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Expressive cultural activities, such as viewing visual art, drama, or dance, are perceived as beneficial to individuals and societies, justifying public funding. However, not everyone benefits and participates equally. We intentionally sampled infrequent and frequent attendees among young adults in the Netherlands. Results indicated that infrequent and frequent attendees differed in expressive cultural activity constraints and socialization, though not on demographic background. Their cultural, social, and emotional experience through self-report and physiological data revealed no significant differences between the groups’ experience of a dramatic performance. These outcomes suggest that, as an example of expressive cultural activity, a dramatic performance experience can be equally emotionally beneficial to frequent and infrequent attendees, an important prerequisite to broader appeal and intergroup contact. Implications of the use of physiological data in leisure experience research are discussed

Due to the increase in the number of elderly and people seeking medical care, the hotel market with a blend of care and leisure experiences is expected to grow in the future ( Han, 2013 ; Karuppan & Karuppan, 2010 ; Laesser, 2011 ). The role of care hotels as an intersection between the care and the tourism sectors makes a vacation in a care hotel an interesting social practice to study. In this contribution a social practices approach ( Spaargaren, 1997 ) is applied to investigate how demand and supply interact during a care hotel vacation. Semi-structured interviews are used to identify successful and less successful interactions or practices between senior guests and personnel in five Dutch care hotels. These interactions are related to materials (care and leisure facilities), competences (skills and empathy of the personnel) and meanings (motivations and aspirations of guests) in the care hotel practice (see Shove et al., 2012 ). The results show that a social practice approach combined with a qualitative research method may be more suited to analysing the complex encounters between guests and personnel during care hotel vacations than more traditional theories from service or experience quality studies. Simultaneously, this study makes clear that we need to develop alternative qualitative (and/or quantitative) research methods to study more privacy-related or intimate practices or rituals as in the case of care hotels. VIU logo WLCE logo Information Vancouver Island University World Leisure Centre of Excellence © Bertine Bargeman, Greg Richards and Marleen van Charante-Stoffelen 2018

This interview presents a conversation between Greg Richards and Jorge Piqué on the development of creative districts and their links to creative tourism. The discussion ranged from the genesis of creative districts and creative tourism to contemporary challenges of creative placemaking. It includes a consideration of the development of cultural tourism, and how creative tourism emerged as a separate field of analysis in the new Millennium. As places have sought to distinguish themselves in an increasingly competitive global market, they have turned to creativity as a source of inspiration. Tourists tired of standardized products and crowded cultural sites have sought out the more localized experiences provided by creative districts and creative tourism. Creative districts have therefore become a vital tool for placemaking, providing access to the “extraordinary everyday” and generating new models of creative tourism.

At Fieldlab, the main goal of Logistics Community Brabant (LCB) and Breda University (BUAS) is to minimize points of contact between customers during large events, in a very, very delicate way (i.e., nudging). Crowd management has gained much attention during the COVID-19 pandemic. I was asked to conduct a literature review of human decision-making models. This information was used to develop interventions and experiments in the lab and in the field, nudging participants to behave in a more healthy and safe manner, e.g., how to safely and efficiently order beverages or exit a venue with the use of subtle environmental cues

Beleving is één van de belangrijkste concepten in de toerisme- en vrijetijdssector. Het maakt het verschil in of men voor het ene of het andere vrijetijdsproduct kiest (Mommaas, 2000) maar levert bijvoorbeeld ook een grote bijdrage aan geluk en welzijn (Nawijn & Strijbosch, 2021). Ergens weet iedereen wel wat beleving is. Dat is niet gek, want iedereen is een expert in het hebben van belevingen uit de eerste hand. Toch werd er tot voor kort weinig discussie gevoerd in de wetenschappelijke vrijetijd- en toerismeliteratuur over de definitie van het begrip beleving. Dat is vreemd voor een begrip waar zo’n belang aan wordt gehecht. In het Experience Lab op Breda University of Applied Sciences wordt daarom al enige tijd onderzoek gedaan naar de verschillende onderliggende processen van beleving en wordt gebruik gemaakt van de modernste technieken om die processen te kunnen meten

Emotions are crucial ingredients of meaningful and memorable tourism experiences. Research methods borrowed from experimental psychology are prime candidates for quantifying emotions while experiences are unfolding. The present article empirically evaluates the methodological feasibility and usefulness of ambulatory recordings of skin conductance responses (SCRs) during a tourism experience. We recorded SCRs in participants while they experienced a roller-coaster ride with or without a virtual reality (VR) headset. Ride elements were identified that related to physical aspects (such as accelerations and braking), to events in the VR environment, and to the physical theming of the roller coaster. VR rides were evaluated more positively than normal rides. SCR time series were meaningfully related to the different ride elements. SCR signals did not significantly predict overall evaluations of the ride. We conclude that psychophysiological measurements are a new avenue for understanding how hospitality, tourism and leisure experiences dynamically develop over time.

