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Reflecting, reliving and reforming experiences enhance longer-term effects of travel and tourism, and have been highlighted as an important aspect in determining loyalty, re-visitation and post-consumption satisfaction. The purpose of this paper is to develop new methodological approaches to investigate emotion, memory creation and the resulting psychosocial effects.

The paper proposes a unique combination of physiological measures and photoelicitation-based discussions within a longitudinal design. A physiological measuring instrument (electrodermal activity [EDA] tracking technology through Empatica E4 wristbands) is utilised to capture the “unadulterated” emotional response both during the experience and in reliving or remembering it. This is combined with post-experience narrative discussion groups using photos and other artefacts to give further understanding of the process of collective memory creation.

EDA tracking can enhance qualitative research methodologies in three ways: through use as an “artefact” to prompt reflection on feelings, through identifying peaks of emotional response and through highlighting changes in emotional response over time. Empirical evidence from studies into participatory arts events and the potential well-being effects upon women over the age of 70 is presented to illustrate the method.

The artificial environment created using experimental approaches to measure emotions and memory (common in many fields of psychology) has serious limitations. This paper proposes new and more “natural” methods for use in tourism, hospitality and events research, which have the potential to better capture participants’ feelings, behaviours and the meanings they place upon them.

To explore the value in reminiscing about past festivals as a potential way of improving wellbeing in socially isolated times.

The paper uses previous research on reminiscence, nostalgia and wellbeing to underpin the analysis of self-recorded memory narratives. These were gathered from 13 pairs of festivalgoers during Covid-19 restrictions and included gathering their individual memories and their reminiscences together. The participant pairs were a mix of friends, family and couples who had visited festivals in the UK, Finland and Denmark.

Four key areas that emerged through the analysis were the emotions of nostalgia and anticipation, and the processes of reliving emotions and bonding through memories.

Future studies could take a longitudinal approach to see how memory sharing evolves and the impact of this on wellbeing. The authors also recommend undertaking similar studies in other cultural settings.

This study findings have implications for both post-festival marketing and for the further development of reminiscence therapy interventions.

The method provides a window into memory sharing that has been little used in previous studies. The narratives confirm the value in sharing memories and the positive impact this has on wellbeing. They also illustrate that this happens through positive forms of nostalgia that centre on gratitude and lead to hope and optimism. Anticipation, not emphasised in other studies, was also found to be important in wellbeing and was triggered through looking back at happier times.

This study aims to explore how emotionally rich collective experiences create lasting, shareable memories, which influence future behaviours. In particular, the role of others and of music in creating value through memories is considered using the concept of socially extended emotions.

Over 250 narratives were gathered from festival attendees in the UK and Finland. Respondents completed a writing task detailing their most vivid memories, what made them memorable, their feelings at the time and as they remembered them, and how they shared them. The narratives were then analysed thematically.

Collective emotion continues to be co-created long after the experience through memory-sharing. The music listened to is woven through this extension of the experience but is, surprisingly, not a critical part of it. The sociality of the experience is remembered most and was key to the memories shared afterwards. The added value of gathering memorable moments, and being able to share them with others, is clearly evidenced.

The study highlights the importance of designing events to create collective emotional moments that form lasting memories. This emphasizes the role of post-experience marketing and customer relationship building to enhance the value that is created customer-to-customer via memory sharing.

The research addresses the lack of literature exploring post-event experience journeys and the collective nature of these. It also deepens a theoretical understanding of the role of time and sociality in the co-creation and extension of emotions and their value in hospitality consumption. A model is proposed to guide future research.

AFTER the trenchant paper by Mr. A. O. Jennings, read at the Brighton meeting of the Library Association, and the very embarrassing resolution which was carried as a result, one can only approach the subject of the commonplace in fiction with fear and diffidence. It is generally considered a bold and dangerous thing to fly in the face of corporate opinion as expressed in solemn public resolutions, and when the weighty minds of librarianship have declared that novels must only be chosen on account of their literary, educational or moral qualities, one is almost reduced to a state of mental imbecility in trying to fathom the meaning and limits of such an astounding injunction. To begin with, every novel or tale, even if but a shilling Sunday‐school story of the Candle lighted by the Lord type is educational, inasmuch as something, however little, may be learnt from it. If, therefore, the word “educational” is taken to mean teaching, it will be found impossible to exclude any kind of fiction, because even the meanest novel can teach readers something they never knew before. The novels of Emma Jane Worboise and Mrs. Henry Wood would no doubt be banned as unliterary and uneducational by those apostles of the higher culture who would fain compel the British washerwoman to read Meredith instead of Rosa Carey, but to thousands of readers such books are both informing and recreative. A Scots or Irish reader unacquainted with life in English cathedral cities and the general religious life of England would find a mine of suggestive information in the novels of Worboise, Wood, Oliphant and many others. In similar fashion the stories of Annie Swan, the Findlaters, Miss Keddie, Miss Heddle, etc., are educational in every sense for the information they convey to English or American readers about Scots country, college, church and humble life. Yet these useful tales, because lacking in the elusive and mysterious quality of being highly “literary,” would not be allowed in a Public Library managed by a committee which had adopted the Brighton resolution, and felt able to “smell out” a high‐class literary, educational and moral novel on the spot. The “moral” novel is difficult to define, but one may assume it will be one which ends with a marriage or a death rather than with a birth ! There have been so many obstetrical novels published recently, in which doubtful parentage plays a chief part, that sexual morality has come to be recognized as the only kind of “moral” factor to be regarded by the modern fiction censor. Objection does not seem to be directed against novels which describe, and indirectly teach, financial immorality, or which libel public institutions—like municipal libraries, for example. There is nothing immoral, apparently, about spreading untruths about religious organizations or political and social ideals, but a novel which in any way suggests the employment of a midwife before certain ceremonial formalities have been executed at once becomes immoral in the eyes of every self‐elected censor. And it is extraordinary how opinion differs in regard to what constitutes an immoral or improper novel. From my own experience I quote two examples. One reader objected to Morrison's Tales of Mean Streets on the ground that the frequent use of the word “bloody” made it immoral and unfit for circulation. Another reader, of somewhat narrow views, who had not read a great deal, was absolutely horrified that such a painfully indecent book as Adam Bede should be provided out of the public rates for the destruction of the morals of youths and maidens!

