Dwelling in Movement: Panorama, Tourism and Performance

Dwelling on the move: Negotiating home and place with resident communities

“…Thus, the lagoon boat rides I have described offer a singular, affirmative vision of the city that is not available to outsiders -and, as such, invites to engage strangers, echoing Granger's (2015) examination of spectators at music performances. I am, at all time, aware that this is not forever, just a few days, while others will stay but then again in a state of tension-for-mobility that is similar to mine.…”

Participatory Belonging: How Tourist Music Workshops Establish Trans-Local Music Scenes

“…In the scarce literature on music workshops, these vacations are described as creating special social spaces that contribute to and stimulate experiences of flow and communitas (Bolderman 2020;Ellis 2011;Feintuch 2004;Granger 2015;Sarbanes 2006), forming what Morley (2001: 440) calls 'spaces of belonging': places where people feel at home through shared social codes and rhetorics. However, it remains unclear whether and, if so, how music workshops offer a durable sense of belonging, and whether it is because of the practice of musicking that these workshops have such an intense impact, beyond the ways in which holidays are deemed 'healing' or 'relaxing' in general (cf.…”

Music and tourism

“…There is a growing interest in the touristic experience of music on site -the travel to hear music played (Lashua et al 2014). This concerns world music genres such as flamenco (Aoyama 2007 and2009), Irish traditional music tourism (Kneafsey 2002;Morton 2005;Kaul 2014), Breton fiddle music (Feintuch 2004) and steelpan (Granger 2015), but is more prominent as an interest in concert-related travel (Cavicchi 1999;Cohen 2005 Surveying this growing body of work, the central debates about the topic converge around three major themes: tourism motivations; convergences between music and tourism industries; and aural experiences of (music) tourism.…”

“…Not only the work on EDM tourism deals with the role of embodied musical experiences in music tourism; it also involves concert tourism such as Bruce Springsteen (Cavicchi 1999), the Grateful Dead (Ward 2014), The Beatles (Cohen 2005) and festival tourism Gibson and Connell 2011;Szmigin et al 2017). Besides concerts, musical co-presence is also used to analyse and explain the popularity of music workshops (Morton 2005;Sarbanes 2006;Ellis 2011;Granger 2015;Bolderman 2020), while Cashman analyses the way music can create music bubbles aboard cruiseships (Cashman 2014(Cashman , 2016.…”