The influence of dance music on the UK youth tourism market

Today's young people are influenced by a variety of factors when considering a holiday. During the late 1980s and 1990s we have witnessed a rise in recreational drug use and the move in music taste towards repetitive rhythms of re-mix DJs creating their music from synthesized tunes on records and CDs. The ‘Big Name’ DJs such as Sasha, Pete Tong, Danny Rampling, etc. are superstars within today's youth culture and receive wages to match their status. During the past 5–10 years, we have also witnessed a move towards young people taking holidays to pursue their interest in Dance Music and to follow their favourite DJ to wherever in Europe, or the world, they may be playing. Often the established night-clubs within countries will seek to attract these DJs, but sometimes special holidays are packaged by tour operators with a distinct Dance Music theme, highlighting famous ‘superclubs’ such as Cream and Ministry of Sound. Radio stations are also becoming involved, especially London's well known Dance Music station ‘Kiss FM’ who, in conjunction with a tour operator, offer a distinct Dance Music tourism experience.     

Exploring dress,identity and performance in contemporary dance music culture

Electronic dance music and its associated cultures have experienced significant growth and diversification in recent decades, evolving from their origins in the warehouse, acid house and rave ‘scenes’. The myriad of interrelated scenes under the umbrella term ‘dance culture’ provides a range of aesthetic and social event experiences, where participants can experiment with and perform multiple identities. This paper explores the significance of dress and identity within dance culture, drawing on an autoethnographic study which included participant observation, field trips, online research, focus groups and interviews. It investigates performance and presentation of identity within these commodified places, in particular how participants negotiate and traverse various credible roles. It suggests that the performance metaphor is useful in conceptualising event spaces and demonstrates the hugely significant role that dress and identity play in the construction and consumption of these events.     

Glastonbury: managing the mystification of festivity

The realm of music festivity has grown into a global circuit that responds to the demand for emotive experiential products and taps into postmodern themes that celebrate a lifestyle attitude of extended youth. This paper investigates the phenomenon of festival culture through a case study of Glastonbury Festival of Contemporary Performing Arts. It highlights how modern music festivals have become sites of mediated brand management where commodified hyper-experiences are considered as new forms of contested cultural capital. Through a critical conceptual matrix that combines the work of Bourdieu, Pine and Gilmore, and Jensen the authors critically explore the interplay between the experiential dimension, mystical and fantasy narratives and the political contestation of festivity. Focusing on Glastonbury Festival of Contemporary Performing Arts 2010 the study presents an innovative interpretation of festivity through multi and social media. The authors argue that, while promoted as an ethical festival that celebrates its anti-commercial countercultural cool, Glastonbury reflects a modern cathedral of consumption where experiences are the mediated and managerially puppeteered capital of the field. However, festivity is moving beyond management as it is increasingly dependant on the co-creative social media activity of consumers to perpetuate the fantasy and capital of festivity.     

‘still raving’: social reaction to Ecstasy

In the late 1980s and early 1990s there emerged in the UK a new youth cultural phenomenon, the rave. Subsequently transformed into clubbing, it is now a significant part of the leisure activities of young people well into their 20s. Reconstructing its history reveals the development of rave culture through the confluence of innovations in music, drugs and dance and the largely negative social reaction from media, police and government. Three perspectives are evaluated for their utility in analysing these processes: the moral panics framework, theories of risk and ethnographies of clubbing. Each has a contribution to make but they also indicate some substantive unresolved issues, all relevant to leisure studies. There is a need for a revised sociology of youth, case study material on moral regulation and greater sustained attention to music, dance and drugs as central to the formation of contemporary youth cultures in leisure.     

A history of recreation resource planning: The origins of space standards

Steely Dan, a rock band which has consistently produced high calibre songs but eschewed celebrity, embodies a particular idiosyncratic rock genre that contains originality, craftsmanship and a critical attitude to art and life. In many ways the core musicians can be regarded as intellectuals whose songs not only offer particular individualised and self‐driven ‘outsider’ identities for the fan but also claim cultural authority. This article explores the ambiguous socio‐cultural and musical space occupied by the band in relation to rock music and the 1970s context more generally. It examines techniques of production, lyrical content, fan attachment and broader signification with regard to individual style and cultural legitimisation. It also critically assesses theoretical arguments that consider the positioning of the music within modernist and postmodernist discourses.     

