JMM Special Issue Call for Papers: Deadline for submissions 1 October 2021
New marketing theories and practices emerging from innovations in the culture and tourism sectors
Guest Editors: Dominique Bourgeon-Renault, University of Burgundy, France; Maud Derbaix, Kedge Business School, France; Elodie Jarrier, University of Angers, France & Christine Petr, University Bretagne Sud, France
Since the late 1990s, the arts and culture sector has been integrated into the broader field of creative industries. The changes due to new technologies and the emergence of an analytical framework such as that of the creative industries allow for an updating of typologies by cultural products, activities and organisations, in order to understand new approaches to the production, distribution and consumption of culture. The creative industries paradigm also highlights the link between culture and territory and justifies the interrelation with tourism. The synergies between tourism and culture have changed considerably in recent years and continue to develop very rapidly, due to the diversity of innovations they implement to address common issues.
Cultural and tourism organisations have always been characterised by their capacity for innovation (Caves, 2000; Pratt & Jeffcutt, 2009; Wijingaarden et al., 2019). Initially, innovation has long been associated with the design or creation of a new product or production process involving a radical form of innovation (Castañer & Campos, 2002; Pierce, 2000), breaking with existing conventions. Secondly, recent research has highlighted new cultural and tourist offers that present forms of innovation of an incremental type (Trevisan, 2016)
Beyond “product” innovations, forms of strategic and marketing innovation should now be considered, defined as the introduction of a novelty into an organisation leading to a particular organisational change (Le Roy et al., 2013). More specifically, these innovations may be in the area of experience design, but also new distribution channels, new place branding (Chaney, 2020; Lichrou et al., 2017) or labeling such as Unesco (Barbosa, 2016; Dosquet et al., 2020; Mariani & Guizzardi, 2020; Thuriot, 2019) and communication strategies, or pricing mechanisms like paid streaming for theatres and operas (Mueser & Vlachos, 2018; Roll et al., 2017).
It is also necessary to go beyond this perspective defined from the point of view of the cultural organisation and its peers, to take into account the relationship with the consumer or public (Bhansing et al., 2017; Trevisan, 2016) and focus more on the lived experience (Bourgeon-Renault, 1994), co-creation processes (Minkiewicz et al., 2014) or interactive socialty (Jafari et al., 2013).
Moreover, the digital model is entropic and, as a result, changes the cultural economic environment (Benghozi & Salvador, 2016), but also the tourism environment. Digital deconstructs and rebuilds the value chain (Benghozi, 2016), it therefore requires culture and tourism actors to reinvent themselves.
For instance, some research has recently examined the potential contribution of video, virtual reality or smart technologies to the experience of a heritage or tourist visit in a slow travel mode (Buonincontri & Marasco, 2017; Lin et al., 2020; Losada & Mota, 2019). Other research has sought to analyse how to design memorable cultural and tourism experiences that are sources of an intrinsic and profound transformation of the spectator or tourist (Ballantyne et al., 2017; Santos et al. 2020; Servidio & Ruffolo, 2016; Sheldon, 2020), such as pilgrimages (Chang et al., 2020; Wu et al., 2019). This also requires to reflect on the place of emotions, narratives and gamification (Garcia et al., 2019; Xi & Hamari, 2019; Xu et al., 2017) within them to generate well being, immersion or flow (Frochot et al., 2017), narrative transportation (Bourgeon-Renault et al., 2019), place attachment, affiliation or satisfaction (Patwardhan et al., 2020; Tsai, 2020; Vada et al., 2019) and memorability (de Freitas Coelho & Sevilha Gosling, 2020).
The culture and tourism sectors are still questioning marketing researchers and others about the adaptation of their theories and methods to the specificities of cultural and tourism activities. While tourism and culture professionals benefit from the managerial perspectives of marketing researchers and practitioners, the latter are also led to profoundly evolve their theoretical reference models and methods of investigation when they apply them to organisations in the sector. And this evolution contributes retroactively to the refinement of marketing methods or practices.
Specifically, we call for work that seeks to explore and understand the influence of different types of innovations (in terms of usage, business model, organisational form, or related to the development of digital technologies) on stakeholders in the co-creation of increasingly intertwined cultural and tourism experiences and their implications for marketing theory and practice (Purchase & Volery, 2020). Contributions could develop new theoretical supplements to resource-based theory (Barney, 2001; Wernerfelt, 1984), Service Dominant Logic (Prahalad & Ramaswamy, 2004; Vargo & Lusch, 2008) and experiential marketing (Verhoef et al., 2009).
Possible research topics include, but are not limited to:
- Innovations on the central cultural or tourist offer/its design and its impact on the visitor/tourist experience (the itinerant experience, the disconnection experience, real-time customisation according to mood, etc.);
- Innovations in the peripheral offer of cultural and tourist experiences (soft mobilities, paid streaming, etc.);
- Innovations and anticipation of the experience by the consumer (role of the imagination and emotions in the anticipated experience, etc.);
- Innovations on the attachment and memory that cultural and tourism experiences provide (well-being, transformative experience, etc.);
- Innovations on the social/collective experience (in offline and online contexts);
- Innovations in communication, branding and enhancement (heritage labeling, territorial marking, etc.);
- Innovations in digitalisation and gamification (connected objects, virtual reality, etc.).
- Innovations and diffusion models in the cultural sector
- Innovations and consumer culture
- Innovations and resilience
- Social networking and buzz about cultural innovations
We also encourage:
Qualitative (exploratory, comprehensive, interpretive) and quantitative (scale development, longitudinal studies, structural equation modeling) research about innovative culture or tourist experiences.
Authors should submit manuscripts of between 8,000–10,000 words (excluding tables, references, captions, footnotes and endnotes). All submissions must strictly follow the guidelines for the Journal of Marketing Management. These are available at: https://www.tandfonline.com/toc/rjmm20/current
Manuscripts should be submitted online using the Journal of Marketing Management ScholarOne Manuscripts site (https://mc.manuscriptcentral.com/rjmm). New users should first create an account. Once a user is logged onto the site submissions should be made via the Author Centre. Authors should prepare and upload two versions of their manuscript. One should be a complete text, while in the second all document information identifying the author should be removed from the files to allow them to be sent anonymously to referees. When uploading files authors will then be able to define the non-anonymous version as “Complete paper with author details”, and the anonymous version as “Main document minus author information”. To submit your manuscript to the Special Issue choose “Special Issue Article” from the Manuscript Type list when you come to submit your paper. Also, when you come to the ‘Details and Comments’ page, answer ‘yes’ to the question ‘Is this manuscript a candidate for a special issue’ and select the Special Issue Title of Culture and Tourism in the text field provided.
Potential contributors can contact the Special Issue Editors to discuss their ideas for a paper prior to submitting a formal proposal. Please direct any questions about the submission process to the guest editors.
• Professor Dominique Bourgeon-Renault: firstname.lastname@example.org
• Associate Professor Maud Derbaix: email@example.com
• Assistant Professor Elodie Jarrier: firstname.lastname@example.org
• Professor Christine Petr: email@example.com
The closing date for submissions is 1 October 2021.
Technical queries about submissions can be referred to the Editorial Office: firstname.lastname@example.org
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