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In recent years, there has been a “heritagisation” of pop culture, including music, whereby cultural institutions, such as galleries and museums in primarily Western countries, have run exhibitions based on pop culture to successfully market to a new audience of visitors. The purpose of this qualitative study is to explore the issue of the “heritagisation” of pop culture by museums and observe visitor response to a specific music-related exhibition, linking intangible and tangible elements of the exhibition to provide a framework to understand the visitor experience.

The purpose will be achieved by observing the “heritagisation” of pop culture in the literature and past exhibitions, proposing how cultural institutions have linked the intangible and tangible elements of music in pop culture for an exhibition and observe visitors' feedback from online comments posted on Tripadvisor undertaken during the original “David Bowie is” exhibition at the Victoria and Albert Museum (V&A), London.

From the Leximancer analysis, a new conceptual framework for visitor experience at an exhibition was developed, which contains three visitor-related categories: pre-exhibition, exhibition space and exhibition experience, with five themes (tickets, exhibition, displayed objects, David Bowie and visitors) and 41 text concepts.

For cultural institutions the implications are that there can be opportunities to curate exhibitions on pop culture or music-related themes, which can include intangible and tangible elements, such as songs, videos, tickets, costumes, musical instruments and posters. These exhibitions can also explore the changing socio/political/historical/cultural background that contextualises pop cultural history.

This theory-building study advances the body of knowledge as it links music in pop culture and cultural institutions, specifically in this case a highly successful music-related exhibition at a museum, and provides a theoretical model based on tangibility elements. Further, it analyses museum visitor comments by using the qualitative software program, Leximancer, to develop a new conceptual framework for visitor experience.

This study aims to evaluate the contributions of agritourism towards the local food system (LFS) by studying three small-scale agritourism farms in Brunei. More specifically, it looks at the role of farm agribusinesses and heritagisation efforts of indigenous farmers.

This qualitative study uses semi-structured interviews to collect data. This method is widely seen as more suitable to gain the unexplored perspectives of the agriculture community at the three agritourism farms.

The results suggest that the agritourism farms contribute to mild local food activism through their small-scale production of sustainable food products. Another significant finding affirms that these farms also contribute to preserving ethno-culinary heritage through heritagisation of indigenous food and their ancestral agriculture knowledge. The farms’ involvement in agribusiness and efforts in food heritagisation contributes towards a more sustainable LFS and stimulates the rural area as a reinvigorated space for agritourism transactions.

There are lack of research on the contributions of agritourism towards the LFS, especially in Brunei. This study will provide evidence of the overlooked significance of agribusiness and heritagisation efforts conducted by the local farms.

In this paper, the authors argue that fine wines can be considered art and as such can be awarded luxury status. The authors discuss the processes of artification, through which such wines are recognized as art (Shapiro and Heinich, 2012), and heritagization, in which the cultural differentiation implicit in the concept of terroir (the various elements of a microclimate that contribute to a wine's specific attributes) connects a wine to its history and provenance. The investigation focuses specifically on fine wines from Bordeaux and Burgundy, which are renowned worldwide for their depth and flavors. What traits are intrinsic to the definition of art, and what social processes culminate in transforming an entity from nonart to art?

It is a conceptual paper that requires blending several viewpoints to present the authors’ own viewpoints.

This study aims to address the above questions and argues that fine wines, as a source of aesthetic pleasure, are themselves an art form.

The implications for producers of fine wines and other artisanal products seeking to elevate brand awareness are discussed.

The findings of this study are of interest to wine scholars as well as wineries. They provide evidence as to how artification occurs.

While there are papers that address the issue of artification and heritagization individually, the authors bring to bear the importance of both concepts on specific wine regions in France: Burgundy and Bordeaux.

Between 1840s and 1940s, 27 occidental concessions have been created in several cities in China which represented difficult signs and memories for Chinese. Nowadays, these territories are experiencing a joint phenomenon of heritagization and tourismification which makes them experimental theaters for modern urban life and identity. Taking the former concessions of Tianjin as place study, the purpose of this study is to analyze the role of the heritage and tourism in the former concessions in city branding and more specifically the actors, approaches and products of this phenomenon.

