Journal articles on the topic 'Festivals'
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Muylaert Mager, Juliana, and Ana Maria Mauad. "EM CARTAZ: festivais de cinema de arquivo – preservação e público." Revista Observatório 3, no. 2 (April 1, 2017): 283. http://dx.doi.org/10.20873/uft.2447-4266.2017v3n2p283.
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Nas últimas décadas, observa-se o surgimento de festivais dedicados ao cinema de arquivo. No Brasil, foi criado em 2002, pelo Arquivo Nacional, o Recine – Festival Internacional de Cinema de Arquivo, evento que foi substituído pelo Arquivo em Cartaz em 2015. O fenômeno dos festivais se relaciona com o tratamento do patrimônio audiovisual ao longo do século XX e XXI, sendo inseparável da trajetória das instituições arquivísticas. Neste artigo, pretende-se, por meio da análise dos dois festivais, discutir como esses eventos trabalham a tensão entre exibir e preservar, duas das principais funções das cinematecas, colocando em diálogo questões sobre patrimônio/preservação e a relação entre os arquivos e seus públicos.
PALAVRAS-CHAVE: Arquivo; Patrimônio Audiovisual; Público(s); Festivais de cinema.
ABSTRACT
In the last decades, we observe an increase in the number of festivals dedicated to archival films. The Brazilian National Archive, for instance, hosted Recine – Festival Internacional de Cinema de Arquivo from 2002 to 2014, and, since 2015, its sucessor festival called Arquivo em Cartaz. This “festival phenomenon” can be related to how audiovisual heritage has been viewed in the 20th and 21st centuries, being, thus, closely linked to the developement of film archives. This article aims at analysing the aforementioned festivals, in order to discuss how these events coped with the tension between exhibiting and preserving – the two foremost goals of a cinematheque –, establishing dialogues over issues such as heritage/preservation and the relationship between archives and its viewing public.
KEYWORDS: Archive; Audiovisual Heritage; Public; Film festivals
RESUMEN
En las últimas décadas, se observa el surgimiento de festivales dedicados al cine de archivo. En Brasil, fue creado en 2002 por el Archivo Nacional, Recine – Festival Internacional de Cinema de Arquivo, evento que fue sustituido por el Arquivo em Cartaz en 2015. El fenómeno de los festivales se relaciona con el tratamiento del patrimonio audiovisual a lo largo del siglo XX y XXI, siendo inseparable de la trayectoria de las instituciones archivísticas. En este artículo, se pretende, por medio del análisis de los dos festivales, discutir cómo esos eventos trabajan la tensión entre exhibir y preservar, dos de las principales funciones de las cinetecas, colocando en diálogo cuestiones sobre patrimonio/preservación y la relación entre los archivos y sus públicos.
Palabras Clave: Archivo; Patrimonio Audiovisual; Público(s); Festivales de Cine.
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Gusāns, Ingars. "DEVELOPMENT OF MUSIC FESTIVALS IN LATGALE." Via Latgalica, no. 5 (December 31, 2013): 105. http://dx.doi.org/10.17770/latg2013.5.1638.
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The topic of this article is to illustrate the contribution of festivals to Latgalian culture. The article gives an overview on the development of the festivals: Latgales Televīzijas Mūzikas festivāls, ”Osvalds”, ”Muzykys Skrytuļs” and Latgales Mūzikas festivāls. The article is based on interviews with the festival organizers, available press materials, internet resources and the author’s personal observations both as a listener and a participant of the described festivals. Festivals are mentioned in chronological order. Latgales Televīzijas Mūzikas festivāls was the festival that started advertising of regional art in Latvia. It was characterized by a variety of genres and the opportunity for artists to introduce themselves to the general public on a high professional level. “Osvalds” is an entertainment festival for people of different taste. It popularizes regional associations and most up-to-date Latvian artists; the Latgalian element does occur, but it is not the main objective. “Muzykys Skrytuļs” has promoted the creation of Latgalian songs, the foundation of music groups and has given opportunity for newcomers to perform on a bigger stage. By concert records and live broadcasts this festival makes a great contribution to the development and the popularization of Latgalian identity. Latgales Mūzikas festivāls has provided an opportunity to the most famous, up- to-date Latgalian artists to perform at the festival on the main stage, thus filling a time gap within the field of Latgalian festivals. Each festival expresses the Latgalian identity in a different manner. However it can be perceived in each of them, therefore it is possible to affirm that festivals integrate, help to maintain and console the Latgalian identity. Most prominently it demonstrates to the new generation that Latgalians are a part of the modern world just like everyone else and that in order to express their cultural identity they themselves could actively participate in various folklore and folk dance groups or even start a rock band that performs in Latgalian language.
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Szymkiewicz, Aleksy. "Identity, place and values. On construction and internalization of festival normalities on the examples of music festivals in Poland." Journal of Urban Ethnology 19 (December 20, 2021): 153–70. http://dx.doi.org/10.23858/jue19.2021.010.
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The aim of this paper is to compare of how two different festivals stimulate specific norms and perceptions, and therefore to present the way in which the visions of the festival cities are reproduced by the festival audience based on the axio-normative orders contained in the missions of the events. Based on the shared symbols and life strategies promoted by festivals, participants (re)build their identity which they manifest in chosen cultural practices. The article attempt to answer the following question: what is shared by festival-goers? Are the main motivations for participating in the vent due to shared musical tastes or also specific values and lifestyles, and consequently a common identity? It has been shown that the values promoted during festivals are declared by their organizers – they are present in the visual identification, seminars, workshops, etc. Festivals create their narratives based on symbols such as logos, attitude smartphones, or festival slogans which contain condensed axio-normative systems that create the boundaries of the community. It influencesthe behavior of festival goers: the city’s vision, ways of spending free time, and their identity. The places where the fieldwork was conducted were: “Henryk Rasiewicz National Festival of Unbreakable and Independent Songs in Kraków”, “Ostróda Reggae Festiva” in Ostróda, and the “Song of Our RootsFestival” in Jarosław.
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Reynaud, Bérénice. "‘Festival of festivals’." Afterimage 14, no. 5 (December 1, 1986): 3–4. http://dx.doi.org/10.1525/aft.1986.14.5.3.
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Reynaud, Bérénice. "‘Festival of festivals’." Afterimage 14, no. 5 (December 1, 1986): 3–4. http://dx.doi.org/10.1525/aft.1986.14.5.3.
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Karmacsi, Zoltán, and Enikő Sass. "The linguistic landscape of festival tourism in Transcarpathia." Acta Academiae Beregsasiensis, Philologica II, no. 1 (July 21, 2023): 139–60. http://dx.doi.org/10.58423/2786-6726/2023-1-139-160.
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In addition to natural, historical and cultural attractions, there are an increasing number of places in Transcarpathia where tourists can enjoy organised programmes. In the big cities and smaller towns, festivals and festival-like events take place from the second half of January until mid-December. The area inhabited by Hungarians also organises a significant number of festivals and festival-like events every year. Many of these are known throughout Ukraine and even more widely. Among the festivals in the region, folk art and folklore festivals are the most popular, while gastronomic festivals are in the second position. Gastronomic festivals (especially wine festivals) have become an increasingly important part of festival tourism in Transcarpathia, attracting a significant number of domestic visitors. In our study, we tried to investigate the linguistic landscape of gastronomic festivals, focusing on the two most famous Hungarian festivals (Mezőgecse international pig festival, Berehovo international wine festival) and the most popular festival in Mukachevo, the Mukachevo red wine festival. The research is mainly conducted through personal participant observation and photo-documentation, however, photos and information about the festivals published in the press, on the website of the organising municipality and other online community platforms were also analysed. In the linguistic landscape of the festivals in Transcarpathia, including international festivals, no other language is present apart from the state language or the mother tongue of the Hungarian minority living in the area. Even in the festivals of Hungarian settlements, bilingual signs and the slight dominance of Ukrainian in the symbolic linguistic space are typical. The proportion of languages also depends on the target audience and the needs of the festival, as well as on the area of the festival depending on the ethnicity of Transcarpathia.
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Ohiienko, Iryna. "Ethnic Festivals of the Mid to Late 20th – Early 21st Century as a Component of the Folklore Culture of Bulgaria." Materìali do ukraïnsʹkoï etnologìï, no. 20 (23) (December 20, 2021): 139–50. http://dx.doi.org/10.15407/mue2021.20.139.
