Search results

This paper investigates the information behaviour of creative DJs, a group previously not considered from the perspective of information studies. The practice of DJing is a musically creative process, where a performance can draw on a vast range of music to create a unique listening and dancing experience. The authors study what are the information behaviour processes involved in creative DJing and what roles embodied information play in DJing practice.

From a set of semi-structured interviews with 12 experienced DJs in Scotland, UK, that were subjected to inductive thematic analysis, the authors present a model of how DJs undergo the process of planning, performing and evaluating a DJ performance.

From this study, a model of creative DJs’ information behaviour is presented. This three-stage model describes the information behaviours and critical factors that influence DJs’ planning, decision-making and verification during the pre-performance, performance and post-performance stages, with particular emphasis on DJs’ performances as a rich site of embodied information interactions.

This research provides insight into a new activity in information behaviour, particularly in the use of embodied information, and presents a model for the information behaviour of creative DJs. This opens the way for future studies to consider minorities within the activity, the audience as opposed to the performer, as well as other creative activities where physicality and performance are central.

The datafication of teaching and learning settings continues to be of broad interest to the learning sciences. In response, this study aims to explore a non-traditional learning setting, specifically two Golf Teaching and Research Programs, to investigate how athletes and coaches capture, analyze and use performance data to improve their practice. Athletic settings are well known for spurring the proliferation of personal data about performance across a range of contexts and ability levels. In these contexts, interest in athletes’ experiences with data has often been overshadowed by a focus on the technologies capturing the data and their capabilities.

This ethnographic research focuses on the data-rich experiences of golf coaches and students during two pedagogical encounters. Using Balka and Star’s (2015) concept of shadow bodies, this article explores how golfing bodies can become infused with data, creating partial representations of a lived experience that can be augmented and manipulated for pedagogical purposes, depending on the context and the individuals involved.

Interaction analysis helps the authors to examine the embodied and interactional nature of coach-golfer pedagogical encounters across two sites, a local Professional Golf Association golf course and a Swing Analysis Lab. The authors also split these encounters into two episodes to identify how coaches and golfers use partial representations of their bodies to analyze performance and interpret data.

This research suggests that as data-driven practices continue to engulf athletic settings, and teaching and learning settings broadly, emphasis needs to be placed on ensuring that athletes (learners) – from the most recreational to elite users – have an embodied understanding of their performance to improve their ability. Furthermore, this article raises questions about what data gets shared between instructors and athletes and how that data is used.

New circus explores a wide range of contemporary global and existential questions. From the dystopian performances of pioneering French new circus Archaos, and the ongoing social justice agenda of Circus Oz, to the themes of social decay and environmental degradation in Oozing Future’s 2019 production Autocannibal, new circus has sought innovative ways to challenge and confront audiences mediated by the human body. With a focus on emotive narrative representations of risk and death, this qualitative research examines the interaction of embodied movement and music in Zebastian Hunter’s Lacanian-inspired Empty Bodies and the author’s development of a circus opera, The Blood Vote. The immediate and embodied artforms of music and circus combine to engender a non-literal, yet powerful, form of speech surrogacy that communicates meaning and emotion, so we are reminded that anything is possible, not least of which is the illusion of the victory of life over death that circus performance itself embodies. Death is ever present in life, a fact we try to repress; circus confronts the audience with the undoing of this repression: we are going to die. This is what captivates us. In this way, contemporary new circus functions as an important signifier of meaning in contemporary performing arts.

This study aims to examine the multisensory experiences of participating in a cooking class and how they shape perceptions of destinations in the pre-trip stage. Performance theory and prosumption provide a theoretical lens to investigate how a cooking class influences the pre-trip destination sensescape.

This study used participatory action research consisting of an immersive Tatarstan cooking class experience with the supporting materials of music and videos, focus group discussions and participant observations.

Cooking class participants prosume local culture and (re)construct the perceptions of Tatarstan by partaking in cooking classes through a multisensory experience. The pre-trip destination sensescape formation in the cooking class is dynamic, stimulating and memorable. With active engagement in co-creating in the process, such experience significantly strengthens and reshapes the perceptions of a destination.

Cooking classes can be leveraged in pre-trip marketing as a tool to enhance the competitiveness of tourism destinations and contribute to accessible tourism, such as engaging visually impaired tourists’ other heightened senses in experience design and marketing.

This study revealed that participation in cooking classes involves active, embodied and multisensory engagement, which acts as a vehicle of the destination perception change.

Purpose: This project examines both the media practice of covering perp walks and the discourse of perp walks as performative rituals, with the goal of understanding how grounded practice shapes meaning.

Methodology/approach: This project combines ethnographic observation and interview research to explore the grounded experience of perp walk participants, including journalists, law enforcement, and defendants.

Findings: The analysis suggests that perp walks are constructions that serve the interests of the state and that their resulting images are not neutral documents. Visual journalists are managed by law enforcement through embodied gatekeeping in practice and experience pressure from newsrooms to capture a particular moment. Defendants report feeling violated because they are unable to control the discourse of their recontextualized image.

Research limitations: As a qualitative-research project using a non-representative sample, the study results cannot be generalized, but they instead offer a rich understanding of embodied practice.

