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This study explores the potential for Caribbean festivals through storytelling and place-making to decolonize everyday spaces. It investigates the potential for festivals to transform places through festivals' decolonial cultural and creative resources. The article begins with a review of relevant literature on festivals, storytelling, and place-making. Junkanoo in The Bahamas is presented as a case with which to explore how storytelling as counternarrative to colonial legacies and the neocolonialism of tourism can reaffirm the importance of the festival to place. While there are both placemaking (top-down approach) and place-making (bottom-up approach) processes at work for Junkanoo, passionate community members and cultural leaders provide continued agency alongside powerful placemaking structures. Two alternative conceptual models of place-making and placemaking and possible influences on everyday spatial geographies are presented. The conclusion offers a framework for continued theory development and practice in the decolonization of place through festival storytelling. Place-making with local storytelling enhances strategies for community development through the inclusion of underrepresented communities, especially African descendent populations, for developing more equitable frameworks for heritage justice.

PurposeThis paper aims to discuss the place-making processes of street art within the context of Toronto, Canada, and potential for street art as alternative tourism to contribute to new urban tourism and encourage urban regeneration in the city.Design/methodology/approachThe study applies reflexive thematic analysis to analyse secondary data sources such as reports, maps, videos, websites, news articles and official documents alongside photographic documentation and field research.FindingsStreet art in Toronto has been found to coincide closely with processes of creative place-making. While there is some indication that municipal street art organizations and destination marketing organizations are aware of the possibilities for street art to contribute to tourism in the city, it remains an untapped resource for new urban tourism. As a component of creative place-making, it has great potential as a form of alternative tourism to regenerate a still struggling tourism economy.Originality/valueThis paper explores the nascent research area and practical application of street art as an alternative form of urban tourism in Toronto, Canada. It also fills a gap by connecting the concept of creative place-making with street art, urban regeneration and tourism specifically; a focus that needs wider attention.

Over the last two decades, Doha, the capital city of Qatar, has undergone rapid urbanization. The city has capitalized large-scale urban and infrastructural projects resulting in a loss of historical areas of heritage value to people. Recent construction of the Doha Metro is opening avenues for place-making of transit towns through a framework envisioned by the need to shape compact, livable and sustainable neighborhoods and to mitigate the effects of urbanization on valuable historical heritage sites. Due to its historic significance, the Qatar National Museum (QNM)-Souq Waqif corridor is the case study selected for exploring and defining a framework for a contextualized place-making transit-oriented development (TOD) model. The research design is structured by reviewing the literature about TODs and the need for place-making model in Qatar, followed by collecting visual data from municipal authorities, through site visits, and site observations. The data are then analyzed to propose a novel masterplan, rooted in key urban design components of place-making. The insights will contribute to proposals for context-driven design strategies to enhance livability of the site and to extend its application to other potential transit hubs in metropolitan Doha and in the Middle East.

The 2022 Itaewon Halloween tragedy highlighted the urgent need to understand and mitigate risks in unplanned mass gatherings. There is currently no established framework for identifying, evaluating, and disseminating the legacy of mass gatherings at unplanned events. This lack of structure presents significant risks to the health and safety of participants at nonticketed events. Using a qualitative research approach involving an integrated literature review, a case study, and a best fit framework, this article examines the validity of the World Health Organization (WHO) standard health legacy framework for unplanned events involving mass gatherings and highlights critical areas for further research. Specifically, the current research updates and streamlines the WHO framework, incorporating a risk legacy from a recent unplanned event, and advocating clearly defined stakeholder responsibilities. Further, this study seeks to contribute valuable insights for placemakers, inviting a critical awareness of unplanned events involving even smaller mass gatherings and their stakeholders.

Until now geographical research on creative labour has tended to characterise it either in terms of 'hot' jobs in 'buzzing' places or precarious, often poorly paid working conditions. This article argues for a subtler consideration of the complex combination of factors at play within the cultural ecology of art-making. The lure of creative labour has been explained by three key rationales: intrinsic motivators of personal satisfaction and social status; risk-taking; and the challenging, self-affirming nature of creative work. Place-making is advanced here as a fourth rationale for volunteering in creative labour. The co-production of Yorkshire Sculpture Park as an affective, practised and material (art) place is explored through the new concept of embodied and emotional philanthropy. Capturing the unbounded and processual qualities of place-making, this paper provides insights into how volunteers labour beside the artist and paid workers to help co-create an internationally renowned art and environmental attraction. Philanthropy is therefore opened from referring to rich, individualistic donors, to include those who gift time, passion and labour. The paper also argues that volunteering, as a form of gifting, is especially significant during times of economic instability.