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The article is dedicated to the study of folklore festival culture in Bulgaria in the mid to late 20th – early 21st century. The characteristic features of the folklore festival culture of Bulgaria are considered, the main functions of the folklore festivals are determined, a number of well-known international, national and local ethnic folklore festivals taking place in different cities and villages of Bulgaria are classified. The first ethnofestivals in Bulgaria are described, such as the Festival of Folk Art and Animal Husbandry in Rozhen, the Festival of Folk Art in Koprivshtitsa, the International Folklore Festival in Burgas, the Festivals of Folk Art Pirin Sings, Balkan Sings and Tells, which are held from the 1960s till nowadays. They have started the development of the folklore-festival movement in Bulgaria. The ethnic festivals, held in Bulgaria, are classified. According to the time of holding, there are short-term and long-term festivals. According to the venue, Bulgarian ethnofestivals are stationary or mobile. According to geographical criteria, Bulgarian ethnofestivals can be divided into local, national, international and world. According to the age criteria of the participants, among the ethno-festivals there are children’s, youth, mixed festivals. Among the ethnofestivals the holidays of folk art, festivals of calendar and ceremonial holidays, festivals of authentic folk clothing, festivals of national cuisine, festivals of folk instrument ensembles, festivals of folk dances, festivals of folk crafts and trades etc. can be distinguished.
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Ossowska, Luiza, Dorota Janiszewska, Gregory Kwiatkowski, and Dariusz Kloskowski. "The Impact of Local Food Festivals on Rural Areas’ Development." Sustainability 15, no. 2 (January 12, 2023): 1447. http://dx.doi.org/10.3390/su15021447.
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The importance of food festivals in the functioning of local rural areas is manifested in the construction of a sense of community and place. However, each stakeholder group perceives the impact of such festivals differently. The literature lacks a comprehensive approach to this issue. The main aim of this research is, thus, to identify how particular groups of stakeholders perceive the impact of a local food festival on the development of a rural area. The research was conducted at a small local food festival in Poland in July 2020. Individual groups of stakeholders (organizers, vendors and visitors) were asked to assess the impact of the festival on the development of the rural area. This research was conducted in three main stages using various research tools. In the first stage, an in-depth interview was conducted with the festival’s organizers. In the second stage, a survey, via a questionnaire, was conducted with visitors. In the third stage, semi-structured interviews were held with vendors. Surveys and interviews were carried out using the paper-and-pencil interview (PAPI) method. Our results indicate that interest in the impact of festivals on rural development decreases with distance. That is, the sooner such effects are visible, the more positive they are perceived. Moreover, visitors (on vacation) perceive a festival’s impact more positively than vendors (at work).
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Sungjin Yang, Sungjin Yang, and Seolwoo Park Seolwoo Park. "Evaluating the Economic Value of Local Culture and Arts Festival Entrance Fee to using Contingent Valuation Method." GLOBAL BUSINESS FINANCE REVIEW 29, no. 4 (May 30, 2024): 70–79. http://dx.doi.org/10.17549/gbfr.2024.29.4.70.
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Purpose: Global cultural and arts festivals are often cited to enhance the image of a region and stimulate its economy. However, research and discussions regarding these global cultural and arts festivals have mainly focused on their outcomes and strategies for activation, with limited emphasis on evaluating the intrinsic value of the fes-tivals themselves, particularly their economic value. The aim of this study is to define global cultural and arts festivals and propose methods for estimating their economic value. Design/methodology/approach: This study employed the Contingent Valuation Method (CVM) to assess the eco-nomic value of cultural and arts festivals. A representative global cultural and arts festival was selected, and a double dichotomous choice contingent valuation method was utilized to propose a method for assessing willing-ness-to-pay (WTP) for cultural and arts festivals. Following a survey to investigate respondents' WTP and the value of 263 valid copies, data were analyzed using SPSS and STATA. Findings: In this study, we aimed to estimate the WTP per person for the admission fee of the Jeju International Wind Ensemble Festival (JIWEF) and demonstrate the versatility of this methodology through analysis using various data sources. Additionally, we estimated the economic value of the admission fee for the JIWEF, by multiplying the WTP per person for the admission fee by the average number of attendees. Research limitations/implications: Although there are limitations to generalization focusing on specific festivals, the research results suggest implications for foreign visitor arrivals and nurturing global consumers through global culture and arts festivals. Originality/value: So far, research related to culture and arts festivals has mainly focused on the festival's perform-ance or revitalization measures, and research on the evaluation of the value of the culture and arts festivals them-selves, especially their economic value, has not been actively conducted. This study is different in this regard.
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Teeuwen, Mark. "Kyoto’s Gion Festival in Late Classical and Medieval Times: Actors, Legends, and Meanings." Religions 13, no. 6 (June 14, 2022): 545. http://dx.doi.org/10.3390/rel13060545.
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Kyoto’s Gion festival has arguably the best-documented history of all festivals (sairei) in Japan, and studies of its development have heavily influenced our understanding of festivals in general. Yet we must expect that our knowledge of this history is partial at most. Extant archives on its late classical and medieval history derive from a narrow group of festival actors, and are therefore intrinsically biased. This article looks at current reconstructions of the festival’s origin and development, addressing primarily the following questions: Which groups of actors are the historical record hiding from us? Is there a world of ritual action, beliefs, and concerns that we are missing entirely? Origin legends have been used throughout history to attribute meaning to the festival procedures. Today as in the past, these legends are always accompanied by narratives of continuity: at its core, it is implied, the festival remains unchanged. Such legends reflect the interests of actors and patrons of different ages, and changes in the festival’s context have required origin tales to be updated or even replaced. What do such narrative innovations reveal about the festival’s changing place in society at different historical junctures? Do such legends contain traces of the activities of actors who have since disappeared, taking their archives with them?
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McCrone, David. "Treading Angels: Edinburgh and its Festivals." Scottish Affairs 28, no. 3 (August 2019): 290–317. http://dx.doi.org/10.3366/scot.2019.0285.
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How did Edinburgh become ‘festival city’? Despite appearances, it was not always so, and it acquired the accolade by happenstance; in the view of one observer, a ‘strange amalgam of cultural banditry, civic enterprise and idealism’. The official Festival's survival was down to the City Council, and it was funded almost entirely by public bodies. This was the central structure around which The Fringe developed, and The Traverse prospered, along with smaller festivals and events to become Festival City. The story sheds considerable light on how Edinburgh ‘works’, its strengths and weaknesses combined.
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MALL, ANDREW. "Music Festivals, Ephemeral Places, and Scenes: Interdependence at Cornerstone Festival." Journal of the Society for American Music 14, no. 1 (January 15, 2020): 51–69. http://dx.doi.org/10.1017/s1752196319000543.
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AbstractCornerstone was an annual four-day-long Christian rock festival in Illinois that ran from 1984 until 2012, first in Chicago's northern suburbs and then on a former farm in the rural western part of the state. Most attendees camped on-site, and many arrived one or two days early when the campgrounds opened before official programming started. Like many contemporary multi-day festivals in relatively rural or remote locations, Cornerstone's festival grounds and campsites functioned as a temporary village. For many attendees, music festivals have supplanted local scenes as loci of face-to-face musical life. Outside Cornerstone, participants’ musical lives might be curbed by family, professional obligations, geographic separateness, or cultural stratification. Inside the festival's physical, social, and cultural spaces, however, a cohesive music scene manifested for a brief time every year. This article examines the production of space and place at Cornerstone. In doing so, it contributes a vital link between scene theory and the growing ethnomusicological literature on festivals.
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Cheyroux, Emilie. "Small Film Festivals Surviving the COVID-19 Pandemic." Journal of Festive Studies 4, no. 1 (February 23, 2023): 47–65. http://dx.doi.org/10.33823/jfs.2022.4.1.132.
