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1
Hamáčková, Soňa. "Kultúrny turizmus a folklórne festivaly". Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-202100.
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The thesis deals with the analysis of cultural tourism and folklore festivals. Its goal is to characterize cultural tourism and festivals and to evaluate their position in the Czech republic and Slovakia. One part of the thesis deals with the analysis of Folklore Festival Východná and International Folklore Festival Strážnice. In conclusion the SWOT analysis of folklore festivals is conducted, festivals are compared, and measures for the next development are suggested.
2
Richards, Evan E. "The 33rd Alaska Folk Festival : a short documentary /". Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/RichardsEE2008.pdf.
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Sørbo, Ingelin. "Festival + sted = ? : Vinjerock - en festivals påvirkning på stedsidentitet og stedsutvikling". Thesis, Norges teknisk-naturvitenskapelige universitet, Geografisk institutt, 2011. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-17027.
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Festivaler har blitt en viktig del av opplevelsesøkonomien og stedene de er lokalisert. Denne oppgaven er et case-studie av musikkfestivalen Vinjerock i Vang kommune, og fokuserer på hva slags innvirkninger festivalen har på stedsidentitet og stedsutvikling. Oppgavens empiriske grunnlag baseres på kvalitative intervju med syv aktører fra Vang og Valdres-regionen som er involvert i Vinjerock på ulike måter. Oppgaven består av en todelt analyse: den første delen av analysen fokuserer på festival, sted og stedsidentitet, mens den andre delen av analysen i hovedsak fokuserer på stedsutvikling og entreprenørskap. Hovedfunnene viser hvordan festivalen har påvirket både Vang og Eidsbugardens identitet ved bruke av lokale tradisjoner og historie på nye og innovative måter. Funnene belyser også hvor viktig lokal støtte og integrering kan være i henhold til entreprenørskap. Funnene viser i tillegg hvor viktig lokal entusiasme har vært for Vinjerock, og at festivalen har fungert som inkubator for andre prosjekter i regionen.Festivals are increasingly becoming an integral part of the experience economy and the places that they degenerate to. This thesis is based on a case study about the music festival Vinjerock, in the municipality Vang in Norway. The empirical basis originates from seven qualitative interviews with persons involved in Vinjerock in various ways. The main goal of this thesis is to study the impacts music festivals have on place, place identity and local development. The analysis is divided in to two parts: the first part focuses on the concept of festival, place and place identity, whilst the second part of the analysis focuses mainly on local development and entrepreneurship. The main findings from the study show how the festival has had an impact on both Eidsbugardens and Vangs place identity by using local history and traditions in new and innovative ways. The findings also show how local support and being a part of the local community affects the entrepreneurial task of succeeding with this kind of project. Finally the findings show how important local enthusiasm has been Vinjerock, and that one projects success can work as an incubator for other projects in the region.
4
Petitinga, Carolina Santos. "Festival de verão de Salvador: significado para o turismo, a música independente, a economia e o marketing da cidade". Programa de Pós-Graduação em Cultura e Sociedade da UFBA, 2008. http://www.repositorio.ufba.br/ri/handle/ri/10605.
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Made available in DSpace on 2013-05-08T19:03:38Z (GMT). No. of bitstreams: 1 dissert_Carolina Petitinga.pdf: 1727969 bytes, checksum: 191042735ef5a4122a27f0953b682794 (MD5) Previous issue date: 2008
Os festivais de música têm dado visibilidade às cidades e movimentado a economia local, através da geração de emprego e renda. Eles atraem investidores, empresas, visitantes e profissionais qualificados. Funcionam também como alternativas para a distribuição da música e servem de vitrine para novos talentos musicais. Muitas cidades tornam-se conhecidas e são incluídas no roteiro de férias de muitos turistas por conta dos festivais que realizam, alguns deles mundialmente famosos. Esta dissertação examina o significado desses festivais para o turismo, geração de emprego e renda, produção de música independente e marketing da cidade, através do estudo de caso do Festival de Verão Salvador. A partir da revisão da literatura especializada, de entrevistas qualificadas e de uma pesquisa amostral aleatória e estratificada realizada in loco, aplicou-se a metodologia padrão de estudos de impacto econômico de eventos.
Salvador
5
Simmons-Carroll, Kathryn B. "French Quarter Festivals, Inc.: A Year of Festivals (Internship Report)". ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/aa_rpts/169.
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This report accounts my time spent as an intern with French Quarter Festivals, Inc. from March 2013 through August 2014. FQFI, a nonprofit 501(c)(3) organization in New Orleans, Louisiana, began with French Quarter Festival in 1984 and now produces three festivals each year. This paper seeks to discuss how the organization has changed over time, examine the structure of FQFI in its current state, and make recommendations for FQFI as they continue to “promote the Vieux Carré and the City of New Orleans through high quality special events and activities that showcase the culture and heritage of this unique city, contribute to the economic well being of the community, and instill increased pride in the people of New Orleans.”
