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Purpose – The purpose of this paper is to explore the issues surrounding the use of ethnography and participant observation in event studies. It considers the role and benefits of participant observation in terms of understanding event audiences and provides examples of the range of participant motivations and preferences such approaches can reveal and explore. As a methodological paper it focuses on the processes, challenges and benefits surrounding the utilisation of ethnographic methods within events research, with specific examples taken from an ethnographic study into contemporary dance music culture to contextualise the discussion. Design/methodology/approach – Ethnography and participant observation are flexible research approaches characterised by varying levels of participation in and observation of different cultural groups and activities. This paper focuses specifically on participant observation revolving around field trips, focus groups, internet research and key informant interviews. Findings – The challenges facing ethnographic researchers studying event audiences include identifying opportunities for observation and participation, identity negotiation for different research settings, their positioning on the participant observer spectrum, recruiting participants, recording data and the extent to which research takes an overt or covert approach, bearing in mind ethics and participant reactivity. It concludes that once these challenges are addressed, this multifaceted approach provides a valuable avenue for researchers exploring the range of socio-cultural forces at play surrounding event audiences and their experiences. Originality/value – It advocates a shift from attempts to quantify audience motivations and experiences, to methods which seek to understand them more fully through focusing on the entirety of the event experience and the influence of surrounding cultural networks and discourses.

Electronic dance music and its associated cultures have experienced significant growth and diversification in recent decades, evolving from their origins in the warehouse, acid house and rave "scenes". The myriad of interrelated scenes under the umbrella term "dance culture" provides a range of aesthetic and social event experiences, where participants can experiment with and perform multiple identities. This paper explores the significance of dress and identity within dance culture, drawing on an autoethnographic study which included participant observation, field trips, online research, focus groups and interviews. It investigates performance and presentation of identity within these commodified places, in particular how participants negotiate and traverse various credible roles. It suggests that the performance metaphor is useful in conceptualising event spaces and demonstrates the hugely significant role that dress and identity play in the construction and consumption of these events.

New and innovative approaches to event research are continually emerging as the discipline matures and new avenues for research are sought. Thus, developing a greater depth of understanding of event design and how it links to the overall event experience is an area which is becoming increasingly significant to the success of 'planned events'. To this end, effective approaches to the measurement of the social impacts of the event experience on the attendees and other participants are required. Also required, however, are suitable methodologies with which to measure the social impacts arising from the event experience. One such social impact is intercultural exchange and communication, which is often cited, but rarely measured. Visual methodologies have been utilised in tourism and anthropological research but there is little evidence of their usage in event related research. Arguably less effective when utilised singularly, if they are used in conjunction with other methods of inquiry, visual methods can add value and credibility to the research. Based on a case study of Llangollen International Musical Eisteddfod (LIME) this paper presents a framework for the investigation of intercultural exchange and communication at cultural events utilising stakeholder interviews, participant observation and visual methodologies. The use of participant-led photography to elicit responses and discussion of experiences facilitates a deeper understanding of the event experience through the assessment of real experiences of intercultural exchange. The paper also considers how such methodologies can be used to evaluate the extent of social impacts in the context of cultural events and guide event organisers as to how events can be developed and engineered to maximise their positive social impacts.

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