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The increasing popularity of immersive activities (e.g. immersive performing art (IPA) at tourism destinations calls for the need to understand customers’ immersive experiences and its impact on their attitudes and behavioral intentions. This study aims to conceptualize customers’ interactive experience in IPA and systematically examine how interaction in IPA experience shapes customers’ word-of-mouth (WOM) intention and thus generates business values for destination managers.

A two-step mixed-methods approach was used. The qualitative study was adopted to identify the salient dimensions of interaction in IPA experience and develop a context-specific measurement scale. Structural equation modeling approach was applied to test the theoretical model using partial least squares 3.3.0.

The results indicated that the three dimensions of interaction in IPA experience (i.e. parasocial interaction, narrative interaction and environmental interaction) are positively related to customers’ experiences of narrative transportation and self-expansion related to the IPA, which further influence their WOM intention.

This study considers IPA as an emerging form of immersive tourism activities and conceptualizes its interactive nature, and contributes to the understanding of how customers’ interactive experience helps them construct meanings through narrative transportation, and offers valuable guidance for IPA designers and destination management organizations.

The paper draws extensively from Aristotle’s Poetics, a classical work on the aesthetics of drama. Drawing from symbolic and thematic elements from folklore and mythology, this paper aims to illustrate how the Poetics can be referenced as an allegorical device in the design of culture-building strategies and interventions.

This exploratory paper examines Aristotle’s “Poetics” and the range of creative expression this literature provides as a conceptual design framework for the development of a culture map in creating a distinctive organisational mythology. The Poetics articulates an Aristotelian perspective on theatre which infuses itself as a new language in offering structural and archetypical plot devices in the development of an organisational narrative.

Findings from this explorative study can provide a creative roadmap to culture practitioners and leaders, to be used as a determining reference point in developing culture maps and change management interventions.

Poetics has its detractors, notably Bertolt Brecht and Augusto Boal. Boal examines how Poetics promotes a narrative that suppresses free thinking and encourages a cult of feudal personality, therefore encouraging industrial and cultural oppression, which he rebelled against through the development of his “Theatre of the Oppressed”. This new kind of theatre discarded the Aristotelian model of thinking. Ideas proposed in the Poetics may also lend verisimilitude to the propagation of obsessive consumerism through the definitive symbolism it offers in the development of institutionalised personality cults.

The Poetics as a creatively driven reflexive study provides a forward movement in the study of culture design templates. Its definitive allegorical devices and metaphors act as action principles through which an enterprise culture and its value system can be examined and developed.

This chapter provides a brief overview of community sanctions in Australia and examines the extent to which McNeill’s analysis in Pervasive Punishment (2019) is applicable in the Australian context. Two key issues in the Australian context are, firstly, state and territory-level variations within a federal political structure, and secondly, disproportionate Indigenous imprisonment and community sanction rates and the generally destructive impact of the criminal legal system on Indigenous communities and peoples. The chapter argues that developing a better agonistic politics around community sanctions requires descending from the broad level of historical and sociological analysis to examine state and territory-level variations in judicial and correctional structures, histories and cultures. Further, that Australian community sanctions cannot be understood without a primary focus on the differences between Indigenous and non-Indigenous rates, experiences and meaning. The key to addressing the destructive impact of criminal legal processes and practices on Indigenous peoples lies in developing Indigenous governance, empowerment, self-determination, sovereignty and nation-building. Two recent developments promoting Indigenous governance are examined: the Uluru Statement from the Heart and Justice Reinvestment projects initiated by First Nations communities, highlighting the importance of activism, contest and struggle by community organisations.

The learning outcomes of this study are as follows:

Teaching Objective 1: Students will describe specific characteristics of the rural market in India and will draw out the differences vis-a-vis the urban markets.

Teaching Objective 2: Students will describe about the push versus pull strategy and various channels of distribution in rural areas.

Teaching Objective 3: The students will explain the 4As of the rural marketing mix and apply the same in the context of the case.

Teaching Objective 4: The case can be applied with respect to the health-belief model to help students analyse the behaviour change model.

Teaching Objective 5: Students will analyse the challenges associated with supply chain and logistics in rural areas.