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Osterholt, Emily. "French Quarter Festivals, Inc.: An Analysis of Festival Operations (Internship Academic Report)". ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/195.
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French Quarter Festivals, Inc. is a nonprofit organization that annually produces three festivals in the New Orleans area with the intention of promoting the Vieux Carré and the culture of the city. My internship began near the beginning of preparations for the 2015French Quarter Festival and concluded just after the event had passed. While the organization is very successful and French Quarter Festival has grown to be the largest free music festival in the United States, there remains room for improvement and growth within the organization. The following report serves as a case study of the organization and addresses issues that were revealed during both analysis and personal observations. The conclusion of the report includes recommendations intended to aide in the continual success and growth of the organization.
7
Kahuno, Maryanne Njeri. "Constructing identity through festivals: The case of Lamu Cultural Festival in Kenya". Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62642.
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Cultural festivals have become a prominent topic of research because of their socio-economic value. However, thus far, limited research has been conducted on the more profound issue of the possible contribution of festivals towards constructing a cultural identity. The aim of this study was therefore to determine the role that one particular festival, the Lamu Cultural Festival, plays in constructing cultural identity, particularly when people from different cultural backgrounds are involved. Lamu in Kenya was chosen as the study area, due to its rich and unique cultural heritage, with the main aim of investigating whether the Lamu Cultural Festival is helping to preserve the cultural heritage of this area and/or to create a new Lamu identity. An anthropological approach was used to conduct the study on cultural identity. The research was conducted on the 14th annual Cultural Festival in Lamu, where the festival has taken place since 2001, after the Island was declared a UNESCO World Heritage Site. The best way to understand another culture is to experience it first-hand by travelling to the destination, hence the use of participant observation for data collection. The dissertation looks at various debates regarding identity construction through cultural festivals. It also investigates the development of festival literature, festival tourism and the history of festivals. Cultural practices among the Aweer, the Bajuni, the Sanye and the Orma in Lamu, and these people's sense of cultural identity before the introduction of the Lamu Cultural Festival are also assessed, in order to understand the respective senses of cultural identity of these four indigenous groups involved in the festival. The Lamu Cultural Festival itself is also discussed in detail: the planning process, stakeholders and organisers, people's motivations for participating in the festival, festival items and their composition. The research findings may assist festival organisers in achieving a better understanding of the importance of involving indigenous communities in the planning process and possibly in achieving a Lamu identity over time.Dissertation (MHCS)--University of Pretoria, 2017.
Historical and Heritage Studies
MHCS
Unrestricted
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Ludvigsson, Josefine. "Festivalernas Intåg : Korröfestivalen – en bordunstämmas resa genom festivaliseringen". Thesis, Växjö University, School of Education, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2382.
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Title: Festivalernas Intåg – Korröfestivalen- en bordunstämmas resa genom festivaliseringen
The Korrö festival- The establishment of a Swedish Folk Music Festival.
This thesis describes how folk music festivals have been escalating during the past few and how they have influenced Swedish folk music. To reach my results I have been studying one festival in particular which is the Korrö Folk Music Festival. This event started in the mid-eighties as a small happening that attracted almost exclusively musicians that were a part of the bordooon movement. The bordoon movement gathered a couple of days in the summer at what they called the “Korrö bordunstämma” to build instruments and play folk music. Later on the event started to attract other people through public live concerts. These concerts became more and more popular and they soon took over the original purpose of the event. This became a turning point for “Korrö bordunstämma” who now decided to change name to the Korrö Folk Music Festival. I have been studying the history of this event to see if I could find any particular circumstances that may have contributed to the popularity this event have reached over the years. I will illustrate how certain factors such as organisation, economy and alteration of visitors have affected the festival. This text will give the reader a presentation of a festival in constant change. I believe that The Korrö Folk Music Festival has been an important part of the development of modern Swedish folk music and still is.
9
Marchini, Ben. "Festivals and sustainability : reducing energy related greenhouse gas emissions at music festivals". Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/8840.
