The live music performance industry is growing tremendously in South Africa, with more and more international artists performing on our shores year after year. Competition is growing and various companies are beginning to identify this as a business opportunity to make money. However, managing live music performances is a complex task which involves managing various aspects (critical success factors) of the event in order to ensure that it is a success. Apart from this, visitors attend these performances hoping that their expectations will be exceeded and the performance is something which can be treasured and is worth remembering once everything is over. This is referred to as a memorable experience. In order to ensure a memorable visitor experience, it is essential for managers to be aware of what the visitors regard as important critical success factors. These are aspects that management can control and improve. Thus, the critical success factors should be implemented effectively in order to ensure that the event is memorable for visitors attending the live music performance. While various critical success factors are familiar to event organisers, they differ from event to event. Thus, the critical success factors of one event cannot be implemented at another with the same expectation of success. This is due to the heterogeneous groups of people who attend these events and who cannot be regarded as being the same, as each individual will have different expectations of the same event. Therefore, it is also important for the managers of live music performances to determine how the visitors to the different genre events regard the various critical success factors that are vital for a memorable experience. This is significant, as various music genres attract different attendees who each have their own expectations of a music genre and which may differ from those of visitors to other music genres. For example, the expectations for a memorable experience of individuals attending a classical live music performance will differ from individuals attending a rock or pop live music performance. In addition, it is also important for management to compare those critical success factors identified by the visitors to their own ideas of what is important for a successful event in order to identify any shortcomings. Thus, it was expedient to seek answers to the questions of what visitors to live music performances regard as important critical success factors as well as what the managers consider to be important for a memorable experience. Therefore, the purpose of this study was to determine the critical success factors for managing a memorable visitor experience at live music performances from both the demand and supply sides. The said factors were subsequently compared in order to establish whether any shortcomings exist. This thesis comprises three articles. Firstly, the research was conducted from a demand (visitors) side. Thus, the aim of Chapter 3 was to determine what attendees at live music performances regard as being critical success factors for different music genres so as to enhance memorable visitor experiences. Surveys were conducted at various genres of live music performances which included classical music (Il Divo), R&B (Usher), rock (Sting), blues (Michael Buble), pop (Roxette) and Afrikaans music (Steve Hofmeyr). A total of 4 110 questionnaires were administered and a general profile of the visitors in terms of the different genres was compiled. A factor analysis was subsequently performed in order to determine the critical success factors for all six genres. Thereafter, an Analysis of variance (ANOVA) was applied in order to compare the critical success factors of the various genres with one another. The results indicated significant statistical differences amongst the different music genres with regard to that which the visitors to the different live music performances regard as being important for a memorable visitor experience. Secondly, the research was conducted from a supply (managers) side and the objective of Chapter 4 was to determine what the managers consider to be important critical success factors in ensuring a memorable visitor experience at a live music performance. A qualitative research method, by means of interviews, was used to obtain the relevant information from the selected participants. All the data collected in the process were transcribed into text and presented in a narrative form. The six step method formulated by Cresswell (2009:185-189) for data analysis and interpretation was used to analyse the data. Four major themes emerged from the analysis where each theme was differentiated in terms of various categories and subcategories. This process contributed greatly towards gaining detailed information regarding the main purpose of organising a live music performance; identifying the aspects that managers consider to be important when organising a live music performance and those aspects that are important in pre-, during- and post-event planning phases as well as how managers define a memorable experience. Lastly, in Chapter 5 a comparison was performed between the demand and supply sides of live music performances in order to establish whether any differences exist amongst the aspects that management consider to be important compared to the critical success factors that the visitors regard as being important to achieve a memorable visitor experience. Both qualitative (supply side) and quantitative (demand side) research methods were implemented in this research. The results of the critical success factors drawn from the first and second articles were used to conduct this research. The results of both the