This research extends our knowledge of liminality through investigating how the liminal experiences of festival-goers are constructed in a Chinese music festival context. The research employs a multi-site data collection approach undertaking field observations and 68 in-depth semi-structured interviews at seven music festivals across three years. The study contributes to the theoretical development of a liminality framework by providing empirical evidence of the nature of liminality. It extends our understanding of event tourist experiences by highlighting the development and role of three types of communitas and identifying six stages within a rite of passage. The resulting multifaceted coexistence of liminal behaviours and identity with everyday routine life provides a new approach to the critical understanding of the role of liminality.
Bibliographical noteNOTICE: this is the author’s version of a work that was accepted for publication in Annals of Tourism Research. Changes resulting from the publishing process, such as peer review, editing, corrections, structural formatting, and other quality control mechanisms may not be reflected in this document. Changes may have been made to this work since it was submitted for publication. A definitive version was subsequently published in Annals of Tourism Research, 80, (2019)] DOI: 10.1016/j.annals.2019.102810
© 2019, Elsevier. Licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International http://creativecommons.org/licenses/by-nc-nd/4.0/
- Music festivals
- Rite of passage
ASJC Scopus subject areas
- Tourism, Leisure and Hospitality Management