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The COVID-19 pandemic was a major challenge for film festival organizers, who had to resort to online platforms to showcase films they had selected. While virtual film festivals did not offer the same experience, being deprived of the opportunity to gather people in a festive atmosphere, they provided a fairly accessible solution that enabled audiences to watch films they would have missed otherwise. Even major and economically stable festivals, such as South by Southwest (SXSW), decided to cancel; and not all film festivals embraced the opportunities provided by online platforms. Responses to the pandemic were as diverse as the six thousand film festivals organized on average each year. Small nonprofit film festivals, however, tend to be more vulnerable than large-scale events. When the pandemic was at its climax in 2020, their economic sustainability was at stake. This article focuses on Cine Las Americas, a small community-based Latino and Indigenous film festival that takes place in Austin, Texas. Based on interviews of members of the executive and programming team, on research about the history of the festival, and on the experience of the 2020 “Virtual Showcase,” it shows that solidarity between the festival and a wide range of local organizations played a great role in its capacity to survive this critical time. To retrace the festival’s history, the article draws inspiration from organizational theory, illustrating that Cine Las Americas became a field-configuring event (FCE) in the city of Austin, to the point where the friendship that its successive organizers, who have showed crucial adaptation skills over the years, had secured with local partners contributed to its survival.
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S, Selvakumaran. "In Diaspora Countries - Tamil Culture and Arts." Indian Journal of Multilingual Research and Development 1, no. 1 (December 17, 2020): 7–15. http://dx.doi.org/10.34256/ijmrd2012.
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Unable to cope with the brutal Sinhala aggression against Tamils in Eelam, the Eelam Tamils emigrated to foreign lands in an attempt to uplift their language, art, literature and culture in the countries where they had settled for survival. As a result, they established Tamil schools in the countries where they lived and celebrated the festivals of the Tamils such as Pongal festival and Deepavali festival, the spiritual festival of Murugan Kavadi dance festivel. During these festivals, the Tamil arts such as drama, silambam, oyil and kummi are performed with great diligence. In that sense, this article sets out to explore the way the Tamil diaspora promotes Tamil culture through their arts.
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MOHANTY, Rojalin, and Ansuman SAMAL. "An Empirical Study on Developing the Tourism Potentials of Fairs and Festivals in Odisha in India." Theoretical and Practical Research in Economic Fields 14, no. 2 (December 20, 2023): 335. http://dx.doi.org/10.14505/tpref.v14.2(28).13.
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Numerous studies on the appeal of tourist sites have been done. However, little study has been conducted on festival attractiveness and its effect on place attachment. This study adopted a mixed-methods strategy to examine the festivals in Odisha. Travel and tourism have become essential economic activities throughout the world in this globalization market. Festivals have recently grown in number, variety, and popularity, making them one of the strongest parts of the tourism industry. During tourism activities, tourists pay close attention to how attractive something is. The festival’s appeal is one of the most important things that determines whether or not a tourist will go and take part in activities. Also, the appeal of a festival can makes tourists more likely to come back, which is the key to the success of festival activities. This paper sought to determine the role of tourism as a long-run economic growth mechanism in Odisha. The Government of Odisha promotes tourism, but the focus remains on the golden triangle, which includes Puri, Konark, and Bhubaneswar. Without a doubt, these locations are well-equipped to meet the needs of both domestic and foreign tourists. Other beautiful places in Odisha still are largely unknown to tourists. In this paper, we try to demonstrate the overall importance of various fairs and festivals for the development of tourism and relate the significance of fairs and festivals.
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Munshi, Alaknanda. "The Importance of Religious Festivals to Promote Cultural Heritage in Turkey and India." Al-Adabiya: Jurnal Kebudayaan dan Keagamaan 17, no. 1 (June 10, 2022): 41–50. http://dx.doi.org/10.37680/adabiya.v17i1.1336.
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Celebrating religious festivals is a public expression of beliefs that strengthens the believer's relationship with God. Different religions, such as Christianity, Judaism, and Islam, regard celebration as one of the ceremonies that believers are mandated or urged to practice. Religious festivals can boost spirituality among believers and boost the local economy by generating revenue, supporting existing businesses, and encouraging new enterprises to start up. Religious festivals can boost their image and focus as a cultural destination by engaging in promotional activities. This study aims to examine religious festivals in Turkey and India to promote cultural heritage. This research employs a qualitative method by reviewing scientific articles, books, and journals. The result of this study revealed that festivals are an essential form of cultural tourism in which cultural activities are leveraged to generate more visitors. Religious festivals can strengthen their cultural heritage and become more focused as a cultural destination by engaging in promotional activities. While the organizer partly determines a festival's success, if a festival is not effectively organized, the destination will lose revenue and its image. These play a vital role in the cultural development process. In this light, this research will analyze the religious festivals in Turkey and India through cultural heritage and their extent and relationship to tourism development.
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Xie, Heshen. "Western-Centrism and the Global Queer Film Festival Circuit." Journal of Festive Studies 4, no. 1 (February 23, 2023): 83–100. http://dx.doi.org/10.33823/jfs.2022.4.1.105.
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Since they emerged in the late 1970s, queer film festivals have turned into a global cultural activity. A complex worldwide network of queer film festivals has also formed. This article establishes the framework of the global queer film festival circuit to examine the hegemonic relationships it produces. The global queer film festival circuit comprises top-tier film festivals and second-tier queer film festivals. As the first queer-themed film festival in Asia, the Hong Kong Lesbian and Gay Film Festival (HKLGFF) is situated in a subordinate and passive position. Aiming to emphasize the unbalanced relationship among queer film festivals on a global scale, this article argues that due to commercial considerations and the lack of festival resources, the HKLGFF’s programming is dominated by the choices of top-tier film festivals and thus reproduces Western-centrism. Through the analysis of the HKLGFF’s programming process and criteria, it also demonstrates how top-tier film festivals influence the programming of second-tier queer film festivals by dominating the global market of queer films. Overall, this article expands the concept of the queer film festival circuit, addressing the significance of small-scale queer film festivals in the global South to worldwide queer culture as well as the global circulation of queer films.
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Quintal, Vanessa, Michael Lwin, Ian Phau, and Abhinav Sood. "Festival Personality and How It Influences Visitor Attitude and Intention." Event Management 24, no. 6 (November 20, 2020): 665–84. http://dx.doi.org/10.3727/152599519x15506259856543.
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This study explores festival personality for its impacts on visitor attitude and intention toward festivals. Two distinct and popular festivals held at a botanic park in Western Australia were selected for the research. A total of 481 local and international visitors participated in the self-administered, pen-and-paper and online surveys. The Excitement personality attribute was unique to the Chili Festival, whereas the Cheerfulness personality attribute was unique to the Tulip Festival. Both festivals embodied the Imagination personality attribute, suggesting the place in which a festival is held may embody its own attributes, which contribute to the holistic personality of the festival. For both festivals, the personality attributes had significant impact on favorable visitor attitude, resulting in their positive intention toward these festivals. The study paves the way for researchers to extend brand personality research to the event tourism domain, particularly in the niche sector of festivals. The enhanced understanding lends input into how festival organizers, brand managers, and marketers can manage the positioning, differentiation, and communication strategies of their festivals in this competitive sector.
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Qureshi, Bilal. "Elsewhere: The Last Circus." Film Quarterly 74, no. 1 (2020): 84–87. http://dx.doi.org/10.1525/fq.2020.74.1.84.
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FQ columnist Bilal Qureshi reports from his first visit to the documentary film festival True/False in Columbia, Missouri. Overcoming his initial trepidation—both at the prospect of traveling just as the coronavirus was gathering steam and at the festival's regional location—Qureshi finds himself falling in love with film festivals all over again. Yet the contact high of the collective experience provided by the festival, with its freedom to collide with films and audiences through impromptu gatherings and celebrations, takes on a heightened poignancy in this moment of COVID-19. While noting the uncertainties of the new cinematic and social order that will emerge post-COVID, Qureshi hopes that the opportunity to press reset might result in more small-scale, community-focused festivals like True/False.
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de Carvalho, João Malho Ferreira Ribeiro, Nuno Gustavo, and Victor Afonso. "A case study for a transformational festival creation in Lourinhã, Portugal." European Journal of Tourism, Hospitality and Recreation 12, no. 1 (December 1, 2022): 46–60. http://dx.doi.org/10.2478/ejthr-2022-0003.
