& Montanari, 2011; Lee, Lee, & Choi, 2011; Lee, Lee, Lee, & Babin,2008). Studies have often drawn from literature in the service sectorand have suggested that the festival environment provides opportu-nities to event organisers, as hedonic value, emotion, festival satisfac-tion and re-patronising intention are influenced by ‘festivalscapes’,where festival benefits are produced and consumed (Grappi &Montanari, 2011; Lee et al., 2008). Studies have increasingly re-cognised the value of natural and cultural surroundings as importantdimensions in understanding festivalscapes and evaluating festivals(e.g., Davis, 2017; Lee et al., 2011). Drawing on the literature ontourism and national identity (Ali, Kim, & Ryu, 2016; Smith, 1991), thisstudy focuses on the role of national identity in influencing the re-lationship between festivalscapes and festival experiences.Postcolonial destinations often offer diverse and unique culturalresources for identification due to the blend of different cultures.Postcolonial destinations must often make decisions between theidentities embedded within their cultural heritage (Hall & Tucker,2004; Zhang et al., 2015), arguably including festivals. Althoughpostcolonial studies have tended to focus on how ‘post-’ societies seek togain independent identity over their colonial pasts, relatively littleempirical research has examined the role that diverse identities play infestival tourism experiences. This study situates this discussion withinthe ‘Macao International Parade’. Macao is a former Portuguese colonythat was returned to China in 1999. With its diverse cultural back-ground, similar to Hong Kong, its political sovereignty and Chineseethnicity have not yet convinced the city to become socio-culturallyChinese (Kaeding, 2010). Furthermore, the Macao International Parade(also known as the Latin Parade) has been organised by the CulturalAffairs Bureau (ICM) as an annual cultural festival since 2011, with aclear political agenda to celebrate Macao's handover and bring thecommunity together; in 2017, the festival aims to celebrate Macao'scultural heritage and identity (ICM, 2017). Although festivals elsewherehave often utilised their own cultural heritage symbols to reinforcesignificant historical events (e.g., Elias-Varotsis, 2006), this festivalseems to reuse its Portuguese legacy to celebrate its newly acquiredChinese identity. This unique (re)-production of the cultural festivalexperience makes it an extremely valuable case.Theoretically, linking national identity with festival studies, thisstudy aims to understand the social-political role that festival tourismplays by investigating how national identity influences attendees' fes-tival experiences in postcolonial destinations. It addresses two majorresearch questions: (1) What does the ICM, which is a governmentdepartment and also the event organiser, perceive as the relationshipbetween the cultural festival and national identity in the context of apostcolonial destination? (2) How do national identity and the per-ceived festivalscapes affect the constructs concerning the evaluation ofthe festival experience from event attendees’ perspectives? Practically,the research aims to explore how festival organisers and destinationscan enhance festival experience and achieve their social objectives.2. Literature review2.1. National identity and cultural festivalsAttempts to apply national identity theory to cultural festivals havebeen limited. The socio-political aspect of tourism activities (includingevents) contrasts with the mainstream conceptualisation of tourism asindustry and leisure activities, which is devoid of politics. Even withinrecent efforts to build such a link, researchers have often struggled tooperationalise the diverse understandings of nation and its identifica-tion (Bond & Falk, 2013; Frew &White, 2011). These struggles are oftendue to the fundamental contesting of the definition of nation withinnationalist studies (Hutchinson & Smith, 1994). The debate over thedefinition of nation and national identity shifts two principal schools ofthought: essentialism and constructionism (Hutchinson & Smith, 1994;Smith, 2009). Unlike essentialist understandings of nation as purelyprimordial and given by kinship, the constructivist approach underlinesthe continuity between pre-modern and modern forms of social cohe-sion (Smith, 2009), seeing nations as socio-culturally constructed andformed in relation to earlier socio-cultural and political forces(Hutchinson, 1987). On the basis of the constructionist view of nation,national identity provides ‘a powerful means of defining and locating in-dividual selves in the world, through the prism of the collective personalityand its distinctive culture’ (Smith, 1991, p. 17). Hence, awareness of anational identity attaches individuals to an imagined territory, wherethe emotional needs of belonging and positive self-concepts are ac-quired within the imagination (Anderson, 1991; Kaeding, 2010; Smith,2009).Based on a historically and socially constructed fabric, festivals arepublic celebrations (Getz, 2010) that are closely linked to identities.Festivals are spaces for articulation, performance and rediscovery ofidentity (Nurse, 1999). In particular, del Barrio, Devesa, and Herrero(2012) conceptualise cultural festivals as a type of intangible or im-material cultural heritage. Festivals are experiential goods that not onlyexpress artistic innovations in the field, but also draw on previouscultural backgrounds and current cultural settings, perceived as accu-mulated cultural capital. To celebrate or commemorate a particularhistorically significant moment, cultural festivals become a way tocelebrate community values, ideologies, identity and continuity (Getz,2010; Getz & Page, 2016; Hall, 1992).To define a society through festivals, cultural festivals often use a setof cultural symbols that promote and communicate community iden-tities to both insiders and outsiders (Quinn, 2003). Festivals conditionthe hierarchy of power by using the emotional content of celebration asa vehicle through which societies define and transform themselves frompast imaginings into contemporary needs (Jeong & Santos, 2004; Nurse,1999; Smith, 1991). For Bennett and Woodward (2014, p. 13), ‘A cri-tical function of the festival is to allow a collective representation, a col-lective celebration and in many cases a collective outpouring of commonlyarticulated forms of socio-cultural identity’. Representing and celebratinga shared past in festivals not only manipulates the image of a place fortourism, but also continuously naturalises and legitimates nationalidentities.As the idea of nation and its uniqueness are often expressed andshared through cultural heritage (Pretes, 2003; Zhang et al., 2015),historical monuments surrounding the festival are often utilised to linkfestivals and national identity (e.g., Sumartojo, 2015). This utilisation iswidely applied in political commemorative events. Viol et al. (2018)found that there is a need to develop the tourism value of those events.Within festival studies, environmental cues or festivalscapes have beencommonly used to understand the festival environment. Festivalscapesrepresent the general atmosphere experienced by festival visitors. Theconcept originally developed from that of servicescapes, which arguesthat the retail environment can influence the emotions of consumersand contribute to enhancing behavioural intention (Davis, Wang, &Lindridge, 2008). Taking servicescapes forward, festivalscapes addphysical environmental cues, which contain the unique cultural fabricthat exists before the festival and contribute to the nature of the festivalatmosphere (Davis, 2017; Lee et al., 2011). Cultural heritage sitessurrounding festival sites are historical evidence to enhance emotionalsentiments, especially for residents (Palmer, 2005). The functional andemotional environmental cues come together to (re)shape the festivalexperience (Cheon, 2016; Grappi & Montanari, 2011) and identityembedded within festivals (Jeong & Santos, 2004).Despite festivals playing an essential role in the identity of a nation,comprehensive discussion on this topic is still lacking, especially intourism (Getz, 2010; Smith, 2009). The success of hosting events (in-cluding festivals) provides festival destinations a great way to enhanceits destination image and competitiveness. Studies have thus focused onthe economic and marketing opportunities festivals can bring to ahosting community (e.g., Getz, 2012; Li & Jago, 2013; Litvin et al.,2013). Increasingly, the recognition of the residents’ support ofC.X. Zhang et al. Tourism Management 73 (2019) 94–10495