This case study looked at a start-up company Rugved Hygienecare Industries Private Limited and their sanitary napkin brand “Abolee” designed and targeted for rural women in India. Onkar Charegaonkar and Mithila Charegaonkar started this venture in December 2017, realizing that sanitary napkins solved a greater purpose of helping women hygienically manage menstruation, and at the same time, there was no threat to this product because over a period of time, it became a necessity of life. Onkar and Mithila believed in giving back to the society and at the same time generate revenue for their company. Onkar and Mithila needed to make a decision with respect to the distribution structure for Abolee to improve penetration in different rural areas of Maharashtra. Onkar and Mithila needed to strategize to create a remarkable impact in the rural areas. There were multiple challenges that were faced by Abolee, such as: creating awareness about hygienically managing menstruation options among women, ensuring that women consumers continue to use hygienic menstruation management material, creating a preference for Abolee among women consumers and deciding on whether to focus on driving sales through existing channel partners or to invest in finding out alternative avenues for selling “Abolee” in rural areas.

This case study was primarily written for understanding rural marketing aspects of marketing management courses at both the undergraduate level and the postgraduate level. This case study also indicated about the role of gender and its impact on consumer behaviour in rural areas. Although this case study was related to the rural Indian market, it can also be related to other emerging economies.

Teaching notes are available for educators only.

CSS8: Marketing.

The general attitude of the ancient theatre conservation strategies and policies is still concerned primarily with their architectural physical appearance without considering their authentic scientific acoustical qualities. The paper attempts to illustrate and discuss how to enhance their acoustic heritage to arouse the audience's interest and needs. Thus, supporting their reconstruction based on recent acoustical research and community needs-related concerns and opportunities for ancient theatre's modern use.

It is based on reviewing the main issues related to reconstruction in the international charters and conventions and how to infuse ancient theatres with their full role. It discusses the dilemma and debates regarding the theatre stage wall, colonnade (portico) restoration and anastylosis. Is it sufficient enough to recover the theatre sound volume? Or to rethink for full physical reconstructions of these missing related acoustical theatre architectural elements to their original level and layout as in ancient times in parallel to their virtual reconstruction?

The cultural significance of the authentic theatre's acoustical qualities needs to reform the conservation strategies and policies for a more flexible and resilient approach. It should be postulated, re-examined and advocated parallel to their 3D virtual reconstruction in the related international charters and conventions.

The paper's implications are not immediate; it is far-reaching. It suggests the importance of acoustics in analysing historic theatre performance venues and reforming conservation strategies and approaches. This issue is especially critical for architects, conservators, the heritage community and the public audience.

Recommendations are made for potential bold reconstruction actions that may be taken to achieve further sustainability, comfort, and permeability in modern theatre-use performances. Their physical reconstruction for improving the performance of contemporary theatre use regarding retaining the acoustic cultural significance should be more flexible and resilient in the charters.

Arts practitioners have looked for ways to engage their audiences and sustain their interests and patronage of theatre shows amidst the coronavirus pandemic that kept patrons at home. This has led to digital engagement with audience members via social media. This research paper looks at digital audience engagement in Nigeria’s theatre using Segun Adefila’s production of Tosin Jobi-Tume’s Corona Palava which was performed on 4 August, 2020, at the Crown Arts Centre in Bariga, Lagos, Nigeria and later made available on Facebook on 22 December, 2020 and 21 December 21 2021.

This study is based on the “Arts Audience Experience Index” theory proposed by Radbourne et al. (2009). It employs netnography as its methodology. This entails observing and analysing users’ comments, communication style, frequency of engagement and dwell time while watching Corona Palava production on the researcher’s Facebook timeline “Tekena Gasper Mark” and on the Facebook group “Bolt Drivers in Port Harcourt”. Overall, 53 comments (39 from the researcher’s Facebook friends and 14 from members of the Facebook group “Bolt Drivers in Port Harcourt”) were sampled and analysed to provide insights into how the spectators experienced the Corona Palava production.

The text that accompanied the Facebook video provided viewers with information about the performance, helped them prepare for what to expect, reduced the likelihood that they would experience any unease while watching it and increased the likelihood that they would look for similar performances in the future. They were pleased with the performance; there were no functional risks, no economic risks and no psychological and social risks. Although they may have watched it at varying times, Facebook provided a space for them to engage with the performance as a group and share their thoughts in the post-performance comments.

One of the study’s limitations is that one cannot ascertain how many of the respondents are drivers. Also, the researcher believes that the length of the video may have discouraged participation in the study. In order to increase viewership and provide better findings, future studies and artistic endeavours could consider shorter pieces (about 3–5 min) and wider locations (transportation businesses) where a larger number of drivers with active social media presence, can participate in the research.

This study documents an innovative approach to reaching theatre audience via social media in Nigeria.

This research demonstrates that Nigerian theatre and arts practitioners are reinventing their approaches to play production by using the social media to reach their audiences in the post-COVID-19 era.

