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Proenvironmental hotels and hotels with green initiatives are emerging as a method to address environmental issues and respond to tourists’ environmental concerns. To better understand what can encourage reservations in proenvironmental hotels, this study aims to investigate the connection between the performing arts watching experience and the preference for such a hotel.

Five scenario-based experiments were conducted. A total of 1,024 participants for the five studies were recruited with the help of Credamo, a commonly used Chinese data collection platform.

The results indicated that viewing performing arts could increase tourists’ preferences for proenvironmental hotels. This phenomenon occurred due to the fact that performing arts watching experience can induce a psychological state of self-transcendence in individuals, which, in turn, can raise their levels of altruism, and ultimately lead to proenvironmental hotel choices. This effect will not occur, however, when people watch performing arts with either an extrinsic motivation or in an analytical state.

The findings of this study provide hotel managers with a novel approach to market the proenvironmental attributes of their hotels and to promote tourists’ proenvironmental behaviors.

This study proposes performing arts viewing experiences as a novel way to encourage proenvironmental hotel choice. To the best of the authors’ knowledge, this is the first study to explore the impact of the performing arts watching experience on tourist behavior.

This study aims to explore the success factors of tourism performing arts (TPA) programs by analyzing a large data set of online reviews.

A total of 195,230 reviews from Ctrip.com were collected and preprocessed. A deep learning method was leveraged to estimate the similarity between words. Then, regression analysis was conducted to determine success factors.

This study extracted four positive and two negative factors affecting tourist satisfaction with tourism performance arts. The results demonstrate that the tourists paid the most attention to the traditional Chinese cultural aspects, audiovisual effects and the actors’ performing enthusiasm.

Despite this study’s large data set, the focused was only on Chinese reviews. It would be useful and interesting to compare the success factors of tourism performance arts programs offered in different countries.

The study findings can contribute to the development of TPA programs to attract tourists to travel destinations.

This study demonstrates that analyzing online reviews of TPA through text mining technology is an effective method of understanding tourist satisfaction.

在线点评分析探析旅游演艺成功因素

本研究旨在通过分析大型在线评论数据集来探索旅游表演艺术项目的成功因素。

共收集和预处理来自携程网的 195,230 条评论。利用深度学习方法来估计单词之间的相似性。然后, 进行回归分析以确定成功因素。

本研究提取了影响游客对旅游表演艺术满意度的四个积极因素和两个消极因素。结果表明, 游客最关注中国传统文化方面、视听效果和演员的表演热情。

尽管我们的数据集很大, 但它只关注中文评论。比较不同国家提供的旅游表演艺术项目的成功因素将是有用和有趣的未来研究方向。

研究结果有助于发展旅游表演艺术项目, 以吸引游客前往旅游目的地。

研究表明, 通过文本挖掘技术分析旅游表演艺术的在线评论是了解游客满意度的有效方法。

The purpose of this paper is to analyze the strategy of performance art, especially Silat Movement (as a source and identity of traditional dance movement of Minangkabau ethnic group), as a marketing medium of tourism, especially in West Sumatera Province.

This research used a qualitative approach among six cases of dance. Quantitative method was used to collect data about the dance movement of Minangkabau ethnic group, which is in accordance with the cultural value that they adopt. The data collecting technique used was focus group discussion, documentation, observation and interview. The case study method was used to conduct this research, focusing on the Silat dance movement as a medium to promote tourism. The research method is presented to generate a study that is in harmony with the background and the problem statement. This was a qualitative descriptive analysis research with the aim of providing a comprehensive illustration of performance art as a medium to promote tourism in West Sumatera.

Minangkabau ethnic dance movement, which is based on custom and religion, includes movements originating from the Silat movement. Movements in Minangkabau dance include Silat movements, such as attacking and fending off, rolling over, sawhorse posture and leg and hand movements. This is an original movement source and derives from cultural movements born from the fighter. That is why the Minangkabau dancer is a male; females were initially not allowed to dance because the movements are not suitable for them. Movement stylization suitable for a woman appears when she starts involving in dance movements in Minangkabau. Given the basis of culture and religion, the concept of suitable movements for a woman involves having no pelvic-rocking movements, erotic movements (with legs, hands and head) or other movements, such as rolling over, fighting and fending off. When male and female dancers perform together, they are not allowed to touch each other.

The movement in the dancing art of Minangkabau actually should be in harmony with, balanced on and based on the value of Adat Basandi Syarak, Syarak Basandi Kitabulah, which is the philosophy of the Minangkabau ethnic group. This means, a religious value must be seen in all expressions of dance movements of the Minangkabau ethnic group; no expression should contradict the values of the religious and customs value. A similar perception to the philosophy states that it is very helpful for Indonesian choreographer for the needs of aesthetic from the rich of Indonesian dance. Also, Hastuti and Supriyanti (2012) state that it can be a differentiator from the dance rules of Western thought patterns.