achieving successful events has been well documented (e.g., Boo, Wang,& Yu, 2011; Chi, Ouyang, & Xu, 2018; Woosnam & Aleshinloye, 2015).Studies have implicitly expressed that residents view cultural festivalsas a way to enhance identity (Buch, Milne, & Dickson, 2011; Chen et al.,2017). The possible failure to recognise the identity embedded in fes-tivals can significantly hamper the social-political role played by fes-tivals in hosting destinations. With this study focusing on how to createan event-based identity for a better event experience (Davis, 2017;Hopkins et al., 2016), the perceptions of the identities embedded infestivals remain incomplete. This study focuses on the role nationalidentity plays in understanding the relationship between festivalscapesand festival experiences.2.2. Festival experience and evaluationTo provide a good festival experience, festival organisers must ef-ficiently manage all activities involved in the creation and developmentof a festival. Many studies have shown that increasing festival visitors'behavioural intentions is primarily concerned with enhancing the effi-ciency (e.g., Grappi & Montanari, 2011; Lee et al., 2008; Wu & Ai,2016). Within festival studies, behavioural intentions have been in-vestigated using customer loyalty, switching intentions and re-patron-ising intention. Despite their differences in term of terminology, theunderlying assumption is to encourage repeat visitations. Repeat fes-tival visitors are more likely to spread positive comments about thefestival than occasional visitors and are less likely to switch to othercompetitors (Hume, 2008; Wu & Ai, 2016). Although festival visitorloyalty is important for festival organisation, what remains in questionis the predictors of customers' re-patronising intention (Hume, 2008),especially for local festival visitors. For Grappi and Montanari (2011),re-patronising behaviour is a better term for understanding festivalvisitors’ behavioural intention, as it addresses novelty and variety infestival consumption choices. For cultural festivals, the re-patronisingintention is not only related to the managerial implications for thefestival organisation, but also linked to its social-political role. For localfestival visitors, their re-patronising intention greatly indicates the de-gree of acceptance to the promoted national values and identities em-bedded in cultural festivals (Smith, 2009).Substantial festival research has been devoted to understanding therelationships between festival satisfaction, hedonic value and re-pa-tronising intention (e.g., Grappi & Montanari, 2011; Lee et al., 2008).Satisfaction is often conceptualised as a positive reaction resulting froma favourable appraisal of a consumption experience (Babin & Griffin,1998). Therefore, satisfaction is regarded as a determinant of consumerretention behaviour and suggests that building satisfaction plays acrucial role in building long-term relations with consumers (Babin &Griffin, 1998; Grappi & Montanari, 2011). As hedonic value highlightsthe imaginative and emotional elements of a consumption experience,it becomes an important element to predict behavioural intention(Babin, Lee, Kim, & Griffin, 2005). For example, Calver and Page (2013)find that if visitors expect the heritage experience to deliver hedonicvalue, they are more likely to return to the heritage sites in future. Thishedonic value also highlights the fundamental need for individuals tojoin tourism activities for the purpose of hedonism (McKercher, 2015).Within their festival studies, Grappi and Montanari (2011) find thathedonic value and satisfaction mediate the effects of environmentalcues and visitors’ re-patronising intention. This study aims to under-stand the role that national identity and the associated emotions play inaffecting those relationships in a postcolonial cultural festival.2.3. Postcolonial identity and Macao's cultural festivalsAlthough individuals view cultural festivals as reinforcing a sense ofidentity (Buch et al., 2011; Merkel, 2015), the identity-making inpostcolonial destinations is dynamic (Amoamo & Thompson, 2010; Hall& Tucker, 2004), including the festival (Bridges & Ho, 2015). Macaobecame a Portuguese colony in the 16th century and was handed overto China as a special administrative region (SAR) under the uniqueideology of ‘one country, two systems’ in 1999. A strong discourse ofchange has emerged along with this newly acquired political identity.Economic development and security improvement have become prio-rities, as Macao was famous for its casino politics and gangsters, espe-cially after the Portuguese Army left in the 1970s (Hao, 2011). Forthese reasons, Macao is relatively in favour of its emerging Chineseidentity with a positive rating of 8.01/10 for being a citizen of thePeople's Republic of China (PRC; POP, 2018). With relatively positiveemotions towards being Chinese, Macao has relatively softer identitydebates, but the state identity and ethnicity have not yet fully con-vinced Macao to become socio-culturally Chinese (Kaeding, 2010;Zhang et al., 2018). Macao identity debates are often related to thesearch for accelerating integration with the PRC and at the same timenot losing Macao's distinguishing character (du Cros, 2009). Hence,Macao's identity is a hybrid (Zhang et al., 2018).The hybridity of Macao's identity is demonstrated by its UNESCOheritage sites. Twenty-two historical buildings and public spaces pro-vide a unique testimony to the meeting of aesthetic, cultural, religious,architectural and technological influences from the East and West(UNESCO, 2017). The appreciation of the hybrid heritage sites sur-rounding Macao has been encouraged at all levels of society (du Cros,2009), including its cultural festival. One of the most outstanding cul-tural festivals to celebrate Macao's hybrid identity is the Macao Inter-national Parade, also known as the ‘Parade Through Macao, Latin City’(Fig. 1). Situated within the heart of Macao's world heritage sites, thefestival has been an annual signature festival since 2011. It attractsmore than 130,000 festival visitors every year. Organised by the ICM,the festival has a clear political agenda to celebrate Macao's handoverand bring the community together (ICM, 2017). To celebrate Macao'shybrid identity, the parade features performing groups from Latin-speaking countries and local artistes (MGTO, 2017). At the communitylevel, organising this cultural festival enhances its value and identity(Smith, 2009). A gap remains in the literature in terms of how per-ceived identities influence festival experiences, especially in hybridpostcolonial destinations. This study seeks to address the social-politicalrole festival tourism plays by examining how perceived national iden-tity influences local attendees' festival experiences.3. Research designThis research adopted a sequential mixed-method approach with aqualitative phase (Study1) followed by the dominant quantitative phase(Study 2) (Creswell, Plano Clark, Gutmann, & Hanson, 2003). Study 1,on the event organiser, used a qualitative method. The qualitativephrase provides a contextual understanding of the role that nationalidentity plays in the postcolonial festivals, which facilitated the designof the testable conceptual framework in Study 2. Study 2, on local at-tendees, used a quantitative method. It examines the relationships be-tween national identity, festivalscapes and festival evaluation. Themethodological details will be explained within the respective study.4. Study 1: qualitative research and findingsFor the qualitative part of this study, the major goal is to seek an in-depth understanding of the relationships between national identity andfestivals, in particular the rationale behind organising the MacaoInternational Parade to celebrate the handover annually. This qualita-tive phase is used also due to the controversial and limited discussion ofthe role national identity plays in the postcolonial festival context. Thiscontext-based understanding explores the complexity between nationalidentity and festival experience from the event organiser perspective.The main technique for obtaining the qualitative information was semi-structured in-depth interviews, which provided insights that could notbe readily obtained through mere observation. The interview questionsC.X. Zhang et al. Tourism Management 73 (2019) 94–10496
