Foodies in the UK: A Sense of Self, Connection and Belonging Beyond the Passion?

The global rise of the Foodie movement has attracted some research attention as well as critique in the food industry trend followers, but little research attention in marketing research. The present study looks at the ‘Foodie’ phenomenon in the UK and aims to extend how the notion has been coined in literature through a qualitative investigation of a sample of self-professed Foodies. The objective is to provide an in-depth understanding of what it means to be a Foodie at the individual and group levels, probing attitudes, motivations and self-awareness. Results indicate that the term Foodie cannot be used as an implicit definition of someone ‘simply interested in food’; the capacity of the Foodie may be dependent on individual involvement and the level of importance along the five emerging themes; these being: Learning and discovery; Pleasure and enjoyment; Inspirational influences; Quality; and Experiencing food as an individual and in connection with others. Findings imply that there might be different levels of Foodies, leading to a start on developing a Foodie Typology. The study poses implications for food marketers and researchers that can assist in more effective segmentation, efficient targeting and tailored positioning, as well as opportunities for future research.

Dancing 'Nessun Dorma'

In the 1990s and into the beginning of the 21st century, Luciano Pavarotti helped popularise opera through singing the anthem for the Italia90 soccer World Cup; through concerts with the Three Tenors, and through his inter-music-genre charity concerts, Pavarotti and Friends. In doing so, he helped bring opera, and in particular ‘Nessun Dorma’ from Puccini’s opera Turandot, to a wider audience than ever before. In Daniel Somerville’s practice-research performed presentation, which draws on his research into operatic movement, he muses on how along with positioning ‘Nessun Dorma’ as the most recognisable tune in opera, Pavarotti also instilled an idea of how opera singers move that affirms negative stereotypes of the arm-raising, hand-waving, ‘stand and deliver’ opera star, while also divorcing the aria from its original context. Dancing ‘Nessun Dorma’ seeks to restore the aria to its original literary context and to reclaim the narrative of Turandot through presenting the moving body alongside operatic and autobiographical anecdote. Movement practice participating in, and allowing, a reassessment and revisiting of an aria and narrative that sits problematically at the intersection of Orientalist fantasy and Italian pride.