In order to provide a deeper understanding of small business performance the study aims to analyse data from a national survey into small firms in the events sector.

The analysis used logistic regression to determine a model which best predicts the performance of these firms. The data used were part of a larger scale and previously published survey into the business activities of small events firms in the UK. The resulting model identifies those organisational variables which greatly influence performance as well as identifying the business activities which have little or no effect on performance.

The greater influencing factors were found to be related to the age of the business, the variety of promotional methods used and the sources of finance employed. The more significant factors appeared to be those of a shorter term more operational nature whereas those factors having little effect were those that related more closely to areas of strategic planning.

The findings suggest that small firms in the event sector are likely to perform better if they use a variety of promotional methods, make use of quality tools, and use grants rather than family and friends for funding. The use of marketing planning and research and investment in training is unlikely to improve performance, although this may be only in the short term.

The paper highlights the areas of business operations which can significantly affect performance and is, therefore, of practical use for smaller firms operating in this industry. The analysis also uncovers aspects where further research is required if a more comprehensive understanding of small firm performance determinants is to be gained.

Research has demonstrated that girls are involved in gangs as members and affiliates. However, the psychological processes related to female gang membership has, to date, not been examined using a rigorous comparative design. The purpose of this paper is to assess whether female gang members exhibit distinct psychological and behavioral features when compared to female non-gang youth.

In total, 117 female students were recruited from all-girls’ secondary schools in London, UK. Gang members (n=22; identified using the Eurogang definition) were compared to non-gang youth (n=95) on self-report measures of criminal activity, sexual activity, self-esteem, anti-authority attitudes, their perceived importance of social status, and hypermasculinity, using a series of MANCOVAs.

The results found that gang members reported significantly more criminal activity, sexual activity, unwanted sexual contact, and held more anti-authority attitudes when compared to their non-gang counterparts.

These findings support Pyrooz et al.’s (2014) findings that gang membership contributes to the theoretical conceptualization of the victim-offender overlap. Practitioners need to take this into consideration when working with female gang members.

There is very little research that explicitly examines the characteristics of female gang members with suitable comparison groups. This study adds to the growing literature on female involvement in gangs and highlights the distinct psychological and behavioral characteristics of this group. In summary, these findings support the notion that female gang members are both at risk of being sexually exploited and engaging in criminal activities.

Using techniques developed mainly in subjective well-being and “happiness” studies, the purpose of this paper is to discuss the applicability of these and related methods for understanding and evaluating the emotional responses experienced within the live music event environment.

The concept of “experience” is debated and set within the context of music events designed to create a specific type of emotional experience for the attendees. The main tools for researching experiences over a time period are considered focusing on the “experience sampling method” (ESM) (Csikszentmihalyi, 1997) and the “day reconstruction method” (Kahneman et al., 2004). These methods are critiqued in terms of their usefulness and practicality as research tools in the study of audience emotions.

A revised method was then developed and a small-scale trial undertaken at a live music event, the results of which are presented and discussed. A conceptual model illustrating the interconnectedness of experience is introduced as an example of the application of the data gathered through this method to theory development. The paper concludes by reflecting on both the methodological appropriateness and practicality of ESMs as a way of gathering valuable data on the emotions engendered by events.

An obstacle yet to be overcome is using this data to predict attitudinal and behavioural change related to arts marketing goals. However, studies in other areas have clearly shown that emotional response is a significant indicator of future behaviour suggesting that the potential is there.

The trialled method provides a useful starting point for better understanding the complexity of emotional effects triggered at live music events.

The paper concludes that an adaptation of these methods has the potential to provide much needed rich and credible data on the feelings and emotional reactions triggered by different elements of a live event.