demand and supply sides were subsequently compared with one another where significant differences had been identified. This was the first time that research was conducted from both the demand and supply sides within the live music performance environment. The results of this research contribute greatly to literature and to the music industry. In addition, this was also the first time that both a qualitative and a quantitative research method were applied in research conducted at live music performances and which were subsequently compared with one another. Determining the differences between the critical success factors identified contributes towards event specific education and information for current as well as future live music performance managers. Therefore, results of this research can be employed to educate and inform current and future managers in the live music performance industry regarding important aspects relating to the enhancement of the important critical success factors that contribute to a memorable experience when individuals attend a live music performance. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2014

The live music performance industry is growing tremendously in South Africa, with more and more international artists performing on our shores year after year. Competition is growing and various companies are beginning to identify this as a business opportunity to make money. However, managing live music performances is a complex task which involves managing various aspects (critical success factors) of the event in order to ensure that it is a success. Apart from this, visitors attend these performances hoping that their expectations will be exceeded and the performance is something which can be treasured and is worth remembering once everything is over. This is referred to as a memorable experience. In order to ensure a memorable visitor experience, it is essential for managers to be aware of what the visitors regard as important critical success factors. These are aspects that management can control and improve. Thus, the critical success factors should be implemented effectively in order to ensure that the event is memorable for visitors attending the live music performance. While various critical success factors are familiar to event organisers, they differ from event to event. Thus, the critical success factors of one event cannot be implemented at another with the same expectation of success. This is due to the heterogeneous groups of people who attend these events and who cannot be regarded as being the same, as each individual will have different expectations of the same event. Therefore, it is also important for the managers of live music performances to determine how the visitors to the different genre events regard the various critical success factors that are vital for a memorable experience. This is significant, as various music genres attract different attendees who each have their own expectations of a music genre and which may differ from those of visitors to other music genres. For example, the expectations for a memorable experience of individuals attending a classical live music performance will differ from individuals attending a rock or pop live music performance. In addition, it is also important for management to compare those critical success factors identified by the visitors to their own ideas of what is important for a successful event in order to identify any shortcomings. Thus, it was expedient to seek answers to the questions of what visitors to live music performances regard as important critical success factors as well as what the managers consider to be important for a memorable experience. Therefore, the purpose of this study was to determine the critical success factors for managing a memorable visitor experience at live music performances from both the demand and supply sides. The said factors were subsequently compared in order to establish whether any shortcomings exist. This thesis comprises three articles. Firstly, the research was conducted from a demand (visitors) side. Thus, the aim of Chapter 3 was to determine what attendees at live music performances regard as being critical success factors for different music genres so as to enhance memorable visitor experiences. Surveys were conducted at various genres of live music performances which included classical music (Il Divo), R&B (Usher), rock (Sting), blues (Michael Buble), pop (Roxette) and Afrikaans music (Steve Hofmeyr). A total of 4 110 questionnaires were administered and a general profile of the visitors in terms of the different genres was compiled. A factor analysis was subsequently performed in order to determine the critical success factors for all six genres. Thereafter, an Analysis of variance (ANOVA) was applied in order to compare the critical success factors of the various genres with one another. The results indicated significant statistical differences amongst the different music genres with regard to that which the visitors to the different live music performances regard as being important for a memorable visitor experience. Secondly, the research was conducted from a supply (managers) side and the objective of Chapter 4 was to determine what the managers consider to be important critical success factors in ensuring a memorable visitor experience at a live music performance. A qualitative research method, by means of interviews, was used to obtain the relevant information from the selected participants. All the data collected in the process were transcribed into text and presented in a narrative form. The six step method formulated by Cresswell (2009:185-189) for data analysis and interpretation