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Abstract This research aims to evaluate, select, and validate strategic alternatives for implementing a transformational festival proposal in the municipality of Lourinhã, Portugal. The methodological model investigates the historical context, the classical festival themes, and the transformational festival’s characterisation through literature review and an exploratory interview with a major British stakeholder; the market potential through randomised inquiries representative of the Portuguese population; the contextual strategic assessment through a focus group with local stakeholders; and verifying the possibility of validating the concept of a festival design based upon these premises, through an interview with a major national stakeholder and three short interviews. As a result, we characterised transformational festivals, confirmed consumer profile key indicators, and validated a concept design with a hybrid strategic approach, essential to developing a disruptive, attractive, and marketable concept. The originality of the research is related to the return to the origins that these festivals highlight, as opposed to digital trends. The discrepancy between the paradigmatic importance of transformational festivals and their acceptance was highlighted. The research was limited by the lack of stakeholders’ acceptance of participation in the qualitative research.
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Bakas, Fiona Eva, Nancy Duxbury, Paula Cristina Remoaldo, and Olga Matos. "The social utility of small-scale art festivals with creative tourism in Portugal." International Journal of Event and Festival Management 10, no. 3 (December 2, 2019): 248–66. http://dx.doi.org/10.1108/ijefm-02-2019-0009.
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PurposeThe purpose of this paper is to address the gaps in research on strategic planning for the social impacts of small-scale events in rural areas and small cities. This is achieved by investigating the social utility inferred by small-scale art festivals with a creative tourism element in terms of increasing social capital and positive social change, from an event stakeholder perspective.Design/methodology/approachThe identified gap in knowledge is addressed by using interviews and fieldnotes from participant observation to co-create meaning with the organizers of four small-scale art festivals in small cities and rural areas in Portugal. Theoretical frameworks relating to creative tourism development and social capital creation are used to analyze the social utility of small-scale art festivals.FindingsCreative tourism activities are integrated within small-scale art festivals in small cities and rural areas in various ways, mainly through art-related workshops. Significant empirical data give insight into how small-scale art festivals create social value by increasing the host community’s pride and reinforcing the social fabric of the festival’s local and “portable” community, in part through these creative tourism activities.Research limitations/implicationsOne of the limitations of this study is that it focuses on the perspectives and insights of the festival organizers. An analysis of the festival participants’ views, local community stakeholder analysis and community impact analyses would offer further insights into how the creative tourism experiences and other moments of shared meaning generation within small-scale art festivals influence the creation of social utility.Originality/valueThis paper offers insights into how creative tourism activities are being integrated into small-scale art festivals in small cities and rural contexts, and how these activities foster social connections among festival participants and with the local community. This addresses significant gaps in the literature on strategic planning for the social impacts of events, particularly in the context of small-scale events in rural areas/small cities, and the strategic value of including creative tourism activities within small-scale festivals.
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Luna, Ande M., Josefina T. Dizon, Jaysi T. Corpuz, Myra A. Flordeliza, and Patrick John S. Espiritu. "Beyond Covid-19: The Future of Festivals in Calabarzon, Philippines." International Journal of Professional Business Review 8, no. 5 (May 12, 2023): e01395. http://dx.doi.org/10.26668/businessreview/2023.v8i5.1395.
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Purpose: This study aims to determine or forecast the willingness of regular participants of festivals to attend or join events festivals in the post-COVID-19 scenario. Specifically, it aimed to 1.) identify the perceived future of festivals in the post-pandemic scenario and if people are still willing to participate in or join in any of the festival's events, and 2.) discuss the role of festivals in the post-pandemic scenario. Theoretical framework: The researchers employed the stakeholder theory technique to predict the future of the festival's events. A stakeholder is "any group or person who may impact or is affected by the attainment of the institution's objective," Freeman (1984). Freeman contends that a person or group is a stakeholder if it has a sincere interest in a particular component of the institution's operations and, as a result, either can influence the company's performance or has a stake in that performance. Particularly, in this study, the stakeholders are the participants, the businessmen, and the organizers of the festivals. Ultimately, the perception of the stakeholders may be used by festival organizers as a basis for holding festivals in the post-pandemic scenario. Design/methodology/approach: This study used a qualitative design using phenomenological approach based on the lived experiences of the participants with the festivals they have attended. Snowball sampling was used to choose 32 participants, commencing with the tourist local government official that had control over the festival events. The researchers utilized key informant interviews and focus group discussions on obtaining data, guided by a semi-structured questionnaire to allow the researchers to adjust questions according to the participant's willingness and manner of answering. For data clustering and theme identification, the researchers utilized a qualitative research tool (NVIVO) with license key: (N-L-Z-7-7) and used the analytical framework by Moustakas (1994), as covered by Creswell (2007). The researchers began by outlining the subject's or participant’s encounters concerning the festivals being examined. Next, they created collection of noteworthy remarks and organized these into more substantial units of information (i.e., units or themes). Findings: As a result, every participant is eager to engage, be present, or take part in their respective festivals again, once the COVID-19 restrictions are removed, but some have a few reservations. Implications for research, everyday life, and society: In the Philippines, the COVID-19 restrictions were lifted in 2023. This is also a time for the local economy to recover. The series of lockdowns heavily hampered the local economy due to the pandemic. The local governments may use festivals to help small, medium, and microenterprises recover from the losses they took during the pandemic, and festivals. can kick start the local economy. Festival organizers may utilize the findings of this research as a foundation. Originality/value: All the data gathered in this research was at the peak of lockdowns and cases of COVID-19 in the Philippines. This made it very difficult for the researchers to collect data, thus resulting in an integration of in-person interactions, key informant interviews and online focus group discussions. It was a time when mass gatherings were hard to imagine, let alone the celebration of festivals uncertain. Nevertheless, the result was surprising since all the participants were still willing to join or attend festivals.
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Nhan, Do Thi Thanh, and Nguyen Dinh Thao. "Music in the Festival of Vietnamese People (Thanh Hoa) - Issues." Journal of Humanities and Education Development 4, no. 3 (2022): 106–12. http://dx.doi.org/10.22161/jhed.4.3.12.
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The article focuses on studying music in festivals of Vietnamese people in Thanh Hoa. Through the collected material, the authors have synthesized, explored the cultural aspects of the composition and analyzed the music. The result of the research is to find out the meaning of music in contributing to the festival's appearance and to find out the operating rules and basic characteristics of music. From there, several discussions are given to preserve and promote music in the festival to achieve higher efficiency in life. The research results are the judgments about the culture and music constituting the overall festival, including (1) Meaning of festival organization; (2) Space and time of the festival; (3) Musical genres and performances in festivals; (4) Musical characteristics. The study also identifies appropriate research methods, and musical analysis techniques are also the basis for making objective judgments. This research will serve as the basis for the research, conservation, and promotion of folk music in larger and more comprehensive aspects.
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Sarale, Agnès, Hironori Yagi, Menelaos Gkartzios, and Keishi Ogawa. "ART FESTIVALS AND RURAL REVITALIZATION: ORGANIZING THE OKU-NOTO TRIENNALE IN JAPAN." Journal of Asian Rural Studies 4, no. 1 (January 25, 2020): 23. http://dx.doi.org/10.20956/jars.v4i1.1662.
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Organizing rural art festivals is considered an effective intervention in support of rural revitalization in the face of aging and population decline in Japan. Several studies have identified the impacts of art festivals on economic and social rural development internationally. Little research, however, has focused on the management process of such festivals. The objective of this paper is to identify and examine the management processes crucial to an arts festival’s success, especially in terms of preparation, organization and community outreach. We focus on the first edition of the Oku-Noto Triennale, which took place in Suzu City, a remote coastal area of rural Japan in 2017. The Triennale was held from September 3, 2017 to October 22, 2017 with 39 groups of artists. Data for this study was primarily obtained through qualitative interviews with Suzu’s City Office, the coordinator of theArt Front Gallery, a Tokyo-based art gallery, and community members involved in the festival. Our case study revealed thatseveral factors were found to be crucial to the festival’s success. The organizing team’s flexibility, for example, assigning additional municipalities’ employees to site operations, was pivotal. Experienced actors, such as outside professionals and residents with prior experience organizing previous projects, who could address and overcome the difficulties they faced during the preparation, also deserve mention. The festival also succeeded due to the involvement of residents. In total, 1,176 people were involved as registered supporters, and 434 residents were involved as local volunteers during the festival (counted in working-days). The organizing team worked hard to convey the underlying concept of the art festival to the local residents. By organizing the festival, the residents met and formed bonds with new people and also strengthened their ties with one another.