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This thesis investigates the potential to reduce greenhouse gas emissions relating to electrical power provision at UK music festivals. It has been carried out in partnership with a number of UK festival organisers and power providers. The thesis provides a literature review of sustainable event management and the associated electrical power provision, before then investigating the existing methodologies for quantifying greenhouse gas emissions at festivals. This review identified a lack of data regarding energy demand at events other than total fuel demand. While energy data does not improve the accuracy of GHG accounting, it provides more detail which can identify opportunities to reduce these emissions. Data was gathered from 73 power systems at 18 music festivals from 2009-2012. This produced typical festival power load profiles for different system types including stages, traders and site infrastructure. These load profiles were characterised using a series of indicators that can create performance benchmarks, in addition to increasing the detail of carbon auditing. Analysis of the load profiles identifies opportunities for emission reduction. These address either the supply or demand for power in order to reduce on site fuel consumption. These opportunities include changes in operating procedure to reduce demand during non-operational periods, utilising low energy equipment on stages, and using a power provision system capable of adjusting power plant supply to meet demand. The work has documented power demand at festivals, and highlighted opportunities for change that can reduce costs and emissions, as well as informing festivals on their practices.
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Manasa, Kallyarath Madhooj, i Sunil Anagha. "Cultural festivals of India". Thesis, Sumy State University, 2019. https://essuir.sumdu.edu.ua/handle/123456789/77250.
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India, also known as the Republic of India, is a country in South
Asia. It is the seventh-largest country by area and with more than
1.3 billion people. It is the second-most populous country and the most
populous democracy in the world. There are 29 states and 7 union
territories in this country.
11
Mericle, Andrea. "Festivals, Function and Context: An Ethnographic Study of Three Festivals at Holden Village". TopSCHOLAR®, 1998. http://digitalcommons.wku.edu/theses/270.
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The purpose of this thesis is to explore how three festivals function together to meet the Mission Statement goals of Holden Village, an isolated Lutheran renewal center located in the Cascade mountains in Washington State. The Holden Village Mission Statement states that Holden Village is organized to provide a community for healing, renewal, and refreshment of people through worship, intercession, study, humor, work, recreation, and conversation in a climate of mutual acceptance under the Lordship of Jesus Christ. The purpose of this community is to participate in the renewal for the church and the world by proclaiming the gospel of God's unconditional love in Jesus Christ; rehabilitating and equipping people for ministry in the world; lifting up a vision of God's kingdom of peace, justice, and wholeness; and celebrating the unity and the diversity of the church, all humanity, and all creation. (Lutz 1987:16-7) This ethnographic study provides an initial history of Holden from the days it operated as a copper mine, explains how Holden became a Lutheran renewal center, and explores the different ways the current villagers incorporate the Mission Statement into their everyday lives. After establishing the historical, cultural, and spatial context of Holden Village, I then analyze three festivals in detail vis-a-vis the Holden Village Mission Statement. To gain a better understanding of the function of these three festivals, and to place them within a broader context, I also provide a detailed description of the daily, weekly, and calendrical events at Holden. The three festivals analyzed in this thesis are the Fourth of July, Jubilee! Day, and Sun Over Buckskin Day. In my analysis of these three festivals, I rely on my role as a participant/observer in these festivals, journal entries written throughout my various volunteer experiences at Holden, letters I wrote to family and friends, recollections sparked by photographs, conversations with Holden friends and acquaintances, as well as relevant printed sources. The conclusions drawn from my fieldwork indicate that each of these three festivals contribute in some way to meeting the goals of the Holden Village Mission Statement. After my analysis of the three festivals, I briefly discuss some of the issues and concerns which have occurred at Holden during times of community stress and how the village has responded. My conclusions indicate that despite the problems which can arise at Holden, people leave Holden with a sense of renewal. This sense of renewal is facilitated by the daily, weekly, and calendrical events and festivals at Holden, all of which provide the villagers with the opportunity to celebrate themselves as members of a community.
12
Bergström, Lisa, i Emily Grafström. "Vägen till framgång : En studie om festivaler i Stockholm". Thesis, Södertörns högskola, Institutionen för ekonomi och företagande, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-17088.
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The purpose of this paper is to examine how events can be successful and stay competitive.Festivals are a big part of the event world and it can be difficult to understand why certainfestivals are successful and others not. In this paper we have conducted a comparison betweentwo major festivals in Stockholm. Both of them reached success, but nevertheless one of themfailed, while the other one is still successful. With this comparison, it appeared that there aremany aspects that help a festival to reach success but also factors that can make a festival afailure. To conduct this study, a number of interviews have been carried through; these havelater been put in relation to different theories about festivals. The results of this study providesinsight into festivals ups and downs and why these happen, and can hopefully be a help toboth new and existing festivals to achieve good results.
13
Dreyer, Adriana. "Tourist perceptions of the Klein Karoo National Arts Festival's corporate brand / A. Dreyer". Thesis, North-West University, 2010. http://hdl.handle.net/10394/4352.
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Gibout, Christophe. "Villes et festivals : approche comparée des festivals urbains en Grande-Bretagne et en France". Tours, 1997. http://www.theses.fr/1997TOUR2013.
