| As a combination of many cultural forms,festivals are of great significance in the protection of traditional culture and the development of local tourism.With the integration of culture and tourism,it has received a lot of attention.With the development of local tourism and the introduction of new forms of festivals to attract tourists,various types of power and management issues have also appeared.The festival itself,as a tourist attraction,is quite different from the situation of tourist destinations.The development,design and management of festival tourism products all affect their vitality,influence and duration.The short-lived phenomenon of many emerging festivals and the phenomenon of traditional festivals for self-entertainment reflect the fact that festival tourism products cannot meet the needs of tourists and cannot provide tourists with a satisfactory experience.Therefore,the problem that academia can and should solve is to understand the landscape that tourists are looking for at the festival tourism site,their preferred experience methods,and the realization of event participation.Based on the above situation,this research focuses on the cultural,integral and performative nature of festivals,based on the perspective of performance,combining tourist gaze and field theory,under the direction of theoretical knowledge and research methods from many disciplines such as anthropology,sociology,psychology,aesthetics,and management,with the help of analysis tools,this research tries to conduct theoretical and practical inspections of the festival tourism experience.Despite an important part of economic income,the tourism industry in Hainan is also important in social meaning.However,for a long time,it has been criticized for its unitary form and lack of placeness.At the same time,due to the climate situation,the seasonality of tourist industry is obvious.The development of festival tourism is one of the ways to solve these problems.While the Hainan Joy Festival,March 3rd and other emerging festivals and ethnic festivals have been developed to a certain extent and have accumulated a national reputation,the unique traditional Han festival in Hainan,Junpo(and Gongqi)does not receive enough attention.While being able to increase the humanity and locality of Hainan tourism,the particularity of the holding time of Junpo can also alleviate the problems of time scarcity and fixity faced by festival tourism.This paper selects Hainan Junpo as the main research target,combining literature study and field investigation,and uses methods such as participation observation,in-depth interviews,and online material collection to capture the practice and tourist experience of Junpo in Hainan.This research is mainly conducted through content analysis and grounded theory for data analysis and theoretical construction.In the choice of analysis software,Nvivoll and ROST CM 6 are used to assist the coding process and forming a semantic network.The research is divided into six parts,a total of 9 chapters.The first chapter and the last chapter are the introduction and summary respectively,and the second,third,forth and fifth parts are the main body.The first part is the first chapter,which briefly introduces the origin of the thesis,the research significance,research methods,and research innovations,etc.,as the beginning of the thesis.The sixth part is Chapter 9,which is a summary of the whole thesis.The research conclusion is emphasized again,and the flaws of the research is reflected.Meanwhile,the prospect of possible future research directions is put forward.The second part includes Chapter 2,which is a literature review of related researches,mainly including an introduction to performance theory,including its sources,development,and applications.Based on the "performance turn" in tourism research,the literature on the use of performance perspective and performance theory is displayed and clarified.Tourist gaze and performance are considered different embodied focus of experience.At the same time,the liminality theory and carnival theory that are common in festival research are reviewed,and both to some extent,influenced by performance theory.It is also relevant to the peak experience of the group.In particular,this chapter points out the applicability of performance theory in the research problem domain in this thesis.The third part includes chapters 3,namely research design.Chapter 3 introduces research field and analysis unit of the thesis,and intentionally clarify several names relating to Junpo.Despite the difference in designation of these rites,Junpo,Gongqi and Xingfu have similar design of activities and festival background and meanings.Therefore,all rites are included and analyzed in this research.In this chapter,data collection and data processing methods are also revealed,together with the introduction of case used.The forth part includes chapters 4,5,6,and 7.In this part,the focus of the research has officially turned to the tourist experience during festivals.In chapter 4,through the collection and analysis of online pictures,the overall atmosphere and landscape types of the Junpo festival are summarized.The way tourists take photograph,is also the way they gaze and interact with tourist destinations.Color and composition analysis is used to grasp the overall atmosphere and the study of landscape types is based on content analysis.The classification and combination of elements in the pictures uploaded by tourists are carried out on the theoretical basis of tourists’ travel photography performances.The Junpo landscape takes space as the basic element,and uses the combination of prominent characters,objects and activities in the pictures to form three different types of atmospheric landscape,symbolic landscape,and interactive landscape,which are also the landscape choices under the gaze of tourists.Chapter 5 is about the characteristics of individual tourist experience.Through the coding of interviews and travel notes,the conceptualization and theorization are realized,and the concept of staged liminality is proposed to explain the experience of tourists in Junpo.Visitors’ experience preference presents the characteristics of symbolic gaze,props complex,and emphasis on group roles,which are the strategies adopted by tourists in the pursuit of authentic and rich experience.The liminal experience realized in the ceremony makes the tourists who participate in the festival in the local festival pursue the liminal experience in the festival while most of them maintain a state of rational embodiment,so the realization is a marginalized participation;and the situation formed by Junpo.The"anti-structure" is not a complete carnival of structure missing,but structural reshaping,that is,a new structure is formed in the situation.Both sides showed a state of performing,which also highlighted the performance of the Junpo Festival.The proposal of "staged liminality" is of commanding significance for the study of traditional cultural festival experience.Through further analysis of this phenomenon,it can provide practitioners with certain reference meaning in festival experience design,especially in the elements that tourists pay attention to.Especially