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Shabana, Amin, Harmonis Harmonis, Zahwa Indira, and Mutia Andini. "Post-Reform Cinema Public Space on Detik.com News Portal." Komunikator 14, no. 1 (May 30, 2022): 30–41. http://dx.doi.org/10.18196/jkm.14398.
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Film festivals are public cultural spheres that arose quickly after the fall of the New Order. The rise of film festival activities was covered by the Indonesian mass media, particularly online media. Detik.com is an example of online media that is currently a public reference, including witnessing the development of film festivals in post-reformation Indonesia. The primary goal of this research is to examine the representation of the public sphere in a film festival article written by Detik.com. This study chose an explanatory qualitative approach based on media framing theory. From its inception until 2019, Detik.com was Indonesia’s first news portal, publishing 894 articles on film festivals. The analysis knife employs several major theories, including Public Space (Habermas), Film Festival (De Valck), and news framing (De Vreese). To strengthen the article, the sources cited are also the most comprehensive, consisting of government groups (e.g., Executive and DPR) and non-government groups (filmmakers, festival managers, academics, religious groups, and spectators). When comparing the scale of implementation, national film festivals are mostly covered, namely 28 film festivals and eight film festivals. During the post-reform era, the most news framing film festivals are generic issues (33 festivals) versus 14 festivals that fall into the category of specific issue framing.
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Wiehe, Ben. "When science makes us who we are: known and speculative impacts of science festivals." Journal of Science Communication 13, no. 04 (December 19, 2014): C02. http://dx.doi.org/10.22323/2.13040302.
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Science festivals (or just “festivals”) are currently ascendant in the United States with more than 40 new initiatives emerging in just the past 5 years, but their story is not so easily told. The schedule of any one individual festival may contain a staggering array of events, and each festival is different both from year to year, and from other festivals. One multi-festival evaluation points to potential strengths of the format, as well as the importance of the participation of STEM practitioners. Collaboration and social identity formation are considered as powerful festival impacts, and potential challenges for festivals are discussed.
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Gao, Ge, and Kyunghoon Han. "Challenges and Future Development Study on EDM Festivals in China: Focus on the Belgium ‘Tomorrowland’ EDM Festival and Comparative Analysis." Korean Society of Culture and Convergence 45, no. 12 (December 31, 2023): 1033–46. http://dx.doi.org/10.33645/cnc.2023.12.45.12.1033.
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This paper aims to improve the domestic EDM festival market and serve as a reference of other studies. To this end, conducted a comprehensive comparison and analysis between domestic and internal EDM festivals. “ISY” in China one of the largest EDM festivals is described in this thesis to represent the festivals in China. “Tomorrowland” from Belgium which is one of the top 3 EDM festivals around the world is used as the overseas example case. In this thesis, basic information about the performing artists, cultural diversity, social and business values, and other factors of the EDM festivals are deeply investigated. As a result, it was found that EDM festivals in China boomed dramatically last decade, butsome challenges due to the internal festival development and external environment still exist. In this paper, explored the intrinsic meaning and value of Chinese EDM festival cultureand the development plan for future festivals is proposed.
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Kesgin, Muhammet, Rajendran Murthy, and Rick Lagiewski. "Profiling food festivals by type, name and descriptive content: a population level study." British Food Journal 124, no. 2 (November 30, 2021): 530–49. http://dx.doi.org/10.1108/bfj-04-2021-0412.
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PurposeThis research aims to classify and describe food festivals and examine the patterns in food festival naming and festival descriptions in online media.Design/methodology/approachThis research represents the first population-level empirical examination of food festivals in the United States using a purpose-built dataset (N = 2,626). Methodology includes text mining to examine food festival communications.FindingsFood festival size varies across local and regional spheres within the country. Food festivals employ geographical (place-, destination-based) associations in their names. Food festivals' descriptions and online communications showcase a welcoming environment predominantly emphasizing family-oriented and live entertainment experiences. Food festivals across the country show common naming patterns based on the elements of longevity, recurrence, location name, brand name, geographic scope, theme, and occasion.Originality/valueThe study makes an original contribution to the theory and practice by identifying festival forms, styles, functions, and their diversity. A population level examination of food festivals does not currently exist. Therefore, this research will serve as a foundation for scholarly work in the future and as a benchmark for evaluating current and future research.
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Stander, Jan Hendrik (Manna), Luke Alan Sandham, and Gustav Visser. "The Geographies of Artists and Stall holders at Afrikaans Arts Festivals, South Africa." African Journal of Hospitality, Tourism and Leisure 10, no. 10(5) (December 15, 2021): 1630–44. http://dx.doi.org/10.46222/ajhtl.19770720.183.
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South African arts festivals have been the subject of considerable research, with a focus on the economics, attendee patterns and impacts on local communities. Importantly, numerous role-players (stall holders, artists, festival attendees, amongst others) contribute to the diversity, origin and character of these arts festivals. Despite this, little is known of their mobility, spatiality and geographies. To this end, artists and stall holders across five large Afrikaans Language Arts festivals were interviewed to establish their itineraries, travel behaviours, festival involvement and cultural expression. On this basis, this study hopes to enable a better understanding of the geographies of Afrikaans arts festivals. Results suggest that artists and stall holders contribute significantly to shaping the geographies of these arts festivals as they are the most mobile of all participants. Their mobility creates a shared or communal festival geography – albeit now severely disrupted by COVID-19 – across Afrikaans arts festival boundaries. Unfortunately, this shared geography may also undermine the local flavour, authenticity, and regional diversity of such arts festivals.
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Zhang, Jing, and Guangquan Dai. "Political Trust and Festival Attachment: Influencing Residents’ Engagement in Traditional Festivals." Behavioral Sciences 13, no. 9 (September 5, 2023): 741. http://dx.doi.org/10.3390/bs13090741.
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Traditional festivals hold immense cultural and tourism value, but striking a balance between preservation and adaptation in the face of globalization is challenging. This study focuses on the Hmong New Year, the largest traditional festival in a prominent Hmong settlement in China. Through mixed research methods, it examines the impact of festival attachment and political trust on residents’ attitudes toward festival tourism development. The results reveal the significant influence of festival attachment on residents’ perception and judgment of festival tourism, with political trust playing a crucial moderating role. Successful repetition of festival activities fosters stable cognitive perceptions of festival tourism, outweighing potential risks. This research enhances our theoretical understanding of festivals and provides insights into the sustainable development of traditional Hmong festivals, offering support for studying traditional festivals in diverse cultural contexts.
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Van Belle, David. "“Festivalizing” Performance: Community and Aesthetics through the Lens of Three Festival Experiences." Canadian Theatre Review 138 (March 2009): 7–12. http://dx.doi.org/10.3138/ctr.138.001.
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Although the history of Canadian theatre has been greatly shaped by the existence of the long-established Stratford and Shaw Festivals, a new creative energy is coming from a crop of alternatives to them. These newer festivals are an increasingly important part of the Canadian performance landscape, in part precipitated by a renaissance in performance-creation work by independent artists and performance collectives who eschew the “season and theatre building” model of performance. Instead, these creators favour fluid creation methodologies and presentation arrangements that are well suited to the fluidity of a new festival model of presentation. Over the past decade, a whole network of festivals has been set up across the country to embrace such work, anchored by now venerable festivals such as One Yellow Rabbit’s twenty-three-year-old High Performance Rodeo. Some of these festivals are high profile; Vancouver’s PuSh Festival and the National Arts Centre’s Magnetic North Festival have provided important national stages for new work. Others, like Calgary’s Mutton Busting Festival and Toronto’s RED Festival, happen on a smaller scale and in local settings. Although these smaller festivals tend to be more temporary in nature (both the festivals just mentioned are now defunct), they provide necessary opportunities for new and adventurous work to be developed and seen.
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Kim, Dong-Han, Jun-Jae Lee, and Hyo-Yeun Park. "Assessing Economic Value of Local Festivals for Sustainable Development: A Case of Yeongju Korean Seonbi Culture Festival." Sustainability 13, no. 23 (December 1, 2021): 13297. http://dx.doi.org/10.3390/su132313297.
