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Drawing on findings from the project ‘Walking around with our cameras’ (2014–16), this chapter explores educative and methodological implications of arts-based research. The project on which this chapter is based was conducted in Bilbao (Spain) by two local organizations: Sala Rekalde, a contemporary art gallery; the Institute of Human Rights of Deusto University, a local artist and a group of migrant women. Analysis of this project offers insights into the ways that artistic practices afforded unique opportunities for migrant women to reconstruct and represent their migratory experiences. This chapter sheds light on the ways that participatory arts-based research can move across disciplines and enhance effective achievement on collaborative projects that work to give voice to the voiceless.

The competitive luxury market raises higher requirements for luxury brands to effectively involve young generations in creating and endowing meanings to products, services and experiences. Several researchers suggest that art experiences create a fertile source of co-creation practices for cultural customers as they could engage in cognitive, emotional and imaginal activities to endowing meanings to products or services. Hence, bridging art and luxury is of significance for luxury brands to create value and engage their customers. This chapter delivers the essence of value for luxury brands and their customers and focusses on how luxury brands deploy art-based initiatives as a favourable technique in which value co-creation takes place.

In today’s hypercompetitive, digital-first, knowledge-based economy, organizational creativity has never been more important as a potential source of competitive advantage. The foundation stone for every innovation is an idea and all ideas are born of creativity. The innovation process thus starts with creativity and the new ideas it yields are ideally based on insights that will lead ultimately to novel outcomes (such as new products, services, experiences or business models) and thereby to a sustainable competitive advantage. In established businesses, until relatively recently, creativity was called on only for specific, often high-profile occasions, for ‘hackathons’ or for major ‘innovation jams’, but today it is an essential, everyday necessity of routine work. However, attaining the right level of creativity from within is a challenge for many organizations and so they need to establish an appropriate and effective way to import it into their teams, projects and, ultimately, culture. The arts are a pure, unadulterated form of creativity. Mindsets, processes and practices from the arts can give organizational creativity a significant boost and can potentially offset the creative deficit in an organization. Here, the illustrative cases and practices that demonstrate how the arts can have a positive impact on business are examined.

The purpose of this chapter is twofold: in the first part, we will provide comprehensive, state-of-the-art urban and visual studies across the domains of visibility, urban aesthetics and the legitimate use of the urban. We will show that what we see is foremost what is accessible and legitimate as a vision, while the urban provides multiple realms of invisibility that are often neglected or rendered invisible. Art, architecture, urbanism and place-making will be used as examples of these dynamics.

In the second part of the chapter, we will present a research study on the decolonial practices of re-signification of colonial urban traces. Despite the dominant representation of Italians as ‘good people’ (a local version of ‘white innocence’), in recent years, Italy has witnessed a new interest stemming from bottom-up local movements dealing with colonial legacy in the urban space. We will show a research example (‘Decolonising the City. Visual Dialogues in Padova’) based on participatory video, arts-based methods and walking methods.

This paper, and the corresponding project, is motivated by the lack of qualitative research elucidating the voices of young Black women in Canada when it comes to their sexual health.

This paper draws from data produced in the Let’s Talk About Sex (LTAS) project – a Photovoice process held once a week for nine consecutive weeks in the Jane-Finch community, a low-income community in Toronto, Canada. This workshop was completed by 15 young African Caribbean and Black (ACB) women in the age group 14–18. These young women used photography and creative writing to express their opinions on the barriers and facilitators to making healthy sexual decisions.

A central finding was the existence of a subculture among youth in Toronto, where the exchange of sex for material resources was commonplace. Herein, we unpack the various forms of economically motivated relationships reported, which ranged from romantic relationships to sugar daddies and brothel-like sex dens. We also reflect on the discussions at community forums where the research findings were presented. From shock and outrage to a sly smile of knowing, the responses were often gendered, generational and reflective of a trend occurring across Toronto, not just in the Jane-Finch community, and not merely among the Black youth.

Effective interventions and youth programs should focus on the sexually transmitted infection (STI) and HIV risks that may result from transactional relationships, economic empowerment, and youth employment.

This is a novel arts-based study on youth engaged inthe exchange of sex for money, which has nuanced differences from survival sex.

An inexorable pursuit of economic gain has ushered in fashionable, entrepreneurial manoeuvres in the arts. This has led not only to the acceptance of new sectoral categories, such as the creative industries, but also to a form of creative industrialization that encourages additive injections of market logic and notions of entrepreneurial value to an erstwhile dependent culture of the arts. Normative silo-based analyses continue unabated in the gnostic worlds of both the arts and entrepreneurship, with a tendency for the latter to ‘rescue’ the ‘failing’ arts. Application of market logic can, however, ignore the multivalence of entrepreneurship or the rich textures of meaning provided by the arts. It is suggested that a consideration of the centrality of imagination offers insights into different forms of value creation in entrepreneurship and of the creative entrepreneurial dimensions in the arts. A review is presented of how entrepreneurship has positioned itself in the arts and questions are raised about the constraints of a market logic approach. It is argued that such an approach promotes a deficit model of the arts and a stagnant, status quo understanding of entrepreneurship. By exploring various arts movements, such as the Bauhaus project, the legacy of Joseph Beuys’s philosophy and the unique, needs-focussed work of the Japanese architect Shigeru Ban, creative latitude can be found in the meaning of entrepreneurship as the mobilization of the resources of imagination.

This chapter examines how hospitality and tourism researchers can use ‘expressive text’ (or writing) to express the lived quality of an experience in order to ‘show what an experience is really like’ rather than ‘tell what it is like’. Expressive text refers to written language forms such as narrative, poetry and metaphor that can be used as tools in research to vividly represent the meaning and feeling conveyed in an experience. The expressive text-based approach to researching lived experience provides a textual link between experience and its expression. For this reason, it is especially useful when working with lived experience accounts of phenomenological and hermeneutic research.

The expressive text-based approach suggested here is still a relatively under explored arena within hospitality and tourism research. As a relatively under explored arena, the rich insightful knowledge that can be gained from understanding practitioner experience is rarely a central focus of scholarly writings about the workplace in hospitality and tourism contexts. However, in order to be fully appreciated as a discipline in its own right and to advance knowledge of the field, understanding the typical and significant attributes of hospitality and tourism work will be decidedly helpful.

One of the difficulties of working with lived experience accounts is finding a suitable research approach that helps to both retain the lived elements of the experience and ensure the rigour of the inquiry. An expressive text-based methodological framework that has a phenomenological and hermeneutic philosophical underpinning is argued to be suitable for this purpose. Therefore, the focus of this study is to discuss such a methodology and explain the reasons for its content, style and structure in researching lived experience. The approach that is proposed here consists of a five-tiered textually expressive methodology that is employed to contextualise, portray and interpret the lived experience meanings in order to understand the significance of the experience in relation to relevant discourses in hospitality and tourism studies, and to consider implications for policy and professional practice. The guiding questions of the five-tiered framework cover the following issues: (1) What is the context of the lived experience? (2) What is the lived experience of this practice like? (3) What is the meaning of this experience for the practitioner? (4) What is the significance of the experience in contributing to the advancement of knowledge within the field? (5) What are the implications for practice and professional development?

To illustrate uses of this methodology in research, the study here includes an example showing portrayals and interpretations of the typical and significant lived nature of hospitality reception work. This shows and communicates the full meaning of the episode, circumstances or situation. The chapter then concludes with some reflections on benefits as well as tensions in working within an expressive text-based phenomenological and hermeneutic framework.