Whilst attention has previously focused on the importance of monolithic ethnic identities on migrant place-making, less attention has been paid to how place-making proceeds in super-diverse urban neighbourhoods where no single ethnic group predominates. This paper makes an original contribution by identifying the factors that shape migrants’ affinity with, or alienation from, super-diverse neighbourhoods. Through using and critiquing an analytical framework developed by Gill (2010 Pathologies of migrant place making: The case of Polish migrants to the UK. Environment and Planning A 42(5): 1157–1173) that identifies ‘ideal’ and ‘pathological’ place-making strategies, the paper contrasts two super-diverse neighbourhoods in the UK with different histories of diversity. We show how ‘ideal’ migrant place-making is more likely to occur where there is a common neighbourhood identity based around diversity, difference and/or newness, and where those with ‘visible’ differences can blend in. In contrast, ‘pathologies’ are more likely where the ongoing churn of newcomers, coupled with the speed and recency of change, undermine migrants’ affinity with place and where the diversity of the neighbourhood is not yet embedded. Even where neighbourhood identity based on diversity is established, it may alienate less visible migrants and culminate in a new form of (minority) white flight.

COVID-19 has urged researchers to explore new options for distributed participatory design, as physical meetings and workshops became unfeasible. This situation posed new challenges but also opportunities, in particular with respect to engagement and inclusion. This paper focuses on distributed PD with Irish teenagers to support place-making during this period: to build relationships with each other and the community. In a two-week online summer school, teenagers explored a concern or highlighted a unique aspect of their local community and designed digital artworks in response. Activities and materials were designed to support reflection, empowerment, inclusiveness, emergence, and playfulness for participatory place-making. Analysis of the summer school provides insights and guidance on the design of online PD for engaging experiences, especially in the context of place-making.

With this article, I want to raise questions about the gardener’s practical knowledge in order to create greater awareness in educational contexts and working life of the importance and application of what it means to be and work as a gardener. Practical knowledge takes time to develop and requires experience and conscious reflection. It also requires knowledge of the particular site you are working with, which in principle is always complex, as it involves everything from natural habitats to human expressions, such as history. To understand what practical knowledge is, I drew on situations from my working life and discuss these with references that highlight the importance of involving different forms of knowledge, phenomenology and hermeneutics. I used the concept of genius loci to formulate the meaning of places and posthumanist thoughts on the relationship between humans and nature. My conclusion is that experience, reflection and knowledge of a place are central to building sites, a task in which the gardener is highly involved. I conclude with a number of questions about how to work with these aspects of the profession in education and working life.

This article explores practices of processing, displaying, and depositing human and animal crania in built environments and wetlands in the long Iron Age of Scandinavia. The paper first reports on a dataset of a range of practices targeting heads over the first millennium CE, with a particular focus on deposition of crania in built environments. I subsequently present a two-fold analysis of these data: an exploration of how reworking bodies into cranial objects transformed personhood in complex ways, and a discussion of how the particular practices afforded to the head connects with practices of placemaking and atmospheric intervention. I consider reworked, displayed and deposited heads as 'body-objects' - a different kind of being than 'person', 'animal' or 'thing' that breaks open some existing assumptions of the constitution of bodies and persons in Iron and Viking Age Scandinavia.

The paper focuses on three dimensions of Cultural Ecosystem Services—cultural heritage, sense of place and tourism—and examines the relationships between them in a rural landscape context. Sense of place connects to landscapes that foster authentic human attachment, cultural heritage values and elements of local history and culture. This suggests that a sense of place cannot be considered in isolation from cultural heritage. However, cultural heritage has been relatively under-researched in the context of cultural ecosystem services, where it is defined as the tangible and intangible benefits that are derived mostly from landscapes. Researchers in rural development have highlighted the importance of sense of place and cultural heritage in both place-making and tourism development. This study explores these relationships further using three case studies from rural Hungary based on in-depth interviews with local stakeholders. The findings demonstrate that cultural heritage is an inherent part of rural place-making in Hungary and that cultural heritage values strongly shape a sense of place. Social and intangible aspects of cultural heritage are the most important for place-making, especially authentic local traditions. The findings suggest that even though a strong sense of place based on cultural heritage is a pre-requisite for tourism development, initiatives have often been more successful in strengthening social cohesion and cultural identity rather than attracting tourists.