included various questions related to Macao's uniqueness, changes afterthe handover, the role of the festival in Macao, the rationale behindorganising the festival and its implication for Macao's identity.The two authors interviewed eight senior staff members at the ICMin Cantonese (Table 1). The interviewees were deemed appropriate andknowledgeable given their seniority and professional experience, whichdated back to the late pre-handover period in the ICM. On average, eachinterview took approximately 60min. The ICM could be considered as aspecial event organiser, as it acts as both the festival organiser and acultural government department. Hence, these informants providedrich and in-depth information about the socio-political role festivalsplay in Macao. The interviews were audio recorded with the consent ofthe interviewees. To maintain their confidentiality, only basic in-formation is displayed in the findings sections. Following the sugges-tions of Decrop (1999), portions of the transcripts were cross-checkedby the authors to ensure accuracy in the transcription process. Theinterviews were then transcribed verbatim in Chinese for further dataanalysis. The study adopted the thematic analysis to analyse the data(Boyatzis, 1998). Themes were derived from the data (an inductiveapproach) based on the meaning captured in the interviews and existingliterature (a deductive approach). The authors conducted a codingcheck to maximise the utilisation of the qualitative data in generatingthe themes (Decrop, 1999). The major findings were summarised intotwo themes to explain the rationale behind organising this postcolonialfestival.4.1. Celebrating Macao's hybrid identity: China and MacaoSituated in the historic centre of Macao, the festival ‘highlightsMacao's unique cultural features and the city's multicultural atmosphere’(ICM, 2017). After the festival was renamed in 2017, ‘features of localdistricts and historic monuments’ were addressed as the core theme forthe Macao International Parade. The cultural space surrounding thefestival provides the identity of people and places (Davis, 2017). Onerespondent said, ‘Macao's UNESCO heritage makes the city outstanding.They represent Macao's uniqueness. The route shows Macao from historicalMacao to modern Macao’ (Man in his 50s).With its UNESCO heritage in the background, such festivalscapesare also essential for identities (Smith, 2009). While surrounded by a lotof Portuguese colonial heritage sites, all festival organisers insist that allcultural activities including the current festival have always focused onmaking postcolonial Macao ‘become more Chinese’. Unlike most post-colonial destinations blending with cultures of the East and West (Hall& Tucker, 2004), Macao's blurring colonial identity provides the con-ditions to make Macao more Chinese. Extensive studies have arguedthat the Portuguese influence is limited to the physical look of the city(Hao, 2011), with all respondents indicating that ‘its meaning has beenchanged’. To explain the existence of the Portuguese, they stated, ‘In-teractions between the Portuguese and Chinese are known as cultural, re-ligious and business exchanges…all conflicting Portuguese political figureshave been largely removed. A harmonious city where East meets West’(Woman in her 40s). In fact, as the Portuguese culture had remainedseparate from the Chinese communities in Macao, it failed to locateindividuals within the collective Portuguese identity (Smith, 1991). Itindicates that Portuguese identity does not play any significant role inMacao's contemporary identity (Hao, 2011). As one respondent said,‘we don't live in that culture. So we do not really feel that we are or we werepart of the Portuguese culture’ (Man in his 60s).When Macao was becoming an SAR in China, reunification projectswere focused on economic development with support from the centralgovernment. Transforming from an isolated casino city to todays' in-ternational Macao, its hybridity involves both Macao and China(Kaeding, 2010; Zhang et al., 2018). Here, ‘Macao's national identity isFig. 1. Macao international parade (ICM, 2017).Table 1Profile of the participants in Study 1.Socio-demographics Number (N=8)Age 25–35 236–65 6Sex Female 2Male 6Educational level Undergraduate 3Master 5C.X. Zhang et al. Tourism Management 73 (2019) 94–10497
becoming more Chinese. To integrate Macao into China, the Portugueseculture has been re-named to multiculturalism and has even become theinternational feeling in the city’ (Man in his 50s). The internationalisationof Macao has gradually downplayed the Portuguese legacy, simulta-neously addressing its superiority of being an SAR in China and its rolein linking China with Portuguese-speaking countries. The purpose ofrenaming the festival from ‘Parade Through Macao, Latin City’ to‘Macao International Parade’ is in line with the internationalisation ofMacao. As one respondent described, ‘First, the old route was all in thenarrow street. The new route ends on the modern side of Macao to celebrateMacao's multiculturalism since the handover’ (Man in his 40s). Unlikemany postcolonial destinations, the cultural festival celebrated theunique China and Macao identity.4.2. Identity-making through generating positive handover emotionsThe Macao International Parade has had the theme of promoting‘love, peace and cultural integration’ to celebrate the handover since 2011(ICM, 2017). As Macao's hybrid identity involves both Macao andChina, this Portuguese-style festival becomes ‘evidence to generate posi-tive emotions towards the Chinese government.’(Man in his 60s). To ela-borate the role that the festival has played in Macao's national identity,all of the respondents commonly agreed that generating positive emo-tions towards the handover is the designed objective for the festival toachieve identity-making (Smith, 2009). As one respondent described,‘the main purpose is always to celebrate the handover. Along with this, thefestival provides the opportunity for local artists to exchange ideas with in-ternational artists. We hope this can be a long-term event that celebrates themulticultural and international Macao” (Man in his 50s). Similarly, an-other respondent commented, ‘share the joy of Macao's handover…to beproud and confident of being Macao people.’ (Man in his 40s).It seems that the festival has been designed to commemorate thehandover. However, unlike commemorative festivals (Sumartojo,2015), no significant handover symbols or venues were utilised. Al-though the festival takes place in December, none of the past festivalshave taken place on the day of the handover, which was 19th December1999. The festival becomes a prelude to any political commemorationof the handover. One respondent explained, ‘around the handover,identities were very sensitive topics, we do not do any massive celebration toboth Chinese and Portuguese style performance. It's better now. We com-bined everything to show Macao's unique identity’ (Woman in her 50s).Additionally, extensive research has argued that differences in emo-tional feelings towards the handovers in Hong Kong and Macao maketheir identities distinctive (Kaeding, 2010; Zhang et al., 2018). ForMacao, ‘Macao's handover was much smoother than Hong Kong's…And wesaw that the government could provide Macao with a bright future…Macaobecame more peaceful when the Chinese flag was raised here’ (Woman inher 40s). Here, Macao's hybrid identity determines its national identityhas not yet become purely Chinese. The festival symbolises a softerprocess to legitimate the Chinese national identity. In particular, thehandover was designed to be associated with the celebratory atmo-sphere of a