Academic literature on the topic 'Festival services'
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Journal articles on the topic "Festival services"
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Levickaitė, Rasa. "CITY FESTIVAL - A TRADITIONAL CULTURAL EXPRESSION OF THE CREATIVE INDUSTRIES (THE CASE OF INTERNATIONAL CONTEMPORARY DANCE FESTIVAL “NEW BALTIC DANCE”) / MIESTO FESTIVALIAI – TRADICINĖ KULTŪRINĖ KŪRYBINIŲ INDUSTRIJŲ RAIŠKA (TARPTAUTINIO ŠIUOLAIKINIO ŠOKIO FESTIVALIO ”NAUJASIS BALTIJOS ŠOKIS“ ATVEJIS)." CREATIVITY STUDIES 4, no. 1 (June 28, 2011): 36–53. http://dx.doi.org/10.3846/20290187.2011.577178.
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The article is based on theoretical overview on the subject of festival with its focus on special occasion having some unique aspect which is important to both the organizers and visitors of the festival. Second part of the article represents a case of International Contemporary Dance Festival. City festival is a traditional cultural expression of the creative industries. Creative city more rapidly develops through festival activities – creative cities use their creative potential in various ways: cultural activities, expressions, experiences, involvement of city inhabitants and visitors, presentation of city cultural heritage assets. A case study presented in the article is based on quantitative survey conducted during International Contemporary Dance Festival “New Baltic Dance” which took part in Vilnius 4–9 May 2010. Survey is designed for five key factors: choosing the festival, frequency of festival visits in Vilnius, transportation type visitors have arrived to the festival, channel visitors have found information about the festival, expenses during the festival period (including entrance ticket, overnight if needed, etc.), and each variable correlation between age, gender and education. Survey also includes fact-finding questions as destination festival visitors have arrived from and if festival visitors have used hotel services. While comparing goals of festival organizers and survey results, a conclusion is made that “New Baltic Dance” is a part of Vilnius city creative industries, meeting aims of the capital city and also of other Lithuanian cities and peripheries, attracting university graduates who have high demand for contemporary culture expressions and interest in contemporary dance process. On the other hand, festival visitors almost have no direct demand for better city tourism infrastructure and their economic input to the city development is very low. Santrauka Straipsnyje pristatoma miesto festivalių kaip tradicinės kultūrinės kūrybinių industrijų raiškos koncepcija. Teorinė dalis grindžiama festivalio objekto analize, festivalio kilmės, poveikio, unikalumo ir svarbos bendruomenės nariams, miesto, šalies gyventojams ir svečiams apžvalga. Antroji straipsnio dalis skirta tarptautinio šiuolaikinio šokio festivalio ”Naujasis Baltijos šokis“ atvejo analizei. Kaip manoma, kūrybinis miestas kur kas greičiau plėtojasi per festivalių veiklas – kūrybiniai miestai naudoja savo kūrybinį potencialą įvairiausiais būdais: plėtodamos kultūrines veiklas, ekspresiją, patirtis, įtraukdamos miestelėnus ir miesto svečius, pristatydamos miesto paveldą. Straipsnyje pristatomas atvejis yra kiekybinio tyrimo fragmentas, atliktas tarptautinio šiuolaikinio šokio festivalio ”Naujasis Baltijos šokis“ metu 2010 m. gegužės 4–9 d. Tyrimą grindžia šie pagrindiniai veiksniai: priežastys, lėmusios tiriamojo festivalio pasirinkimą; apsilankymo Vilniuje organizuojamuose festivaliuose dažnis; būdas, kaip žiūrovai pasiekė festivalį; kanalas, per kurį žiūrovai sužinojo apie festivalį; išlaidos, kurias patyrė festivalio žiūrovai (įskaitant bilietus į renginius, nakvynės mokesčius ir kt.). Tirta kiekvieno kintamojo koreliacija su sociodemografiniais rodikliais – amžiumi, lytimi ir išsilavinimu. Į tyrimą taip pat buvo įtraukti klausimai apie miestą, iš kurio atvyko žiūrovai, ir ar buvo pasinaudota viešbučių paslaugomis festivalio metu. Lyginant festivalio ”Naujasis Baltijos šokis“ organizatorių siekius ir tyrimo rezultatus, darytina išvada, kad šis festivalis yra Vilniaus miesto kūrybinių industrijų dalis, jis atitinka sostinės ir šalies periferijos kultūros gyvenimo poreikius, pritraukia aukštą jį išsilavinimą turinčią auditoriją, siekiančią pažinti ir patirti šiuolaikinės kultūros išraiškas, besidominčią šiuolaikinio šokio procesu. Kita vertus, tiriamo festivalio žiūrovai neformuoja poreikio geresnei miesto infrastruktūrai plėtotis ir daro mažą indėlį į miesto ekonomikos augimą.
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Rodin, Ian, and Richard Braithwaite. "Festival psychiatry." BJPsych Advances 24, no. 2 (March 2018): 123–31. http://dx.doi.org/10.1192/bja.2017.17.
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SUMMARYThis article is based on our experience of volunteering for the charity Festival Medical Services, to provide mental healthcare at the Glastonbury Festival of Contemporary Performing Arts and the Reading Festival. It describes the history of these annual events and the development of medical and psychiatric services offered. Principles of assessment and management of mental disorder in festival settings are outlined and common psychiatric presentations are described. Legal aspects of care are discussed. The article is intended primarily to inform others of this interesting and unusual form of mental healthcare and we hope that aspects of our experience will prompt reflection on psychiatric practice in other settings.LEARNING OBJECTIVES•Understand how psychiatric care is provided at the Glastonbury and Reading Festivals•Recognise the symptoms and signs of organic and functional conditions likely to present to psychiatrists at festivals•Identify the principles of psychiatric management in festival settingsDECLARATION OF INTERESTI.R. and R.B. gain free entry to the Glastonbury and Reading Festivals through their voluntary work with Festival Medical Services.
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Lee, Seonmi. "A Case Study on the Digital Transformation Festivals due to the Covid-19 Pandemic." Korean Society of Culture and Convergence 44, no. 7 (July 31, 2022): 121–35. http://dx.doi.org/10.33645/cnc.2022.7.44.7.121.
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This study is intended to comparatively study domestic and foreign festival cases that successfully continued festivals through digital transformation during the COVID-19 pandemic, and to draw implications. Selected examples are the 2nd of May Festival in Madrid, Spain, the DESECE Children’s Festival in Greece, and the online Gangneung Danoje Festival. As a result of the analysis, the Digital Transformation Festival is first, the most prioritized point in the digital transformation of the festival is the theme of the festival, so it is not the use of digital technology itself. Second, the digital transformation festival established a hybrid festival model in which live and digital coexist. Third, social media became the basis for the success of the digital festival. Fourth, it provided an opportunity to build an archive of existing festivals. Fifth, the COVID-19 crisis improved festival services by introducing a visiting festival program.
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Alvarado, Karla Gabriela. "Accessibility of music festivals: a British perspective." International Journal of Event and Festival Management 13, no. 2 (February 1, 2022): 203–18. http://dx.doi.org/10.1108/ijefm-12-2020-0082.