The study reveals that as a result of the coronavirus pandemic, Nigerian theatre artists have looked for ways to engage their audiences and sustain their interest and patronage of arts projects through social media.

This paper aims to provide reflective practice insights on the use of the participatory approaches of World Café and Forum Theatre as crime prevention education and research tools with young people and young adults through a social learning theory lens.

Four independent case-studies showcase World Café and Forum Theatre methodology. World Café events investigated new psychoactive substances (NPS) awareness with young hostel users and college pupils (N = 22) and race hate crime with school and college pupils (N = 57). Forum Theatre events explored loan shark crime with college and university students (N = 46) and domestic abuse crime with young hostel users and college and university students (N = 28). Anonymous survey data produced qualitative and descriptive statistical data.

Learning impacts from participatory crime prevention education and research events were evidenced. Participatory approaches were perceived positively, although large group discussion-based methodologies may not suit all young people or all criminological topics.

Participatory approaches of World Café and Forum Theatre are vehicles for social learning and crime prevention with young people and young adults; eliciting crime victimisation data; and generating personal solutions alongside wider policy and practice improvement suggestions. Whilst World Café elicited greater lived experience accounts providing peer-level social learning, Forum Theatre provided crucial visual role modelling for communicating safeguarding messages.

This study aims to examine the intricate relationships in the making of a box office through a stakeholder lens that considers the influence of filmmakers and theatres on moviegoers' intention to watch a movie at the theatre.

Employing covariance-based structural equation modelling (CB-SEM), this study analyses survey data on cinema-going experience collected from 673 moviegoers in digital era of a new normal.

The findings elucidate that movie branding, movie genre and theatre preference positively influence moviegoers' intention to watch a movie at the theatre. Furthermore, the study unveils that theatre preference is swayed by an array of personal and social factors, including control belief and social companion. Intriguingly, promotional elements, both commercial and non-commercial, were found to influence movie branding, yet not the genre when predicting theatre attendance intentions.

Amid the burgeoning alternatives for watching movies (e.g. cable television and online streaming platforms), this article offers a contemporary exploration of the variables that motivate audiences to partake in the cinema-going experience, thereby serving as a proxy to decipher the factors that drive a movie's box-office success in digital era.

Unlike prior studies relying on archival data, the present study collects and uses survey data to develop a novel stakeholder theory-based marketing framework for the box office and moviegoers. The study also provides seminal insights on the box office and moviegoers in the digital era of a new normal.

Hygiene theater is a new phenomenon that has emerged from the ongoing Coronavirus (Covid-19) global pandemic. The authors propose and test the concept of hygiene theater – comprised of purposeful and visible dynamic performance and static staging cues – on customers' approach-avoidance intentions in the retail environment. The authors explore the underlying process and show when environmental conditions such as human crowding dilute the positive effects of hygiene theater.

Across three experiments, participants evaluated a video or scenario related to a shopping experience in a retail store. Sequential mediation and moderated sequential mediation using PROCESS were performed.

The results show a positive and direct effect of hygiene visibility on approach responses, due to a reduction in perceived risk and increased psychological comfort. This positive effect is diluted when crowding in the retail environment is high.

As society adapts to a new normal, this study offers contributions to improve theoretical knowledge of the impact of hygiene theater on customer approach responses, helping retailers to develop and implement health and safety policies, better equipping them to manage similar situations going forward. The authors provide insights for academics and practitioners alike.

The aim of this study is to evaluate the implicit and explicit attitudes of Generation Z (Gen Z) individuals toward the experience of visiting and getting to know traditional or virtual museums.

Two studies were conducted. The first study assesses the implicit attitudes of Gen Z individuals through Implicit Association Tests (IAT) toward the experience of visiting traditional versus virtual museums. Considering the results of the study one, the second study proposes and validates a conceptual model through PLS-SEM approach about the explicit attitudes of this generation toward virtual museums.

In the first study, it was found that virtual museums are more successful at engaging and immersing participants than traditional museums for Gen Z. The second study emphasized the significance of meeting Gen Z expectations and ensuring effortless access to information in virtual experiences as this can lead to increased satisfaction and inspiration among this generation.

The originality of this study lies in its focus on Gen Z's attitudes toward virtual museums and the use of both implicit and explicit attitude measures to gain a comprehensive understanding of these attitudes. An interesting aspect emerges from the implicit attitudes displayed by Gen Z, indicating their preference for virtual museums as more captivating compared to traditional ones.