festival to generate positive emotions and inform identity(Hall, 1992; Jeong & Santos, 2004). The handover thus becomes anemotional cultural symbol and a watershed for Macao's bright future asa Chinese city.5. Study 2: quantitative research and findingsStudy 2 further examines the social-political role the festival playsin postcolonial destinations. Fig. 2 is the proposed research framework,which incorporates the festivalscapes, national identity, handoveremotion, hedonic value, festival satisfaction and re-patronising inten-tion. Based on the literature (Grappi & Montanari, 2011; Davis et al.,2008) and Study 1, festivalscapes is positively associated with emotion.For cultural festivals, emotion is highly associated with the celebratedhistorical event, the handover. The findings of Study 1 reveal that thehandover emotion is associated with the national identity and festi-valscapes. Although the hybrid Macao identity is still in the process ofdevelopment (POP, 2018), which is also reflected during the culturalfestival, this study proposes national identity as a mediator of the re-lationship between festivalscapes and handover emotion. Proposingnational identity as a mediator highlights national identity as critical tounderstanding the emotions towards the celebrated historical event ofthe handover. The relationships between hedonic value, festival sa-tisfaction and re-patronising intention in festivals have been well stu-died (Babin et al., 2005; Calver & Page, 2013; Grappi & Montanari,2011).The following hypotheses are tested.H1. Festivalscape is associated with handover emotion.H1a. Festivalscape is positively associated with positive handoveremotion.H1b. Festivalscape is negatively associated with negative handoveremotion.H2. National identity mediates the relationship between festivalscapeand handover emotion.H2a. National identity to Macao mediates the positive relationshipbetween festivalscape and positive handover emotion.H2b. National identity to Macao mediates the negative relationshipbetween festivalscape and negative handover emotion.H2c. National identity to China mediates the positive relationshipbetween festivalscape and positive handover emotion.H2d. National identity to China mediates the negative relationshipbetween festivalscape and negative handover emotion.H3. Festivalscape is positively associated with hedonic value.H4. Handover emotion mediates the positive relationship betweenfestivalscape and hedonic value.H4a. Positive handover emotion mediates the positive relationshipbetween festivalscape and hedonic value.H4b. Negative handover emotion mediates the positive relationshipbetween festivalscape and hedonic value.H5. Hedonic value is positively associated with festival satisfaction.H6. Festival satisfaction is positively associated with re-patronisingintention.5.1. Data collectionThe population for this study included all of the Macao residentswho participated in the Macao International Parade. As this culturalfestival is in an open space, there is no existing database depicting theexact number of the population. A street-intercept survey, which hap-pened during the festival, was conducted to collect the data on 17December 2017. The participants were all 18 years old or above andresidents of Macao, allowing two related screening questions to beasked when the survey interview started. Twenty-two experienced in-terviewers were recruited and trained before they were sent out tocollect data at various spots along the parade route. Seven supervisorsspot-checked the interviewers to ensure that the data collection pro-cedures were strictly followed. Under the crowded street conditions ofthe parade route and in the dimmed environment at the latter stage ofdata collection, the interviewers managed to collect 287 responses.5.2. MeasurementsThe measures were constructed based on the findings of Study 1 andC.X. Zhang et al. Tourism Management 73 (2019) 94–10498
an extensive search of the literature. Ten Macao residents who had beento the festival were interviewed to ensure that the items reflected theviews of potential survey respondents and that the interviewees werediverse in age and sex. On average, each interview lasted approximately20min and information was sought concerning festival experience, thesurrounding festivalscapes, the handover and their self-claimed na-tional identity. All items were measured on 5-point Likert-type scaleswith 1 representing ‘strongly disagree’ and 5 representing ‘stronglyagree’. Festivalscape was operationalised by 13 items developed fromStudy 1 and previous studies (Grappi & Montanari, 2011; Lee et al.,2011). These previous studies featured measurement scales developedfrom many earlier studies and a comprehensive literature review, whilethe scales have been validated by statistical modelling. The scales en-compass a wide range of aspects including the surrounding areas of thefestival, the intensification of the festival's essence, the variety of ac-tivities, the organisation, the signage, the guiding service, the accessi-bility and transportation. These aspects were all incorporated in ourmeasure. Based on Grappi and Montanari (2011), positive and negativehandover emotions were measured by four and three items, respec-tively. The six items for measuring national identity to Macao and theother six for China were adapted from Kaeding (2010). The four he-donic value items, three festival satisfaction items and four re-patron-ising intention items were borrowed from Grappi and Montanari (2011)and Lee et al. (2011). The measurement items are shown in Table 2,whereas the deleted item is included in the notes of the table. Before theend of survey, the respondents' sex, age and education were asked.As Chinese is the primary language used in Macao, a Chinesequestionnaire was developed. Translation and back-translation proce-dures were conducted. Specifically, the English instrument was trans-lated into Chinese, which was then refined by the first author. A thirdperson then translated the Chinese questionnaire back into English. Allof the authors confirmed that the English questionnaire was semanti-cally equivalent to the original version. Before it was used in the mainstudy, the questionnaire was pretested on 10 respondents. They did notindicate any misunderstanding or language problems. The ques-tionnaire can be found in Appendix A.5.3. Data cleaning and respondent profilesOf the 287 responses collected in the main study, 23 responses withmissing values were identified and removed. The retained 264 re-sponses were checked for outlier cases. Nine cases with standardisedvalues in certain variables greater than the absolute value of 4 (Mertler& Reinhart, 2010) were trimmed. Therefore, 255 responses were usedin the subsequent analyses. The mean values and standard deviations ofthe items are reported in Appendix B.Of the 255 respondents, there were slightly more females (n=134,proportion=52.5%) than males. Most of the respondents were youngindividuals from 18 to 24 years old (n=117, proportion= 45.9%),followed by respondents from 25 to 29 years old (n=35, propor-tion= 13.7%) and their older counterparts. Almost half of the re-spondents had a Bachelor's degree or above (n=126, propor-tion= 49.4%), whereas 45.1% of the respondents (n=115) completedhigh school but not undergraduate studies. The respondents with edu-cation levels of primary or below recorded 5.5% (n=14).5.4. Measurement modelAlthough the measure of festivalscape includes items developedfrom our in-depth interview with event organisers and respondents, afactor analysis was conducted to identify the underlying dimensions.Using principal axis factoring and oblique factor rotation, the analysisgenerated two factors (Kaiser-Meyer-Olkin=0.862; Bartlett's test ofsphericity, p=0.000; total variance explained 54.42%). Consideringthe meaning of the items in each factor, one of them was named cul-tural space and the other management of event (Table 2).To examine the hypotheses, partial least squares structural equationmodelling (PLS-SEM) was used. As festivalscape has two dimensions(cultural space and management of event), a reflective-reflective hier-archical component model was constructed for this construct. Such ameasurement model is