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PurposeThis investigation aims to critically assess accessibility for persons with disabilities (PWDs) at music festivals in the UK.Design/methodology/approachA systematic review of the literature was conducted, followed by a case study focused on analysing accessible facilities and services offered at Glastonbury, Creamfields, Latitudes and Bestival Festivals. These two research strategies made use of secondary data only.FindingsBased on the analysis of the needs of PWDs when attending a music festival and the facilities and services currently offered at the four UK music festivals studied in this research, three themes emerged: (1) insufficient attention is given to venue and site design characteristics, (2) current access booking tools appear to be confusing and bureaucratic and (3) staff awareness is of great concern among PWDs because employees do not have sufficient knowledge about the different types of disabilities and their individual needs.Practical implicationsBy identifying current barriers affecting the experience of PWDs while attending music festivals in the UK, this research guides festival managers to deliver a more accessible music festival experience by suggesting the implementation of new approaches in terms of services and physical spaces provided.Originality/valueThis paper provides festival managers and future researchers with an essential foundation for creating more inclusive music festivals since it mentions critical factors that are currently missing and that can ensure success when responding to PWDs' needs and desires. The information in this investigation can be taken as an initial point to develop a theoretical framework through primary research focused on accessible festival design.
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Hutton, Alison, Matthew Brendan Munn, Sydney White, Peter Kara, and Jamie Ranse. "Does the Presence of On-Site Medical Services at Outdoor Music Festivals Affect Attendees’ Planned Alcohol and Recreational Drug Use?" Prehospital and Disaster Medicine 36, no. 4 (June 30, 2021): 403–7. http://dx.doi.org/10.1017/s1049023x21000613.
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AbstractBackground:Dedicated on-site medical services have long been recommended to improve health outcomes at mass-gathering events (MGEs). In many countries, they are being reviewed as a mandatory requirement. While it is known that perceptions of risk shape substance use plans amongst outdoor music festival (OMF) attendees, it is unclear if attendees perceive the presence of on-site medical services as a part of the safety net. The aim of this paper is to better understand whether attendees’ perceptions of on-site medical services influence high-risk behaviors like alcohol and recreational drug use at OMFs.Method:A questionnaire was distributed to a random sample of attendees entering and attending two separate 20,000-person OMFs; one in Canada (Festival A) and one in New Zealand (Festival B). Responses focused on demographics, planned alcohol and recreational drug use, perceptions of medical services, and whether the absence of medical services would impact attendees’ planned substance use.Results:A total of 851 (587 and 264 attendees for Festival A and Festival B, respectively) attendees consented and participated. Gender distribution was equal and average ages were 23 to 25. At Festival A, 48% and 89% planned to use alcohol and recreational drugs, respectively, whereas at Festival B, it was 92% and 44%. A great majority were aware and supportive of the presence of medical services at both festivals, and a moderate number considered them a factor in attendance and something they would not attend without. There was significant (>10%) agreement (range 11%-46%; or 2,200-9,200 attendees for a 20,000-person festival) at both festivals that the absence of medical services would affect attendees’ planned use of alcohol and recreational drugs.Conclusions:This study found that attendees surveyed at two geographically and musically distinct OMFs had high but differing rates of planned alcohol and recreational drug use, and that the presence of on-site medical services may impact attendees’ perceptions of substance use risk. Future research will aim to address the limitations of this study to clarify these findings and their implications.
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Um, Gi Jun. "A Study on Brand Identification through Poster of International Film Festival." Korea Institute of Design Research Society 8, no. 4 (December 31, 2023): 181–92. http://dx.doi.org/10.46248/kidrs.2023.4.181.
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Brands that were used to identify products or services are gradually expanding their scope. In addition to companies and product brands, interest in brands is also increasing in the country, individuals, and local governments. International film festivals are also establishing their identity over time, and this appears in various forms. One of them, the poster, is appealing for the film festival by implicitly showing the identity of the film festival. In this study, we analyze what patterns are represented for posters of domestic and overseas international film festivals, focusing on sensory elements, and consider the relationship between sensory elements and brand identity. To this end, we analyzed the meaning, shape, and color elements, focusing on the film festival posters produced since 2000, and found out how their patterns express the film festival identity. As a result of the study, it was confirmed that each film festival showed a clear visual pattern, and through this, style, theme, and overall impression were formed.
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Stajić, Jana. "The user's perception of the quality of service in organizing music festivals using the SERVQUAL model." Tehnika 79, no. 2 (2024): 227–34. http://dx.doi.org/10.5937/tehnika2402227s.
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In this paper, the user's perception of the quality of the music festival organizing service was analyzed. The tool for measuring the quality of music festivals is based on the SERVQUAL model. The research was conducted during the months of May and June, 2023. The obtained results can be useful to the organizers of music festivals in order to improve the quality of the services they provide. The EXIT festival, which is organized in July every year in the Petrovaradin Fortress, in Novi Sad, Serbia, was used as the subject of analysis.
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Van Leeuwen, James, Humphrey Nabimanya, Andrew Ward, Ryan Grundy, and Mark Thrun. "Music Festivals Serving as a Catalyst for Collaborative HIV Prevention Education and Expanded HIV Testing in Rural Uganda." International Journal of Community Development 6, no. 1 (June 9, 2018): 1. http://dx.doi.org/10.11634/233028791503915.
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From 2014 through 2016, we produced a music festival in rural Kabale, Uganda in order to facilitate HIV testing and reproductive health services offered by NGOs specializing in HIV and sexual health. Our aim was to assess the effectiveness of a music festival to engage persons in sexual health and HIV screening services. Clinical service data was compiled and analyzed. Between 2014 and 2016, over 38,000 persons attended the annual festivals and were exposed to HIV prevention messaging. Over 7,000 persons have been tested for HIV. In 2016, 4,588 HIV tests were performed. In addition, 36 long-acting means of contraception were placed, 33 women were screened for cervical cancer, 2 tubal ligations were performed, and 193 men were referred for circumcision. Music festivals created a novel opportunity to provide sexual health services including prevention education, reproductive healthcare, and HIV testing to persons at risk for HIV in rural Uganda.
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Lin, Yi Hsien, and Tsung Hung Lee. "How the authentic experience of a traditional cultural festival affects the attendee's perception of festival identity and place identity." International Journal of Event and Festival Management 11, no. 3 (June 9, 2020): 357–73. http://dx.doi.org/10.1108/ijefm-12-2019-0061.
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PurposeThis study examines the relationship between authentic experience and festival identity as well as place identity among tourists visiting the 2018 Lugang Dragon Boat Festival, one of the largest traditional cultural festivals in Taiwan and the festival with the longest history.Design/methodology/approachUsing an on-site survey with convenience sampling, a total of 1,360 valid questionnaires were collected in Lugang Township, a well-known, popular heritage tourism destination in Taiwan. The study also applies structural equation modeling to examine the proposed research model.FindingsThe findings of this study establish that the investigated authentic experience has relationships with image, value, satisfaction and identity, thus filling a research gap. In accordance with the theoretical model, the experience of authenticity affects satisfaction through festival image and festival value and strengthens both the attendee's perception of festival identity and place identity.Originality/valueThis research has both theoretical and managerial values. Regarding its theoretical implications, the study explains the relation between authentic experience and festival and place identity. Thus, it fills a research gap resulting from insufficient academic interest in the relationship between festival satisfaction and the formation of festival and place identity. Regarding its managerial implications, to achieve sustainable festival development, festival information services, programs, souvenirs, food and facilities and the convenience of festival activities should be strengthened.
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Munn, Matthew Brendan, and Stefan Gogaert. "Who Revisits Medical Services at a Music Festival?" Prehospital and Disaster Medicine 34, s1 (May 2019): s178—s179. http://dx.doi.org/10.1017/s1049023x19004102.