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Diversity of financial resources is important to increase the sustainability of festivals. This is because even if one of the festival’s resources is stopped by external variables, the festival can be continued with other resources. Local festivals often suffer from low levels of economic independence as a primary concern for their economic sustainability. To solve the aforementioned real-world problem, this study investigated the determinants of festival goers’ willingness to pay for the development fund for the local festival. By using the CVM method, this study initially hypothesized four festival quality factors, three festival related decisions, and four demographic factors in the model. In total, 695 questionnaires were collected from visitors who completed the festival experience through an on-site survey for the Korean Seonbi Culture Festival in Yeongju, Korea. Based on a double-bounded DC CVM, the results of this study showed that festival environment, past visit experience, and demographic factors were significant determinants of festival goers’ willingness to pay for the fund. In addition, it was attempted to estimate the value of this festival through WTP (WTP; willingness to pay). This study offers the foundation for the introduction of a development fund to make the local festival economically sustainable. The theoretical and managerial implications are discussed.
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van Zyl, Cine. "Positioning maps: a conjoint analysis tool for festival or event application." International Journal of Tourism Cities 3, no. 4 (December 4, 2017): 424–41. http://dx.doi.org/10.1108/ijtc-06-2017-0034.
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Purpose The purpose of this paper is threefold: first, to describe a novel tool (conjoint analysis (CA)) for application by explaining the theory behind it; second, how the tool was developed; and third, how it can be used to ensure an optimal festival/event offering. In this way, the research needed on the individual behavioural and psychological factors of the events-tourism sector are addressed. Design/methodology/approach Planned events in this case the three largest arts festivals in South Africa (SA) (in Potchefstroom – Festival A, Grahamstown – Festival B and Oudtshoorn – Festival C) were studied. Five different attributes – festival brands, ticket prices, entertainment activities, food and beverages and transport to venues – were developed to describe arts festivals. The data were analysed using CA. CA was used in a linear regression model with individual ratings for each arts festival product. In addition, two techniques often used as complementary to and in conjunction with CA, namely, cluster and correspondence analysis were also used. K-means clustering constructed a four-factor solution, which categorised and labelled the attributes as, brand-, price-, activity- and transport-sensitive. The software package STATISTICA used the results for the correspondence analysis to draw maps between the arts festivals and attribute importance, age groups and festival attributes, arts festivals and language. Findings Festival A and B preferred the attribute level quality music, whilst Festival C preferred quality performances on the attribute entertainment. On the attribute refreshments, Festivals B and C preferred value for money and Festival A, a wide variety of good quality refreshments. On the attributes transport and ticket prices, all three festivals agreed for safe and secure parking and at the same price. Research limitations/implications This paper demonstrates, by applying the recommended tool, how it can be used to distinguish festivals/events in an overcrowded SA market with the possibility of providing a competitive advantage. In that all three festivals researched preferred the attribute festival brand held in the region which destination marketing organisations (DMOs) can use to their advantage. Practical implications This paper demonstrates, by applying the recommended tool, how it can be used to distinguish festivals/events in an overcrowded SA market with the possibility of providing a competitive advantage. In that all three festivals researched preferred the attribute festival brand held in the region which DMOs can use to their advantage. Originality/value The description of the development of the model could illustrate how market positioning (by way of revitalizing older theories), in the arts festival context can be approached to ensure an optimal arts festival offering. By so doing the paper strives to make an academic contribution.
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Ramsey, J. Ross, and Todd Boyette. "“Science Festival” may not mean what we think it means: an analysis of how researchers and practitioners use this term." Journal of Science Communication 20, no. 07 (October 25, 2021): A01. http://dx.doi.org/10.22323/2.20070201.
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The modern science festival movement has grown significantly since the Edinburgh International Science Festival launched in 1989. Hundreds of science festivals now occur annually and vary widely. This article examines how the term “science festival” is used within research and practice. We find that most research articles fail to describe the science festivals they study. A subsequent analysis of festival websites and other publicly available information confirms the wide variability of science festival formats, which suggests the need for descriptive information about science festivals in scholarly work.
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Krstić, Marija. "All Roads Lead to Guča: Modes of Representing Serbia and Serbs during the Guča Trumpet Festival." Issues in Ethnology and Anthropology 7, no. 2 (February 28, 2016): 447–70. http://dx.doi.org/10.21301/eap.v7i2.7.
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In this paper I research famous Serbian music event, the Dragačevo Trumpet Festival, better known as the Guča festival, by analysing on line photographs about the festival. The Dragačevo Trumpet Festival is one of the most famous music festivals in Serbia and one of the most famous brass band festivals in the world. Since 1961, it is annually held in the village of Guča in western Serbia. From 1962, the participants from other parts of Serbia came to Guča, while in 1963 for the first time the Roma players participated. From that time on, Roma remained among the best trumpeters at the competitions. However, during these fifty years, the festival always demonstrated and was conceptualised as the carrier of the Serbian folk tradition and culture. In my research I use visitors’ photographs available on one of the websites dedicated to Guča, www.guca.rs, in order to question how the festival’s photographs visually represent the Serbs. The main goal of the paper is to explain and show how Guča festival found its place in modern Serbia in spite of its rural, folk, barbarian and sometimes nationalist representation.
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Al-Azzam, Mu'ath Hesham, Ahmad Edwin Mohamed, and Khong Chiu Lim. "THE RELATIONSHIP BETWEEN FESTIVAL ATTACHMENT AND ARAB TOURISTS' REVISIT INTENTION: A CONCEPTUAL MODEL." Journal of Tourism, Hospitality and Environment Management 7, no. 27 (March 8, 2022): 19–38. http://dx.doi.org/10.35631/jthem.727002.
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While there is a large body of literature on revisit intention to festivals, there is surprisingly little knowledge about it in the context of the Arab world. This research aims to develop a conceptual framework that focuses on the relationship between festival attachment and revisit intentions to festivals. The concept of festival attachment in the current research is borrowed from the concept of place attachment, referring to the same bonds that form between tourists and a tourist place that can also be developed or forged between tourists and a festival. Tourists have an opportunity to develop self-identification with festivals, create affective bonds with them, satisfy and meet their needs through specific facilities or attributes of festivals, and form social bonds with other tourists visiting them, just as they would at a tourist place. All of these aspects together represent what we call attachment to a festival or festival attachment. Based on extensive literature review, the researchers proposed that festival attachment is a multidimensional construct that comprises four dimensions: festival identity, festival affect, festival dependence, and social bonding. The current proposed model will be empirically tested in the context of Jerash Festival of Culture and Arts in Jordan from the perspective of Arab tourists. The findings of this research are expected to broaden the scope of the existing literature on place attachment by introducing important insights from festival settings and its relationship with revisit intention, as well as adding new insights about the Arab tourists' attachment to cultural festivals and their revisit intentions to these festivals.
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Lisiecka-Muniak, Małgorzata. "Educational Offer at Polish Film Festivals Directed at Film Industry Representatives." Panoptikum, no. 18 (December 29, 2017): 216–26. http://dx.doi.org/10.26881/pan.2017.18.13.
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The article considers industry workshops organised during film festivals and festivals dedicated to the film profession in Poland. It puts forward the fact that during film festivals not only screenings, contact between a filmmaker and a viewer are important, but also workshops and industry meetings dedicated to artists. This kind of education seems to be needed because after graduating from film school it is a possibility to develop one’s own skills and to update knowledge about the profession. The author also concentrates on Polish film festivals fully dedicated to the film profession, such as Camerimage International Film Festival in Bydgoszcz, Script Fiesta in Warsaw, Regiofun Film Festival in Katowice, Kamera Akcja Festival and Transatlantyk Film Festival both in Lodz. Even though there are not so many film festivals dedicated to one film profession, they are important because of their educational value for filmmakers and for audience.
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M. Van Winkle, Christine, Amanda Cairns, Kelly J. MacKay, and Elizabeth A. Halpenny. "Mobile device use at festivals: opportunities for value creation." International Journal of Event and Festival Management 7, no. 3 (October 10, 2016): 201–18. http://dx.doi.org/10.1108/ijefm-04-2016-0025.