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Depuis une vingtaine d'années, l'explosion festivalière semble caractériser la ville ouest-européenne. Aussi, nous avons entrepris une étude comparative, appuyée sur un matériau issu d'une enquête de terrain (270 festivals dans 110 communes). Outre une lourde recherche bibliographique bilingue, nous avons utilisé plusieurs outils traditionnels des sciences sociales : questionnaires écrits, interviews, observation participante. . . Le travail comprend 7 parties. Après une longue introduction (définitions, historique, problématique, justification méthodologique), la première partie interroge les temps festivaliers pour savoir s'ils ne participent pas de l'émergence d'une nouvelle temporalité sociale. La seconde décrit concrètement les caractères des manifestations (particularismes nationaux, spécificités thématiques, activités dominantes). La troisième présente les principes fonctions sociales du festival faisant apparaitre la dilution du phénomène festif traditionnel dans une pratique de loisir. La quatrième interroge les liens et rapports avec les collectivités locales pour souligner l'avènement d'une vision socialement instrumentalisée des manifestations. La cinquième analyse les relations entre les festivals et les audiences, les indigènes et les artistes, pour en souligner l'hétérogénéité et l'instabilité. En conclusion est soulignée l'émergence d'un phénomène festif nouveau. Culturellement, le festival symbolise à la fois la mondialisation et la capacité sociale à lui résister. Socialement et politiquement, il est édulcoré comparativement aux anciens phénomènes festifs, mais il porte les caractères majeurs des nouvelles pratiques collectives et des espaces publics. Le festival s'affirme ainsi comme un des phénomènes essentiels de la vie urbaine, européenne et contemporaine. S’il participe de l'urbanité dans sa vision traditionnelle, le festival participe plus encore de la redéfinition de l'urbain et des caractères de la ville en constructionWest-european countries are caracterise, since 1970's, by an incredible revitalization of public celebrations. Among them arts festivals are some of the most representative. Also, we decide to analyse these festivals into a comparison betwenn Great-Britain and France. Beside a great bibliographical research in both countries, we base our presentation on 270 arts festivals in 110 cities. The work can be divide in 7 parts. After a large introduction (definitions, history, technics, problems. . . ), the first chapter is concern by the "festivals times" and the way they take part to a new social temporality. The second chapter looks for the programmation and differences between the two countries. The third chapter describe the social fonctions of such events and prove the evolution from traditionnal festival to leisure. The fourth chapter show the relationships with local authorities, and specially the improvment of a instrumental vision. The fifth chapter describe the relationships with the audiences, the indigenes and the artists and put in evidence their heterogeneity and their instability. Finally, the conclusion propose the emergence of a new festive phenomenon, which is symbol of both the globalization and the social resistance to this globalization. Furthermore arts festivals are caracteristical of the re-definition of modern urban life in western Europe, taking part to the definition of the future for cities and western society
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Beaubien, Brad M. "Community festivals and social capital". Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1217382.
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This research examines the relationship between community festivals and social capital across time and place. Social capital includes the social networks, norms, and trust that enable groups of individuals to cooperate in pursuing shared objectives, and benefits accrue to both the individual and the community. Research shows the ancient Greek and American Indian civilizations relied on festivals for a variety of purposes relating to social capital, including the bridging of social divides, the transmission of cultural heritage, and the reinforcement of community identity. Today, research findings from five small town festivals in Indiana indicate a similar relationship with social capital. Festivals can bring a community together, offer a shared experience for a diverse group of people, build new relationships, and foster community pride and identity. As such, community festivals may serve as a tool for community planners in building or sustaining social capital in a community.Department of Urban Planning
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Dhvani, Patel, Людмила Анатоліївна Кулішенко, Людмила Анатольевна Кулишенко i Liudmyla Anatoliivna Kulishenko. "Festivals of India аnd Ukraine". Thesis, Sumy State University, 2021. https://essuir.sumdu.edu.ua/handle/123456789/84809.
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India is a land of festivals, where people from different
religions coexist harmoniously. The wide variety of festivals
celebrated in India is a true manifestation of it’s rich culture and
traditions. Virtually celebrating each day of the year, there are more
festivals celebrated in India than anywhere else in the world. Each
festival pertains to different occasions, some welcome the seasons of
the year, the harvest, the rains, or the full moon.
17
Lee, Hong Real. "Film festivals as public spaces : the transformation of the Busan and Berlin international film festivals". Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/10720/.