The purpose of this research is to focus on the internationalisation process and experiences of Korean theatre companies. Factors investigated include cultural issues impinging on production values and the roles of entrepreneurial thinking and creativity. An analysis of impacting barriers on performing arts internationalisation is also carried out.

A case study approach was used to investigate the performance and internationalisation activities of five Korean theatre companies that participated in the Edinburgh Festival Fringe.

The exporting of Korean cultural products contributes markedly to the perception and understanding of Korea. Small theatre companies with a tolerance of risk‐taking, together with competencies in creativity and entrepreneurial thinking, can help to minimise the effect of unforeseen problems experienced during the internationalisation of theatre productions.

The in‐depth case study approach adopted here has resulted in the uncovering of data that would not have been unveiled through questionnaire analysis alone. The findings can, however, contribute to future large‐scale surveys of the arts industry.

The issues identified in this study are also relevant for other forms of internationalising artistic productions. The successful combination of artistic ability and the implementation of entrepreneurial competencies, together with the creative use of limited resources, serve as competitive advantages for the arts organisation.

This research promotes a cross‐disciplinary approach to arts marketing in general by encouraging the interrogation of fields such as entrepreneurship, small business marketing and internationalisation research.

This paper aims to identify the factors that foster an interest in opera and Opera Houses as a specific form of cultural capital and how the Opera House tourist constructs images of destinations from the cognitive, affective and conative dimensions.

A social constructivist methodology was adopted, and data was captured through online qualitative questionnaires from 226 Opera House tourists using a simple random sampling approach. These enquired about the development of their interest in opera and Opera Houses and the influence this exerts on their destination image formation process.

This form of cultural capital is mainly developed by exposure to art forms through family, social and further reference groups. Opera Houses project cognitive images of cosmopolitanism, affective images of social belonging and conative images of further opportunities to experience culture and leisure fostering destination loyalty and place attachment.

Productions of both opera and ballet are staged at Opera Houses, opening avenues for further research on either the opera or ballet tourist markets specifically using case studies across the ample spectrum of Opera Houses around the world.

In addition to the visual appeal and quality of cultural produce, tourism practitioners can use an Opera House’s projected affective images of social cohesion and togetherness to attract the Opera House tourist market. Opera Houses enrich a destination’s visual and cultural landscapes, cementing the need to preserve and promote their contributions to the destination’s cultural identity.

This study highlights the need for cultural policy and audience development strategies that cultivate this type of cultural capital resulting in demand for and supply of cultural products that in turn stimulate the development of this niche cultural tourism market segment.

To the best of author’s knowledge, this is the first study that has approached the Opera House tourist from the destination image formation context.

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.

This study aims to apply the predictive processing theory to examine the influence of artificial intelligence (AI)-driven robotic performers on audience emotions and the audience’s resulting electronic word-of-mouth (eWOM) behaviors during tourism service encounters.

Using a quantitative research methodology, survey responses from 339 regular customers of performing arts in tourism destinations were analyzed. The respondents were recruited through Prolific, a professional data collection platform. SPSS 23.0 was used for the preliminary analysis, from which a research model to achieve the aim was proposed. SmartPLS 3 was used for partial least squares structural equation modeling to test the model.

Interactive and novel robotic performances significantly encouraged the consumers to share their experiences online, thereby enhancing eWOM. However, melodic resonance had no significant impact on eWOM intentions. The consumers’ emotional responses fully mediated the relationship of the novelty and interactivity of the performances to the consumers’ eWOM intentions but did not mediate the relationship of the musical elements to their eWOM intentions.

This study enriches the understanding of how AI-driven performances impact consumers’ emotional engagement and sharing behaviors. It extends the application of the predictive processing theory to the domain of consumer behavior, offering valuable insights for enhancing audience engagement in performances through technological innovation.

本研究旨在运用预测处理理论, 考察人工智能（AI）驱动的机器人表演对观众情感及其在旅游服务接触中的电子口碑（eWOM）行为的影响。。

采用定量研究方法, 分析了339名经常观看旅游景点表演艺术的常客的调查问卷。受访者通过专业数据收集平台Prolific招募。初步分析使用SPSS 23.0进行, 从中提出了实现研究目标的研究模型。使用SmartPLS 3进行偏最小二乘结构方程模型测试该模型。

互动性和新颖性的机器人表演显著鼓励消费者在线分享他们的体验, 从而增强电子口碑。然而, 旋律共鸣对电子口碑意图没有显著影响。消费者的情感反应完全中介了表演的新颖性和互动性与消费者电子口碑意图之间的关系, 但没有中介音乐元素与电子口碑意图之间的关系。

本研究丰富了对AI驱动表演如何影响消费者情感参与和分享行为的理解。将预测处理理论的应用扩展到消费者行为领域, 为通过技术创新增强观众参与度提供了宝贵的见解。

The purpose of this study is to present a review of published academic work on art and tourism. A distinction between papers researching tourism and mentioning art just as one of tourism activities and papers covering “art tourism” specifically is proposed.