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Introduction:Attendees at music festivals rely upon on-site medical services for their emergency and medical care needs. Patients previously cared for can re-present for services at different times over the course of an event.Aim:To identify the proportion of visits that are repeat presentations at music festivals and discuss themes in the medical care needs of these potentially resource-intensive patients.Methods:This study included a review of prospectively enrolled patients presenting for health services over five years at a number of music festivals in Belgium and Canada. Patient data were extracted from existing databases of visits as well as visit documentation, and linked by name and date of birth to identify repeat visits. Data were de-identified and visit times, triage acuity, chief complaints, treatments, and discharge instructions were extracted.Results:Re-presentations constituted approximately 5% of all on-site medical visits. The majority were for minor care (e.g., wounds, dressings, foot care). Repeat visits for major issues included chronic disease (e.g., asthma, seizures, diabetes) and serial intoxications; these were high risk for transport to hospital. Festival duration was positively correlated with the number of patients with multiple visits. Three or more visits or visits in different years were rare occurrences.Discussion:At music festivals, a small but significant proportion of attendees utilize medical services repeatedly. Most are low acuity issues that could potentially be avoided with counseling or supplies at the initial visit. However, higher acuity re-registrations, both within and between event years, are a higher risk for transport and could benefit from early identification. Having a plan to identify and potentially remove the sicker, higher risk patients from the event could be important for safety and liability.
Dissertations / Theses on the topic "Festival services"
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Batchelder, Xela Ann Pollock. "The world's largest arts festival, The Edinburgh Festival Fringe mechanics, myth and management /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149104422.
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Mbanaso, Michael Udochukwu. "Urban Service Delivery System and Federal Government Bureaucracy: A Structural Analysis of Spatial Distribution of Water Supply in a Suburban Community of Metropolitan Lagos." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/1234.
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This study identifies the prevailing scarcity of urban public services and the conceptual relations among service delivery, patronage, bureaucratic activities and structural factors in the Lagos Metropolitan region. It examines the extent to which clientelism, bureaucratic decision rules and structural theoretical models explain water service delivery patterns in Festival Town (Festac), a suburb of Lagos, Nigeria.
The unprecedented pace of growth of the Lagos Metropolis since the mid-twentieth century gave rise to the spectacular spatial expansion of the continuous built up region. Urban industrial and governmental institutions have not kept pace with the population growth rate of Lagos. This demographic trend also continues to tax the urban service delivery system. The federal government policy proscription entailed the planning and creation of a new town, Festival Town (Festac), as a response to addressing the urban public service problem in the Greater Lagos.
Festac is well serviced with modern urban infrastructural facilities for the delivery of water supply and water related services. In recent years, however, the local residents of Festac have been faced with a similar problem in water supply which is not different from that experienced by urban residents in other parts of Lagos. The painstaking efforts that detailed a pre-planned, designed and carefully considered development of a new urban community have not succeeded in creating a regularly functioning delivery of water supply and water related services. Various analytical tools were utilyzed in conducting the study.
The study concludes that the central factors in the prevailing scarcity of water supply in Festac are technology and infrastructural dependence and dwindling federal state revenues, all of which exacerbate the internal production of essential urban public services and thereby making delivery problematic. The findings presented in this study demonstrate the significance of the specific articulation expressed in the link between the Nigerian export sector, the fiscal capacity of the federal state and public service financing.
This study recommends that if the Nigerian public service delivery system is to overcome its contemporary problems, policies should be adopted which largely depend on existing internal resources.
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Castro, Jennifer de. "Le Festival de Cannes et la promotion du cinéma (1946-1972) : le 7ème art, un objet culturel protéiforme au service du prestige national." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA015.
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Cette thèse propose une approche historique et culturelle du Festival de Cannes, en mettant l'accent sur son rôle, contrasté, dans la promotion du cinéma en France de 1946 à 1972. Quelle(s) image(s) ses organisateurs entendent-ils donner du cinéma et quelle image contribue à en construire la publicisation de la manifestation dans les différents médias de l'époque (télévision, actualités cinématographiques et presse spécialisée) ? Il s'agit donc de savoir comment été perçu le cinéma après la Seconde Guerre mondiale par l'intermédiaire du Festival de Cannes, d'évaluer comment le Festival a cherché à modifier en France ou a modifié dans les faits (ce qui n'est pas forcément la même chose) l'image, le statut, les fonctions du cinéma et le rapport au cinéma, national ou international, et de voir comment les médias abordent l’actualité cinématographique. Les recherches, essentiellement faites à partir de fonds d’archives – celles de l’Association du Festival de Cannes, de la télévision et de la presse spécialisée –, ont permis de comprendre les différents aspects de la manifestation et de saisir les relations qu'entretiennent les différentes institutions en charge de l’événement avec le cinéma.1946, année de la première édition du Festival, est le point de départ de ses recherches. 1972, année où le Comité d’Organisation devient le seul décisionnaire des films sélectionnés, les clôture. Entre ces deux dates, 25 éditions où les pays participants choisissaient eux-mêmes les films envoyés sur la croisette. 25 années où le contexte socio-politique mondial s’invite sur la scène cannoise mettant à l’épreuve les ambitions artistiques mais aussi les intérêts économiques et diplomatiques des organisateurs du Festival de Cannes ; 25 années dont les médias sont, partiellement et/ou différemment selon les sources, les reflets privilégiésThis thesis offers a cultural and historical approach about the Cannes Film Festival by emphasizing the accent on its contrasted role in promoting cinema in France from 1946 till 1972. What images intended the organizers to give about cinema and what images contributed to build the exposure and coverage of Cannes Film Festival in the various media of that time such as television, cinema newsreels and specialised press?It is therefore about to know how Cinema was perceived after the Second World War by the prism of the Festival, to evaluate how it tried to modify in France or modified effectively (which is not necessarily the same point) image, status and functions of Cinema and the relationship with native and international cinema then finally to see how medias approached the film industry current events. The research, essentially engaged from Archives Collections - such as those of Cannes Film Festival Association, television and specialist publications -, allowed to understand the various aspects of the Festival and to perceive the links which maintained the various institutions in charge of the event with Cinema.The first edition of the Festival in 1946 is the starting point of this research. It ends in 1972, twenty-five years later, when the Steering committee has become the only decision-maker of the selected movies. During these twenty-five editions the participants themselves used to select the movies to sent to the « Croisette ». Twenty-five years during which the world social and political context invited itself in Cannes to put to the test the artistic ambitions and the economic and diplomatic interests of the organizers of the Cannes Film Festival. Twenty-five years during which the medias were partially and/or variously the privileged reflections
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Proos, E., and D. Kokt. "DEMOGRAPHIC PROFILE AND SERVICE DELIVERY EXPECTATIONS OF VISITORS TO THE BLOEMFONTEIN VRYFEES." Interim : Interdisciplinary Journal, Vol 13, Issue 2: Central University of Technology Free State Bloemfontein, 2014. http://hdl.handle.net/11462/289.
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Published ArticleThe contribution of tourism to the development of local regions is prolific, as it creates jobs and stimulates the economy (Lopez-Bonilla & Sanz-Altmira 2010; O'Sullivan & Jackson 2010; Saayman & Rossow 2011; Visser 2005). Events are an important motivation for tourists to travel. In this sense, there are three types of events: business events, sport events and festivals (Getz 2007). Festivals and festival tourism is a booming form of event tourism and the importance of festivals are recognized in both national and international spheres (Yang, Gu & Cen 2011). With this in mind, it is imperative that festival organisers have adequate information pertaining to the demographics and service delivery expectations of festival goers. The data for this investigation was collected during the 2013 Bloemfontien Vryfees and the findings report on the demographic composition of the festival goers and their service delivery expectations.
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Raffelli, Francesca. "Il Design Thinking e il Service Design per un approccio strutturato all'innovazione dell'esperienza di fruizione di un festival di opera lirica." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020.
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Tante volte tutti noi ci siamo lamentati di un servizio. Troppe volte ci siamo arrabbiati dopo aver parlato con un operatore che non comprendeva per nulla le nostre richieste, che non capiva le nostre necessità.
La percezione di un’esperienza è determinata dall’impatto emotivo che essa ha sull’individuo.
