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To critically analyse how Latin American migrant women entrepreneurs living in Ireland and the UK negotiate their entrepreneurial and motherhood identities in transnational settings. The paper explores (1) how motherhood influences the choices of becoming entrepreneurs; (2) how women reconcile the social imaginaries of motherhood from their country of origin in the new contexts of settlement; and (3) the impact of these transformations on their businesses.

This paper draws on six biographical case studies (three in Ireland and three in the UK) and employs the theoretical lens of translocational positionality to analyse entrepreneurship as context-specific and relational processes that bring together a multiplicity of social and geographical locales.

Latin American women entrepreneurs navigate their roles as “good mothers” and “good businesswomen” by simultaneously (1) complying with core values of marianismo that confine them to traditional gender roles and (2) renegotiating these values in ways that empower them through entrepreneurship. Finally, juxtaposing these two contexts (Ireland and the UK), this study (3) illuminates the similarities of the ever-continuing gender power struggles of egalitarianism for Latin American migrant women in both contexts.

Despite the agreed need for exploring motherhood as one of the critical aspects shaping family and business cycles, this area needs to be sufficiently analysed in its intersection with ethnicity or migratory status, particularly with participants from the global South. This article aims at bridging that gap.

This paper explores Salsa co-creation processes in the city of Cali, Colombia. The purpose of this paper is to uncover the processes of bottom-up and top-down place governance at work in the system. This study proposed that these processes are founded on a place-based cultural identity in Cali’s civil society.

This research draws on practice and structuration theories to understand how social structures frame place-based cultural identity and takes a social constructivist approach to place making and place branding. Empirical data were collected using a qualitative, multi-method approach, with primary data gathered from interviews with key actors and records of in-situ interactions between tourists and local citizens.

Evidence is presented to show how tourists and visitors are attracted to Cali in pursuit of an urban existential authenticity generated through sensory experiences connected to music and dance mediated by interpersonal interactions with local residents.

Further investigation is needed to gain greater insight into tourists’ motivations, and in addition, a more quantitative approach is required to understand better the range of interpersonal and intrapersonal factors involved.

Place branding should consider synergies between economics and culture as well as exploring the potential of sensorial interactions to produce emotional place attachment in a range of different stakeholders.

While place branding research tends to focus on the views and beliefs of stakeholders (cognitive dimension), this investigation takes an approach to the topic based on interpersonal sensorial interactions between visitors and local inhabitants as part of daily life (emotional dimension).

esta investigación analiza la co-creación artístico-cultural en relación con la Salsa –baile y música- en Cali Colombia; estudiando cómo este proceso emana de la identidad cultural-afectiva de la sociedad civil, y a partir de la base socio-cultural, se crean estrategias económico-culturales y de marketing territorial.

el enfoque teórico-conceptual sigue un enfoque de construcción social para explorar la autenticidad territorial; y una lógica de servicio -Service-dominant Logic- aplicada a los procesos de co-creación cultural y socio-económico de la música y la danza como artes escénicas populares. Se adopta un enfoque multi-método cualitativo que analiza in situ las interacciones entre turistas y ciudadanos locales.

se evidencia que las músicas y danzas populares se basan en la identidad de la sociedad civil, de interacciones sociales y expresiones artístico-culturales que co-crean una identidad sensorial cultural; y luego esas manifestaciones culturales son adoptadas por las elites empresariales para crear grandes shows o festivales de música y baile, y por los gobiernos para consolidar políticas culturales.

el análisis se aplica a una ciudad en concreto, el proceso de co-creación de la Salsa en Cali, Colombia, donde turistas y viajeros son atraídos por la autenticidad de experiencias sensoriales de música y danza a través de interacciones interpersonales con los residentes caleños.

los procesos de Marca Territorial deben considerar las sinergias entre las dimensiones económicas y culturales, y también las interacciones sensoriales, que propician conexiones afectivas y emocionales para diversos grupos implicaciones con el territorio.

más allá de las grandes ciudades mundiales productoras de cultura, es necesario conocer mejor cómo emergen propuestas creativas de ciudades pequeñas y medias de países emergentes cuyas ricas tradiciones culturales, atraen viajeros y turistas en busca de experiencias de autenticidad interpersonal, en contacto con habitantes locales, en sus vivencias diarias e interacciones culturales.

This paper describes how a pre-service teacher’s knowledge and pedagogy changed as she documented her reflective practice while teaching arts-integrated lessons in a fifth-grade classroom during her pre-service teacher preparation program. The pre-service teacher spent three-months conducting an action research project in collaboration with a university mentor.

This paper explores what she and her mentor learned as she prepared arts-integrated lesson plans based on the four studio structures for learning and analyzed them along with identifying and documenting evidence of deep learning through field notes and video recordings.

