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Storytelling is increasingly becoming a popular tool for promoting local fairs, festivals, culture and heritage. It is also being used to boost regional economies and revitalise them. Storytelling involves recounting past events and emphasising their relevance to the current situation. It is a powerful way to communicate shared experiences and values from one generation to the next. By engaging in storytelling, local or regional fairs or festivals are able to subsidise the regeneration of their economy. Furthermore, storytelling can help to bridge the gap between the past, present and future, providing a sense of permanency and belonging. Transmedia storytelling, often called transmedia narrative, is a technique for integrating current digital technology to present a tale or story experience across several platforms and formats.

Rajasthan is a vibrant, colourful and lively region of India. It comes out on top regarding holidays, traditions and culture. It sparkles brighter when its festivals are taking place. Due to its festive atmosphere, they have played a significant role in Rajasthani culture. The state of Rajasthan is known for its warm hospitality.

The current study's objective is to investigate various regional festivals in Rajasthan that have helped to develop regional identity through transmedia and to understand the connection between regional festivals' storytelling and tourism. Our findings indicated a positive relationship between regional or local festival narrative and travellers' inclination to visit or return. Additionally, the local community develops a positive sense of itself due to these festivals.

Due to the impact of the pandemic that enforced mass closures and lock downs, galleries, libraries, archives, and museums [GLAM] institutions around the world were required to re-think how they interacted with the public. As a result of the measures that enforced isolation, distancing, and increased hygiene requirements, the usefulness of virtual technologies as a storytelling medium has come into sharper focus. This chapter will explore the emergence of augmented reality as a viable post-COVID-19 solution to meaningful digital narrative creation and user interaction in the museum environment. This chapter will concentrate on the development of a project between the University of South Australia [UniSA] and the South Australian Museum [SAM] to explore how it might be possible to create sustainable immersive stories within this environment.

This chapter explores creative drawing mediums in research practice and education, through speculative drawing methods, and the use of temporal mediums such as film, animation, and augmented reality [AR] to move outside entrenched perspectives of communicating towards more inclusive storytelling narratives. Architectural representation mediums provide means of conveying rich layers of information, having evolved through cultural influences and technologies with their origins in Western world views. However, these methods of drawing are limited in how they convey multiple and diverse views or social understandings, ultimately delivering static representations. The student and staff approaches discussed in this chapter demonstrate approaches that recalibrate from a singular, designer-led perspective to one that is multivalent, considering and engaging other stakeholders in the negotiations and conversations of the spaces in our built environments. Through making architectural communication more accessible and inclusive of diverse audiences and voices, alternative world views can be both enabled and facilitated.

Informal conversational encounters are explored using free indirect discourse (FID) as a novel storytelling method to gain a multi-generational understanding of the experiences of women working in public relations (PR) in 1960s/1970s Britain.

Echoing a literary tradition, anonymised transcripts of recordings provide impressionist accounts that immerse the reader in the thoughts and feelings of novelistic characters. An informal network of women narrate their stories with a much younger listener enabling exploration of intergenerational relationships and the intersection of gender and age.

This unstructured approach develops a complex yet natural flow to create unique withness-understandings. The author/narrator introduces a conception of informal conversational encounters, supporting an organic approach of interweaving storying, everyday performance, situated accountings, narrative unfoldings and inside/outside points of view.

An interplay of multiple female voices reveals a degree of symmetry in fractal patterns of women's early career experiences over the duration of a generation. Facilitation of sense-making through intergenerational conversations connects with Mannheim's theory of generational unity.

Women's beginnings of PR careers in 1960s/1970s Britain demonstrate a liberal feminist perspective in taking responsibility for their careers and enjoyment beyond the workplace in a man's world.

Engaging with digital heritage requires understanding not only to comprehend what is simulated but also the reasons leading to its creation and curation, and how to ensure both the digital media and the significance of the cultural heritage it portrays are passed on effectively, meaningfully, and appropriately. The United Nations Educational, Scientific, and Cultural Organization defines ‘digital heritage’ to comprise of computer-based materials of enduring value some of which require active preservation strategies to maintain them for years to come.

With the proliferation of digital technologies and digital media, computer games have increasingly been seen as not only depicters of cultural heritage and platforms for virtual heritage scholarship and dissemination but also as digital cultural artefacts worthy of preservation. In this chapter, we examine how games (both digital and non-digital) can communicate cultural heritage in a galleries, libraries, archives, and museums [GLAM] setting. We also consider how they can and have been used to explore, communicate, and preserve heritage and, in particular, Indigenous heritage. Despite their apparently transient and ephemeral nature, especially compared to conventional media such as books, we argue computer games can be incorporated into active preservation approaches to digital heritage. Indeed, they may be of value to cultural heritage that needs to be not only viewed but also viscerally experienced or otherwise performed.

This chapter explores the approaches to digital representation of Australian Aboriginal art and visitor engagement in museum exhibition spaces from a digital design perspective. It discusses recent developments in the fields of digital representation of Aboriginal art, immersive exhibition design and visitor engagement. Through a case study of an immersive exhibition on Australian Aboriginal art in the National Museum of Australia, Canberra, this chapter identifies how Aboriginal art can be digitally represented by appropriate immersive technologies ranging from augmented realities [ARs] and virtual realities [VRs] to mixed reality [MRs] and extended reality [XRs] for enhancing visitors’ immersive digital experience. According to the analysis, the digital representation of Aboriginal artworks needs to be conducted practically, cognitively and ontologically based on understanding Australian Aboriginal history and culture. Visitors can engage with Aboriginal art stories meaningfully through immersive exhibitions through this holistic approach.

This research analyzes the alignment of story framing between Samarco and news media following the dam disaster in Minas Gerais in November 2015. Drawing on framing theory as the underlying impetus, the study seeks to answer five major questions: RQ1: How did Samarco frame the mining tragedy in the aftermath of the dam collapse? RQ2: How did the news media frame the mining tragedy in the aftermath of the dam collapse? RQ3: Did the frames presented by Samarco and news media coincide? RQ4: Did the frames presented by Samarco and news media contradict? RQ5: What can be observed about the information flow and interaction between news media and the general public on social media? From a methods perspective, the study uses comparative textual analysis and NodeXL social network visualization to analyze the discourse around Samarco and information flow on social media in the aftermath of the tragedy. The results show that, while some social media content served as a forum for expressions of empathy toward survivors, social media content on Twitter mostly delivered a one-sided and positive view of the firm’s actions.