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The current study examines the effectiveness of brand integrations in music videos by taking into account the impact of both brand placement characteristics (i.e., brand prominence, valence of artist–brand relationship) and audience characteristics (i.e., artist connectedness).

A 2 (prominence: prominent vs. subtle) by 2 (valence: positive vs. negative) by 2 (connectedness: high vs. low) between-subjects experimental design is used. Each respondent first watched one music video via YouTube in which one branded product was placed either prominently or subtly. To manipulate the valence of the artist–brand relationship respondents were instructed to read a magazine article that revealed either a positive or negative attitude of the artist toward the placed brand. Two hundred twenty young adults participated in this study.

This study shows that prominent placements appear to be beneficial for the attitude toward the integrated brand when an individual is strongly connected to the artist in the music video, while subtle placements are beneficial both when an individual is weakly or strongly connected to the artist. Further, negative celebrity-brand relationships do not seem to affect brand attitudes in a negative way.

Embedding the brand in a music video gives marketers and advertisers the chance to reach consumers in a new, creative way. But this study shows that the advertiser should pay attention to the way in which the brand is integrated. Further, negative celebrity information does not seem to affect brand attitudes in a negative way. This makes the music video a very interesting medium for advertisers.

The current study contributes to previous research on brand placement by investigating the effectiveness of brand placements in music videos and the role of artist connectedness. In addition, the study is original as it includes valence in the model.

Artist residencies comprise a unique accommodation type and a form of cultural entrepreneurship which remains overlooked from a hospitality perspective. This exploratory study aims to examine the phenomenon of artist residencies as specialist accommodation, as well as their operators’ motives as cultural entrepreneurs during the COVID-19 pandemic. Creation theory is used to explore how artist residency operators create entrepreneurial opportunities.

Asynchronous email interviews were conducted with 20 artist residency operators from 18 countries. Purposive sampling was used to select interviewees and thematic analysis to analyze the primary data.

The results showed that with few exceptions, artist residencies address all criteria of specialist accommodation, and that social interactions among artists and operators are fundamental in running an artist residency. From a cultural entrepreneurship perspective, most of the operators declared that their priorities were to promote artistic creativity and cultural knowledge exchange, confirming the main elements of creation theory.

Managerial implications are discussed to enhance the resilience of artist residencies and strengthen their financial viability, as well as to support them to overcome the devastating impacts of the COVID-19 pandemic.

This study extends the hospitality literature by adding the artist residencies to the existing types of specialist accommodation. It also examines creation theory and concludes that artistic creativity and cultural networks are prominent in artist residency entrepreneurial activities.

Participation in creative activities have been linked with increased personal agency. The purpose of this paper is to address critical considerations in the development of community-based creative workshops for people experiencing severe and persistent mental illness and explores participant experiences of these workshops.

The workshops aimed to build the skills and capacities of participants and provide alternative ways to communicate identity and recovery stories. They were designed to provide a range of creative opportunities for participants (visual arts, writing, dance and music) and were facilitated by practising artists. In total, 11 participants attended ten creative workshops over three months. On completion, a focus group was conducted to gather participant views, experiences and outcomes of the workshops.

The creative workshops supported the recovery of participants. The inclusion of peer mentors in the workshops was an important in facilitating connectedness.

This study advances the evidence that creative arts can support the psychological and social aspects of participants’ recovery journeys. Creative activities can promote positive self-identity and reduce self-stigma for people experiencing mental illness. It highlights the importance of using evidence in the design of creative workshops and supports the use of peer mentoring in group creative processes.

This chapter analyzes a specific form of contemporary art, the one that is created and exhibited in the community, conceived and visualized outside of the art market and independent of the agenda of creative industries and art galleries. The motivation, purpose and meaning of such art practices, for both the artists and the community, are discussed and examples of community art projects are analyzed in order to understand how art became, in this first quarter of the twenty-first century, such a valued collective asset, so accessible and present in the daily life of the common man. Two Portuguese case studies have been chosen as illustrations: the first one is a funding programme of projects focussed on artistic practices for inclusion (the PARTIS programme, by the Calouste Gulbenkian Foundation) and the second is a self-financed and self-curated artistic collective, Pescada n^º 5.

Arts participation fosters social inclusion in a way that other social and recovery programmes do not. The professional role of an artist is an appealing and socially valid role in the community. For many people with a mental illness, arts‐based programmes become a catalyst to resume and/or pursue their art practice more seriously. The focus of this paper is to uncover the complex boundaries that exist for artists who have mental health needs in contemporary culture, and to review these artists' perceptions of their opportunities to create a place for their creative expression to emerge in its own right, and not on the basis of their illness. We also comment on the specific issue of public perception of the ‘outsider artist’ and refer in parts to the apparent question of how such art is perceived and treated. This paper refers specifically to the experiences of eight visual artists with mental illnesses living in Queensland, Australia, who contributed to an exhibition titled Artist Citizen as part of a participatory action research programme. The topics of discussion by the eight artists explore familiar themes to mental health: stigma, exclusion and the integration of identity within limited membership groups. This paper details the expressed concerns of the artists around the value and connection of their creative output. It should be relevant and of interest to mental health service personnel for insight into integration and recovery for people with mental health needs into mainstream social and cultural environments.

The purpose of this paper is to identify the value of the arts play in public spaces in replicating a contemporary commons.

The study is an exploratory investigation which uses a case study of cultural events in public parks – the Vancouver Parks Board’s fieldhouse residency program (2012-2015). The study uses content analysis of the social media sites created for these projects to identify how the sites and the cultural events were valued by stakeholders and participants.

The paper finds that, in combination, the park events and the social media discussion of them function as a form of the commons, in which new urban communities are formed or defined around specific common social interests.

The paper finds that, in combination, the park events and the reflective engagement prompted by the social media discussion of them function as a form of the commons, in which new urban communities are formed or defined around specific common social interests.

It is anticipated that cultural programs will increasingly interact with common public places.

The study supports the increased use of and recognition of public places as culturally significant.

The study aims to encourage the expansion of arts and cultural policy and programs to incorporate common public places.

This empirical study aims to investigate the influence of socially supportive services provided by commercial senior living services on older customers’ social well-being. This study seeks to test the moderating role of social connectedness on the above associations. It explores necessary conditions and causal recipes from the combination of interactions and social connectedness to predict customers’ social well-being.

Data were collected from 190 older customers residing in commercial senior living services in Beijing, Shanghai and Shenyang in China. The proposed structural and configurational models were tested using structural equation modelling and fuzzy-set qualitative comparative analysis (fsQCA).

The results of the model testing illustrate that peers have no influence on the social well-being of older customers. However, positive interactions with employees and outsiders are supportive resources that increase older customers’ social well-being. Social connectedness moderates the relationship between interaction with peers and the social well-being of customers. fsQCA results revealed that complex combinations of interactions and social connectedness predict social well-being. Interactions with employees, peers and outsiders appeared as necessary conditions to achieve social well-being.

This study provides evidence for how commercial senior living services can serve as a space to exchange socially supportive resources with employees and outsiders, which enhance older customers’ social well-being.