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Purpose The purpose of this paper is to understand mobile device (MD) use in a festival context. Festivals offer a range of opportunities and activities to use a MD making this context ideal for understanding digital experiences during leisure. The guiding research question asked how do festival attendees use MDs at festivals. The Typology of Human Capability (THC) provided a framework to enhance the understanding of digital experiences at festivals. Design/methodology/approach This research involved six festival case studies where semi-structured interviews were conducted with attendees on-site. Interview questions focused on how festival attendees used MDs during the festival. Data were analyzed using directed content analysis guided by the THC. Findings On-site interviews with 168 attendees revealed that data support the THC dimensions and constructs (sensing, linking, organizing and performing). This typology advances the understanding of the range of digital customer experiences currently available at festivals. Research limitations/implications The addition of context to the THC is recommended to enhance its utility in application. As a limited number of festivals were included, the specific findings may not apply to all festivals but the implications are relevant to a range of festivals. Practical implications Operational definitions of the THC constructs within the festival setting were identified and provide opportunities for developing digital experience offerings. Originality/value This study provided the first comprehensive examination of MD use in festival contexts and in so doing offered data in support of Korn and Pine’s (2011) THC. The findings reveal opportunities for modifying the THC to increase its applicability in a range of settings.
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Tsaur, Sheng-Hshiung, Yao-Chin Wang, Chyong-Ru Liu, and Wen-Shiung Huang. "Festival attachment: antecedents and effects on place attachment and place loyalty." International Journal of Event and Festival Management 10, no. 1 (April 25, 2019): 17–33. http://dx.doi.org/10.1108/ijefm-02-2018-0014.
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PurposeThe purpose of this paper is to propose the mechanism of festival attachment and examine how it serves as a significant predictor of place attachment and place loyalty.Design/methodology/approachThrough on-site survey with convenience sampling, 465 visitors were surveyed at the Pingxi Sky Lantern Festival, which is one of the most famous Taiwanese festivals. Structural equation modeling is used to examine the proposed research model.FindingsEmpirical results of this study reveal that “hedonism” is the most important antecedent for improving festival attachment, followed by novelty seeking, attractions and cultural exploration. Festival attachment exerts positive effects on place attachment, which then increases place loyalty. Moreover, place attachment partially mediates the relationship between festival attachment and place loyalty.Originality/valueBy hosting festivals, festival managers can induce festival attachment in visitors and then transfer the attachment with festivals into the host place. The findings of this study demonstrate the major role of festivals in promoting local tourism.
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Dodds, Rachel, Michelle Novotny, and Sylvie Harper. "Shaping our perception of reality: sustainability communication by Canadian festivals." International Journal of Event and Festival Management 11, no. 4 (August 17, 2020): 473–92. http://dx.doi.org/10.1108/ijefm-03-2020-0012.
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PurposeThe purpose of this paper is to determine the extent of online communication by festivals regarding their sustainability practices using Cultivation Theory as the framework to determine perceived value creation.Design/methodology/approachA mixed method approach was utilized to achieve data triangulation through a content analysis of websites, content analysis of social media sites as well as interviews.FindingsFindings indicated that 64% of festivals did not communicate any sustainable practices through their websites and only 6% communicated via social media. The most common sustainability practices communicated were waste management and sustainable transportation, yet few festivals engaged in effective, consistent and sufficient marketing of initiatives to festivalgoers. Best practice festivals (having communicated 5.47 initiatives or more) were found to have been significantly more likely than non-best practice festivals to be music festivals and have been in operation longer. Best practice festivals were also more likely than non-best practice festivals to have sustainability engrained into their corporate philosophy via a communicated sustainable vision and mission. Interviews revealed that most festivals did not have a designated role responsible for all sustainable initiatives and the responsibility was often taken on by volunteers or festival organizers. Festival organizers that communicated sustainability initiatives efficiently, consistently, and sufficiently perceived these efforts to benefit the festivals value amongst festivalgoers and host communities. Propensity to communicate sustainability initiatives was found to have been impacted by awareness, categorization, timing, policy and funding.Research limitations/implicationsWhile the findings are limited to the country of Canada and the extent of communication on websites and social media platforms as well as those festivals who participated, interviews helped to overcome these limitations as they gained an understanding of what was undertaken but not necessarily communicated.Practical implicationsThe findings generated from this study could be used as a guide for establishing a benchmark for festivals regarding sustainable communication as well as strategies for overall corporate responsibility. Content regarding sustainability at festivals is scarce, as is information on festival communication. As a result, this paper seeks to understand the sustainable initiatives that are being communicated by festivals.Originality/valueThis is the first time Cultivation Theory was used within a tourism context and may be a useful tool to determine value creation. Through Cultivation Theory, festival organizers believed to have the ability to impact perceived value of the festival by implementing efficient, consistent and sufficient communication of sustainability initiatives.
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Bonesho, Catherine E. "The Terror of Time: The Festival of Dionysus and Saturnalia in Jewish Responses to Foreign Rule." Journal for the Study of Judaism 51, no. 2 (May 4, 2020): 151–78. http://dx.doi.org/10.1163/15700631-bja10002.
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Abstract Proper observance of festivals is a major concern in early Jewish literature, but the festivals of the gentiles also figure prominently in this period. Two such festivals are the Greek Festival of Dionysus, described in Second Maccabees, and the Roman festival of Saturnalia, described in the Palestinian Talmud. I show the varied ways in which the authors of these texts, members of different groups, with different textual practices, and living centuries apart, problematize foreign holidays in their responses to imperial rule. Though the polemic against gentiles is heightened in both texts, the epitomator primarily problematizes the Festival of Dionysus because its observance is a violation of ancestral law, while the Palestinian Amoraim stress Saturnalia’s status as a Roman holiday. The different emphases in these discussions of gentile festivals distinguish the prerogatives of these two Jewish communities, their understandings of gentile festivals, and their respective responses to Greek and Roman hegemony.
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Saayman, M., M. Douglas, and S. De Klerk. "Attributes of Entreprenuers at an Arts Festival." Southern African Journal of Entrepreneurship and Small Business Management 2, no. 1 (December 31, 2009): 17. http://dx.doi.org/10.4102/sajesbm.v2i1.16.
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<p>The purpose of this article is to determine the attributes of entrepreneurs at festivals, in this case an arts festival. The reason for choosing an arts festival is that the largest festivals (judged by number of visitors and income generated) hosted in South Africa annually are arts festivals. A literature review revealed that this type of study had not previously been conducted in South Africa. In order to generate proper data, a survey was conducted of all small businesses that were trading at one of South Africa’s largest arts festivals, namely the Aardklop National Arts Festival, held annually in the city of Potchefstroom. 222 useable questionnaires were captured and the data analysis included a factor analysis and descriptive results. The main results reveal that the most important attributes are a need for achievement, being successful, having the necessary organising skills, selfedification, being explorative, and commitment. </p><strong>Key words:</strong> entrepreneurs, arts festivals, event tourism, South Africa, attributes, Aardklop National Arts Festival
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Dychkovskyy, Stepan, and Sergii Ivanov. "Festival Tourism as Part of International Tourism and a Factor in the Development of Cultural Tourism." Informacijos mokslai 89 (June 5, 2020): 73–82. http://dx.doi.org/10.15388/im.2020.89.41.
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The article examines that cultural tourism, by developing festival tours, is able to generate significant tourist flows not only by itself, but also it is a necessary complement to any other tourist product. The purpose. The aim is to analyze the scientific literature on intercultural research and the development of international tourist festivals. Results. The identification and discussion of the three main discourses of festival research made it possible to determine the role and impact of festivals in society and culture, the features of festival tourism and festival management. Classical discourse, emerging mainly from cultural anthropology and sociology, concerns the roles, meanings and influences of festivals in society and culture. Festivals are means for tourism, economic development and local marketing. At this discourse dominated. It is based on consumer behavior approaches and ignores the fundamental needs of celebration and many social and cultural reasons for searching a holiday. It should also be emphasized that festivals are increasingly being used to achieve social and cultural objects, which places them as implements for social marketers.
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Persson, Magnus. "Litteraturfestivalen som offentlighet." Tidskrift för litteraturvetenskap 49, no. 4 (January 1, 2019): 79–87. http://dx.doi.org/10.54797/tfl.v49i4.6547.