was used to analyse the data. Four major themes emerged from the analysis where each theme was differentiated in terms of various categories and subcategories. This process contributed greatly towards gaining detailed information regarding the main purpose of organising a live music performance; identifying the aspects that managers consider to be important when organising a live music performance and those aspects that are important in pre-, during- and post-event planning phases as well as how managers define a memorable experience. Lastly, in Chapter 5 a comparison was performed between the demand and supply sides of live music performances in order to establish whether any differences exist amongst the aspects that management consider to be important compared to the critical success factors that the visitors regard as being important to achieve a memorable visitor experience. Both qualitative (supply side) and quantitative (demand side) research methods were implemented in this research. The results of the critical success factors drawn from the first and second articles were used to conduct this research. The results of both the demand and supply sides were subsequently compared with one another where significant differences had been identified. This was the first time that research was conducted from both the demand and supply sides within the live music performance environment. The results of this research contribute greatly to literature and to the music industry. In addition, this was also the first time that both a qualitative and a quantitative research method were applied in research conducted at live music performances and which were subsequently compared with one another. Determining the differences between the critical success factors identified contributes towards event specific education and information for current as well as future live music performance managers. Therefore, results of this research can be employed to educate and inform current and future managers in the live music performance industry regarding important aspects relating to the enhancement of the important critical success factors that contribute to a memorable experience when individuals attend a live music performance. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2014

With numerous artists coming to South Africa, the event industry is becoming congested with competition. This makes the production of a memorable visitor experience to events particularly challenging for the management of the event. Various aspects are required to occur when managing an event, and these contribute to the success and memorable experience of visitors. These aspects can either be controlled or uncontrolled by management. To ensure a successful event and memorable experience for visitors, event managers have to consider all of the various aspects that can be controlled within the event organisation when hosting a major music event. It is therefore important for management to ensure that the controllable key management aspects, also referred to as Critical Success Factors (CSFs), are implemented effectively and efficiently to ensure a memorable visitor experience. However, even though these management aspects (CSFs) may be familiar to event managers, the significance of what visitors regard as important concerning those aspects that would ensure a memorable visitor experience is, as yet, undefined. In addition, according to available literature, CSFs differ between the different events and different tourism organisations. Thus, CSFs identified at one event to ensure the successful management of a memorable visitor experience cannot be used at other events. Hosting major music events at various locations can be even more challenging as visitors attending major music events at different locations are a non-homogeneous market and so regard different aspects in different lights. Therefore, it is evident that the CSFs identified with regard to what visitors at one venue will consider as important will differ from those regarded as important at another venue, even when it is the same performer at each venue. Thus, it became critical to seek answers to the questions of what visitors to a major music event regarded as important CSFs and how did the importance of these CSFs differ between location and location? Therefore, the purpose of this study became the determination of the CSFs for managing the visitor experience at major music events in South Africa. The year 2011 was the first time that world-famous Neil Diamond had performed in South Africa. Neil Diamond performed four concerts at different locations (Johannesburg’s FNB stadium, Durban’s Moses Mabhida Stadium, Cape Town’s Greenpoint Stadium and at Port Elizabeth’s Nelson Mandela Stadium). This was the first time major music events had been held at these venues where one performing artist performed at all four different locations (cities). Thus, this event was the ideal opportunity to investigate. In order to realise the goal of the research, surveys were conducted at the four Neil Diamond concerts held, respectively, in Johannesburg (1 April, 2011), Durban (5 April, 2011), Port Elizabeth (8 April, 2011) and Cape Town (11 April, 2011) where, altogether, 1820 questionnaires were administered. The purpose of the first article was to determine what visitors at a major musical event regarded as critical management aspects, or as critical success factors (CSFs), for a memorable and satisfactory visitor experience. This was to aid major music event managers with information they could use to improve and ensure memorable visitor experiences in the future. A factor analysis was performed to determine the CSFs. Six factors