appropriate only if the correlation between thetwo dimensions is above 0.5 (Hair, Sarstedt, Ringle, & Gudergan, 2018).This was the case for festivalscape in this study, as the correlation be-tween cultural space and management of event was 0.568.As PLS-SEM was used, which is inherent with bootstrapping esti-mation, data normality was not a concern. The sample size (i.e., 255)was adequate after considering the largest number of structural pathsdirected towards a construct, power analysis (Hair, Hult, Ringle, &Sarstedt, 2017) and the inverse square root method (Kock & Hadaya,2018).Before the structural model test, the adequacy of the measurementmodel had to be ensured. The validity and reliability of the measureswere assessed using multiple methods and criteria. First, the outerloadings of the items were assessed. All loadings were above 0.4 (Hairet al., 2017), but the average variance extracted (AVE) of managementof event (FTS-ME) was below 0.5. Therefore, one of its items (Thefestival programme was interesting), the one that had the lowestloading (as shown in the notes section of Table 2), was removed toincrease the AVE. The elimination of this item was also based on no-mological validity. The deleted item concerns the general feeling aboutthe programme, whereas other items in the FTS-ME concern the func-tional aspects including the variety of activities, the organisation, thesignage, the guiding service, the accessibility and transportation. Afterthe item's deletion, the AVE of the FTS-ME reached the threshold (i.e.,0.5). As the other AVEs also exceeded 0.5, the convergent validity of themeasures was attained (Table 3). Second, the reliability of the measureswas demonstrated by all Cronbach's alpha and composite reliabilityvalues greater than 0.7 (Table 3). Third, the discriminant validity of theFig. 2. Proposed research framework.C.X. Zhang et al. Tourism Management 73 (2019) 94–10499
measures was confirmed by the facts that (1) the outer loadings of theitems were greater than their cross-loadings to other constructs(Table 2); (2) the square root of the AVE for each construct exceeded itscorrelations with other constructs (Table 3); and (3) all heterotrait-monotrait ratio (HTMT) values were less than 0.9, whereas theHTMTinference criterion of the bias-corrected confidence intervals notincluding 1 were met (Henseler, Ringle, & Sarstedt, 2015).5.5. Common method biasA statistical approach was used to assess whether common methodbias existed in this cross-sectional study. A preliminary assessment wasconducted using Harman's single-factor test, in which the factor ana-lysis of all of the items (without rotation) generated more than onefactor (i.e., seven factors), whereas the first factor accounted for lessthan half of the variance (i.e., 41.089%). These results signal the non-existence of common method bias. The unmeasured latent marketconstruct method was further used to examine common method bias(Fong, Lam, & Law, 2017). A coherent conclusion was drawn given that(1) the majority of the method factor loadings were not statisticallysignificant; (2) the substantive variances of the items were greater thantheir method variances; and (3) the ratio of the average substantivevariance to the average method variance was 95:1, largely exceedingthe 42:1 ratio in Liang, Saraf, Hu, and Xue (2007).5.6. Structural modelBefore examining the structural model, specifically the hypotheses,it is imperative to ensure that the predictions were accurate and notthreatened by multicollinearity issues. The blindfolding test (omissiondistance= 7) reported satisfactory predictive accuracy, with Q2 valuesabove 0. Additionally, the largest variance inflation factors were below5 (2.031), indicating that multicollinearity was not a concern.The hypothesis testing results are reported in Table 4 and Fig. 2.Supporting H1a, festivalscape was positively associated with positivehandover emotion (coefficient= 0.234, p=0.000, effect sizef2= 0.078). However, H1b was not supported, as festivalscape was notrelated to negative handover emotion (coefficient= 0.001, p=0.993,Table 2Outer loadings and cross loadings of the reflective constructs.Items FTS-CS FTS-ME PEMO NEMO IDM IDC HV FSAT RINTFTS-CS1 The festival atmosphere is pleasant. 0.623 0.490 0.357 −0.123 0.317 0.320 0.409 0.474 0.432FTS-CS2 The festival area has beautiful UNESCO heritage. 0.778 0.457 0.362 −0.084 0.363 0.310 0.383 0.401 0.413FTS-CS3 The surrounding historical monuments and local district were special. 0.811 0.427 0.393 −0.053 0.418 0.272 0.392 0.416 0.392FTS-CS4 The festival area intensifies the festival's essence of promoting Macao'smulticultural characteristics.0.844 0.443 0.433 −0.164 0.433 0.381 0.446 0.413 0.401FTS-CS5 The handover celebration symbols around the festival area intensify thefestival's aim of celebrating the handover.0.768 0.416 0.416 −0.095 0.437 0.417 0.412 0.384 0.371FTS-CS6 The festival area intensifies the festival's essence of promoting Macao'scultural harmony.0.777 0.395 0.448 −0.163 0.433 0.383 0.413 0.337 0.359FTS-ME1 The festival programme has a variety of performances and activities. 0.466 0.635 0.333 −0.058 0.281 0.227 0.418 0.412 0.325FTS-ME2 The festival programme was well organised. 0.348 0.748 0.269 −0.029 0.200 0.211 0.361 0.304 0.290FTS-ME3 The signage enhanced my understanding of information and directions. 0.307 0.722 0.157 0.048 0.139 0.185 0.272 0.266 0.209FTS-ME4 The festival staff provided good guiding service. 0.374 0.712 0.304 −0.015 0.326 0.371 0.373 0.300 0.340FTS-ME5 The festival area is easy to reach. 0.490 0.705 0.303 0.013 0.247 0.221 0.422 0.430 0.345FTS-ME6 The festival transportation services are adequate. 0.400 0.717 0.274 0.001 0.244 0.269 0.379 0.370 0.299PEMO1 My feeling towards the handover celebration is happy. 0.549 0.396 0.898 −0.273 0.579 0.547 0.678 0.588 0.624PEMO2 … pleased. 0.509 0.399 0.908 −0.268 0.601 0.572 0.660 0.593 0.669PEMO3 … energetic. 0.420 0.310 0.881 −0.163 0.560 0.519 0.596 0.504 0.589PEMO4 … excited. 0.314 0.234 0.799 −0.118 0.491 0.428 0.517 0.456 0.509NEMO1 … bored. −0.173 −0.053 −0.250 0.917 −0.190 −0.178 −0.135 −0.153 −0.130NEMO2 … angry. −0.116 0.022 −0.193 0.932 −0.163 −0.160 −0.103 −0.093 −0.084NEMO3 … annoyed. −0.110 0.016 −0.225 0.934 −0.121 −0.162 −0.089 −0.065 −0.069IDM1 I feel a strong sense of belonging to Macao. 0.454 0.333 0.573 −0.220 0.888 0.608 0.584 0.545 0.603IDM2 I am proud of Macao in general. 0.495 0.330 0.600 −0.173 0.905 0.624 0.603 0.570 0.601IDM3 I am proud of Macao's history and culture. 0.454 0.263 0.556 −0.188 0.899 0.543 0.547 0.490 0.558IDM4 I am proud of Macao's economic development. 0.478 0.330 0.561 −0.116 0.858 0.574 0.594 0.574 0.604IDM5 My Macao identity makes me feel confident. 0.437 0.269 0.585 −0.126 0.899 0.621 0.552 0.510 0.583IDM6 I am proud of Macao's international position. 0.456 0.289 0.537 −0.102 0.874 0.653 0.540 0.516 0.624IDC1 I feel a strong sense of belonging to China. 0.418 0.313 0.577 −0.150 0.573 0.883 0.533 0.420 0.485IDC2 I am proud of China in general. 0.396 0.302 0.538 −0.184 0.571 0.910 0.512 0.412 0.497IDC3 I am proud of Chinese history and culture. 0.395 0.270 0.443 −0.170 0.531 0.861 0.449 0.417 0.451IDC4 I am proud of Chinese economic development. 0.357 0.280 0.524 −0.184 0.553 0.856 0.526 0.413 0.486IDC5 My Chinese identity makes me feel confident. 0.361 0.313 0.510 −0.133 0.646 0.856 0.485 0.384 0.466IDC6 I am proud of China's international position. 0.421 0.349 0.504 −0.122 0.670 0.844 0.498 0.413 0.488HV1 This experience was truly enjoyable. 0.412 0.396 0.593 −0.118 0.505 0.496 0.842 0.606 0.572HV2 I truly felt it like an escape. 0.325 0.417 0.530 −0.034 0.430 0.441 0.692 0.432 0.494HV3 I enjoyed the experience for its own sake. 0.475 0.469 0.541 −0.083 0.558 0.461 0.861 0.739 0.643HV4 I truly felt delighted. 0.507 0.453 0.653 −0.146 0.597 0.499 0.869 0.727 0.718FSAT1 I was satisfied with my visit to this festival. 0.501 0.477 0.605 −0.123 0.570 0.462 0.749 0.925 0.730FSAT2 I felt very good about this festival. 0.476 0.462 0.550 −0.126 0.557 0.424 0.732 0.943 0.717FSAT3 I was satisfied with this festival. 0.482 0.443 0.568 −0.078 0.554 0.430 0.686 0.920 0.734RINT1 I will visit this festival again next time. 0.459 0.345 0.613 −0.117 0.592 0.453 0.653 0.650 0.868RINT2 I will recommend the festival to my friends and family. 