‘Freaky is just how I get down’: investigating the fluidity of minority ethnic feminine subjectivities in dance

This article addresses a lacuna of research into minority ethnic young women’s leisure participation by specifically focusing on the experiences and embodied subjectivities of two ethnic young women participating in dance. In the context of a qualitative research study based in an American inner‐city, post‐structural theory is used to signal the operation of intersecting racial, ethnic, gender, and class discourses and power relations. This analysis focuses on how the two young women engaged with dance cultures that were underpinned by particular dance forms; these dance forms arguably reproduced specific versions of ‘normalised’ femininity. The article then illustrates how the young women actively negotiated their dance cultures in order to construct multiple and shifting minority ethnic subjectivities. Commentary from one young woman, ‘Carrie’, indicates that she used her high school dance spaces as well as festival and club dance spaces to take up fluid white, black and ‘mixed’ subjectivities. I then investigate how a Salsa dance space provided the discursive resources through which another young woman, ‘Jenny’, constructed a proliferating diasporic identity. While Jenny identified as both black and Haitian, her hyperbolic dance performances re‐enacted various other subjectivities. These accounts demonstrate the possibility that young women can take up multiple versions of femininity in their leisure participation. These femininities reflect both alignment and resistance to dominant discourses which have ascendancy within young women’s leisure contexts.     

AFRICAN AND WESTERN TOURISTS: OBJECT AUTHENTICITY QUEST?

The study draws from netnography and participant observation to compare the subjective importance of object authenticity between African and Western tourists, in their encounters with staged culture in Zimbabwe. Thus it challenges the status quo, being one of a few studies in which Africans are represented as tourists. The paper then argues that, in its object-related sense, authenticity has limited usefulness for African tourists. It is suggested that, for them, rather than authenticity, aesthetics and artistry are more meaningful criteria for evaluating cultural performances. Therefore, object authenticity is not universally relevant as a touristic quest. In contrast to African tourists, however, Western tourists were preoccupied with evaluating object authenticity and uncovering “deceit” in staged culture.     

Eudaimonic tourist experiences: the case of flamenco

In recent years, participation in flamenco, as a cultural art form, has gained momentum within Spain and internationally. Engagement in flamenco music and dance workshops in Spain has also become an increasingly significant tourism activity. Despite this trend, little research has looked into the nature of leisure experiences of flamenco. This paper seeks to address this knowledge gap by exploring how tourists experience flamenco music and dance courses in the city of Seville. Through a grounded theory research strategy in which in-depth interviews were conducted with 20 participants, the study reveals that four key themes characterise tourists’ experiences of flamenco. These are: the social and physical environment, which refers to physical flamenco spaces in Seville and tourists’ interactions with instructors and peers; secondly, the experience of challenge, characterised by hardship and sacrifice in the pursuit of flamenco; thirdly, activation of the sensual body or a sense of arousal; and lastly, an intrinsic and deep desire for self-discovery. The study demonstrates that the flamenco tourist experience strongly contributes to self-realisation and fulfilment of those who engage in it, or in other words, that the flamenco tourist experience is eudaimonic in character. The interview findings were linked to literature on self-realisation, self-fulfilment, true self, stress-related growth and related eudaimonic themes. Eudaimonia, or a sense of personal expressiveness and self-realisation, has not been previously established in this context. Therefore, the research findings provide a theoretical understanding of what a eudaimonic tourist experience of dance and music may look like.     

Cultural heritage authenticity: A producer view

The role of the producer (i.e., heritage manager) in shaping the meaning of authenticity is conceptually underdeveloped. We adopt the position that tourists' perceptions of cultural heritage authenticity are greatly influenced by the core attributes of the cultural heritage object and how it is produced. Building on existing research and our analysis, we contend that the Cultural Heritage Object contains three core and overlapping attributes: physical form (Form), links to what is culturally and historically significant (Links), and vitality to actively transmit meaning (Vitality). Using this tripartite conceptualization, we approach Heritage Production Authenticity in terms of the object's Indexical and Iconic cues. In doing so we provide a powerful basis to develop our understanding of heritage production authenticity.     

A netnographic examination of constructive authenticity in Victoria Falls tourist (restaurant) experiences

The concept of constructive authenticity is seen as encapsulating the subjective nature of authenticity evaluations in tourism experiences. However, very few studies discuss the notion in the context of cultural eatertainment. This paper presents a netnographic analysis of tourists’ restaurant reviews and examines how authenticity is projected onto cultural objects. Online tourist reviews of two popular Victoria Falls restaurants, namely Mama Africa Eating House and The Boma - Place of Eating, were downloaded and analysed. Findings demonstrate that tourists are concerned about authenticity of cultural representations in restaurant experiences, although their constructions of what constitutes “real” African culture are extremely fluid. The study also discusses the implications of findings for theory and practice, and offers suggestions for further enquiry.     