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This thesis analyses film festivals as public spaces. It asks how publicness configures both contemporary film festivals and the activities of those who participate in them. In order to investigate this mix of theories and the concomitant practices are employed, all of which are intertwined with the notion of public or publicness as the overriding conceptual framework of this research. Jürgen Habermas’s universal and rational notion of public sphere has been subjected to criticisms that have called for an understanding of publicness as more fragmented and multiple, and hence experiential. Here, publicness is defined as performative: it is constituted experientially as the degree of physical, perceptual and sensorial connectedness between film festivals and those present at them. In other words, film festivals are experiential public spaces. On the basis of ethnographic analysis of the Busan and Berlin International Film Festivals (BIFF and the Berlinale) utilising in-depth interviews, participant observation and archival analysis, the thesis argues that film festivals are socioculturally bound and perceptually elastic public spaces that enable their audiences or publics to experience the ambient and environmental sense of public accessibility engendered jointly by film festivals and their surrounding milieus. Three aspects are analysed in more detail. First, public spaces are being used as festival venues within contemporary gentrified urban environments. The thesis argues that the physical and structural expansion and transformation of national and international film festivals affects the changing perceptions local residents have of everyday urban public spaces. Second, question and answer (Q&A) sessions between ordinary festival audiences and filmmakers are examined as communicatively performative activities. The thesis argues that the film festival Q&A format functions as a discursive means of facilitating the active participation of festival audiences in its verbally and emotionally-engaging public atmosphere. Third, the roles of film festival media, specifically online, are examined in order to argue that festivals use new media to facilitate ordinary festival audiences’ or their publics’ engagement with the film festival experience as a whole.
18
Le, Grange Rene. "Effective planning and organisation of a student theatre festival". Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-08112004-100939.
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Binimelis, Adell Mar. "La geopolítica de las coproducciones hispanoamericanas. Un análisis a través de su presencia en los festivales de clase A (1997-2007)". Doctoral thesis, Universitat Rovira i Virgili, 2011. http://hdl.handle.net/10803/51762.
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La investigación analiza la presencia de las coproducciones cinematográficas
hispanoamericanas en los festivales internacionales de cine de ‘Clase A’ entre
los años 1997 y 2007. El recurso de la coproducción se ha convertido en una
fórmula esencial para el cine español, así como para los distintos países
latinoamericanos que recurren a España como el socio prioritario para este tipo
de películas. El estudio de las coproducciones hispanoamericanas en los
grandes festivales permite analizar qué características tienen estos filmes
cuando se destinan a la circulación global y a públicos internacionales. La
cuestión se aborda tanto desde un punto de vista cuantitativo como cualitativo.
A través de las condiciones de producción de estas películas y el contexto en el
que se desarrollan se cuestionan las relaciones de poder existentes a nivel
cinematográfico entre España y los diferentes países latinoamericanos y cómo
éstas se reconfiguran en el escenario internacional.La recerca analitza la presencia de les coproduccions cinematogràfiques hispanoamericanes als festivals internacionals de ‘Clase A’ entre els anys 1997 i 2007. El recurs a la coproducció s’ha convertit en una fórmula essencial per al cinema espanyol, així com per als diversos països llatinoamericans que recorren a Espanya com a soci prioritari per aquest tipus de pel·lícules. L’estudi de les coproduccions hispanoamericanes als grans festivals permet analitzar quines característiques tenen aquests filmes quan es destinen a la circulació global i a públics internacionals. La qüestió s’aborda tant des d’un punt de vista quantitatiu com qualitatiu. A través de les condicions de producció d’aquestes pel·lícules i del context en el que es desenvolupen es qüestionen les relacions existents a nivell cinematogràfic entre Espanya i els diferents països llatinoamericans i com aquestes es reconfiguren a l’escenari Internacional
The research analyzes the presence of hispanoamerican film co-productions in international festivals 'Class A' between 1997 and 2007. The use of coproduction has become an essential formula for Spanish cinema, as well as for the Latin American countries that have in the spanish producers the main partner for this type of films. The study of hispanoamerican co-productions at festivals is suitable to analyze the characteristics of these films when they are for international audiences and global circulation. The issue is analyzed quantitatively and qualitatively. The power relations between Spain and the Latin American countries and how they are reconfigured in the international arena are questioned through the analysis of the conditions of production of these films and its context.
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Gross, Justin A. Alderman Derek H. "The festival gap : comparing organizers' perceptions of visitors to a survey of visitors at the Carolina Renaissance Festival, 2005 /". Access via ScholarShip, 2006. http://hdl.handle.net/10342/1111.
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Thesis (M.A.)--East Carolina University, 2006.Presented to the faculty of the Department of Geography. Advisor: Derek Alderman. Includes bibliographical references (leaves 114-119). Also available via the World Wide Web. Adobe reader required.
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Nogueira, Julia C. "Film and video festivals in South America a contemporary analysis of flourishing cultural phenomena /". Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1230612139.
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Kemang, Leluma. "The role of Morija Arts and Cultural Festival as a mechanism for promoting tourism among local communities". Thesis, University of Zululand, 2012. http://hdl.handle.net/10530/1263.