Ci aspettiamo che un servizio ci offra un supporto, costruito in base alle esigenze che abbiamo come utilizzatori. Sempre di più nel corso dell’evoluzione di questa disciplina, infatti, è stato attribuito un ruolo centrale all’individuo, il cui benessere è stato messo al centro dell’attenzione.
La messa in scena di un’esperienza deve orientare i suoi sforzi anche verso l’aspetto emotivo, per garantire questa percezione del servizio costruito attorno all’individuo ed evitare qualsiasi tipo di situazione che posso minare negativamente l’esperienza.
L’obiettivo di questa tesi è quello di esplorare l’affascinante mondo dell’opera lirica, cercando di utilizzare gli strumenti offerti dal Design Thinking e dal Service Design per scoprire nuovi ambiti di applicazione e instaurare una relazione inusuale fra queste due realtà così affascinanti e complesse.
Con questa tesi di laurea magistrale si vuole mostrare come un attento studio sugli utenti, siano essi i fornitori o i fruitori del servizio, sia di grande aiuto per la promozione e la diffusione di un Festival così singolare e senza uguali.
Gli strumenti che quest’affascinante disciplina ci ha fornito sono stati applicati nel corso del progetto e hanno portato ad instaurare un rapporto di fiducia tra fornitori, designer e utilizzatori finali, gettando le radici in un terreno fertile di intuizioni e proposte che un domani potranno essere testate.
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Peng, Yi-Jen, and 彭怡珍. "Constructing the Service Equity Index to Traditional Hakka Festival Services." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/75372714163843482200.
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碩士國立聯合大學
資訊與社會研究所
100
Recent years, more and more Hakka festivals have been held, such as religious celebrations, local and cultural activities. These festival activities not only can provide opportunities for tourism, leisure, but also led to the development of surrounding industrial and local economic. However, there are many critical success factors for the Festival event, including the activities attraction, perfect planning and unique cultural characteristics. Besides, the service also plays the important role during the festival activities. From the perspective of marketing management, the better service quality brings the better impression of the tourists which will make them visit these Festivals again. Therefore, appropriate service design and to make tourists satisfied with the services is the goal to be pursued by the festival organizers. In order to improve the tourist’s satisfaction, the previous researches of marketing management have been focus on brand equity or plain service quality. However, the planning of brand equity and service quality on marketing strategy is not still clear enough in cultural marketing, such as the traditional Hakka festivals activities. Therefore, this study integrated the brand equity index and service quality dimensions to explore the services of traditional Hakka festivals and constructed the service equity index of traditional Hakka festivals. To understand the tourists’ perceived awareness and perceived usefulness of traditional Hakka festivals service. According to the service equity index, the analysis result will assist the manager to identify which service is put too much emphasis or need to be more promoted. In this study, questionnaire survey and qualitative interviews both adapted to collect data and analysis results according to the service equity index. The research result proposed the recommendations for the festival organizers in the service quality of the festivals. Service equity index is a visual matrix, it can be easily understood and offers simply way to evaluate tourist awareness and usefulness of a Hakka Festivals services. This matrix will assist the manager to avoid wasting too many human or social resources, and can be used as the basis of management planning and resource allocation of the traditional festivals. Based on the research results, this study made the following suggestions on the festival organizers. First, the traditional Hakka festival service strategy can be developed for different age groups of tourists. Second, keeping the festival places a clean environment and provide garbage cleaning services. Third, set up the safety equipment and regular patrols to protect the safety of tourist activities. Fourth, take care the mobility problems or disabilities and to construct the barrier-free facilities.. Fifth, training the professional competence of service personnel, provide professional services. Sixth, take E-service to enhance the activities of publicity and use the information technology to improve service quality. Seventh, strengthen the experience and promotion of mobile services, offering tourists a wide range of services. Finally, adapted electronic audio-visual interpretation media to replace the traditional interpretative signs or travel pamphlet. Keywords: Hakka Festivals, Service Equity Index, SERVQUAL, Service Quality
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Hsieh, Hsueh-fen, and 謝雪芬. "The Study Of Using cellphone’s value-added services to attract adolescents’ participation in festival." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/69292284375297674427.
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碩士國立中山大學
傳播管理研究所
94
Abstract This study explores the feasibility of applying mobile phone’s value-added services in attracting adolenscents’ participation in local festival. In recent years, Taiwan’s local governments have been considering how to effectively enhance cultural identities and promote cultural tourism through conducting various kinds of festivals. Against this backdrop, the introduction of using mobile phone for festival marketing is seriously considered. Although adolescents are the group most in need of cultivation of local culture, previous marketing effort proved to be fruitless. Traditional festivals continue attracting visitors from the so-called cultural tourists – those already with cultural knowledge of the tourist site (known as tourist gaze). Usually it was in the ccasion of family tour that adolescents would participate in festivals. Therefore, it has been an issue regarding how to attract adolescents in attending festivals. While adolescents are characterised by the nature of social grouping, plus high flexibility of adopting new technologies, the auther is most interested in how to use mobile phones as a effective means for attracting them to festival places. By conducting a survey of 738 valid samples, generally aged 14-16, from Kaohsiung’s public high schools, the author uses factor analysis to sort out perceiveably the most favorable marketing tools. Short message service (SMS) stands out as the first choice. They also favour value-added services that adds with local culture taste. Particularly they would welcome value-added services that can incorporate role models, favourite products, and group activities into festival marketing. Using adolescents’ familiar jargons will touch their heart as well. This study would contribute to the understanding of Kaohsiung’s adolescents in adopting and using information and communications technologies (ICTs) in general, and whether they would accept mobile marketing for promoting festivals in particular. Hopefully by using this findings as an clue or a guide, local governments and telecommunications operators can design a better-planned and effective festival marketing arrangement which can further help constructs adolescents’ local cultural identity. Keywords: mobile phone, value-added services, festival, marketing, short message, service (SMS)
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CHEN, YU-YEN, and 陳宥諺. "A Study of Value-Added Mobile Services for Film Festival-Using 2014 KFF Cloud Cinema as an example." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/6bsgs6.
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碩士世新大學
廣播電視電影學研究所(含碩專班)
105
Nowadays people can watch movies in different devices because of technology advancement and smartphone popularity. This phenomenon also brings some opportunities to film or video industries to provide video on different platforms. New business models become an important issue. Unlike other film festivals, Kaohsiung Film Festival (KFF) not only provided movies in theaters, but also launched the “KFF Cloud Cinema” app (both iOS & Android systems) in 2014. In this app, pay-per-view (PPV) & video on demand (VOD) services was provided to the audiences. This app attracted over 22,000 downloads and the entries received over 500,000 clicks. KFF 2014 not only created the highest participation rate in Taiwan’s film festival history, but also set a new model for Taiwan’s film festival development. This qualitative study was designed to investigate the present and future feasible business models and user acceptance for short-film-oriented film festivals apps. KFF Cloud Cinema app was adopted as an example. Relevant roles like the festival curator, contestants and audiences were interviewed to gather research data. Total nine respondents from the above three roles were interviewed, and in-depth interview was adopted. A semi-structured interview guide was developed based on the cognitive attributes of innovation, innovativeness of adopters, and priorities of innovation acceptance in the diffusion of innovations theory. The results shown that: (a) KFF Cloud Cinema was designed to adopt a business model of lower profit for promoting short films and encouraging users to pay and watch those films online; (b) instead of the profit sharing model commonly practiced by streaming video platforms, KFF Cloud Cinema charged the broadcast fee to license movie broadcast during the festival period, which is the same licensing model as in traditional film festivals; and (c) both the KFF Cloud Cinema users and KFF entrants had high acceptance of this innovation featuring a complement between the virtual film festival and the physical film festival. Keywords：Kaohsiung Film Festival, KFF Cloud Cinema APP, Diffusion of Innovations Theory, Virtual Film Festival
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Jou, Chang-Yin, and 張尹柔. "The government procurement practices of cultural and creative design services - A case study of 2016 Hakka cultural festival in Taoyuan." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/69239210154570505592.
