In Luganda, the widest spoken minority language in East African country Uganda, the word for photographs is Ebifananyi. However, ebifananyi does not, contrary to the etymology of the word photographs, relate to light writings. Ebifananyi instead means things that look like something else. Ebifananyi are likenesses.My research project explores the historical context of this particular conceptualisation of photographs as well as its consequences for present day visual culture in Uganda. It also discusses my artistic practice as research method, which led to the digitisation of numerous collections of photographs which were previously unavailable to the public. This resulted in eight books and in exhibitions that took place in Uganda and in Europe.The research was conducted in collaboration with both human and non-human actors. These actors included photographs, their owners, Ugandan picture makers as well as visitors to the exhibitions that were organised in Uganda and Western Europe. This methodology led to insights into differences in the production and uses of, and into meanings given to, photographs in both Ugandan and Dutch contexts.Understanding differences between ebifananyi and photographs shapes the communication about photographs between Luganda and English speakers. Reflection on the conceptualisations languages offer for objects and for sensible aspects of the surrounding world will help prevent misunderstandings in communication in general.
This report provides the global community of hospitality professionals with critical insights into emerging trends and developments, with a particular focus on the future of business travel. Business travellers play a pivotal role within the tourism industry, contributing significantly to international travel, GDP, and business revenues.In light of recent disruptions and evolving challenges, this forward-looking study aims not only to reflect on the past but, more importantly, to anticipate future developments and uncertainties in the realm of business travel. By doing so, it offers strategic insights to help hospitality leaders navigate the ever-evolving landscape of the industry.Key findings from the Yearly Outlook include:• Recovery of International Travel: By 2024, international travel arrivals have surpassed 2019 levels by 2%, signalling a full recovery in the sector. In Amsterdam, there was a 13% decrease in business traveller numbers, offset by an increase in the average length of stay from 2.34 to 2.71 days. Notably, more business travellers opted for 3-star accommodations, marking a shift in preferences.• Future of Business Travel: The report outlines a baseline scenario that predicts a sustainable, personalised, and seamless business travel experience by 2035. This future will likely be driven by AI integration, shifts in travel patterns—such as an increase in short-haul trips, longer stays combining business and leisure—and a growing focus on sustainability.• Potential Disruptors: The study also analyses several potential disruptors to these trends. These include socio-political shifts that could reverse sustainability efforts, risks associated with AI-assisted travel, the decline of less attractive business destinations, and the impact of global geopolitical tensions.The Yearly Outlook provides practical recommendations for hospitality professionals and tourism policymakers. These recommendations focus on building resilience, anticipating changes in business travel preferences, leveraging AI and technological advancements, and promoting sustainable practices within the industry.
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.