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A dissertation submitted to the Faculty of Arts in partial fulfilment of the requirements for the Master Degree in Recreation and Tourism in the Department of Recreation and Tourism at the University of Zululand, South Africa, 2012.This research study was conducted with the view of investigating the Morija Arts and Cultural Festival as tourist attraction. Morija community has staged the event for more than ten (10) years. It was first held in 1999, but it seems that the event has not shown the great potential to the Morija communities. The broad intention of the study was to reveal the barriers and come up with a strategy, which would mobilise the potential of the cultural festival towards benefiting the local communities, tourists and other stakeholders. It is further the intention of this study to close the gaps which are existing in the management of the Morija Arts and Cultural Festival as tourist attraction in Lesotho.
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Thomas, Peter. "Geographies of the music festival : production, consumption and performance at outdoor music festivals in the UK". Thesis, University of Newcastle Upon Tyne, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446235.
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Over the last forty years music festivals have emerged as a significant leisure phenomenon. From humble and amateurish beginnings the music festival industry is now an important part of the economy, with several major players dominating the organisation of the large music festival within the UK. Music festivals are economically successful because the spaces within them enable people to engage with practices and performances that are far different from those experienced within the everyday world. However, whilst the role of music festivals has become of increasing importance, both economically and culturally, they remain wholly neglected within academic research. As a result little is known about why music festivals are successful and how people use the spaces within them. Furthermore, there has been no substantial research that has attempted to understand just how music festivals are put together and organised. This research addresses this lacuna through substantial ethnographically informed research that documents how the processes of production, consumption and performance come together at the music festival. It is the first attempt within human geography to document the important spaces and places, practices and performances that constitute just what a music festival is. The challenge for this research has been to show why music festivals are successful for both the festival organiser and the festival participants. Three specific areas are explored using a variety of methods. Firstly this research explores how the spaces within the music festival are produced as economically successful spaces, highlighting how decisions by festival organisers are often taken to encourage particular forms of consumption by festival participants. Secondly, this research explores how festival participants use the music festival, and pays particular attention to the lived experiences of those involved as a means to understanding why people enjoy the spaces within the music festival. Thirdly, this research looks at the creative tensions that emerge within the festival as a result of the differing expectations between the festival organiser and the festival participants over how the festival should take shape
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Smith, Miranda. "The entrepreneurs' role at arts festivals : the case study of Aardklop National Arts Festival / Miranda Smith". Thesis, North-West University, 2009. http://hdl.handle.net/10394/5042.
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Entrepreneurs are found globally in all industries. In the tourism industry, entrepreneurs feature strongly in the events sector. The purpose of this study is to determine the entrepreneurs' role at festivals and in this case a national arts festival. The literature revealed that this type of study has not previously been conducted in South Africa. The literature review indicates that arts festivals as income generating events can be seen as an entrepreneurial opportunity to maximise economic activity. Entrepreneurs play a vital role in the success of an event such as arts festival. Entrepreneurs initiate transformation and serve as catalysts of innovation. Entrepreneurs are important role players since they attract and retain visitors and contribute to forming cultural identity of the arts festival.
In order to achieve the objective, a survey 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, was conducted. Two hundred and twenty two useable questionnaires were captured on Excel and the data analysis included a factor analysis and descriptive results. The questionnaire consisted of three sections: section A - demographical information - 7 questions; section B - information on the business - 8 questions; and section C - festival information - 6 questions.
The main results reveal that the most important characteristics contributing to entrepreneurship are: a need for achievement, being successful, having the necessary organising skills, self-edification, being explorative, and commitment. The entrepreneurs indicated that they perceive their role at the arts festival to deliver unique, quality products and services and to market their businesses.
The findings from this study contributes to the limited academic research on entrepreneurs at arts festivals and will be beneficial for arts festival organising committees to determine future strategies on including entrepreneurs at arts festivals.Thesis (M.Com. (Tourism))--North-West University, Potchefstroom Campus, 2010.
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Johansson, Frida, i Sofia Eliason. "Festival- ett jämställt rum? : En turismvetenskaplig studie som undersöker två festivalers arbete mot en jämställd festival". Thesis, Karlstads universitet, Handelshögskolan, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-44424.