0.489 0.422 0.636 −0.096 0.611 0.521 0.700 0.763 0.936RINT3 I will encourage my friends and family to visit the festival next time. 0.446 0.397 0.624 −0.080 0.590 0.498 0.700 0.733 0.919RINT4 I will say positive things to other people. 0.465 0.392 0.630 −0.094 0.644 0.528 0.661 0.686 0.905Notes: The values in boldface are the outer loadings, whereas the others are the cross-loadings; FTS-CS = Festivalscape dimension: Cultural space; FTS-ME=Festivalscape dimension: Management of event; PEMO = Positive handover emotion; NEMO = Negative handover emotion; IDM = Identity to Macao; IDC =Identity to China; HV = Hedonic value; FSAT = Festival satisfaction; RINT=Re-patronising intention.One item was deleted from the scale of management of event: ‘The festival programme was interesting’.C.X. 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effect size f2= 0.000). The mediation effects of national identity toMacao and that to China on the relationship between festivalscape andpositive handover emotion were supported (H2a: coefficient= 0.180,p=0.000; H2c: coefficient= 0.113, p=0.003). Specifically, festi-valscape was positively associated with national identity to Macao(coefficient= 0.503, p=0.000), which was in turn positively asso-ciated with positive handover emotion (coefficient= 0.358,p=0.000). Festivalscape was positively associated with nationalidentity to China (coefficient= 0.463, p=0.000), which was in turnpositively associated with positive handover emotion (coeffi-cient= 0.245, p=0.002). In contrast, between festivalscape and ne-gative handover emotion, both national identity to Macao and that toChina had no mediation effect (H2b: coefficient=−0.049, p=0.154;H2d: coefficient=−0.054, p=0.098). The results were not sur-prising, as national identity to Macao and that to China were not sig-nificantly related to negative handover emotion (Macao: coeffi-cient=−0.097, p=0.293; China: coefficient=−0.116, p=0.177).Supporting H3, festivalscape was positively related to hedonic value(coefficient= 0.311, p=0.000, effect size f2= 0.164). This relation-ship was mediated by positive handover emotion (H4a: coeffi-cient= 0.130, p=0.000), but not by negative handover emotion (H4b:coefficient= 0.000, p=0.496). Particularly, as noted earlier, festi-valscape was positively associated with positive handover emotion(H1a), which in turn was positively related to hedonic value(coefficient= 0.554, p=0.000). However, neither of the festivalscapehedonic value links – negative handover emotion (H1b) or negativehandover emotion – was statistically significant (coefficient= 0.045,p=0.245).As hedonic value was positively associated with festival satisfaction(coefficient= 0.778, p=0.000, effect size f2= 1.532), H5 was sup-ported. Finally, H6 was also supported, with festival satisfaction posi-tively related to re-patronising intention (coefficient= 0.782,p=0.000, effect size f2= 1.576). The R2 values are shown in the notesof Table 4.6. Conclusions and discussionThis study responds to the increasing need to understand the social-political role cultural festivals play in society. Specifically, it takes thefirst step towards exploring national identity and its associated con-struct in influencing festival experiences. A conceptual framework isalso confirmed (Fig. 3). The mixed methods of the qualitative andquantitative studies enable the investigation of the socio-political rolecultural festivals play in a hosting destination from both the event or-ganiser and attendee perspectives, thereby telling a more comprehen-sive story about the relationships between national identity and culturalfestivals in a postcolonial destination.The results of the qualitative study address the first researchTable 3Assessment of the reliability and validity of the reflective constructs.Correlation between constructs FTS-CS FTS-ME FTS PEMO NEMO IDM IDC HV FSAT RINTFTS-CS 1.000FTS-ME 0.568 *** 1.000FTS 0.918 *** 0.848 *** 1.000PEMO 0.522 *** 0.391 *** 0.527 *** 1.000NEMO −0.148 * −0.010 −0.101 −0.243 *** 1.000IDM 0.522 *** 0.342 *** 0.503 *** 0.642 *** −0.175 ** 1.000IDC 0.451 *** 0.351 *** 0.463 *** 0.596 *** −0.181 ** 0.680*** 1.000HV 0.531 *** 0.529 *** 0.599 *** 0.707 *** −0.121 0.643*** 0.578*** 1.000FSAT 0.524 *** 0.496 *** 0.577 *** 0.618 *** −0.118 0.603*** 0.472*** 0.778*** 1.000RINT 0.512 *** 0.430 *** 0.538 *** 0.690 *** −0.106 0.671*** 0.552*** 0.748*** 0.782*** 1.000Average variance extracted (AVE) 0.593 0.500 0.781 0.761 0.861 0.787 0.754 0.671 0.863 0.823Square root of AVE 0.770 0.707 0.654 0.873 0.928 0.887 0.868 0.819 0.929 0.907Composite reliability 0.896 0.857 0.877 0.927 0.949 0.957 0.948 0.890 0.950 0.949Cronbach's alpha 0.860 0.799 0.724 0.895 0.921 0.946 0.935 0.835 0.921 0.928Notes: FTS-CS = Festivalscape dimension: Cultural space; FTS-ME = Festivalscape dimension: Management of event; FTS = Festivalscape; PEMO = Positivehandover emotion; NEMO = Negative handover emotion; IDM = Identity to Macao; IDC = Identity to China; HV = Hedonic value; FSAT = Festival satisfaction;RINT = Re-patronising intention. *p < 0.05; **p < 0.01; ***p < 0.001.Table 4Hypotheses testing results (n=255).Hypotheses Path coefficients t-values p-values Bias-corrected CIsH1a: FTS → PEMO 0.234 4.197 0.000 [0.127, 0.346]H1b: FTS → NEMO 0.001 0.008 0.993 [-0.168, 0.157]H2a: FTS → IDM → PEMO 0.180 4.318 0.000 [0.111, 0.249]H2b: FTS → IDM → NEMO −0.049 −1.023 0.154 [-0.127, 0.030]H2c: FTS → IDC → PEMO 0.113 2.800 0.003 [0.047, 0.180]H2d: FTS → IDC → NEMO −0.054 −1.296 0.098 [-0.122, 0.014]H3: FTS → HV 0.311 5.075 0.000 [0.188, 0.429]H4a: FTS → PEMO → HV 0.130 4.198 0.000 [0.079, 0.180]H4b: FTS → NEMO → HV 0.000 0.009 0.496 [-0.008, 0.008]H5: HV → FSAT 0.778 22.902 0.000 [0.705, 0.840]H6: FSAT → RINT 0.782 24.505 0.000 [0.716, 0.841]Notes: FTS = Festivalscape; PEMO = Positive handover emotion; NEMO = Negative handover emotion; IDM = Identity to Macao; IDC = Identity to China; HV =Hedonic value; FSAT = Festival satisfaction; RINT=Re-patronising intention.R2 of PEMO=0.499 (p=0,000), NEMO=0.038 (p=0.191), IDM=0.253 (p=0.000), IDC=0.214 (p=0.000), HV=0.573 (p=0.000), FSAT=0.605(p=0.000) and RINT=0.612 (p=0.000).C.X. 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questions. This study makes a theoretical contribution to nationalidentity with an emphasis on postcolonial identity enhanced in thecontext of events. From the perspective of the ICM, the relationshipbetween national identity and cultural festivals is intimate. First, for anew postcolonial destination, such as Macao, the historical event thatchanged its identity from a colony to an SAR of China is magnificent.Hence, the annual festival is designed to celebrate this historicallysignificant event: the handover. Festivals with the notion of celebrationare often attached to positive emotions, including joy and happiness.Encouraging positive emotions towards the handover should eventuallylegitimate Macao's newly acquired Chinese national identity (Smith,2009). This finding also confirms the previous observation that tourismhas been utilised as a soft tool to strengthen political power in China(e.g., Kaeding, 2010; Zhang et al., 2018).Second, although the UNESCO heritage sites surrounding Macaobecome the natural backdrop for the festival, its embedded identitiesare not Chinese and Portuguese, but a combination of China and Macao.According to ICM senior staff members and the literature, thePortuguese identity had faded from Macao far before the handover.Like many postcolonial destinations, ‘East meets West’ is commonlyused to demonstrate the hybrid culture in those postcolonial destina-tions (Hall & Tucker, 2004). Unlike them, the hybridity born out ofMacao's ‘East meets West’ is a blending between Macao and China. Theglobal nature of tourism accentuates Macao's unique hybridity andmagnifies the complexities of relationships underlying national iden-tities (Appadurai, 1990). Festivals become hybrid sites for the nego-tiation of national identities among various social groups (Macao, Chinaand Portuguese). The festival hybridity is interwoven between thecultural continuity and the emerging political identity, in which iden-tity construction and postcolonial power relations