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The Literature Festival as a Public Sphere
Literary festivals are becoming increasingly popular. They can, for instance, be dedicated to regional or world literature, a single author or a genre, literature in general or a specific theme. Despite their growing importance as public spheres, where an intense production and distribution of literary value take place, little scholarly attention has been paid to them. A common denominator for many festivals is that they have strong connections to the market, the state, and the broader cultural sphere of society. In this article I approach literary festivals from the following perspectives: as a residual (Williams) form of an older festival or carnival culture (Lefebvre, Bakhtin); as an example of collective reading, or ”reading beyond the book” (Fuller and Rehberg Sedo); as a mirror of the conflicts and contradictions that circulate in the wider literary field – e.g. ”high” versus ”low” literature, the book as cultural form and commodity (Bourdieu). Observations from two festivals support my argument: one politically activist festival in Sweden, and one of the largest literary festivals in the world (Edinburgh International Book Festival).
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Lee, Daisy, Peggy M. L. Ng, and Tai Ming Wut. "Virtual Reality in Festivals: A Systematic Literature Review and Implications for Consumer Research." Emerging Science Journal 6, no. 5 (August 17, 2022): 1153–66. http://dx.doi.org/10.28991/esj-2022-06-05-016.
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Technological advancements in virtual reality have influenced festivalgoers, performers, and festival organizers. Due to the COVID-19 pandemic, organizers of cultural and tourism festivals have sought to deliver festivals online using virtual reality to provide an immersive experience from home. However, despite growing interest in virtual reality for festivals, there is no current systematic review to synthesize knowledge from academic papers within the festival context. This paper aims to provide a structured understanding of extant virtual reality research regarding festivals by using a systematic literature review. After a comprehensive review of extant literature from major databases, 19 relevant articles were extracted and synthesized according to the types, venues, roles, and objectives of the virtual reality applications. This study is the first systematic literature review to examine the current landscape of consumer research on virtual reality in festivals. Our results show that the limited numbers of extant literature concerning virtual reality in festivals indicates that this is an important yet significantly under-researched topic for future research. Current literature on virtual reality in festival contexts also lacks an in-depth understanding of consumer engagement and experiences. This paper recommends incorporating the application of theory and robust consumer research methods into future virtual festival research. Doi: 10.28991/ESJ-2022-06-05-016 Full Text: PDF
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Giurgea, Corina Maria, Carmen-Anca Safta, Ciprian Lupu, Mihaela Ordean, and Dan Opruţa. "Water management issues in the context of music festivals." IOP Conference Series: Earth and Environmental Science 1136, no. 1 (January 1, 2023): 012010. http://dx.doi.org/10.1088/1755-1315/1136/1/012010.
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Abstract In recent years, festivals, especially music festivals have become important vectors for promoting their host cities. Festivals are complex phenomena with high economic and socio-cultural impact. High CO2 emissions and huge resource consumption are commonly related to the festivals’ negative environmental impact. Ensuring the suitable amount of water for a large-scale event is essential for both the audience experience and the city residents, especially when their access to water is hindered by excessive water usage for the festival. Therefore, an accurate estimation of water consumption during festivals is a prerequisite for rigorous water planning. In the Covid-19 world, due to the worsening crisis of resources and to the increasing pressure exerted by audiences asking for more eco-conscious events, festival organizers are called to get together with other stakeholders and re-examine the water management issues. Water companies have already started to embrace digital solutions. Their further implementation will result in a large amount of environmental data that could contribute to a paradigm shift concerning festival sustainability. The present paper was conceived around this topic, with the goal of increasing the awareness of all the actors involved in festival operational processes. Outcomes of a desk research and a case study focused on the UNTOLD and Electric Castle music festivals are presented.
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Pereira, Leandro, Carlos Jerónimo, Mariana Sempiterno, Renato Lopes da Costa, Álvaro Dias, and Nélson António. "Events and Festivals Contribution for Local Sustainability." Sustainability 13, no. 3 (February 1, 2021): 1520. http://dx.doi.org/10.3390/su13031520.
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Festivals can improve the image of host communities, making them an appealing destination and boosting local economy. However, it is hard to measure their actual impact, which is a key factor to justify governments’ initiatives. This study aims to verify how accurate direct expenditure analysis can be. First, the impact of new visitors’ expenditure is calculated based on a survey. Then, consumption indicators are used to forecast the actual economic impact of the festival. Finally, both results are compared. Even though the values gathered with consumption indicators are only a lower bound of the festival’s impact, this study found that assessing expenditure intentions during the festival leads to impact estimates that can be three times higher. The theoretical contribution of this study is to identify direct expenditure analysis weaknesses and how to reduce their effects.
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Pioš, Katarzyna, Karolina Skoczylas, and Teresa BrzeziñSka-Wójcik. "The Current Condition and Possibilities of Development of Festival Tourism in the Lublin Region." Polish Journal of Sport and Tourism 21, no. 2 (July 8, 2014): 119–26. http://dx.doi.org/10.2478/pjst-2014-0012.
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Abstract Introduction. The number, range, and diversity of events with a character of festivals have been growing in the Lublin Region over the last several years. The events are organised by various entities and institutions. Information about them is largely dispersed. No study has been conducted so far determining the spatial distribution of festivals at the regional scale, and analysing their offer in the context of possibilities of development of festival tourism. Therefore, a study in the scope was undertaken with consideration of the cultural conditionings of some of the events. Material and methods. In periods from July to December 2010 and from September to December 2013, secondary information was analysed (statistics, records, and scientific studies), and original material was collected (field inventory, interview, and diagnostic survey) regarding the current condition of festival tourism in the Lublin Region. Results. The collected data on festival tourism offers suggest that the number of festivals in the Lublin Region has been continuously increasing from year to year. According to the obtained data, festivals with a duration of 3 and 5 days are dominant. The majority of festivals are held in summer months, usually on weekends. Music and interdisciplinary festivals with international, national, and regional range are prevalent. Some of them already have a history of 47 years. The analysis of the spatial distribution of the festivals subject to the inventory suggests that the majority of them are organised in the largest cities of the region, namely Lublin, Zamośæ, and Kazimierz Dolny. Conclusions. Due to the very diverse offer of festivals, and the manner of their promotion, they play an important role in the promotion of the Lublin Region. The offer, spatial distribution, and dynamics in the scope of organisation of festivals provide good perspectives for the development of festival tourism in the Lublin Region.
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Kinnunen, Maarit, and Antti Honkanen. "Impacts of the COVID-19 pandemic on music festival attendees." Popular Music 40, no. 3-4 (December 2021): 317–46. http://dx.doi.org/10.1017/s0261143021000611.
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AbstractAs festivals were cancelled or people were afraid of participating in mass gatherings during the COVID-19 pandemic, the well-being effects of festival participation were missed. How can these missed hedonic, eudaimonic or social well-being impacts be described, and how has the prolonged absence of live music events and the cancellation of the festival summer influenced attitudes towards festivals? Research data comprised nearly 13,000 responses to the Finnish Festival Barometer 2020 at a time when all the large festivals had been cancelled. Clustering the COVID-19 related questions led to three segments named Covid-cautious, Music-driven and Experience-oriented. The findings indicate challenges for event organisers, particularly in terms of communality. The theoretical contribution of this study is in scrutinising the well-being effects of festival attendance at a time when festivals were banned. Thus, survey participants could say the factors they missed most, revealing the most important well-being dimensions for their festival attendance.
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GRADINARU, Camelia. "Community, Social Capital and Festivals. A Pandemic Perspective." Revista de Cercetare si Interventie Sociala 73 (June 15, 2021): 154–71. http://dx.doi.org/10.33788/rcis.73.10.
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This paper focuses on the complex relationships among social capital, community development and festivals. The Covid-19 pandemic put a lot of pressure on festivals, forcing an entire industry to adapt and recreate itself. In the restricted sanitary context, the pandemic festivals redefine the sense of events, of community and of social interactions. The empirical data, comprising in-depth interviews with the organisers of the first festival in Romania after lockdown, have revealed the prioritisation of social benefits and the growing connection between festival and community. This study therefore suggests that festivals could be involved more deeply in the community by assuming social charitable causes. Festivals create their own communities of fans but also shape the local communities where they take place.