This month we published Touristic World-Making and Fan Pilgrimage in Popular Culture Destinations edited by Vassilios Ziakas, Christine Lundberg and Maria Lexhagen. In this post we find out more about the editors’ research and their own fan pilgrimages.
How did you come to be interested in the field of popular culture tourism?
Our interest in popular culture tourism began in 2008 when the first movie based on the Twilight Saga book series was released, and we came across travel accounts from tourists travelling to the “homes” of the vampires and werewolves featured in the series. It made us start thinking about our own earlier excursions to, for example, Scotland with the purpose to visit locations featured in the 1986 movie Highlander and to France to places associated with the Irish alternative rock band U2 (more on that below). We instinctively understood that there were some interesting common grounds that linked different types of popular culture expressions (e.g. film, TV shows, music, literature) and their audiences longing to experience the physical (and digital) spaces and places associated with their interest, that were also exciting to explore in academic literature and empirical work.
Why did you feel this was an important book to write?
This book challenges the dominion of reductionist, insulated and fragmentalist perspectives that prompt the continuous compartmentalisation of popular culture and tourism. This has resulted in overspecialised niche forms of cultural-related travel products that are disjointed, cause further divisions and are used ad hoc by destinations. Different understandings, values and expectations underpin their narrow concentration and interests, which hamper broader synergies and collaboration. We challenge these shortcomings by employing an interdisciplinary holistic approach. We suggest that popular culture tourism is a comprehensive phenomenon comprising different forms of leisure and expressive culture as they intersect with tourism. On this basis, we merge patterns of fan pilgrimage and placemaking to shed light on the making of popular culture destinations. This holistic approach enables to better understand how ‘touristic worlds’ are co-constructed by the interaction of various stakeholders, especially fan travel behaviour and the responses of destinations. Also, a holistic approach led us to encompass different ontological and epistemological paradigms as signified by the thematic, disciplinary and methodological diversity of the chapter contributions. This variety does not invoke diversity for its own sake. Instead, it allows for exploring how popular culture destinations create symbolic schemes of the world, patterned with visions, images and stories of each fandom that represent particular worldviews and lifestyles. Consequently, this volume pushes to refocus our outlook and ontological-epistemological angles in the tourism field towards building more holistic frameworks and models, thereby redirecting attention on compound processes and composite practices of synthesis. We make a strong case for making this turn. With this book, we encourage scholars to overcome insulated logics and explore avenues for enabling truly interdisciplinary integration and synthesis in tourism and beyond.
What are the key takeaways you hope readers will come away with?
The notion of world-making is at the core of the book exploring the ways that popular culture destinations are made. It is shown how world-making emanates from the interaction of fan communities that envisage singular or multiple realities, conventional or alternative orders, conservative or radical possibilities, and their interpretations by destination stakeholders that shape realist responses and policies for popular culture tourism development. It is thus demonstrated that destination responses are characterised by the complex and creative appropriation of fandoms, heritage, digital media, spatial topographies and physiognomies, as well as world imaginaries for the purpose of placemaking. This builds up a universe of animated signs and meanings, a highly heterogeneous cosmos that combines, though disorderly and at times randomly, fantasy and reality. The employment of world-making as an analytical framework enables a holistic take on fandoms, their pilgrimage journeys and the touristification of places. In this context, interrelationships and interaction effects can be thoroughly examined by addressing the dialectical interface of the following binary parameters in the making of popular culture destinations:
- Imagination and Reality
- Tourism as Special Time and the Everyday
- Fan and Place Identities
- Living Heritage of Fandoms and Destinations
- Fan Pilgrimage Experience and Resident Quality of Life
- Commodification and Authenticity
- Individual Fandom Expressions and Hybridisation
- Culture and Digitalisation
- Strategy and Placemaking
As you compiled your book, did anything in the research particularly surprise or intrigue you?
It certainly is striking how powerful fan practices are in shaping intended and unintended popular culture destinations and attractions, sometimes matching the ideas of local and tourism stakeholders. How plural views of world-making are so important for the successful making of place and cultural change as well as having the capacity of holding conflicting meanings. Fan pilgrimage and popular culture tourism really are influential in visioning the futures of the world through bridging the local with the global.
Also, how rewarding it was to see how the contributions of this book came together and connect until now mostly unconnected perspectives. We are very happy to share through this book, our effort in building an interdisciplinary analysis and shedding light on places, fans, pasts, present and future ways of life and how they combine in creating and recreating popular culture capital and the socioeconomic, political and environmental consequences that emerge from it.
What are you fans of? What are some pilgrimages you’ve personally done?
One of us has been a dedicated fan of U2 (the Irish rock band) and their music for many decades. Many trips in the footsteps of the band have been done over the years such as to France, Ireland, Sweden and Portugal, while also engaging in online communities with other fans as well as a longstanding membership of their official fan club. Often, these travel experiences create a strong emotional connection to places visited or of being part of a crowd before, in and after a concert. Family and friends have also tagged along in sometimes surprising explorations of places associated with the band, or band members, in for them unexpected places. Some tangible pieces of these intangible and multisensory experiences are now on display as memorabilia filling up an entire purpose-bought cabinet at home.
From the empirical work on popular culture tourism we have done, we know that generational travelling is sometimes important as a motivating factor. Another personal example of being a fan is that one of the editors has a strong connection through the interest of children in the family, to ice hockey. This has led to several pilgrimage trips to the ice hockey mecca of New York city visiting games, taking guided tours for fans, and encounters with hockey team celebrities. These ‘sacred’ experiences not only build an even stronger commitment to the sport, but also link the everyday family practice of sports with fan travelling.
For more information about this book please see our website.
If you found this interesting, you might also like Contents Tourism and Pop Culture Fandom edited by Takayoshi Yamamura and Philip Seaton.