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Frågan om jämställdhet på festivaler har de senaste åren varit ett ämne som lyft stora debatter på sociala medier. Kända artister har kritiskt lyft diskussioner centrerade på festivalernas könsfördelningar av artistbokningar. I jämförelse till dessa diskussioner var det dock svårt att hitta tidigare fakta och forskning som berör hur arbetet med jämställdhet bakom och inom festivalerna faktiskt ser ut. Studiens syfte ämnar därför undersöka hur två musikfestivaler arbetar och förhåller sig kring jämställdhetsfrågor. De festivaler som har studerats är Way Out West och Umeå Open, en större festival och en mindre festival. Ämnet implementeras inom en turismvetenskaplig forskning eftersom festivaler tillhör kultursektorn och har en bidragande faktor inför Sveriges besöksnäring. Festivaler kan även utifrån ett samhällsperspektiv anses bidra med platsidentitets skapande faktorer samt fungera som ett verktyg för att sprida budskap vilket gör ämnet om jämställdhet på festivaler relevant att studera. För att besvara studiens syfte har vi utgått från tre frågeställningar som belyser tre teman: Jämställdhet inom organisationen, jämställda bokningar, jämställdhet inför besökarna. Dessa teman är relevanta att undersöka eftersom vi anser att det är utifrån de perspektiven jämställdhet kan tillämpas inom en festival. Vidare kopplas dessa teman samman med studiens resultat som berör de strategier och tillvägagångssätt organisationerna bakom festivalerna har använt sig av för att arbeta med jämställdhet. I studiens slutsats presenteras vårt forskningsbidrag som kan antyda att det finns två särskiljande strategier som är relevanta vid arbete med jämställdhet på en festival. Studiens teoretiska ramverk baseras på tidigare forskning som berör feministisk geografi, jämställdhet samt musik och festivaler. Den primära datan har samlats in genom två intervjuer med en representant från Way Out West och en representant Umeå Open. Vidare har intervjuerna kompletterats med en bild- och textanalys i avsikt att undersöka om och i så fall på vilket sätt hemsidorna är könskodade.For the past years there have been lots of discussions in social media relevant to the question about equality in festivals. Several famous artists have pointed out the gender distribution that exist in festivals bookings of performers. In perspective to these discussions there is little research to find about how festivals actually are working with the subject. Therefore, this study aims to investigate how two music festivals relate and work around the subject about equality. The festivals that this study are investigating is Way Out West and Umeå Open, one festival that is a bit bigger than the other. Furthermore, this study’s research can be related to tourism studies since festivals is an event related to culture that also can be recognized as a contributing factor for Swedens tourism industry. In addition, festivals also can be used as a tool to distribute political or social messages to a wider range of people which also points out the relevance of this study’s research. Further the aim of the study is answered to by three questions which are developed in three topics. These topics are: equality inside of the organisation, equality bookings and equality in perspective of the visitors. Notably we believe that these topics are central to research hence they are relevant to how equality can be applied in a festival. Additionally, are these topics connected to the study’s result that will indicate on the festivals strategies that they are using to develop an equal festival. The result presents our contribution to further research by introducing two specific strategies that are relevant and useful in working with equality in festivals. The study’s theoretical framework is founded on previous research and includes subjects as feministic geographies, equality, music and festivals. Further the primary data has been collected through two interviews and two imageand text analysis. Each interview with a respective represent from each festival.
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Diestro-Dópido, Mar. "Film festivals : cinema and cultural exchange". Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8900.
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Historically the focus of journalistic reports, film festivals have recently started to attract the attention of academics, applying concepts from crossdisciplinary fields such as cultural studies and ethnography. As a result, film festivals are now gradually being institutionalised as a field of study within the wider discipline of Film Studies. This thesis adds to this growing body of literature by exploring film festivals as sites of cinematic, cultural, social, political and economic exchange, as well as the multiple ways in which these events produce cultural value. This thesis draws on three detailed case studies: the Buenos Aires Festival de Cine Independiente, known as BAFICI, in Argentina; the BFI London Film Festival in the UK; and the San Sebastián International Film Festival in Spain. Issues of national identity, history and memory inform and become crystallised in each festival. They acquire a particular resonance in the tensions between national and regional allegiances in San Sebastián, as well as the pressures between cinema as culture and entertainment in the case of London. The focus on BAFICI allows for a development of the argument beyond critics and academics’ habitual focus on Western film festivals. Transnational events by nature, all three festivals relate in complex ways to their own national cinemas and localities, as well as to other festivals within the international circuit. My personal experience as film critic and reporter at festivals is underpinned by academic research, giving this project a dual perspective. With findings based on extensive interviews (primary research) with the teams responsible for programming the three festivals, this thesis aims to bring into the public domain the views of those who have shaped these festivals, creating a new body of material that can be drawn on by future scholars working in this area.
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Perez, Julian. "Music Festivals: A Secondary Market Analysis". Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1338.