This research draws on the comparison and analysis of two place studies in China. The authors base their analysis on semi-structured interviews in Chinese with previously identified stakeholders. In all, 20 individuals, including developers, public authority representatives, business owners, academics and conservation association members, were interviewed. This research was completed, updated and triangulated by content analysis of Web-based materials; official documents such as urban plans, guidelines and urban and tourism strategies collected during the fieldwork, as well as non-intrusive spatial observations of the concession and its various developments.

The results of this study show that the heritage in the former concessions has become an attractive tool for the city branding through tourism development, often led by the public actors with the participation of private entrepreneurs.

This study looks at the hybrid dimensions of the former concessions in China. It provides a better understanding of the co-action of heritage and tourism in the processes of territorial rehabilitation, which contributes to both the practitioners and researchers in this domain.

The purpose of this paper is to analyze the mechanisms involved in the progressive integration of marginal and peripheral urban areas, located close to established tourist destinations, into the visited tourism perimeter, and the interplay of the supporting public and private actors. It focusses on the intertwining processes of commercial gentrification, heritagization and aestheticization of former “ordinary” or marginal areas as tools for and indications of their tourism development. It explores how the metropolitan tourism geography is progressively redesigned.

Following a comprehensive literature analysis, the Saint-Ouen flea market was selected as the object of study. The methodology is based on extensive in situ observations, a systematic analysis of the press and a corpus of tourist guides and several in-depth interviews with local public and private stakeholders.

This paper shows that combined public (Parisian urban and tourism stakeholders) and private interests led to the integration in the tourism perimeter of a space that was once on the margins of the tourism and metropolitan area. It highlights the mechanisms of this integration and the link between touristification, gentrification, aestheticization and artification. It was found that private investors and political decision makers regard Saint-Ouen flea market as a major opportunity for tourism and real estate development, which leads to some contradictions regarding heritage protection. Finally, it shows that market traders opposed the evolution of a commercial place into a place of symbolic consumption. At another level, it shows the stakes of tourism diversification in a metropolitan tourism destination that is characterized by overtourism.

More studies are needed to identify not only the potential of flea markets to diversify tourist areas and practices, but also any potential resistance. The consequences on metropolitan tourism can be the subject of additional investigations: can this tourism diversification reduce overtourism in the centre, or is it only a diversification that functions as an additional driver of attractiveness? This research opens new perspectives on the modes of diversification (spatial and experiential) of metropolitan tourism as well as on the role that commercial changes play in these evolutions. It also makes it possible to question the modes of engagement of investors and traders in tourism.

This is an in-depth analysis of the case of Saint-Ouen flea market. The issues raised herein are applicable to similar peripheral urban areas, flea markets especially, that are rarely studied on the tourism-aestheticization-gentrification nexus. The analysis also shows the diversification of places and imaginaries of metropolitan tourism.

Since Cantonese opera was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2009, the Chinese government has carried out different policies to “develop” Cantonese opera in Guangzhou. Through state-initiated reforms, the local performing art was homogenized, institutionalized and nationalized in many ways. In this process, the government authorities took the lead and the Cantonese opera music community was not involved in the decision making of the future of their own tradition. This paper aims to discuss this issue.

Based on intensive fieldwork conducted in 2011, the paper examines the meaning of heritage to the local music community, as the art form was recognized by UNESCO in 2009. Apart from studying the policies made by the government, this paper looks into the socio-political impact brought to the Cantonese opera music community from a bottom-up perspective.

Cantonese opera performances in Guangzhou as well as performers’ own social life changed drastically in recent years. Musicians faced a dilemma of whether to follow the government’s market-oriented plan or to preserve their traditional lifestyle with their own initiative.

This paper reveals the voices of the “voiceless” music community and investigates the consequences resulted by the heritagization of the art form to the music community.

The purpose of this paper is to explore how music consumption communities remember their past. Specifically, the paper reports on the role of heritage in constructing the cultural memory of a consumption community and on the implications for its identity and membership.