were revealed, being General Management; Souvenirs; Marketing; Venue and Technical aspects; Accessibility and Parking; and Amenities and Catering. General Management, Venue and Technical aspects and Marketing were regarded as the most important CSFs for visitors to a major music event. It was subsequently confirmed that CSFs differed from one event to another. Thus it became clear that one set of CSFs cannot be used across each venue for events. By determining the CSFs, and through successfully managing these factors, major music events will ensure the retention of long term visitor goodwill, and so will remain competitive and sustainable. Neil Diamond presented four concerts at four different locations, The purpose of the second article was to determine the impact that location makes to the visitor experience at a major music event. Two-way frequency tables and Chi-square tests as well as ANOVAS and Turkey’s multiple comparisons were used to determine the differences between the four locations. Statistically significant differences were found, based on demographic, behavioural variables and motivational factors. Determining the effects these differences have provided major music event managers with superior knowledge in order to develop and manage future concerts at the differing destinations and locations. This research also help management to create a memorable visitor experience and so foster the promotion of future events more effectively to the target audiences, as well as potential sponsors. This specificity can also enhance bid documents for organisations and locations aiming at hosting major music events. This research revealed six critical success factors at a major music event. These CSFs can be used to enhance the visitor experience. However, it was also found that one set of CSFs cannot be used for every event as different locations regard different CSFs as being more important than others. Since major music events are often held at more than one location, it becomes critical to differentiate each location as the visitors to the various locations cannot be seen as homogeneous and so will have different needs and expectations. Thorough and informed knowledge of what is required for visitor satisfaction will not only ensure an improved event, but will enhance the visitor experience at such an event. This was the first time research was performed at major music events in South Africa that revealed the profile, motives, CSFs and spending behaviour of visitors to these events. Research not only provided information concerning the CSFs needed to manage the visitor experience at a major music event, but also provided an overall perspective of what visitors regard as important for a memorable visitor experience at four different geographic destinations hosting the same artist. This research contributes to the literature concerning the management of major music events and concerning the creation of memorable visitor experiences at these events. / Thesis (MA (Tourism Management))--North-West University, Potchefstroom Campus, 2012

With numerous artists coming to South Africa, the event industry is becoming congested with competition. This makes the production of a memorable visitor experience to events particularly challenging for the management of the event. Various aspects are required to occur when managing an event, and these contribute to the success and memorable experience of visitors. These aspects can either be controlled or uncontrolled by management. To ensure a successful event and memorable experience for visitors, event managers have to consider all of the various aspects that can be controlled within the event organisation when hosting a major music event. It is therefore important for management to ensure that the controllable key management aspects, also referred to as Critical Success Factors (CSFs), are implemented effectively and efficiently to ensure a memorable visitor experience. However, even though these management aspects (CSFs) may be familiar to event managers, the significance of what visitors regard as important concerning those aspects that would ensure a memorable visitor experience is, as yet, undefined. In addition, according to available literature, CSFs differ between the different events and different tourism organisations. Thus, CSFs identified at one event to ensure the successful management of a memorable visitor experience cannot be used at other events. Hosting major music events at various locations can be even more challenging as visitors attending major music events at different locations are a non-homogeneous market and so regard different aspects in different lights. Therefore, it is evident that the CSFs identified with regard to what visitors at one venue will consider as important will differ from those regarded as important at another venue, even when it is the same performer at each venue. Thus, it became critical to seek answers to the questions of what visitors to a major music event regarded as important CSFs and how did the importance of these CSFs differ between location and location? Therefore, the purpose of this study became the determination of the CSFs for managing the visitor experience at major music events in South Africa. The year 2011 was the first time that world-famous Neil Diamond had performed in South Africa. Neil Diamond performed four concerts at different locations (Johannesburg’s FNB stadium, Durban’s Moses Mabhida Stadium, Cape Town’s Greenpoint Stadium and at Port Elizabeth’s Nelson Mandela Stadium). This was the first time major music events had been held at these venues where one performing artist performed at all four different locations (cities). Thus, this