jointly shape thehybridisation process of cultural festivals. The process of hybridity iswidely visible in postcolonial destinations; the organisation of culturalfestivals and events has gone through a process similar to Macao, whereidentities are negotiated to demonstrate local uniqueness and interna-tional position. This process is visible from the display of Māori tourism(including festivals) (Amoamo & Thompson, 2010) to promoting cul-tural festivals in Hong Kong (Zhang et al., 2015). There is also a clearglobal process whereby festivals are increasingly used to celebrate localidentities and multiculturalism in transcultural settings. For example,the Trinidad carnival and the overseas Caribbean carnivals (e.g.,London, Toronto, New York) are products of and responses to theprocess of negotiation between the unique Caribbean identity andglobalisation (Nurse, 1999). Here, the obvious international feeling ofMacao is unproblematically conceptualised as a multicultural identity,whereby residents have been acculturated to feel comfortable in rela-tion to being an international platform for China rather than being theunderdeveloped and out-dated Portuguese colony.The quantitative study answered the last research question: how doperceived festivalscapes and national identities affect the constructsconcerning the evaluation of the festival experience? In Study 2, assuggested by previous studies (Babin et al., 2005; Calver & Page, 2013;Grappi & Montanari, 2011; Davis et al., 2008) and the findings of Study1, a research framework is developed.This study enriches the theories of national identity and festi-valscapes in particular with a deeper understanding of the relationshipsbetween festivalscapes, national identity and festival evaluation. Itfinds that the festivalscape, which contains the dimensions of culturalspace and management of events, is positively associated with positivehandover emotion and is also positively associated with nationalidentity to China and Macao. The results indicate that environmentalcues generate positive feelings towards the celebrated historical event,which is the handover in this case. A very important finding concernsthe role national identity plays in understanding visitors' festival re-patronising behaviour. The results show that the national identities ofMacao and China play a mediating role in the positive relationshipbetween festivalscape and positive handover emotion. That is, a posi-tive evaluation of the festivalscapes leads to the generation of positivehandover emotion rather than negative handover emotion throughpositive effects on Macao's hybrid identity. In fact, their positive hybrididentity plays a significant role in linking the festival atmosphere andemotion to the celebrated event of the handover.Another important finding concerns the role played by hedonism. Inline with the research of Grappi and Montanari (2011), the resultsconfirm that the festivalscape is positively associated with hedonicvalue. Positive evaluation of both cultural space and management ofthe festival enhance the hedonic feeling of local visitors. However,previous research (Chen et al., 2017; Grappi & Montanari, 2011; Leeet al., 2008) has often argued that both positive and negative emotionsmediate the relationship between the festivalscape and hedonic value.When focusing more specifically on the emotion of the celebrated his-torical event (the handover), only positive emotion has a partial med-iation effect between the festivalscape and hedonic value. Positivehandover emotion may enhance the evaluation of festival atmosphereand generate hedonism. Therefore, the emotion of the handover acts asa soft facilitator between individuals’ judgement of environmental cuesand hedonic feeling in the event.The crucial role of festivalscapes in national identity, positivehandover emotion and hedonism suggest that event organisers shouldwell design cultural spaces. Specifically, event organisers are suggestedto design cultural space for the event by taking into account the ra-tionale of the event and by making full use of the peculiarities of thecultures, architecture and environment of the event location. They mustfind a festival environment that is unique and in line with the cele-brated historical events. As a good practice, to promote internationalcultures, the route of the Macao International Parade is surrounded byhistorical monuments, which are important parts of the UNESCOFig. 3. Model estimation results.(Note. Statistically significant results are bolded; ns denotes non-significant results.).C.X. Zhang et al. Tourism Management 73 (2019) 94–104102
heritage of Macao. To reinforce the Chinese identity, the slogan ofcelebrating the 18th Anniversary of Macao's handover to China is dis-played in the Macao International Parade (Fig. 1).Hedonic value also affects local visitors' re-patronising intentionthrough festival satisfaction (Calver & Page, 2013; Grappi & Montanari,2011). The more a local visitor enjoys the experience of obtaining he-donic rewards, the more they are satisfied with the festival experience,which is more likely to lead to future re-patronising intention. Festivalsatisfaction and re-patronising intention is strongly influenced by thepleasure individuals feel within this process. They are therefore morelikely to come to the next year's festival. Local festival visitors' presencenot only enhances the authenticity of the festival (Woosnam &Aleshinloye, 2015), but also is a great indication for the government(event organiser) to understand the acceptability of the embeddedidentity and the celebrated historical event (Smith, 2009). Therefore,re-patronising local celebrations plays a significant role in sustainingthe proposed identities embedded within the festival experience. Withboth national identity and handover emotion having positive effects onhedonic value, the cultural festival becomes an effective tool for gen-erating positive emotions towards Macao's hybrid identity while havingfun.The findings reveal that the utilisation of the Macao InternationalParade to celebrate the handover and to softly enhance national iden-tity seems a successful case, which may provide some implications forother postcolonial destinations. Through recognising that the post-colonial identity-making is a long-term process (Zhang et al., 2018), thecultural festivals did not directly enforce multiple Chinese politicalsymbols upon Macao residents, but instead an entertaining celebrationwas softly associated with the handover and later their national iden-tity. Organising a cultural festival to celebrate the city's uniqueness andnewly acquired identity may be a better means to achieve identity-making. This soft process more rely on the social and cultural aspects isproved to be useful to generate positive emotions. In addition, orga-nising the cultural festival to achieve identity-making, the emphasiscould be on the downplaying of the colonial legacy through transferringthe colonial cultural to a multi-culture.7. Limitations and future research directionsOne of the main contributions of this study is its clarification of therole national identity plays in cultural festivals. Hence, only local at-tendees are included. For future research, it would be interesting tocompare how the different national identities of local and internationalattendees influence cultural festival experiences. This study demon-strates the importance of emotional feelings towards the historicalevents celebrated in festival evaluation. Future studies would benefitfrom exploring whether differences exist between different domesticfestival visitors to national cultural festivals. Future research would alsobenefit from the analysis of other postcolonial cultural festivals tosupport these findings and make comparisons with other nationalcontexts.Author contributionCarol X. Zhang: idea development, conceptualisation, literaturereview, survey development, qualitative data collection and analysis,writing-up the original draft, review and editing. Contributed during allrounds of revision.Lawrence H.N. Fong: quantitative research framework con-ceptualisation, survey development, quantitative data collection andsupervision, quantitative data analysis, writing-up and editing.Contributed during all rounds of revision.ShiNa Li: idea development, conceptualisation, survey develop-ment, quantitative data collection supervision, writing-up, review andediting. Contributed during all rounds of revision.Tuan Phong LY: survey development, qualitative data collection,quantitative data collection supervision and editing. Contributed for theoriginal submission and the first round revision.AcknowledgementThe work described in this paper was supported by a grant fundedby the University of Macau.Appendix A. Supplementary dataSupplementary data to this article can be found online at https://doi.org/10.1016/j.tourman.2019.01.013.ReferencesAli, F., Kim, W. G., & Ryu, K. (2016). The effect of physical environment on passengerdelight and satisfaction: Moderating effect of national identity. 