Originality/value: Because this study offers the subjective perspectives of three sets of stakeholders, including journalists, law enforcement, and defendants, it offers a unique and in-depth analysis of perp walks as media ritual.

While authenticity, gender, and genre have all been studied in relation to music, the links between the three are underdeveloped theoretically. Specifically, the ongoing gendered process of constructing authenticity and the role of gendered authenticity in the creation and articulation of new musical genres remain fairly unexplored. In particular, more work is necessary to explain the role of gender in the emergence of new subgenres, in the ongoing maintenance of genre boundaries, and in fans' identity work as they construct “authentic” participation in “underground” scenes. In this paper, we examine genre as a gendered process in the Extreme Metal (EM) music scene, a popular subgenre of heavy metal. We explore several gendered dimensions of the EM genre, including the music (instrumentation, vocal style, lyrics, record covers, merchandise), live performance (gender distribution and arrangement, moshing/dancing, audience/crowd interaction), and embodied genre performance (fashion, hair style, makeup). We conclude by suggesting that the construction of new subgenres is, in part, a process of reestablishing and valorizing masculine traits, denigrating feminine traits, and connecting such traits to authenticity, thereby perpetuating gender inequality and hegemonic masculinities.

The purpose of the paper is to provide a framework for reflecting on how different ways of configuring spaces in higher education (HE) condition the possibilities of learning. Second, the purpose is to construct a storytelling approach for the configuration of such spaces.

The paper’s conceptual purpose is achieved through a theoretical discussion of three concepts: performance, politics and storytelling.

Learning in HE needs reconsideration in terms of what kinds of learning are made possible through the discursive and material configuration of the spaces of research and teaching. In particular, the focus to some extent should move away from the management and control of learning toward what enables learning.

The literature on organizational learning and the learning organization comprise concepts, methods and tools that play different roles with regard to controlling, shaping and enabling learning. When the focus is on learning in HE, it is important to be aware of the tracks of learning these technologies enable.

The interest in managing and controlling learning is often problematic in relation to the potential of HE to produce new and innovative forms of learning.

This paper introduces the term “spaces of performance,” which directs attention toward the material, discursive and relational conditions for learning. It also introduces a space of storytelling as a new principle for learning in HE.

This chapter provides an analysis of the processes of negotiating identity in the production of improvised performance in the jazz rhythm section. I show that, for jazz musicians, identity is an important and complex concern that is managed through the frame of their various role functions. This analysis aims to expand upon symbolic interactionist studies of music and to provide a critique of the “discursive” focus on music in social life.

Purpose: This paper uses performance theory to explore how wine-tourism experiences are orchestrated by wine tour guides to encourage engagement of consumers. It describes how such orchestration is built on material elements such as landscapes, architecture, vineyards, production facilities, and wine tastings.

Design/methodology/approach: A multi-layer ethnographic research on wine-tourism was employed. The interviews, observations, and field notes were analyzed through the lens of performance theory. A constant comparative method was used to identify emergent patterns, and a hermeneutic method was used to interpret the data.

Findings: The paper builds on performance theory and delineates the ways in which guides co-create intense experiences with participants. It portrays how tour guides often adjust their theatrical scripts to consumers’ unique needs through creative variations: surprise treats, activities, and personal stories. When guides take pleasure in tours, participants do as well, resulting in memorable co-created experiences. The tours feature processes such as pitching and relation-building techniques that call upon identity, morality, and materiality scripts, which ultimately build a sense of social obligation among participants toward tour guides and winery staff.

Originality/value: From a theoretical perspective, the paper adds value to the discussion of performance in tourism by suggesting that the service blueprint, architecture, and employee training are only part of the story. This paper shows how consumer engagement and interactions between participants, guides, architecture, and landscapes are essential elements of memorable experiences.

Research limitations: Like other studies, there are limitations to our study as well. Our study only included one-day wine tours. A broader investigation of strategic alliances between tour companies and wineries, and how wine tourists experience and sustain a sense of social obligations to the wineries they visit, will provide further insights into how wine-tourism functions as a co-creative emergent form of consumption involving individuals, products, and processes.

The authors report on research with women managers, documenting their strategies in response to gendered and sexualised working life. The paper aims to offer a conceptual framework and suggest ways in which employing organisations and workers might recognise and address the myriad forms of discrimination.

A qualitative design was pursued with 15 one-to-one interviews and two focus groups involving 12 women managers aged from their 30s to 60s. Data were collected in Finland. Women were recruited through business networks. Participants worked in a range of private sector and voluntary sector organisations.

Finland is a country which enjoys an international reputation for gender equality, but across the data, women recounted numerous examples of how they navigate working life to manage sexualised and discriminatory encounters and comments. Women reported feeling under constant surveillance for their looks, dress and behaviours in and outside the workplace. Further, ageing brought with it challenges to remain energetic and youthful and enhance the image of the organisation.

Although a considerable body of research exists on (gendered) aesthetic labour at work in service and hospitality work, there are limited data on this in business and middle management. With an ageing workforce, and women continuing to encounter pressures with their physical appearance, behaviours and dress, they continually develop ways to negotiate their careers. The authors propose the concept of “MyManagement” as a self-technology to denote the ways how women manage workplace relationships, working life and career development as organisational practices remain gendered.