Autonomous learning behavior is an important skill for students, but they often do not master it sufficiently. We investigated the potential of nudging as a teaching strategy in tertiary education to support three important autonomous learning behaviors: planning, preparing for class, and asking questions. Nudging is a strategy originating from behavioral economics used to influence behavior by changing the environment, and consists of altering the choice environment to steer human behavior. In this study, three nudges were designed by researchers in co-creation with teachers. A video booth to support planning behavior (n = 95), a checklist to support class preparation (n = 148), and a goal-setting nudge to encourage students to ask questions during class (n = 162) were tested in three field experiments in teachers’ classrooms with students in tertiary education in the Netherlands. A mixed-effects model approach revealed a positive effect of the goal-setting nudge on students’ grades and a marginal positive effect on the number of questions asked by students. Additionally, evidence for increased self-reported planning behavior was found in the video booth group—but no increase in deadlines met. No significant effects were found for the checklist. We conclude that, for some autonomous learning behaviors, primarily asking questions, nudging has potential as an easy, effective teaching strategy.

The constantly growing tourism sector does not only bring economic well-being to host communities but also raises environmental and social questions. Communities increasingly experience negative impacts that strain their social, cultural, and ecological living environments. We investigate the potential of a more relational, action-oriented research approach for tourism: Participatory Action Research (PAR). Results show that PAR has the potential to actively involve tourism-affected communities in the decision-making processes that impact their living environments and facilitate them in co-creating community-specific initiatives for sustainable change. Yet, the current role of conventional research approaches hinders PAR in developing its full potential.

Chapter 6 - Design of Porto Alegre Creative Tourism Program.First Case in Brazil coordinating by Local Government.

There is a great interest in storytelling for tourism experience development. An objective of storytelling is to engage people (Gabriel, 2000) by sparking emotions. Storytelling involves loading tourism experiences in a way that engages visitors’ emotions.Emotions are regarded as core building blocks of an experience (Bastiaansen, et al., 2019). It is assumed that an experience involving emotional engagement through storytelling should translate into a memorable experience. Zak (2015) asserts that emotions and identification lead to empathy, then to narrative transportation and better recall of the story. However, little is known about how storytelling in tourism experiences leads to emotions and memories. In this study, we compared the emotional impact and the memories of a (tourism) experience withoutstorytelling(mainly providing facts and information) to onewith storytelling(using specific storytelling techniques). The Van Gogh Heritage Foundation is currentlyredesigning three Van Gogh visitor centers located in the south of the Netherlands where Van Gogh spent most of his life. For two locations, we wrote a factual “non-story” version, and an emotional “story” version of certain events that took place in Vincent’s (early) years. We then created four 6-minutes videos, consisting of images, and a voiceover. Forty participants had their brain activity (EEG) and skin conductivity monitored while watching two of the four videos. Participants were asked to evaluate the videos immediately afterwards. One week after the experiment, 26 participants were interviewed about their memories of the videos. Results show that the “stories” led to a significantly higher level of narrative transportation than the “non-stories”. Furthermore, the “stories” lead to empathy for certain story’s characters, and to stronger and more vivid memories. The presentation will include theoretical and managerial implications. We will show how the outcomes have found their way into the redesign of the visitor centers.

Even though more than seventy-five years have passed since the end of WWII, its prominence in entertainment media productions along with the global emergence of memorial markers have contributed to its omnipresence in people’s minds. Nevertheless, the perception of this historical event is still far from reaching consensus as nations tend to interpret and remember episodes in accordance with their perspective, thus adding up to the complexity of WWII and of Holocaust memories. With this in mind, this article describes the idiosyncrasies of Portugal’s recent tribute and remembrance strategies for the victims of WWII. The country’s neutral status, along with a set of cultural and historical specifics, has led to the dissemination of tropes leading to the idea of Portugal as an inherently tolerant and mild-mannered nation. A perception that is often fostered by resorting to monuments, museums, tourism and leisure activities. Despite evidence provided, mostly, by recent academic studies and documentary films, these tropes continue to fuel Portuguese popular imagination and are still prevalent in some recently established WWII memory places. info:eu-repo/semantics/publishedVersion

The research context for this article is a specific lighting industry professional event, focusing on the possible future of light across the dimensions of body, object (both human-scale and building), and metropolis. Light becomes the theme to generate visions and insights about longer term developments from personal, social, and business viewpoints. The event was designed as a location-specific format for the multi-awarded Silo 486, Helsinki, by Lighting Design Collective. The format is inspired by Brian Eno’s 1970s “Oblique Strategies,” therefore an approach derived from fine arts and popular culture, within the constructivist episteme. The specific target of this event is thought leaders and/or the next generation of architectural, design, and creative industry leaders, with an invitation list of 15–20, selected according to the “Elite Club” open innovation principle (Verganti et al., 2008). The event was held three times, from 2014 through 2016, during the Helsinki Design Week, as integral part of its program. The authors were main initiator and moderator of the event, as they designed the format in 2014.