Authenticating Ethnic Tourism: Li Dancers' Perspectives

Authenticity is a negotiated rather than an absolute attribute of tourism phenomena. A large number of stakeholders is involved in the negotiation of authenticity, including the state, the business community, tourists and, in the case of ethnicity, representatives of minority groups. Each of these is likely to hold its own perspectives on authenticity. This presentation focuses upon the latter group and examines the perceptions of tourism and culture of Li dancers who perform for tourists in purpose-built folk villages in the island of Hainan, China. In order to structure perspectives on authenticity, survey responses of Li dancers are arrayed upon five constructs that can be viewed as representing different dimensions of the authentic. These constructs are: commodification versus spontaneity (non-commercialization), cultural evolution versus museumification, economic development versus cultural preservation, ethnic autonomy versus state regulation, and mass tourism development versus sustainable cultural tourism. It is demonstrated that there is tension both within and between each of these constructs. Furthermore, the perspectives of Li dancers on tourism and culture are formulated and reformulated within the context of the perspectives of other stakeholders who may hold different positions related to authenticity.     

The redefining of later life through leisure: music and dance groups in Brazil

ABSTRACT

The present study aimed at understanding the meanings that older adults attribute to two group leisure activities: dance classes and music get-togethers. The research question was: What are the meanings that older adults construct through group leisure activities? The study used ethnographic methods, specifically participant observation and in-depth one on one interviews. Two groups were selected in the city of Rio de Janeiro, Brazil. In total, 32 in-depth interviews were conducted, 16 in each group. Data analysis included the development of categories, and entailed constant comparison between the two cases, which were then interpreted in terms of Consumer Culture Theory due to its relevance to leisure in contemporary societies. Six categories of meanings were identified in each group. Of these, five were common to both groups (well-being, hedonism, social connectedness, identity construction, and learning) and one category in each group was activity-specific: rediscovery of the body (dance) and nostalgia (music). The results of the study show how ageing becomes an asset to the individual rather than a liability, leading to a redefinition of what later life can be. In particular, we provide a novel perspective on leisure in later life by focusing on Brazil – an emerging country with a relational culture and high social inequality.     

Gender and tourist experiences: assessing women's shared meanings for Beatrix Potter

As a social construct, tourism is premised upon inter-relationships between various producers and consumers. Within this system, gender differences may influence how tourist sites are interpreted and the symbolic associations visitors make with places. Adopting Johnson's (1986) circuits of culture framework and focusing primarily upon women visitors, this paper assesses meanings of Beatrix Potter inspired tourism in the English Lake District. Qualitative evidence highlights how women in particular conjoined an interest in Potter with the tourist visit to mediate other attitudes and values. Such links with non-tourist social practises were usually derived from associations with childhood and family life. The paper also considers how shopping and souvenir purchases helped to perpetuate and redefine this value system. Tourism occurs within a context of larger social-cultural structures and practices. In developing a more complete understanding of such aspects of tourism systems, gender constructs merit increased attention.     

Conceptualizing taste: Food,culture and celebrities

Tourism is a potent realm for theorizing broader issues of culture and taste. Exploring dining and culinary pursuits can shed light on the production and reproduction of gastronomic culture and broader struggles for authenticity. We explore the ‘liquid times’ of late modernity, and how the competing processes of popularization and legitimization contribute to the ongoing reconfiguration of tourism's field of taste within a context of culinary celebrification. Applying Bourdieu's theory of distinction to culinary elites, we develop a model that captures transitions in habitus. This model can be applied to any cultural context within the tourism industry to illustrate the impact of competing processes of taste. Implications of this model are that the celebrification of products and services can potentially narrow the field of production and undermine the cultural contribution tourism can make to society at large.     

