Abstract
This research extends our knowledge of liminality through investigating how the liminal experiences of festival-goers are constructed in a Chinese music festival context. The research employs a multi-site data collection approach undertaking field observations and 68 in-depth semi-structured interviews at seven music festivals across three years. The study contributes to the theoretical development of a liminality framework by providing empirical evidence of the nature of liminality. It extends our understanding of event tourist experiences by highlighting the development and role of three types of communitas and identifying six stages within a rite of passage. The resulting multifaceted coexistence of liminal behaviours and identity with everyday routine life provides a new approach to the critical understanding of the role of liminality.