event was the ideal opportunity to investigate. In order to realise the goal of the research, surveys were conducted at the four Neil Diamond concerts held, respectively, in Johannesburg (1 April, 2011), Durban (5 April, 2011), Port Elizabeth (8 April, 2011) and Cape Town (11 April, 2011) where, altogether, 1820 questionnaires were administered. The purpose of the first article was to determine what visitors at a major musical event regarded as critical management aspects, or as critical success factors (CSFs), for a memorable and satisfactory visitor experience. This was to aid major music event managers with information they could use to improve and ensure memorable visitor experiences in the future. A factor analysis was performed to determine the CSFs. Six factors were revealed, being General Management; Souvenirs; Marketing; Venue and Technical aspects; Accessibility and Parking; and Amenities and Catering. General Management, Venue and Technical aspects and Marketing were regarded as the most important CSFs for visitors to a major music event. It was subsequently confirmed that CSFs differed from one event to another. Thus it became clear that one set of CSFs cannot be used across each venue for events. By determining the CSFs, and through successfully managing these factors, major music events will ensure the retention of long term visitor goodwill, and so will remain competitive and sustainable. Neil Diamond presented four concerts at four different locations, The purpose of the second article was to determine the impact that location makes to the visitor experience at a major music event. Two-way frequency tables and Chi-square tests as well as ANOVAS and Turkey’s multiple comparisons were used to determine the differences between the four locations. Statistically significant differences were found, based on demographic, behavioural variables and motivational factors. Determining the effects these differences have provided major music event managers with superior knowledge in order to develop and manage future concerts at the differing destinations and locations. This research also help management to create a memorable visitor experience and so foster the promotion of future events more effectively to the target audiences, as well as potential sponsors. This specificity can also enhance bid documents for organisations and locations aiming at hosting major music events. This research revealed six critical success factors at a major music event. These CSFs can be used to enhance the visitor experience. However, it was also found that one set of CSFs cannot be used for every event as different locations regard different CSFs as being more important than others. Since major music events are often held at more than one location, it becomes critical to differentiate each location as the visitors to the various locations cannot be seen as homogeneous and so will have different needs and expectations. Thorough and informed knowledge of what is required for visitor satisfaction will not only ensure an improved event, but will enhance the visitor experience at such an event. This was the first time research was performed at major music events in South Africa that revealed the profile, motives, CSFs and spending behaviour of visitors to these events. Research not only provided information concerning the CSFs needed to manage the visitor experience at a major music event, but also provided an overall perspective of what visitors regard as important for a memorable visitor experience at four different geographic destinations hosting the same artist. This research contributes to the literature concerning the management of major music events and concerning the creation of memorable visitor experiences at these events. / Thesis (MA (Tourism Management))--North-West University, Potchefstroom Campus, 2012

Pouvons-nous saisir, comprendre et décrire l’expérience de visite dans un musée ? Cette étude aborde l’expérience des visiteurs à partir d’une perspective énactive comme ce qui fait sens du point de vue du visiteur dans le cours de sa visite. Les principaux résultats portent sur une méthode d’investigation originale dans le champ muséal qui autorise un nouveau point de vue sur l’expérience des visiteurs dans les musées. Nous montrons que l’analyse du cours d’expérience réalisée à partir d’un entretien en re-situ subjectif permet de décrire et de comprendre les unités élémentaires de l’expérience des visiteurs, ainsi que l’expérience globale de visite avec précision, finesse et profondeur. Nous mettons en évidence les actions et les cheminements cognitifs des visiteurs qui concourent à la construction de leurs connaissances et nous proposons des cours d’expérience typiques aux visites de musées. / Can we grasp, understand and describe the experience of museum visitors? This study focuses on the visitor experience from an enactive perspective, i.e., that which makes sense from the point of view of visitors during their visit. The main results concern the method of investigation, which is innovative in the field of museum studies and provides a new perspective on the experience of visitors in museums. The thesis shows that an analysis of the visitor’s “course of experience” carried out by means of a subjective re situ interview allows us to describe and understand the basic units of the visitors’ experiences as well as the overall experience of the visit with precision, finesse, and depth. The actions and cognitive paths of visitors, which contribute to the construction of the knowledge, are also highlighted and we offer standard courses of experience during museum visits, which repeatedly contribute to the construction of knowledge.

