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This paper aims to examine brand-naming decisions, along with other management decisions that affect tourist experiences, such as visitor tours and souvenir appropriation, in the context of a microbrewery located on a Greek island that remains heavily dependent upon tourism.

Data were gathered from in-depth interviews with the microbrewery’s owner and senior management team to offer rich insights into the issues under investigation.

Findings stress the importance of the meanings that can be conveyed through brand names, including those that indicate authenticity of the brand’s origin, filling previously identified gaps in the literature on country of origin (COO) with regard to fast-consuming goods and low-involvement products such as beer, and exploring the issue of experiential consumption of beer as part of the tourists’ vacation experience.

Data were gathered from only a single company, and although highlighting important managerial decisions regarding brand naming, further research could be widened to other companies and other industries, and could explore these issues from the tourists own perspective rather than solely from a managerial perspective.

Results may offer insights for local producers, particularly small and medium-sized enterprises, whose markets serve both domestic and tourist consumers.

This research furthers knowledge into gaps on a range of issues arising in the literature that have hitherto not been previously linked, specifically: product COO/brand origin, cultural consumption of beverages and sense of place, issues of authenticity, souvenirs and experiential consumption.

The purpose of this paper is to explore aural representation of the countryside and English rurality through the contemporary cultural product of folk song.

A textual analysis was undertaken of the sleeve notes and lyrics of Steve Knightley, songwriter and founder member of the folk/roots band Show of Hands.

The concept of the rural idyll is thoroughly debunked in the majority of these lyrics. Many songs make specific reference to place, and these, in the main, focus on the historical and contemporary hardships of living in rural England, in many cases also making explicit reference to the historical or contemporary social issues deemed by the lyricist to be at the root of the problems faced by people living in English rural communities.

This paper analyses data obtained in lyrics of only one songwriter within only one music genre, but the artist is one of the most respected within the contemporary folk genre, and Show of Hands have won a number of prestigious nationally recognised folk awards.

The extant literature contains little concerning aural representations of place identities through song. The contribution this paper makes is therefore in presenting a conceptual framework that shows how folk song, as a contemporary cultural product contributes to the construction and communication of rural place identities.

The purpose of this paper is to present a conceptual framework based on an understanding of the principles of popular mobile-enabled games, indicating how organisations in the tourism sector could meet the needs of Millennials and Generation Z through engaging with the existing gamified location-based practice of geocaching as an information and communication technology enabled gamified enhancement to the destination experience.

As a primarily conceptual paper, the authors take an inductive qualitative approach to theory building based on the understanding of an existing practice (geocaching) that is undertaken among a community of practitioners (geocachers), which results in the presentation of a conceptual framework, which is the theory itself that the authors have constructed from the understanding of what is going on and which principles can then be applied across other tourism practices.

Findings indicate that through engaging with geocaching, smaller entrepreneurial businesses even in non-urban destinations that fall outside of the remit of smart city developments, and in tourism destinations on the less technologically enabled or resource-rich side of the digital divide, can reap the benefits associated with employing the principles and practices associated with smart tourism to meet the needs of this new generation of tourism consumers who seek richer digital and often gamified tourism experiences.

This paper fills a gap in the literature regarding the way many different types of tourism destinations could meet the needs of Millennials and Generation Z tourists.

Anecdotal evidence suggests that in times of economic constraints particularly in countries such as Greece that have long been stereotyped as corrupt, business practices amongst small- and medium-sized organisations that make up the majority of these nations’ tourism operators may become less than ethical or legal. The purpose of this paper is to explore these issues empirically in order to understand the impact of both cultural values and economic constraints on tourism businesses’ practices.

An exploratory case study using mixed methods has been adopted. Quantitative data were gathered from tourism business owners, managers and employees via questionnaires to establish the nature and scope of various unethical, illegal or immoral practices. Qualitative data were gathered to explore the ways these issues are considered and enacted.

Results show that there are many unethical and illegal practices that have been witnessed first-hand. Businesses’ attempts at acting in an ethical and socially responsible manner tend to be affected by not only cultural issues, but also economic constraints, yet there remains a desire to act in a way that does not impact negatively on tourists or on the local society and environment.

This research fills a gap in the literature relating to the ethical stance and practices of tourism entrepreneurs. It also presents an original conceptualisation of these issues in light of their location within the extant literature on ethics, corporate social responsibility and both sustainable and responsible tourism.

The purpose of this paper is to propose a new framework on sensorial place brand identity.

This conceptual paper draws from sensory marketing and brand identity theories to propose an integrative model to develop sensorial place brand identity.

By relying on a broad spectrum of the literature, the study supports the notion that sensorial place brand identity is a bottom-up approach to branding that involves several enactment stakeholders and key influences as co-creators in the process of delivering sensory place branding messages based on a strong and unique place brand identity. This leads to the presentation of a provisional framework linking sensorial place identity, experiencescapes and multisensory place brand image.

This novel approach to place brand identity follows a holistic approach by considering several enactment stakeholders and key influencers as co-creators in the process of branding a place through the senses.

The purpose of this paper is to present a critically reflective account of the process of conducting an impact evaluation of a dance-theatre company’s staged productions and workshops.

There are two main approaches: the introspective critical reflection on the process of performing an impact evaluation; and the drawing/colouring methods used to perform it.

It is more difficult to provide impact evaluations of the soft rather than hard outcomes of publicly funded performance arts. The engagement of third-party evaluators may help overcome the challenge that many “accepted” approaches are outwith the skill or financial resources of smaller non-profit organisations.

Although based on a single case, the authors believe that the evidence how the use of innovative methodologies may be more appropriate to performing arts impact evaluations, even those less familiar to management researchers.

This paper offers insights into various methods of impact evaluation that may be of use to smaller non-profit arts organisations who may be constrained by limited skills and financial resources.

This paper provides an original contribution to understanding innovative methodologies to perform arts impact evaluations, particularly those assessing soft outcomes, and a contribution in recognising the role of academic researchers in performing such evaluations.