Drawing upon insights from theories of cultural memory, heritage, and collective consumption, this interpretive inquiry makes use of interview, documentary, and artefactual analysis, as well as visual and observational data, to analyse an exhibition of the community’s popular music heritage entitled One Family – One Tribe: The Art & Artefacts of New Model Army.

The analysis shows how the community creates a sense of its own past and reflects this in memories, imagination, and the creative work of the band.

This is a single case study, but one whose exploratory character provides fruitful insights into the relationship between cultural memory, imagination, heritage, and consumption communities.

The paper shows how consumption communities can do the work of social remembering and re-imagining of their own past, thus strengthening their identity through time.

The study shows clearly how a consumption community can engage, through memory and imagination, with its own past, and indeed the past in general, and can draw upon material and other resources to heritagise its own particular sense of community and help to strengthen its identity and membership.

The paper offers a theoretical framework for the process by which music consumption communities construct their own past, and shows how theories of cultural memory and heritage can help to understand this important process. It also illustrates the importance of imagination, as well as memory, in this process.

The purpose of this paper is to examine the emerging practices of the “tourism of the ordinary” in the wider frame of post-socialist transformation of Serbia’s capital city – Belgrade. By sourcing the inspiration in cultural studies and classics of the studies of the ordinary, focus is directed to the patterns of tourism consumption of practices, places and people that do not fall in the category of tourism attraction. The attention is drawn to New Belgrade (Novi Beograd in Serbian), residential part of Belgrade built predominantly after the Second World War. New Belgrade lacks proper tourism infrastructure, commoditized attractions and consumerable tourism experiences on a large scale. Nevertheless, this part of the city is slowly becoming explored by tourists individually or in organized walking or cycling tours. Visits to New Belgrade are most often connected to alternative or hip visitors and have the allure of both urban exploration and cultural practice, as the tours are offered by specialist architectural organizations or individual guides. By introspecting the case of New Belgrade, this paper attempts to address the prospect that ordinary exist only in relation to the attraction and that its appeal comes from the fact that what is ordinary to someone is attraction to another.

As far as specific approach is concerned, some archival and librarian materials have been analyzed in order to map the territory that is being researched (New Belgrade) and to frame the significance of potential heritagisation (Harrison, 2013) on the built environment and its territory. Further, relevant websites and both primary and secondary resources have been consulted. This mostly refers to the websites of Tourist Organization of Belgrade (TOB) and the Institute for the Protection of Cultural Monuments in Belgrade as two most relevant bodies connecting the urban fabric of the city and its tourism valorization.

In this paper, the authors have tried to demonstrate how tourism of the ordinary might be conducted in urban environment that lacks no tangible resources, whose physical physiognomies are not insignificant and which, in another, alternative tourism regime might be considered attractions. However, in the specific set of characteristics spanning from contested past to ambiguous contemporary valorization, New Belgrade remains an uncharted part of the city for much of the mainstream tourism, leaving its charms for very few visitors, most often engaged in interest of the “ordinary.”

Although Belgrade is experiencing steady rise in numbers regarding tourist arrivals, length of stay and on-site expenditure, New Belgrade is nowhere to be seen on the map of tourism offer, as per Belgrade’s Tourism Organization. TOB’s official web page, at the time this piece is written, in the section Attractions, mentions nothing regarding New Belgrade. Among 13 entries – 12 are historic sites of more than a century behind them and one is a lake and outdoor destination.

This chapter investigates the importance of fashion houses in the progressive redefinition of tourism geography within a metropolitan context. The purpose is to highlight how these brands manage both to integrate marginal urban areas into the tourist circuits and to co-construct market-oriented heritage policies. Through the case of Fendi Roma and the EUR district (Rome, Italy), this chapter explores their degrees of involvement in the processes of requalification and estheticization of peripheral urban areas. The study found that the involvement of the luxury brand in Roman urban governance is symptomatic of evolutions in the political strategies pursued by public actors in their relations with private investors.