those elements that affect the core experience in cultural festivals,the research can give certain guidance and tips.Chapter 6 focuses on the performance of authority in a festive setting.The development of festival tourism has brought new stakeholders into the field of festival,which is a process of involvement in festival groups for tourists.This chapter first examines the power evolution of Junpo festival products(ie,cultural festivals),and then summarizes the mutual involvement of individuals in the open field of festivals,and the appropriate and transgressive involvement of tourists.As the "invaders" and "innovators”of the Junpo situation,the involvement of tourists is also divided into appropriate and inappropriate,and the key to the distinction is "whether it fits the situation." Appropriate involvement requires individuals to maintain a minimum degree of primary involvement in the gathering situation to maintain presence,limiting self-involvement behaviors,and at the same time not exhibit excessive involvement,and do not affect the normal order of the situation when entering and exiting the situation.Inappropriate involvement is the opposite.It often causes interpersonal disputes on the festival scene,or the situation where characters are separated and forced to leave.Then through the word frequency analysis and semantic network analysis of the content of Weibo,the research on the performance of network authority has been formed.Among these,the content of the personal account is more inclined to experience sharing,while the content of the official accounts pays more attention to the activity content and organizational background;further coding of the personal account content results in the content,approach,characteristics,and characteristics of the individual experience in Junpo,emotional orientation,etc.There is a certain degree of difference between Junpo presented in the online text and field surveys and interviews.The main reason is the difference in the field.Chapter 7 takes the individual’s performance in the group as the research object,through literature review,theoretical speculation,and using text and pictures obtained from field observations as empirical materials to study the construction and rules of the Junpo situation.The atmosphere of Junpo presents the characteristics of polarization.Through the establishment and breaking of boundaries,the internal and external interactions between bystanders and participants are formed.Festive situation etiquette not only follows the daily life,but also has the side beyond the daily life,which is mainly reflected in the sound control and the distance between individuals.Through the three layers of social entities,namely festivals,scenes and meetings,tourists form a three-layer boundary of recognition,understanding and participation,forming a model of cultural festival accessibility.The involvement of tourists in the situation helps to realize the festival community,and the festival community is the prerequisite for the tourism experience harmony,that is,the group peak experience.Situational boundaries are closely related to situational etiquette,and the resulting sense of boundary is the internal motivation for individuals to follow situational etiquette.The looseness or tightness of the situational rules forms a dualistic pedigree,presenting different situational states of accessibility or closure,and constructing the group experience of those present.Circumstances and roles are the external and internal reasons for the formation of behavioral constraints and the boundary of the situation.The temporary role transformation experienced by tourists in tourism is also the adaptive measures taken to better suit the situation and contribute to the formation of collective effervescence.However,visitors may find that certain situations are difficult to enter at the beginning,or they may wish to leave the situation for various reasons during the tour.The fifth part includes Chapter 8.After careful inspection of Junpo’s practice and tourist experience,the contradiction between commercialization and authenticity has been highlighted.Providing "staged authenticity" tourism products is like the staged liminal experience of tourists,which can balance the conflicts between demand and supply to a certain extent.While tourists are pursuing authenticity,tourist destinations inevitably embark on the road of commercialization in order to meet the needs of mass tourists.Commercialization is one of the biggest factors affecting authenticity.The most obvious example is the commercialization of cultural performances.The tourism development of traditional festivals is an "invention" of tradition.Many changes in Junpo have also highlighted this point,such as the setting of new activities and various promotional methods.While traditional festivals have entered the public sight,they have also been preserved from fading out in the process of social development.As a cultural festival under the trend of cultural and tourism integration,it has attracted more and more attention from the government and the public.Relying on the symbiosis of tourism,culture,and festivals,the Madame Xian Cultural Festival,as a festival product,is a"staged authenticity" festival.The performance is presented to tourists,while maintaining the Junpo tradition in the surrounding areas,and in this way of compromise,the coexistence of commercialization and authenticity has been formed.This chapter also proposes a cross-development strategy for the tourism development of Junpo in Hainan,according to the characteristics of time and activities,and provides practical reference for the government and enterprises.The cross-development strategy not only takes into account the situation of the festival itself,but also provides more possibilities for tourists.Festival tourism resources that were originally scarce in terms of time have been improved in Junpo.At the same time,cross-development has also promoted the linkage of tourism across Hainan.Research conclusions formed through theoretical speculation and empirical research have the dual value of theory and practice.From a theoretical view,it is mainly reflected in the introduction of a performance perspective to the festival tourism experience while forming a series of new explanatory categories and propositions,proposing theories about the types of the Junpo landscape,the realization of the festival experience,and the accessibility of the festival model.While paying attention to the individual experience of tourists,it also pays attention to the ways in which individuals act in groups,and through the analysis of tourists’ involvement in the situation,the individual experience of tourists in the process of festival tourism is linked with the group experience,forming a holistic understanding of festival performance field.In terms of practical value,the Hainan Junpo practice is sorted according to different characteristics,and some basic work has been carried out for the tourism development of various regions.At the same time,a-development strategy is proposed,which provides a reference for the development of cultural tourism in Hainan. |
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