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碩士中原大學
文創設計碩士學位學程
105
The studies on governmental procurement projects almost focus on the engineering cases only. There are fewer papers on wider exploration and compilation of the labor cases. This is why the author conducted the study. The study manages to realize profoundly the practical process of the labor procurement project of the regional cultural and creative design. The author not only collected and assayed the literature review and interviewed with experts but also conducted the case study consisting of 3 cases: the 2016 Taoyuan Hakka Cultural Festival labor procurement project, the 2016 Taoyuan Hakka Tung Blossom Festival labor procurement project and the 2016 Hakka Pop Music Festival labor procurement project. The findings are as follows. In terms of the executive aspect, the capabilities of sponsoring the labor procurement project of the regional cultural and creative design include: previous relevant experiences, marketing & propaganda, program implementation, practical competence, compatibility and integrity, event arrangement and planning, etc. In terms of bidding, preliminary preparation shall be the point; that is, the procurement announcement, requirements of the tender, objectives of the event shall be read in details and the related proofs and documents shall be kept with integrity. In terms of the contents of bidding documents, the planning theme shall be clear, the event framework shall be concrete and the main visual planning concept shall be innovative and meet the cultural spirit and contents of the tender. In terms of the event process, close communications and negotiations with the procurement units shall be done. The practical process of the labor procurement project of the regional cultural and creative design contains the crucial components as follows: combining more resources and manpower for more creativities and inspirations invested; returning to the cultural spirit and nature; materializing the creativities of the event packages, marketing and promotion for advancing the quality of the event.
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Yuan, Chia-Yu, and 袁嘉鈺. "Enhancing Film Festival Service from the Perspective of Service Design: A Case Study of Women Make Waves Film Festival." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/c69b44.
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碩士大同大學
工業設計學系(所)
104
The purpose of this study is to assist nonprofit organization in developing a sustainable film festival. In recent years, film festival development has grown fast and abundantly in Taiwan. There are 27 film festivals which have been held more than once in 2015. Among these film festivals, the proportion of issue type film festival which held by nonprofit organization is the highest. In a state of keen competition and limited funds, how to make film festival keep on developing is an issue to film festival organizers. With rises of income, standard of living, and level of education, consumer behavior has changed. According to the trend of the experience economy and cultural consumption, this study enhances film festival service from the perspective of service design. This study used Women Make Waves Film Festival which is the most old-established issue type film festival in Taiwan as a case study. This study used both qualitative and quantitative methods to implement the research. This study used participant observation and semi-structured interview to clarify organizational stakeholders and get touchpoint, then, employed template analysis to analyze service encounter and service quality gap. On the other hand, this study used questionnaire survey to collect data of audience extensively and employed regression analysis to investigate the impacts of different film festival experience on audience loyalty. Finally, according to the finding, this study developed a new service design and make service design suggestions to film festival organizers. The suggestions of this study are presented as follows: 1) among four service quality gaps, the number of the design & standards gaps was maximum. It meant that service provider didn’t have the right service design and standards. This study suggested that film festival can establish systematic service course by integrate incorporeal resources and tangible resources to satisfy audience. 2) Different audience characteristics have different degree of dependence on experience satisfaction and loyalty. Generally, among four experience categories, the relationship between introspective experience and loyalty is the strongest. This study suggested that film festival organizers can enhance audience loyalty by improve introspective experience satisfaction.
Books on the topic "Festival services"
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1917-, Greenberg Sidney, and Levine Jonathan D. Rabbi, eds. Siddur ḥadash: Worship, study, and song for all Sabbath and festival services = [Sidur ḥadash : le-Shabat ṿe-yom ṭov]. Bridgeport, Conn: Prayer Book Press, 2000.
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Greenberg, Sidney, and Levine Jonathan D. Siddur ḥadash: Worship, study, and song for all Sabbath and festival services = [Sidur ḥadash : le-Shabat ṿe-yom ṭov]. Bridgeport, Conn: Prayer Book Press, 2000.
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FESPACO (Festival) (10th 1987 Ouagadougou, Burkina Faso). 10e FESPACO: 18 ans au service du cinéma africain. [Ouagadougou, Burkina Faso: FESPACO, 1987.
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Fischer, John. Messianic services for the festivals & holy days. Palm Harbor, FL (P.O.Box 669, Palm Harbor 34682): Menorah Ministries, 1992.
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(Canada), National Postal Museum. L' art voyageur: Festival d'art par correspondance, du 16 septembre au 31 octobre 1992 = Art travels : mail art festival, September 16 to October 31, 1992. Hull, Quebec: National Postal Museum, 1992.
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Union of Liberal and Progressive Synagogues., ed. Siddur Lev Chadash: Services and prayers for weekdays and sabbaths, festivals and various occasions. London: Union of Liberal and Progressive Synagogues, 1995.
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England), Wesley's Chapel (Islington. Order of service: 212th church anniversary : Festival of Freinds of Wesley's Chapel : November 5th, 1989. London: Wesley's Chapel, 1989.
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Luste, Tija. Listing of attractions, festivals, amenities, and services in support of tourism, recreation and other economic opportunities. Toronto, Ont: Waterfront Regeneration Trust, 1993.
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1871-1945, Magil Joseph, ed. Seder kol tefilot ha-shanah =: Magil's complete linear prayer book : with services for Sabbath and Festivals. New York: Hebrew publishing co., 2002.
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Goyhman, Oskar. Organization and holding of events. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1071381.
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Every day around the world held a lot of events: exhibitions, conferences, presentations, festivals, etc. which requires professional skills, communication skills and creativity. In the textbook are given classification of activities, the technology for phased development and examples of some of them.
Meets the requirements of Federal state educational standards of higher education of the last generation.
Designed for students on specialties and directions of the service sector, and also for teachers, professionals, various agencies and all who have to organize events.
Book chapters on the topic "Festival services"
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Zeng, Junyuan. "A study of the effect of event tourists’ perceived value on the revisit intention: a case study of music festival in Chengdu." In Proceedings of the 2023 2nd International Conference on Public Culture and Social Services (PCSS 2023), 305–10. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-130-2_37.
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Jordan, Jennie, and Kristy Diaz. "Festival Marketing." In Principles of Festival Management. Goodfellow Publishers, 2019. http://dx.doi.org/10.23912/978-1-911396-82-6-4063.
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Marketing, promotion, sales, communications, audiences, participation – the concepts covered in this section are a fundamental part of festival management, whether your event is a community fête or a globally recognised music festival. The word ‘marketing’ originated from the simple forms of buying and selling that can be seen in a local street market, but the term now encompasses a range of sophisticated techniques that have developed to help companies decide what products and services to produce and how to persuade people to buy them. This chapter introduces marketing concepts and illustrates how festivals and cultural events can adapt the techniques to develop appropriate experiences for festival-goers, artists and communities. This chapter will introduce concepts such as supply and demand, segmentation and targeting, CRM (customer relationship management), experience marketing and its relationship to service design, and branding. It will raise questions about the extent to which a festival’s artistic programme can or should be led by market demand, whether the relationship between artists and festival-goers is more complex than those expected in traditional marketing models and about the ethics of storing and using data collected on festival-goers’ behaviours and preferences.
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Dalgic, Ali, and Kemal Birdir. "Which Key Factors Will Be Effective in the Success of Festivals?" In Advances in Marketing, Customer Relationship Management, and E-Services, 1–17. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4954-4.ch001.