The review is grounded on a content analysis of studies containing the words “art” and “tourism” published in the Scopus database. Moreover, to analyze papers specifically consisting of the term “art tourism” a theory‐context‐characteristics‐methods structure was used – the authors call these papers art–tourism-specific papers.

While the number of “art and tourism” papers has been increasing in the past 40 years, little is known about “art tourism” as an independent form of tourism. This study finds limited work on art tourists’ characteristics, preferences and behaviors as costumers. No art-based research and little research with visual representations was found. Artists are very rarely participants of art tourism research.

Most research is conceptual, and little applied research can be identified. Importantly, besides synthesizing and critically assessing the current corpus of knowledge on art tourism, this review presents a final roadmap with directions for future research. One of the limitations of this review is that only studies included in the Scopus database and published in English were considered.

To the best of the authors’ knowledge, this study provides the first comprehensive systematic review of published academic research on art and tourism in the past 40 years. The results of this study offer directions to future art tourism researchers.

本文的目的是回顾已发表的有关艺术和旅游的学术著作。 提出了在研究旅游的论文中将仅将艺术作为旅游活动之一提及的论文与专门涵盖“艺术旅游”的论文进行区分。

该回顾是基于对 Scopus 数据库中发表的包含“艺术”和“旅游”一词的文章的内容分析。此外, 为了分析专门由术语“艺术旅游”组成的论文, 我们使用了理论-背景-特征-方法的结构——我们将这些论文称为艺术旅游特定论文。

虽然过去四十年来“艺术与旅游”论文的数量一直在增加, 但人们对“艺术旅游”作为一种独立的旅游形式知之甚少。 我们发现关于艺术游客的特征、偏好和作为顾客的行为的工作有限。 没有发现基于艺术的研究, 也没有发现很少的视觉表现研究。 艺术家很少是艺术旅游研究的参与者。

大多数研究都是概念性的, 很少有应用研究可以被识别出。重要的是, 除了综合性地批判和评估当前关于艺术旅游的知识库外, 本次回顾还提出了一个最终路线图, 并为未来的研究提供了方向。本回顾的局限性之一是仅考虑了 SCOPUS 数据库中包含的并以英文发表的文章。

本研究首次全面系统地回顾了过去四十年来发表的有关艺术和旅游的学术研究。本研究结果为未来的艺术旅游研究者提供了方向。

El propósito de este artículo es presentar una revisión de los trabajos académicos publicados sobre arte y turismo. Se propone una distinción entre los trabajos que investigan el turismo y mencionan el arte sólo como una de las actividades turísticas Y los trabajos que cubren específicamente el “turismo artístico”.

Esta revisión se basa en un análisis de contenido de los artículos que contienen las palabras “arte” y “turismo” publicados en la base de datos Scopus. Además, para analizar los artículos que contenían específicamente el término “turismo artístico” se utilizó una estructura Teoría-Contexto-Características-Métodos - llamamos a estos artículos específicos de turismo artístico.

Aunque el número de trabajos sobre “arte y turismo” ha aumentado en los últimos cuarenta años, se sabe poco sobre el “turismo artístico” como forma independiente de turismo. Encontramos trabajos limitados sobre las características, preferencias y comportamientos de los turistas de arte como clientes. No se ha encontrado ninguna investigación basada en el arte y poca investigación con representaciones visuales. Los artistas rara vez participan en las investigaciones sobre turismo artístico.

La mayor parte de las investigaciones son conceptuales, y se puede identificar poca investigación aplicada. Es importante destacar que, además de sintetizar y evaluar críticamente el corpus actual de conocimientos sobre el turismo artístico, esta revisión presenta una hoja de ruta final con directrices para futuras investigaciones. Una de las limitaciones de esta revisión es que sólo se han considerado los artículos incluidos en la base de datos SCOPUS y publicados en inglés.

Este estudio proporciona la primera revisión sistemática exhaustiva de la investigación académica publicada sobre arte y turismo en los últimos cuarenta años. Los resultados de este estudio ofrecen orientaciones a los futuros investigadores del turismo artístico.