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1 Appendix A – Questionnaire 澳門居民對澳門國際幻彩大巡遊看法的研究 PARTICIPANTS' PERCEPTION OF THE MACAO INTERNATIONAL PARADE 1. 您滿 18歲了麼? Are you aged 18 or above? □ 是 Yes →請繼續回答問題 Please proceed to the next question □ 否 No →問卷調查完結，感謝您的支持! End of survey. Thank you for your time! 2. 您是否澳門居民(即持有澳門居民身份證的人士)？ Are you Macao residents (i.e. Macao ID card holders)? □ 是 Yes →請繼續回答問題 Please proceed to the next question □ 否 No →問卷調查完結，感謝您的支持! End of survey. Thank you for your time! 3. 請您就以下句子表達您的同意程度 Please indicate your responses to the following statements. Strongly Agree 十分贊成 Agree 贊成 Neither agree nor disagree 即不贊成也不反對 Disagree 不贊成 Strongly Disagree 十分不贊成 巡遊的節日氣氛很愉悅 The festival atmosphere is pleasant □ □ □ □ □ 巡遊區域有很美的世界遺產 The festival area has beautiful UNESCO heritage □ □ □ □ □ 巡遊區域周邊的歷史古跡和當地街區很特別 The surrounding historical monuments and local district were special □ □ □ □ □ 巡遊區域環境幫助加強推廣澳門多元文化的巡遊本質 The festival area intensifies the festival’s essence of promoting Macao’s multicultural characteristics □ □ □ □ □ 巡遊區域周邊慶祝回歸的標誌幫助加強了巡遊慶祝回歸的目的The handover celebration symbols around the festival area intensify the festival’s aim of celebrating the handover □ □ □ □ □ 巡遊區域周邊環境幫助加強了澳門文化共融的巡遊本質 The festival area intensifies the festivals’ essence of promoting Macao’s cultural harmony □ □ □ □ □ 巡遊節目中安排了多樣的表演和活動 The festival programme has a variety of performances and activities □ □ □ □ □ 巡遊節目的組織管理很井井有條 □ □ □ □ □
2 The festival programme was well- organised 巡遊指示牌讓我更清晰地找到相關資訊和方向 The signage enhanced my understanding of information and directions □ □ □ □ □ 巡遊的工作人員提供很好的服務 The festival staff provided good guiding service □ □ □ □ □ 巡遊地點方便前往 The festival area is easy to reach □ □ □ □ □ 巡遊的交通服務安排得當 The festival transportation services are adequate □ □ □ □ □ 巡遊節目很有趣 The festival programme was interesting □ □ □ □ □ 4. 請您就以下句子表達您的同意程度 Please indicate your responses to the following statements. Strongly Agree 十分贊成 Agree 贊成 Neither agree nor disagree 即不贊成也不反對 Disagree 不贊成 Strongly Disagree 十分不贊成 對於回歸慶典，我的感受是：My feeling towards the handover celebration is: 高興 Happy □ □ □ □ □ 喜悅 Pleased □ □ □ □ □ 精神振奮 Energetic □ □ □ □ □ 興奮 Excited □ □ □ □ □ 無聊 Bored □ □ □ □ □ 憤怒 Angry □ □ □ □ □ 煩惱 Annoyed □ □ □ □ □ 5. 請您就以下句子表達您的同意程度 Please indicate your responses to the following statements. Strongly Agree 十分贊成 Agree 贊成 Neither agree nor disagree 即不贊成也不反對 Disagree 不贊成 Strongly Disagree 十分不贊成 我對澳門有強烈的歸屬感 I feel a strong sense of belonging to Macao □ □ □ □ □
3 整體而言，我為澳門感到自豪 I am proud of Macao in general □ □ □ □ □ 我為澳門的歷史文化感到自豪 I am proud of Macao’s history and culture □ □ □ □ □ 我為澳門的經濟發展感到自豪 I am proud of Macao’s economic development □ □ □ □ □ 我的澳門人身份讓我感到自信 My Macao identity makes me feel confident □ □ □ □ □ 我對中國有強烈的歸屬感 I feel a strong sense of belonging to China □ □ □ □ □ 整體而言，我為中國感到自豪 I am proud of China in general □ □ □ □ □ 我為中國的歷史文化感到自豪 I am proud of Chinese history and culture □ □ □ □ □ 我為中國的經濟發展感到自豪 I am proud of Chinese economic development □ □ □ □ □ 我的中國人/華人身份讓我感到自信 My Chinese identity makes me feel confident □ □ □ □ □ 6. 請您就以下句子表達您的同意程度 Please indicate your responses to the following statements. Strongly Agree 十分贊成 Agree 贊成 Neither agree nor disagree 即不贊成也不反對 Disagree 不贊成 Strongly Disagree 十分不贊成 這個活動確實是一次愉快的體驗 This experience was truly enjoyable □ □ □ □ □ 這個活動確實讓我得到解脫 I truly felt it like an escape □ □ □ □ □ 我真的很享受這次體驗 I enjoyed the experience for its own sake □ □ □ □ □ 我感到欣喜 I truly felt delighted □ □ □ □ □ 我很滿意我來參加了這次巡遊 I was satisfied with my visit to this festival □ □ □ □ □ 我對這次巡遊感覺非常好 I felt very good about this festival □ □ □ □ □ 我對這次巡遊感到滿意 □ □ □ □ □
4 I was satisfied with this festival 我下次還會來參加巡遊 I will visit this festival again next time □ □ □ □ □ 我會把這個巡遊推薦給親朋好友 I will recommend the festival to my friends and family □ □ □ □ □ 我會鼓勵我的親朋好友參加下次的巡遊活動 I will encourage my friends and family to visit the festival next time □ □ □ □ □ 我會對他人讚揚此次巡遊 I will say positive things to other people □ □ □ □ □ 7. 您已完成的最高教育程度是什麼? What is the highest level of education you have completed? □ 小學或以下 Primary or below □ 中學 High/Secondary school □ 大學 Bachelor's degree □ 碩士或以上 Master's degree or above □ 其他，請註明 Other, please specify ____________________ 8. 您屬於哪一個年齡組別? What is your age group? □ 18-24 □ 25-29 □ 30-34 □ 35-39 □ 40-44 □ 45-49 □ 50-54 □ 55-59 □ 60-64 □ 65 or above 65或以上 9. 您的性別是? What is your gender? □ 男 Male □ 女 Female 感謝您的支持! Thank you very much for your cooperation!
5 Appendix B – Item means and standard deviations (n = 255) Items Mean Standard Deviation FTS-CS1 The festival atmosphere is pleasant. 4.07 0.65 FTS-CS2 The festival area has beautiful UNESCO heritage. 3.93 0.76 FTS-CS3 The surrounding historical monuments and local district were special. 3.96 0.73 FTS-CS4 The festival area intensifies the festival’s essence of promoting Macao’s multicultural characteristics. 4.08 0.68 FTS-CS5 The handover celebration symbols around the festival area intensify the festival’s aim of celebrating the handover. 3.84 0.82 FTS-CS6 The festival area intensifies the festival’s essence of promoting Macao’s cultural harmony. 3.99 0.69 FTS-ME1 The festival programme has a variety of performances and activities. 4.04 0.62 FTS-ME2 The festival programme was well- organised. 3.69 0.85 FTS-ME3 The signage enhanced my understanding of information and directions. 3.65 0.88 FTS-ME4 The festival staff provided good guiding service. 3.80 0.72 FTS-ME5 The festival area is easy to reach. 3.78 0.83 FTS-ME6 The festival transportation services are adequate. 3.66 0.81 FTS-ME7 The festival programme was interesting. 4.09 0.60 PEMO1 My feeling towards the handover celebration is happy. 4.08 0.70 PEMO2 … pleased. 4.10 0.72 PEMO3 … energetic. 3.87 0.80 PEMO4 … excited. 3.89 0.83 NEMO1 … bored. 2.41 0.98 NEMO2 … angry. 2.21 0.92 NEMO3 … annoyed. 2.16 0.92 IDM1 I feel a strong sense of belonging to Macao. 3.95 0.71 IDM2 I am proud of Macao in general. 3.96 0.77 IDM3 I am proud of Macao’s history and culture. 4.02 0.71 IDM4 I am proud of Macao’s economic development. 3.86 0.77 IDM5 My Macao identity makes me feel confident. 3.94 0.78 IDM6 I am proud of Macao’s international position. 3.96 0.78 IDC1 I feel a strong sense of belonging to China. 3.74 0.85 IDC2 I am proud of China in general. 3.75 0.82 IDC3 I am proud of Chinese history and culture. 3.94 0.74 IDC4 I am proud of Chinese economic development. 3.87 0.83 IDC5 My Chinese identity makes me feel confident. 3.81 0.77
6 IDC6 I am proud of China’s international position. 3.87 0.76 HV1 This experience was truly enjoyable. 4.04 0.59 HV2 I truly felt it like an escape. 3.67 0.76 HV3 I enjoyed the experience for its own sake. 3.95 0.70 HV4 I truly felt delighted. 3.99 0.69 FSAT1 I was satisfied with my visit to this festival. 4.03 0.66 FSAT2 I felt very good about this festival. 4.01 0.69 FSAT3 I was satisfied with this festival. 3.96 0.75 RINT1 I will visit this festival again next time 3.95 0.79 RINT2 I will recommend the festival to my friends and family 4.04 0.70 RINT3 I will encourage my friends and family to visit the festival next time 3.98 0.74 RINT4 I will say positive things to other people. 4.00 0.74 Notes: FTS-CS = Festivalscape dimension: Cultural space; FTS-ME = Festivalscape dimension: Management of event; PEMO = Positive handover emotion; NEMO = Negative handover emotion; IDM = Identity to Macao; IDC = Identity to China; HV = Hedonic value; FSAT = Festival satisfaction; RINT = Re-patronising intention.