Le jeu sérieux semble une piste pertinente pour ouvrir le musée à un jeune public et fournir une présentation originale des œuvres, tirant partie des possibilités des outils numériques. Des propositions existent déjà mais, à ma connaissance, sans réflexion globale sur la nature et les objectifs de ces jeux : quel type de jeu construire pour les musées ? Quelles expériences sont recherchées par les visiteurs joueurs ? Comment leur procurer à la fois une expérience satisfaisante de jeu et de visite ?L'étude que j'ai menée ici, à partir de l'analyse de travaux des projets de médiation numérique auxquels j'ai participé, d'études académiques sur les jeux sérieux et l'expérience des visiteurs et des joueurs et de mon expérience professionnelle dans le domaine de la médiation et du développement informatique, apporte des réponses à ces différentes questions. Elle propose la notion de "jeu de visite", adapté à un public plus différencié et en conçoit une modélisation autour de la notion de "mission adaptable". Elle permet une modification dynamique des constituants du jeu et de son contexte d'exécution, en fonction de l'expérience recherchée par et pour le visiteur joueur. / Serious games seem a relevant proposition for a more open offer for young audience and a more creative works' presentations taking advantages of the opportunities of digital technologies. Such proposition already exist but, as far as I know, what they should be exactly has never been studied. What kind of games are the more appropriate for museums ? Which experiences do gaming visitors expect ? How to manage their satisfaction about their visit and about playing a real game ? These are the questions this PhD thesis contribute to answer.I based my reflection and my proposals on the analyse of projects devoted to cultural mediation in which I participated, on the research studies about serious games, visitors and gamers experience and on my professional background in cultural mediation and software engineering. I propose the notion of "visit game", appropriate for a more differentiated public, and build a model of this type of game around the concept of "adaptable mission". It allows to dynamically modify its components and its context of execution, depending on the experience expected by and for the gaming visitor.

No description available.

In the context of New Museology and the breakthrough of smartphones, many museums tend to develop museum-related mobile applications to support the museum visit and facilitate the overall visitor experience. This qualitative case study explores how the context of museum visit frames the experience of usage of smartphone applications, and thus identifies the factors that influence the visitor’s experience of using museum-related smartphone applications. The mobile application of Nationalmuseum in Stockholm is selected as the bounded case for this study. Applying the four contexts for the museum visit as the theoretical framework, this study aims to answer the research questions about how the personal context, the sociocultural context, the physical context, and the digital context affect the visitor’s experience of using the application, and what factors can be identified in this process. As it is a case study with a qualitative perspective, the data is collected through multiple sources, including the interview data and the observation field notes as the primary sources, and some statistical data and visitor feedback survey offered by the museum as the secondary sources. But most of the analysis is based on the one-on-one interviews with twelve visitors. Using the four contexts for the museum visit as the framework, the study conducts the analysis of the data in accordance with the distinct aspects of the four contexts, and thus identifies the factors that affect the visitor’s experience of using the museum application in relation to the four contexts. The findings of this study indicate that the visitor’s experience of using the application is complicated, which can be affected by multiple factors in relation to the four contexts for the museum visit. The personal context and the sociocultural context are proved to be closely related to the visitor’s initial motivation for using museum-related applications. Meanwhile, it can be observed that the physical and the digital contexts affect how visitors perceive the content offered by museum-related mobile applications. Besides, previous research on visitor type of application users is examined by using the findings of this study and thus proved to lack comprehensive considerations. By further discussing how the four contexts interact with each other and influence the visitor, the study tries to further comprehend the visitor’s experience in the process of using museum-related mobile applications. The outcomes of this study bring some insights into the visitor experience of using museum-related mobile applications, and thus contribute some empirical evidence to future research in this field. The four contexts for the museum visit are proved to be applicable for exploring this topic from the perspective of the visitors, and thus can be regarded as a lens for understanding the visitor experience of usage of museum applications. Based on the outcomes of the study, the author makes some recommendations about the future development of the Nationalmuseum application.