Should there be more showers at the summer music festival? Studying the contextual dependence of resource consuming conventions and lessons for sustainable tourism

Summer music festivals that involve a few days of camping have often been linked to sustainability agendas. Yet relevant studies have so far overlooked how these events can themselves serve as experiments in less resource consumptive living. Building on a wider interest in the cultural evolution of cleanliness norms, this paper explores how attendees come to use water in personal washing at two UK festivals. Through survey, observation and interview research, it examines how current festival goers respond to the disruption of their usual washing regimes, paying particular attention to how a combination of social and infrastructural cues serves to encourage the emergence of a temporary new cleanliness culture. Doing so highlights the value of seeing human resource consumption as a matter of dynamic collective convention more than fixed personal preference since these respondents were seen to embrace a new relationship with washing that was otherwise deemed unthinkable. This leads to a broader discussion of how visitor needs and the social world are most usefully studied by both future festival organisers and the wider field of sustainable tourism research.     

Maori-based Tourism in Rotorua: Perceptions of Place by Domestic Visitors

This paper reports findings from a survey of 763 Auckland residents. The research examined attitudes towards the resort town of Rotorua as a short-break destination with specific reference to the role that Maori culture plays in the formation of perceptions of Rotorua. The Te Arawa Maori people have been closely associated with tourism for over 140 years and this is recognised by the domestic market. However, the Maori component of Rotorua is found not to be an attraction. Rather, tourists are drawn to other facets of the product. While this is evidence for the fact that Rotorua is a multi-use product in tourism, given the role that travel is supposed to play in bridging gaps between cultures, tourism seems to be failing in this respect. It is suggested that an emphasis upon 'traditional authenticities' aimed at certain overseas segments misses the contemporary vibrant nature of Maori music and dance performance that might in fact have a wider appeal, including the domestic tourism market.     

Commercial hospitality in destination experiences: McDonald's and tourists' consumption of space

This paper examines the multiple roles that globalised, branded spaces of hospitality can play in tourists' experiences in destinations. It is argued that previous studies have not considered adequately how such commercial hospitality services and spaces interact with and influence tourists' experiences of places. Drawing on a netnographic analysis of online discussions of McDonald's, this study explores how tourists perceive these hospitality venues, and how they use them to engage with foreign destinations and negotiate the ‘work of tourism’. The data show how tourists (re)construct their identities through reflections on consuming McDonald's. The data also demonstrate that tourists critically evaluate discourses of authenticity and the (in)authenticity of consuming McDonald's. The paper concludes by discussing the implications for the marketing and management of McDonald's and similar branded commercial hospitality venues, the marketing and management of destinations, and it outlines avenues for further research.     

“Heritage” as alternative place and space: old-time music and roots- and routes-based tourism in Southern Appalachia

After a decades-long exodus of industry and capital from Southern Appalachia, heritage tourism attempts to generate revenue by representing cultural authenticity in an area historically occupying the place of cultural backwater in American popular imaginations. This paper analyzes the representational terrain that such a tourism project traverses to present viable narratives of cultural authenticity. I suggest that valuations of authenticity in these representations, while exhibiting ambivalences about the values of the past and present, foreground iconic and indexical relationships among music, musicians, and Appalachian history and landscape, in turn drawing on the appeal of a different orientation to space and place. This appeal of and for a cultural and affective alternate route – an alternative to a high-speed, rootless, globalized landscape of mass consumption – is both opposed to and dependent on that landscape for its value and viability.     

Learning to leisure: femininity and practices of the body

Within this paper, I conceptualise practices of the body that are learnt and deployed as part of feminised body work within the cultural context of girls’ leisure. These are practices of the body that are engaged by young women in ways that allow them to (re)construct their subjectivities as well as ‘negotiate a physical sense of themselves’. Therefore, this paper begins by mapping the theoretical foundations upon which the analysis of femininity is couched. Predicated upon debates that distinguish between the girl as a passive, duped recipient of culture’s pedagogical signs and the girl as an active, autonomous ‘freely choosing’, ‘freely consuming’ citizen, I draw out the ways in which young girls’ body practices can shed light on the complex relationship between ‘choice’, agency, consumption and subjectivity. Drawing on data collected from workshops and focus groups, I locate consumption, body management and beautification as constituents and simultaneously constitutors of leisure time. I thus offer insight into the ways in which a group of twenty 13-year-old girls who attended a private (fee paying) school in the West of England account for, maintain, develop, and in places resist, localised appearance cultures. Structured around certain leisure activities – reading magazines, shopping for clothes, eating, engaging in physical activity, applying beauty products, make-up and hair styling – this paper concludes by highlighting the ways in which wider cultural discourses are having embodied effects and are being consumed, not without consequence, as commonplace everyday preoccupations.