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Festivals have become one of the most popular types of events. Many factors need to be brought together for the festivals so that people can get rid of the stress of daily life and have different, life-enriching experiences. These factors, which are brought together in the planning and organization stages of the festivals can be considered as key success factors. Although the research shows different results regarding the festival success factors, the most important factors are cited as the festival program, the festival area, accessibility, information, employees and volunteers, souvenirs, convenience, food, and security. In addition to these factors, the festivals organized in recent years have benefited from many technological applications which have increased the participants' experiences. Robots, internet of things (IoT), virtual reality (VR), augmented reality (AR), artificial intelligence (AI), and self-service technology applications may be among the key factors that will play a role in the success of future festivals.
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Bezirgan, Muammer, and Sevim Yetginer. "The Effect of the Festivals on the Development of Tourism With the Support of Residents." In Advances in Hospitality, Tourism, and the Services Industry, 111–32. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-5225-9936-4.ch006.
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The positive effects of the festivals are composed of five factors: social image and entertainment opportunities, infrastructure and urban development, local promotion, economic development, and socio-cultural changes. The negative effects of the festival consisted of four factors: traffic problems, environmental risks and social conflict, security risks, and economic costs. As a result of the testing of research hypotheses, it has been determined that two factors (social image and entertainment opportunity, economic development) which are among the positive effects of the festival have a positive effect on the support of the local people to the development of tourism. Among the negative effects of the festival, environmental risk and social conflicts and traffic problems factors have been found to have a negative effect on the support of the local people to the development of tourism.
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Akyürek, Suat. "Gastronomic Festival Tours in Turkey." In Managing Festivals for Destination Marketing and Branding, 127–44. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-6684-6356-7.ch008.
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The demand for gastronomy tourism has been increasing in recent years, and gastronomy tours and festivals are marketed as an important gastronomic product in meeting this demand. However, research on the motivation and expectations of tourists participating in gastronomy festivals are still not sufficient in the literature. In this study, it is aimed to determine the motivation and expectations of tourists who participated in the tours organized under the name of gastronomic festival tours. Face to face interviews were carried out with 23 tourists who participated in three different gastronomic festival tours arranged in Turkey. In the light of the findings, the motivations of tourists participating in gastronomic festival tours were evaluated within the scope of push and pull factors. Expectations of tourists from gastronomic festival tours were classified into five categories as general services, relations with other people, environmental conditions and internal expectations, which were especially for products/activities that are the focal point of the tours.
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Austen, Steve. "Some Reflections on the Future of Festival Practice in Europe." In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2654.
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After many years participating in meetings of festival directors, an interesting thing that can often be observed is that even after days of serious discussion one can be hard pushed to find a common denominator between them. An easy conclusion? Festivals differ from each other; even if they share the same artistic discipline or specialism within a discipline or sometimes even the same artists, the environments in which festivals operate are different so that they defy easy comparisons. From this perspective a primary benefit of meetings of festival organisers is that they may provide participants with a reality check which may validate their claims to uniqueness. This is not to suggest that such meetings are therefore of limited value for festival directors and other professionals. On the contrary, the more festivals have to fight for funding, the more they need objective legitimacy, and that legitimacy is often derived from dialogue between festival directors. This chapter will therefore focus on the legitimacy issue for those festivals that depend on taxpayers’ money and which are now faced with the prospect of diminishing support from public bodies, ministries, regional and local governments, less appreciation from taxpayers and more and more competition from alternative leisure-oriented goods and services. Already, many festivals which began during a period of stronger public support for arts and cultural activity are indicating that the earlier prestige associated with professional cultural products has diminished (the art for art’s sake paradigm). And that nowadays financial sustainability can only be achieved through a demonstration of the role that culture and in particular festivals can play in society (the instrumentation paradigm).
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Kelly, Paul. "Creating Your Festival Budget." In Principles of Festival Management. Goodfellow Publishers, 2019. http://dx.doi.org/10.23912/978-1-911396-82-6-4067.
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After reading this part you should: The director of a company specialising in festival support services had just come back from a contract at London’s Hyde Park, a big outdoor event, headlined by The Eurythmics, a fashionable band at the time. “What were they like?” an excited music enthusiast asked him. “I’ve no idea,” came the droll reply, “I spent the whole evening unblocking the toilets” (Toby Short of Rock City Stage Crew, 1999). To some, festival budgeting is a bit like that, it’s a task that seems dull boring and repetitive, but it’s also incredibly important. Doing endless budget projections – and they will keep changing – keeping a track of estimates and invoices, managing your cashflow and then counting the pennies at the end of the event is hardly glamorous. But if the finances get all blocked up or don’t flow in the right way, the smell will be pretty unpleasant and, in extreme cases you might even have to sell all your worldly possessions to sort out the mess.. Good budgeting is crucial to the long-term success of your festival and also your peace of mind. It’s not difficult, so long as you are careful and methodical. As your event grows, the financial numbers will obviously get bigger and some of the control issues get more complicated. But the principles remain the same. A growing festival will need to get the advice of an accountant, especially where tax matters are concerned.
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Rangel-Pérez, Celia, and María José Carretero. "How Branded Content is Strategically Transforming the Use of Traditional and Non-Traditional Media in Integrated Campaigns." In Advances in Marketing, Customer Relationship Management, and E-Services, 299–318. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-3971-5.ch013.
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New technologies have brought a fresh set of problems to the world of advertising and publicity, such as a multiplicity of screens and media. This is on top of the problems that already beset that world, such as saturation and the lack of credibility of advertising messages. The industry's response has been the use of non-conventional media, aimed at reaching the consumer in a different way. To determine whether this media has become a standardised, across-the-board phenomenon, a quantitative and qualitative study of 125 integrated campaigns was done that won the major awards at the El Sol “Latin American Advertising Festival,” and The Cannes Lions International Festival of Creativity between 2015 and 2021. The boundaries between conventional and non-conventional media are now decidedly less clear-cut, so much so that the information media, and consumers as well, have become, albeit unconsciously, a part of the advertising and publicity machinery.
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Asero, Vincenzo, and Venera Tomaselli. "Evaluating the Impact of a Tourist Event on a Destination." In Advances in Hospitality, Tourism, and the Services Industry, 1–17. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2603-3.ch001.
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Events create different types of impact on the local economy and host communities. They can trigger a variety of short- or long-term, positive or negative impacts. Literature distinguishes the term ‘impact' from ‘legacy.' While impacts affect the economy of the host place in the short-term, legacy remains longer than the event itself. Thus, if residents perceive benefits from the event, they will be supportive of hosting in the future. This chapter focuses on events as entrepreneurial opportunities of tourism and hospitality for a hosting place. It is based on the perceptions expressed by the different categories of local stakeholders involved in an international literary festival hosted in Italy. The study shows that evaluating and understanding the legacy effects for a place hosting an event, as perceived by the different local stakeholders involved, can provide managerial insights for planning over time events in the same place.
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Bassetti, Chiara. "Building the Playground for Collective Imagination: Ethnography of a Détournement around Moneywork and Carework." In Ethnographies of Collaborative Economies across Europe: Understanding Sharing and Caring, 149–72. Ubiquity Press, 2022. http://dx.doi.org/10.5334/bct.i.
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The chapter presents a case study of a digital complementary currency – Santacoin (SC) – co-designed, implemented and deployed at a 10-day performing arts festival in Italy. SC allowed participants to create a parallel economy within the blurring boundaries of the festival, in a sort of ‘serious game live’: enacted in the wild, with money and bodies at stake. The case study was conducted through a team ethnography that analysed the engagement of festival attenders, artists and staff with the system and the artistic intervention at its root. Indeed, SC was conceived as the core of a performance co-designed by Macao art collective and a group of local caregivers and wellbeing practitioners who then provided their services in the public space. This was thought of as a radical and experimental performative action for leading people to imagine new forms of social production and reproduction within an alternative world, a ‘citadel’ where finance could be thematized and sociopolitical imaginaries practised. It was a localized experiment in community building and collective imagination around issues of inequality and social re/production. The chapter provides an ethnographic account of the collaborative intervention and its main results. In doing so, it reflects on two main dimensions: the intersection of ‘moneywork’ and caring practices as explicitly thematized in the public space, and the role social interaction, relationships and communities play in collective imagination experimentations.
