Search results

This study aims to investigate the role of the visual arts for communicating climate change in the context of the Pacific islands, through the perspectives of artists and climate change practitioners.

As part of an “Eco Arts” project carried out in Fiji, semi-structured research interviews were undertaken with artists and climate change practitioners.

Participants’ motivations to produce art reflected their personal concerns about, and experiences of, climate change. There was an intention to use art-based approaches to raise awareness and promote action on climate change. The artwork produced drew on metaphors and storytelling to convey future climate impacts and aspects of climate change relevant to Fijian and Pacific communities.

The study reports the perspectives of participants and discusses the potential uses of arts communication. Conclusions cannot be drawn from the findings regarding the effectiveness of specific artwork or of arts communication as a general approach.

The research offers suggestions for the inclusion of creative approaches to climate change communication within education and vocational training. A consideration of the perspectives of artist–practitioners has implications for the design and conduct of climate change communication.

The involvement of artist–practitioners in the communication of climate change offers the potential for novel discussions and interpretations of climate change with individuals and within communities, which complement more formal or scientific communication.

The present study identifies the motivations and objectives of artist–practitioners involved in climate change communication. The authors highlight the role of personal experience and their use of artistic concepts and creative considerations pertinent to the geography and culture of the Pacific region.

Human brands in the music industry use self-presentation tactics on social media to manage audience impressions. This practice has led to many posts asking followers to adopt behaviors favoring the human brand. However, its effectiveness in leveraging relevant performance metrics for musicians outside social media, such as popularity in specialized media, music sales and number of contracted concerts, needs further exploration. This study aims to reveal the effect of impression management tactics conveyed on social media on the market performance of musicians’ human brands.

Secondary data research classifies 5,940 social media posts from 11 music artists into self-presentation tactics (self-promotion, exemplification, supplication and ingratiation). It shows their predictions on three market performance metrics in an annual balanced panel study.

Impression management tactics via posts on social media are mostly self-promotion, improving the musicians’ market performance by increasing the number of contracted concerts. Conversely, ingratiation generated the most positive effect on the musician’s popularity but reduced music sales. Besides lowering the musicians’ popularity, exemplification also reduced the number of contracted concerts, while the supplication had no significant effect.

To the best of the authors’ knowledge, the research is the first to use social media postings of musicians’ official human brand profiles based on self-presentation typologies as a complete impression management tool. Furthermore, it is the first to test the effects of these posts on market performance metrics (i.e. outside of social media) in a longitudinal study.

The purpose of the study is to compare features of career development and fandom in frequent festival attendance in the context of Finnish music festivals.

The study uses a mixed methods research approach and employs two theoretical frameworks: theories of career development and fandom.

In frequent festival attendance, both festival career development and festival fandom are most clearly present in motivation development and social dimensions.

Strategically, frequent festivalgoers should be considered as crucial stakeholders, who might mobilize the co-creation of a sense of community or festival brand.

Music-related fandom has been previously investigated in relation to artists and specific musical genres, but not so much in relation to music festivals in general. Career studies, on the other hand, concentrate heavily on sports events. There is a scarcity of research scrutinizing both career development and fandom in the festival context within the same study, and festival attendance as part of music tourism is an under-researched area.

The purpose of this paper is to explore the benefits of co-creation/co-design using extended reality (XR) technologies during the initial stages of the design process. A review of the emerging co-creation tools within XR will be examined along with whether they offer the potential to improve the design process; this will also highlight the gaps on where further research is required.

The paper draws on professional and academic experiences of the authors in creative practices within the realm of XR technology, co-creation and co-design. In addition, a review of the current literature on emerging technologies and work-based learning will offer further insight on the themes covered.

To design, collaborate, iterate and amend with colleagues and peers in a virtual space gives a wide range of obvious benefits. Creative practitioners both in education and employment are working more collaboratively with the advancement of technology. However, there is a need to find a space where collaboration can also offer the opportunity for co-creation that improves the initial stages of the design process. This technology also offers solutions on the constraints of distance and ameliorates creative expression.

There is an opportunity to test the ideas expressed in this paper empirically; this can be done through testing co-creation tools with professionals, work-based learners and students.

The paper will add to the existing literature on emerging technologies as a unique environment to improve co-create/co-design the visuals created during the fuzzy front end of the design process and offer a potential framework for future empirical work.

The purpose of this paper is to examine the potential of cultural centres to be spaces that foster interaction between tourists and locals, and thereby meet the demands of new cultural tourists. This is done through conducting a case study of Katuaq Cultural Centre in Nuuk, Greenland. Combining theories of cultural contact and placemaking, the paper analyses how locals and tourists make use of and experience the centre. The paper then goes on to conduct a broader discussion about how future placemaking in tourism can respond to the emerging demands of cultural Arctic tourists, and to suggest ways to encourage positive interaction on both a local community level and a resident-visitor level.

A series of anthropological research methods were used, including participant observation in the cultural centre itself, and informal and semi-structured interviews with relevant stakeholders.

Concluding that, from multiple perspectives, Katuaq fails to perform as a “centre of culture”, the study offers innovative insights into how cultural centres can be operated more inclusively in the future, as spaces in which members of different cultural groups can achieve positive interaction. It is argued that the future of successful and fulfilling cultural tourism offerings in the Arctic lies at the intersection of tourism and leisure studies.

The originality of this paper lies first in its deepening of the academic discussion of cultural centres. Second, and on a broader level, the paper identifies an emerging trend of “community–tourism spaces” as cultural tourism offerings, and provides some insights into the conflicts experienced in these kinds of spaces, as well as some suggestions as to how further research on these spaces should continue.

This article examines the ways in which the popular music industry markets artists through integrated transmedia marketing campaigns. These campaigns unfold across multiple media and create multiple pathways for audience engagement, particularly fan engagement, across social media platforms. The purpose is to further theorise the relationship between artists, the music industry and audiences.

The study used digital ethnography to scrutinise the activities within a contemporary music transmedia marketing campaign, focusing on the release of Taylor Swift's album Reputation as an illustrative case.

The study demonstrates how strategically curated activities encompass platforms' affordances and industry events by making use of fan engagement across social media platforms and streaming services. Fans shift through platforms, as well as across digital and physical spaces, through defined marketing activities at specific times. This article proposes the concept of choreographed engagement to specifically address the ways in which the temporal and spatial aspects of social media marketing are used at the intersection of platform logic, algorithm economy and fan engagement to reach wider audiences.

By proposing the concept of choreographed engagement, the authors bridge the gap between fan practices and marketing practices, providing insight into how commodification of fan engagement is utilised spatially and temporally within the contemporary platform economy. Choreographed engagement constitutes a significant aspect of strategic communication and marketing. The term expands the vocabulary used in the debate on the commodification of artistic work, and audience engagement in the platform era.