Analysis of field notes, video recordings and lesson plans led the authors to take a deeper look at where the four studio structures for learning overlapped in the teaching event. In the data the intersections of the four studio structures shared a pattern of increased evidence of deep learning for the students. This paper describes the phenomenon in the classroom at various points of intersection.

This action research study is preliminary, and the findings are suggestive of further research that would require indexing what deep learning looks like and gathering and analyzing student data.

It is recommended that teachers use the four studio structures to integrate the arts in their classrooms and to enhance and encourage creativity, communication, critical thinking, collaboration, character and culture and as teachers work toward deep learning for students.

This case shows how a university partnership provides fertile ground for educators of all skills and experience to participate in the expansion of the field of education as well as personal and professional development.

This paper investigates the information behaviour of creative DJs, a group previously not considered from the perspective of information studies. The practice of DJing is a musically creative process, where a performance can draw on a vast range of music to create a unique listening and dancing experience. The authors study what are the information behaviour processes involved in creative DJing and what roles embodied information play in DJing practice.

From a set of semi-structured interviews with 12 experienced DJs in Scotland, UK, that were subjected to inductive thematic analysis, the authors present a model of how DJs undergo the process of planning, performing and evaluating a DJ performance.

From this study, a model of creative DJs’ information behaviour is presented. This three-stage model describes the information behaviours and critical factors that influence DJs’ planning, decision-making and verification during the pre-performance, performance and post-performance stages, with particular emphasis on DJs’ performances as a rich site of embodied information interactions.

This research provides insight into a new activity in information behaviour, particularly in the use of embodied information, and presents a model for the information behaviour of creative DJs. This opens the way for future studies to consider minorities within the activity, the audience as opposed to the performer, as well as other creative activities where physicality and performance are central.

Despite being an authentic carrier of various cultural practices, the human body is often underutilised to access the knowledge of human body. Digital inventions today have created new avenues to open up cultural data resources, yet mainly as apparatuses for well-annotated and object-based collections. Hence, there is a pressing need for empowering the representation of intangible expressions, particularly embodied knowledge within its cultural context. To address this issue, the authors propose to inspect the potential of machine learning methods to enhance archival knowledge interaction with intangible cultural heritage (ICH) materials.

This research adopts a novel approach by combining movement computing with knowledge-specific modelling to support retrieving through embodied cues, which is applied to a multimodal archive documenting the cultural heritage (CH) of Southern Chinese martial arts.

Through experimenting with a retrieval engine implemented using the Hong Kong Martial Arts Living Archive (HKMALA) datasets, this work validated the effectiveness of the developed approach in multimodal content retrieval and highlighted the potential for the multimodal's application in facilitating archival exploration and knowledge discoverability.

This work takes a knowledge-specific approach to invent an intelligent encoding approach through a deep-learning workflow. This article underlines that the convergence of algorithmic reckoning and content-centred design holds promise for transforming the paradigm of archival interaction, thereby augmenting knowledge transmission via more accessible CH materials.

This study aimed to determine the motivations of a select group of South Africans in terms of their potential engagement with cultural tourism; more specifically, the study set out to show whether these motivations influence the cultural activities that the tourists want to participate in and whether their interest in specific cultural activities determines their destination choices. Furthermore, the mediating role of activities in the relationship between cultural motivations and destination choice was also assessed.

An online panel survey collected responses from 1,530 potential cultural tourists across South Africa. Hypotheses were tested, using structural equation modelling.

The results show that tourists' motivations for cultural tourism influence their likelihood of participating in specific cultural activities. Cultural tourism is shown to be influenced by more than learning and includes entertainment, relaxation, novelty and escape dimensions. There also seems to be a difference in the activities engaged in by destination type. For example, tourists likely to take part in indigenous cultural tourism activities are more likely to do so at hedonic destinations.

This paper contributes to the understanding of cultural tourism activities, aiding destinations in attracting cultural tourists. Destinations need to develop activities that match visitor motivations, increase satisfaction and encourage visitors to return.

The paper increases the understanding of cultural tourism in South Africa and underlines the importance of communities in providing distinctive tourism activities. The study also has an important social dimension, highlighting the role of social status in cultural tourism consumption and destination selection.

The focus of this chapter is drawn from the author’s lived experience and background as a third generation stateless Palestinian refugee who lived in one of the Palestinian camps in Lebanon and inherited the refugeeship from her parents and grandparents. Even though the author agrees with Hannah Arendt (1943) that ‘We don’t like to be called refugees’ (p. 264), the process of this research and thoughts behind it are attributed to the author’s personal experiences, as Arendt (1964) confirms in her statement that the process of thought can seldom be possible without being attributed to a personal experience.