Conference papers on the topic "Festival services"
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Kim, Ji-hye, Sang-woo Cho, Da-jeong Park, Kyung-hee Lee, Chi-hwan Choi, and Wan-sup Cho. "Local Festival Marketing and Application Plan for Agricultural Products by Utilizing Big Data from Online Shopping Mall." In BigDAS '15: 2015 International Conference on Big Data Applications and Services. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2837060.2837103.
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Najafi, Hossein. "Festival ao vivo: Streaming on-line de projetos de imagens em movimento dos alunos, na era da COVID." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.154.g286.
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A pandemia de COVID-19 interrompeu a maioria das atividades sociais, incluindo a educação e, inesperadamente, estudar e trabalhar em casa tornou-se uma nova normalidade (Dockery e Bawa, 2020). No entanto, isto apresentou desafios, incluindo questões sobre como os educadores podem fazer a curadoria de exposições, apresentações e exibições de fim de ano, que se tornaram parte integrante da prática da escola de arte. Estes eventos constituem mais do que um “final comemorativo” para as escolas de arte. Hauan e Kolstø, (2014) sugerem que eles também podem funcionar como ambientes importantes de aprendizagem. Esses tipos de eventos geralmente são formatados como festivais de cinema. À sombra da COVID-19, muitos festivais de cinema em todo o mundo ficaram on-line. Tradicionalmente, os alunos de efeitos visuais (VFX) da Universidade de Tecnologia de Auckland (AUT) exibem seus curtas-metragens baseados em efeitos visuais, no final de cada semestre, em um evento popular chamado Screening Night (Figura 1). Este festival não é apenas um momento de orgulho para os alunos, onde podem mostrar o resultado final para seus amigos, familiares e potenciais colaboradores e empregadores, mas também apoia processos de networking. Todos os anos, um painel de potenciais empregadores e artistas da Nova Zelândia é convidado para esses festivais, e um diálogo construtivo ocorre durante e após o evento. Quando a COVID-19 ocorreu, a cidade de Auckland passou por um grande bloqueio — todas as reuniões sociais, incluindo a noite de exibição do AUT, foram canceladas. Este estudo de caso oferece uma consideração pedagógica de como um método alternativo para a exibição de eventos, usando festivais com transmissão ao vivo por meio de serviços on-line, pode ser projetado e facilitado. A transmissão ao vivo on-line tem sido um meio proeminente para emissoras pessoais e individuais tão diversas quanto jogadores de vídeo, revisores de gadgets, chefs domésticos e creches, por meio das quais monetizam as atividades de criação de conteúdo para criar fontes significativas de receita (Kaytoue et al., 2012). Assim, tais métodos são familiares aos alunos e se propõem como potenciais para aplicação, design e desenvolvimento educacional. Este estudo de caso demonstra como a estrutura de um festival migrou e foi reformatada para um festival com transmissão ao vivo, onde os alunos: apresentaram seus trabalhos com um discurso autorreflexivo; apresentaram seus filmes e os problemas da produção de VFX; receberam feedback e comentários de convidados; receberam apoio positivo do curador; estabeleceram, em rede, um “espaço de pavilhão” e envolveram-se em discussões sobre empregabilidade. Por meio de um planejamento vigoroso, o ethos do evento noturno de exibição física foi traduzido em um evento de festival com transmissão ao vivo. Os alunos apresentaram suas obras de arte em seus discursos autorreflexivos on-line, as pessoas foram convidadas a comentar e revisar as obras de arte junto com os apresentadores. O evento do festival com transmissão ao vivo apresentou novas funções, incluindo comentários interativos. Além disso, muitos alunos estavam assistindo ao evento do festival com transmissão ao vivo com suas famílias em suas casas, dentro de suas “bolhas” — o espectro para a comunidade pareceu ficar mais amplo. O estudo demonstra que a exibição com transmissão ao vivo como um método pedagógico pode se constituir uma alternativa eficaz aos eventos tradicionais de exibição física, não apenas na era das restrições da COVID-19, mas como uma abordagem adaptável para futuros festivais on-line, apresentações e iniciativas de rede.
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Najafi, Hossein. "Festival en vivo: Transmisión en línea de los proyectos de imágenes en movimiento de los estudiantes en la era de COVID." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.154.g285.
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La pandemia de Covid-19 ha interrumpido la mayoría de las actividades sociales, incluida la educación, e inesperadamente estudiar y trabajar desde casa se ha convertido en la nueva normalidad (Dockery y Bawa, 2020). Sin embargo, esto ha presentado desafíos, incluidas preguntas sobre cómo los educadores podrían coordinar exposiciones, presentaciones y proyecciones de fin de año, que se han convertido en una parte integral de la práctica de la escuela de arte. Estos eventos constituyen más que un “final de celebración” para las escuelas de arte. Hauan y Kolstø, (2014) sugieren que también pueden funcionar como entornos de aprendizaje importantes. Este tipo de eventos suelen tener el formato de festivales de cine. A la sombra del Covid-19, muchos festivales de cine de todo el mundo se han desarrollado en línea. Tradicionalmente, los estudiantes de efectos visuales (VFX) de la Universidad Tecnológica de Auckland (AUT) han mostrado sus cortometrajes basados en efectos visuales al final de cada semestre en un evento popular llamado Screening Night (Figura 1). Este festival no solo es un momento de orgullo para los estudiantes, donde pueden mostrar el resultado de su trabajo final a sus amigos, familiares y posibles colaboradores y empleadores, sino que también apoya los procesos de networking. Cada año, se invita a un panel de posibles empleadores y artistas pares con sede en Nueva Zelanda a estos festivales y se produce un diálogo constructivo durante todo el evento y posteriormente. Cuando ocurrió la pandemia por Covid-19, la ciudad de Auckland experimentó un bloqueo extenso, a partir del cual se cancelaron todas las reuniones sociales, incluida la noche de proyección de AUT. Este estudio de caso ofrece una consideración pedagógica de cómo se podría diseñar y facilitar un método alternativo para proyectar eventos usando festivales en vivo a través de servicios de streaming. La transmisión en vivo en línea ha sido un medio prominente para locutores personales e individuales tan diversos como jugadores de video, revisores de gadgets, chefs caseros y guarderías, a través del cual monetizan las actividades de creación de contenido para crear importantes fuentes de ingresos (Kaytoue et al., 2012). En consecuencia, dichos métodos son familiares para los estudiantes y se proponen como potenciales para la aplicación, el diseño y el desarrollo educativos. Este caso de estudio demuestra cómo la estructura de un festival fue migrada y reformateada para un festival en vivo donde los estudiantes: presentaron su trabajo con un discurso auto-reflexivo, mostraron sus películas y los desgloses de producción de vfx, recibieron comentarios y reseñas de los invitados, recibieron el apoyo positivo del curador, trabajaron en red en un “espacio de pabellón” y participaron en debates sobre empleabilidad. Luego, a través de una planificación vigorosa, el espíritu del evento nocturno de proyección física en persona se ha traducido en un evento de festival en vivo. Los estudiantes presentaron sus obras de arte en sus discursos autorreflexivos en línea, se invitó a los invitados a comentar y revisar las obras de arte junto con el convocante. El evento del festival en vivo contó con nuevas funciones que incluyen comentarios interactivos en vivo. Además, muchos estudiantes estaban viendo el evento del festival en vivo con sus familias en su casa, dentro de su burbuja, por lo que el espectro hacia la comunidad fue más amplio. El estudio demuestra que la proyección en vivo en streaming como método pedagógico puede constituir una alternativa eficaz a los eventos tradicionales de proyección física en persona, no solo en la era de las restricciones de Covid-19, sino como un enfoque adaptable para los futuros festivales, presentaciones, aprendizajes en línea e iniciativas de networking.
