, is what I call: Authe AngelsAy as depicted on Figure 2.
ArdiantoAiImaginative Experience Figure 2.
AuThe AngelsAy Source: Gibran.
, and F.
Dhani .
Figure 3.
AuLaudatory to GodAy Source: Gibran.
, and F.
Dhani .
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On that Figure 2.
Slank as angels warns Slanker in the lower left corner to stay away from bad Satan.
At that moment Slankers do a fasting ritual, and the bad Satan intrudes him to forget the fasting ritual and enjoy some delicious food and drink.
I analyze that this is a narrative-dialogic between Slankers and the Slank as the angels to keep the Slankers to consistently do the sacred ritual.
If we observe it in more detail, there is a single word of every Slank front name in his head that is R (Ridh.
A (Abde.
K (Kak.
I (Iva.
B (Bimbi.
If we read that sequence of words, it will become RAKIB, a name of angel in Islam.
His duty is to record the good deeds of On the Figure 3.
I call a Aulaudatory to GodAy as depicted on Figure 3.
Slank plays the role as Aothe good man,Ao that every man wears a Aogood clothesAo ready to pray his God.
Every man hold a single word of their first name, that is A (Abde.
K (Kak.
B (Bimbi.
I (Iva.
, and R (Ridh.
, and adds with T in front of that.
The sequence words become TAKBIR, it is Islamic meaning of a laudatory to Allah.
From those figures.
Slankers construct various constructions in which various sequential patterns are built from every single word of the Slank first name.
Conclusion and Discussion This study finds that imaginative experience is the narrative-dialogic between Authe realm of arealAy and Authe realm of afotikAy synthesized by the imaginative mediums.
That narrativedialogic activates the imaginative relations in Authe realm of aktinikAy.
At the end, those imaginative relations construct the imaginative constructions.
In this study, the community, who adores its idol, experiences the imaginative experience.
For them, a presence of the idol is not just on a stage performance, but also in their imagination, it means, the idol is not just a physical posture, but is also an image.
They do not experience the idol only in Authe realm of arealAy-namely the category of Authe realm of physicalAy-, but also in Authe realm of afotikAy Cnamely the category of Authe realm of imageAy, in this matter Authe realm of afotikAy consists of the idolAos image.
The imaginative mediums activate imaginative relations in Authe realm of aktinikAy Cnamely the category of Authe realm of imaginationAy.
Every member of that community constructs the imaginative One type of imaginative relations that Authe realm of aktinikAy fused in Authe realm of arealAy describes that there is a strong relationship to peopleself-image.
In that relation, self becomes an extended self (Belk 1988 and Finally, those imaginative relations construct imaginative constructions formed in personal story (Ahuvia Those concepts of imaginative experiences implicate the concept of brand identity.
In the imaginative experience concept, brand identity as an imaginative medium is the narrativedialogic between Authe realm of arealAy ArdiantoAiImaginative Experience and Authe realm of afotikAy.
It is different from KellerAos brand identity.
For Keller, brand identity answers question of who you are .
3: .
It is a narrative-dialogic based compared to description based.
Besides, the imaginative experience concepts also add the concept of community.
In community, people not only share essential resources that may be cognitive, emotional, or material in nature (McAlexander et al.
, and also not only share rituals and tradition conventionally (Muniz and OAoGuinn 2.
, but also construct its imaginative experience personally.
The concept of imaginative experience can benefit brand managers to build their brand.
The AuImaginative Experience ManagementAy (IEM) can accommodates companyAos experiencer .
ts consumers who experience the imaginative experienc.
who are involved in the companyAos products deeply and sustainable by managing the story of imaginative experience.
Through its community, brand managers should accommodate their member constructions into a loyalty program, in which consumersAo involvement can be managed.
References