The pervasive use of media at current-day festivals thoroughly impacts how these live events are experienced, anticipated, and remembered. This empirical study examined event-goers’ live media practices – taking photos, making videos, and in-the-moment sharing of content on social media platforms – at three large cultural events in the Netherlands. Taking a practice approach (Ahva 2017; Couldry 2004), the author studied online and offline event environments through extensive ethnographic fieldwork: online and offline observations, and interviews with 379 eventgoers. Analysis of this research material shows that through their live media practices eventgoers are continuously involved in mediated memory work (Lohmeier and Pentzold 2014; Van Dijck 2007), a form of live storytelling thatrevolves around how they want to remember the event. The article focuses on the impact of mediated memory work on the live experience in the present. It distinguishes two types of mediatised experience of live events: live as future memory and the experiential live. The author argues that memory is increasingly incorporated into the live experience in the present, so much so that, for many eventgoers, mediated memory-making is crucial to having a full live event experience. The article shows how empirical research in media studies can shed new light on key questions within memory studies.
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Quantitative study using Values-Beliefs-Norms theory focusing on sustainability of pre-COVID-19 travel behaviour and projected travel behaviour
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Purpose: It has been established that values, beliefs and norms are good predictors of pro-environmental behaviour; however, it is less explored how these constructs can be influenced. The purpose of this paper is to assess whether the COVID-19 pandemic, as a shock event, was a “game changer” or it had limited impacts on deep-rooted travel patterns. Design/methodology/approach: To understand whether the pandemic has influenced people’s value orientations with regards to sustainable travel, the authors have made use of the value–belief–norm (VBN)theory of environmentalism and conducted a large-scale survey in Germany, Italy, France, The Netherlands and UK (N = 1545). Findings: The findings showed that the pandemic caused only temporary change in deep-rooted travel patterns as (self-reported) pre-pandemic behaviour of respondents align with their value orientations and proved to be a good predictor of projected travel behaviour. Based on projected travel behaviour and value orientations, four market segments were identified – Frontrunners, Laggards, Comfortable Crowd and Entitled Stewards. While all segments showed willingness to adapt, the authors found variations in the extent of adaption and in the phases of the customer journey where travellers are likely to make changes. Originality/value: According to our knowledge, using the VBN theory of environmentalism to understand the impact of shock events on deep-rooted travel patterns represents a new perspective. Moreover, to the best of authors’ knowledge, this study is one of the first, written in the midst of the COVID-19 pandemic, which looks at the impact of the health crisis on deep-rooted travel patterns, instead of the commonly studied risk perception.
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The precarity in the cultural sector became exposed during the COVID-19 pandemic. With the lockdowns, the sources of income for cultural venues and cultural workers vanished overnight, intensifying an already challenging labour market. Particularly freelance cultural workers were hit hard. While the immediate shock of the pandemic on the cultural sector has been well documented, the effects on the sector in the aftermath of the pandemic are still to be revealed and repaired. This project tackles these issues by zooming in on the case of the performing arts scene in Groningen. This scene constitutes the part of the cultural sector that was affected the most by the lockdowns. Currently, venues and event organizers in Groningen lack qualified freelance staff as many left the industry during the pandemic. At the same time, self-employed cultural workers find it difficult to generate sufficient incomes and develop sustainable careers in the city. The municipality is eager to support the industry, including freelancers, but is unsure about how best to do so. With a consortium composed of the university, the municipality, a knowledge organisation specialised in cultural entrepreneurship, and a network for creative freelancers in the North of the Netherlands the project is well-equipped to reach its two-fold aims of investigating this current situation and coming up with suggestions for solutions. The core component of the project is an interview study with three groups of self-employed cultural freelancers: experienced production staff, experienced performers, and nascent freelancers (both production staff and performers). Based on data from this study, the project provides a multifaceted picture of the cultural ecosystem in Groningen, highlighting how this system is experienced. This establishes a solid foundation for staging discussions on working conditions in the sector, enabling the project to eventually conclude with recommendations on how to improve the situation.