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Xiaoqian Hu, Hong Li, and Xiuguo Bao. "Urban population mobility patterns in Spring Festival Transportation: Insights from Weibo data." In 2017 14th International Conference on Service Systems and Service Management (ICSSSM). IEEE, 2017. http://dx.doi.org/10.1109/icsssm.2017.7996303.
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Pawan, Marry Tracy, and Juliana Langgat. "IMPACT OF COVID-19 ON EVENT INDUSTRY: EVENT AUDIENCE READINESS TOWARDS EVENT DIGITIZATION." In GLOBAL TOURISM CONFERENCE 2021. PENERBIT UMT, 2021. http://dx.doi.org/10.46754/gtc.2021.11.056.
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For the event organiser, Sabah is one of the states that becomes a focal point. As Sabah is one of the most popular tourist destinations, several large events such as the Sabah Jazz Festival, Pesta Lepa-lepa, Pesta Kaamatan, Pesta Kalimaran, and other festivals have been held. However, COVID 19’s disruptive impacts have had such a significant impact on the event sector. Most of the events are getting cancelled or postponed all over the world. Over the past several months, a significant number of meetings and conferences have been redesigned as virtual events. However, the event industry needs to know the readiness of the public towards the shifting from the physical to the digital. Therefore, the objective of this research is to determine the event audience readiness for digital events. It is important for the event industry to know the readiness and a good online platform in providing a good service to their audience. A quantitative method was used to conduct this study. The main finding will see how far our communities is ready to adapt the new norm. Based on the finding it shows that event audience are willing to adopt the event digitisation, and this is due to the impact of the COVID 19pandemic which was accelerating changes in event audience behaviour. This research will benefit the event organisers and help them prepare strategic plana to cater to the audience needs.
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Thudichum Vasconcelos, Ana, and Joao Cruz. "Design Strategies for Socio-Environmentally Adverse Territories." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001392.
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In an inland southern region of Portugal, pathologies that intersect social and environmental problems have been identified, such as low density, aged and dispersed population, as well as low rainfall and high temperatures. An applied research and development initiative endorsing those problems was carried out by students and staff of the University of Lisbon along two years. This text reflects on this experience and the role of design on such predicaments.The research questions are: how and what kind of innovation can design bring to the community's quality of life in territories under adverse conditions of that kind?A previous analysis, carried out between local authorities and our design school, allowed us to trace two lines of investigation, one aimed at intensifying the flow of people within the territory, and the other focused on promoting the relationship between Man and his environment.Considering that design can contribute to the process of social change, through design for social innovation and collaborative services, we reflect on the main characteristics that the design projects must contemplate, which are: a user-centered perspective; be a participatory process; to draft with a sustainability perspective; adopt a multilevel perspective; to endorse innovation and; sustain problem solving.The research methodology involves the transversal use of design methods and participatory processes, immersion in the territory, collection of primary and secondary data, definition of the concept, development of proposals, communication and validation by the municipal authorities.The results are a set of projects with a wide range of solutions in the field of social innovation, with the aim of valuing social interaction, valuing culture and regenerating the local landscape, namely: a cultural caravan service; a Lab-desk service; a cultural project to reactivate community wood-fired bread ovens; a website to publicize local projects focused on agroecological food; a Center for the Intangible Cultural Heritage; a co-working and co-living service; an environmental festival; a research service aimed at better understanding the needs of the “silent population”; a garden at the historic urban center of Mértola town; a public botanical garden; and, the renovation of a public area in a small village.The relevance of this work lies in the assertion of the potential of design strategies for social inovation, particularly in a context of social and environmental adversity, where design can fullfill a key role valuing the daily lives of populations. This article demonstrates that there is an immense space for work involving the public institutions managing this type of territories and the design academia. From our experience, a transversal line stands out: the intersection between local knowledge and the external population. This converges it the idea that the value that design brings to this kind of community is the drafting of arenas of social interaction where the local social fabric is nurtured and, simultaneously, beholding people´s awareness of the surrounding environment’s frailty.
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Chen, Lianghui, Jianhao Mai, and Jian Yin. "Parameters Estimated Subsection Predicting Model for Electric Power Consumption in the Spring Festival." In 2012 International Conference on Computer Science and Service System (CSSS). IEEE, 2012. http://dx.doi.org/10.1109/csss.2012.363.
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Yang, Jie, and Xuehui Zeng. "Notice of Retraction: Festival tourists' emotion, perceived service quality and behavioral intentions." In 2010 2nd International Conference on Education Technology and Computer (ICETC 2010). IEEE, 2010. http://dx.doi.org/10.1109/icetc.2010.5529537.
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Goncharenko, Oksana A. "The role of Donetsk N. K. Krupskaya Republican Universal Scientific Library in educating ecological consciousness of population." In The libraries and ecological education: Theory and practice. Russian National Public Library for Science and Technology, 2020. http://dx.doi.org/10.33186/978-5-85638-227-2-2020-83-85.
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The forms and methods of activities aimed at educating ecological culture of population applied by Donetsk Republican Universal Scientific Library are discussed. The bibliographical index on ecological conditions in the Republic is presented. Large scale events are held; the Library participates in webinars and festivals; offers traditional library services organizing book and virtual exhibitions, incorporates ecological vector in the activities of the Library’s clubs.
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Deng, Yunguang, and Haijun Lv. "The analysis of the causes of alibaba's “double eleven shopping festival” sales growth rate slowing under the new normal." In 2016 International Conference on Logistics, Informatics and Service Sciences (LISS). IEEE, 2016. http://dx.doi.org/10.1109/liss.2016.7854593.
Full textReports on the topic "Festival services"
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Ryan, Mark David, Greg Hearn, Marion McCutcheon, Stuart Cunningham, and Katherine Kirkwood. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Busselton. Queensland University of Technology, January 2021. http://dx.doi.org/10.5204/rep.eprints.207597.
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Located a two-and-a-half hour drive south of Perth, Busselton is one of the largest and fastest growing regional centres in WA, a lifestyle services hub and the gateway to the internationally renowned wine region and popular tourist destination of Margaret River. Promoted by the City of Busselton council as the ‘Events Capital of WA’, Busselton has a strong festival and events economy that fuels local creative and arts production, supported by demographic shifts and population growth that is resulting in more creatives living and working in the city.
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Chaitoo, Ramesh. The Entertainment Sector in CARICOM: Key challenges and Proposals for Action. Inter-American Development Bank, April 2013. http://dx.doi.org/10.18235/0009113.
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Although small in terms of population, the Caribbean is renowned for its creativity. Its cultural diversity is manifested in a variety of artistic expressions including folklore, crafts, performances, music festivals, and carnivals. Despite the Caribbean's great potential in the entertainment sector, important domestic challenges - emanating from both public and private sectors - have long impeded the successful growth of creative industries. The paper explains how the implementation of the Economic Partnership Agreement with the European Union should serve as an impetus for stakeholders in the region to address these barriers thereby creating favorable conditions for the production and export of Caribbean entertainment services. This Study presents an overview of policies in the creative sector in terms of the promotion of services exports in selected CARICOM states: Barbados, Jamaica, and Trinidad and Tobago. This Technical Note highlights bottlenecks to implementation of recommendations proposed in existing analyses and diagnostics and suggests specific ways in which these can be overcome. It formulates concrete recommendations for relevant actors, including donors and domestic governments, to promote the development of the creative industries.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.
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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.
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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.