This thesis examines the role of aesthetic experience of the audience within art exhibitions and its influence on their exhibition making and curatorial decisions of art institutions. This is done by comparing the practices within two case institutions located in Stockholm -Moderna Museet, a public art museum and Bonniers Konsthall, a private art institution. The research questions for this study are: What strategies do Moderna Museet and Bonnier Konsthall use to understand the aesthetic experience of their audience? Do the current visitor surveys used in these institutions capture the aesthetic aspect of the visitor experience? How does this knowledge about the aesthetic experience of the visitor influence the curatorial decisions within the two museums? The material consists of visitor survey questionnaires used in both the institutions as well as interviews that were conducted with staff members of the two institutions. The material is examined using the aesthetic experience theory, in order to focus specifically on the aesthetic aspect of the total visitor experience.  The thesis groups the different strategies used within the two institutions in two categories of formal and informal strategies, based on the formality of their conduction. It further compares the practices of the two institutions in order to examine the difference in the perspective of public and private art museums towards their visitors. By eventually tracing how knowledge collected by the formal and informal strategies reinforces each other, the thesis draws a more complete picture of the role the aesthetic experience of the visitor plays within art institutions and their art exhibitions.

<p>Tourism is typically a hedonic product, and its consumption promotes positive psychology and wellbeing. Industry practitioners and academics have long been advocating sustainable practices and experiences that promote the health and wellness benefits of tourism. Indeed, studies that support designing tourism experiences with positive social and wellness outcomes are needed to better leverage design factors in delivering, communicating, and sustaining the health-related benefits of the tourism experiences. Food is an integral part of the overall tourism experience and has important implications for tourists’ pleasure and wellbeing. Thus, it is important to identify the factors that contribute to a better wellness value of the tourist food experience. </p> <p>Using a multi-qualitative method, the first study explored the communal dining experiences of solo travelers. The results indicate that solo traveler communal dining is affected by many motivations (e.g., socialization and authenticity seeking) and constraints (e.g., safety and health concerns). Other factors that were found to affect communal dining include socio-demographic factors (age, gender, cultural background, previous experiences, and extroversion); other diners’ factors (e.g., attitudes and behaviors, perceived similarity, and cultural barriers); dining place-related factors (e.g., social environment, entertainment, and employees openness); and situation-related factors (food quality, environment safety, group composition, communal dining vibes, and dining time). This study found that communal dining triggers four experiential domains: sensory, intellectual, affective, and behavioral which could result in a transformative and wellness value for solo travelers. Under the right circumstances, communal dining triggers a process of self-change that results in personal and social transformations. </p> <p>Continuing to examine the social experiences of solo travelers, the second study empirically examined the impact of the emotional display of fellow diners on solo travelers’ affect and perceived interpersonal relations during communal dining. The scenario-based experiment showed that other diners' display of emotions influenced solo traveler's affect and rapport perceptions in communal dining. Additionally, fellow communal table diners’ characteristics including their ingroup status and perceived similarity can play a role in impacting solo travelers’ communal dining experience. The perceived similarity was found to act as a trigger or “catalyst” for communal dining experience formation for solo travelers. Further, a positive influence of affect and rapport on solo travelers’ subjective wellbeing was noted.</p> <p>The third study examined the phenomenon of tourist food sharing. The study used experimental design to empirically examine the impact of food sharing on tourists’ interpersonal relationship development, sense of authenticity, and subjective wellbeing. The two experiments showed that tourist food sharing improves interpersonal relationships, tourist perceptions of experience authenticity, and wellbeing. Two culturally divergent tourist groups were compared: U.S. tourists and Chinese tourists. The results showed that U.S. tourists evaluated food sharing higher regarding its impact on authenticity and wellbeing than their Chinese counterparts. </p>