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While the majority of the literature on secondary markets for tickets in the entertainment industry focuses on concerts and sporting events, this study aims to shed light specifically on the music festival resale market. Music festivals have risen in prominence in recent years, particularly among millennials, during the time that the internet has dramatically facilitated the resale of tickets through online marketplaces. With many of the top festivals selling out rapidly, a great deal of music fans turn to secondary markets for tickets. However, very little is known about the behavior of secondary markets for music festivals due to information not being readily available to the public. This study uses demand-side data including transaction prices and quantities acquired from one of the largest online secondary ticket marketplaces to examine market behavior. My findings show that on average, prices decline for music festivals as they approach, but that there are years for certain festivals where this isn’t the case. Other results show that markets for festivals with multiple weekends operate differently and that special artist performances such as band reunions can have a significant positive effect on consumer demand. Lastly, the majority of all ticket sales are found to take place in the final 30 days before music festivals transpire.
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Brown, Kwesi Ewusi. "SOCIAL CONFLICTS IN CONTEMPORARY EFFUTU FESTIVALS". Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1124803078.
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Stewart, Cori Anne. "The culture of contemporary writers' festivals". Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/31241/1/Cori_Stewart_Thesis.pdf.
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This thesis examines the culture of contemporary writers’ festivals in an international context. In the last five decades writers’ festivals have emerged in cities across the world, and during this time they have expanded their literary discussions and debates to include numerous other topics of broad interest to society. To examine the expanded popularity and function of writers’ festivals, this thesis establishes a new vantage point for theorising the content now typically generated by these events using concepts in urban festivals and public culture research. Importantly, the new vantage point addresses the limitations of current commentary on writers’ festivals which routinely claim they trivialize literature, and more generally, contribute to the decline of public culture.
The thesis presents two case studies: one on the Brisbane Writers Festival in Australia and the other on the International Festival of Authors in Toronto, Canada. The first case study, which focuses on the 2007 Brisbane Writers Festival, illustrates the many overlapping and often conflicting discourses as well as opinions productively discussed and debated at writers’ festivals. Key topic discussed and debated at the Festival include local topics about the host city—its history, literature and politics, as well as broader literary, political and celebrity culture topics. The diversity of topics discussed at the 2007 Brisbane Writers Festival is typical of the majority of writers’ festivals similarly located outside the largest geographic centres of global literary production and circulation, and designated as ‘peripheral’ festivals in this research.
The second case study on Toronto’s International Festival of Authors examines the ways in which the 2006 Festival almost exclusively focussed on literary and celebrity culture discourses, and promoted itself on these terms. The 2006 International Festival of Authors’ discussion and debate of a narrow range of topics is typical of the few writers’ festivals located in global centres of literary production and circulation, and unlike ‘peripheral’ festivals they are not experiencing the same growth in number or popularity. The aim of these ‘international’ Festivals is not to democratise their elite literary beginnings, but rather to promote ‘literature’ as a niche brand for quality writing that is valid on a global scale. This thesis will assert that while all writers’ festivals are influenced by the marketing desires of publishing companies, the aim of international writers’ festivals in marketing to a virtually and globally connected elite literary audience makes them more susceptible to experiencing declines in audience and author participation.
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Zabrovskaya, Yulia, i Monika Pavilonyte. "Revenue determinants of music festivals : A case of pop/rock, jazz and classical music festivals in Scandinavia". Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13771.
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We have chosen several types of festival (rock/pop, classic and jazz) in Scandinavian region (Sweden, Denmark and Finland), selected the biggest music events in each of the regions and marked the main factors affecting the revenue of the festival, why some of festivals occurring every year and some just have lack of visitors, as we suppose. Purpose is to define the main factors which influence revenues of festivals of classic, rock/pop and jazz genre. Methodology is to determine these factors. Quantitative analysis was used in order to collect necessary data. Organizers of festivals in Sweden, Finland and Denmark took part in the survey; they answered and gave information to main research questions, primary data. Secondary data was sourced from music events web-pages and articles. The collected data was analyzed by means of the statistical programs. We conclude that the research showed that the share of international artists, number of sponsors, the number of volunteers, the length of the music event, the music genre of a festival and government grants for the classic festivals affect festival revenues.
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Ferreira, Thaís Arruda 1985. "Reflexões sobre cinema ambiental = uma abordagem multidisciplinar = Environmental film: a multidisciplinary approach". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/267759.
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Orientador: Sandro TonsoDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Tecnologia
Made available in DSpace on 2018-08-22T10:46:00Z (GMT). No. of bitstreams: 1 Ferreira_ThaisArruda_M.pdf: 4590667 bytes, checksum: be7e1a1870f900c94459890c0fdd1c5c (MD5) Previous issue date: 2013
Resumo: Com a expansão do debate da crise ambiental na sociedade, surgem na década de 1980, como novos espaços de veiculação das questões ambientais, os festivais de cinema ambiental. O debate, aparentemente homogêneo, é divergente, múltiplo e conflituoso, sendo necessário problematizar as representações relacionadas à temática ambiental e explicitar os conflitos socioambientais, com o intuito de identificar onde estão às brechas, os germes para a emancipação e para o equilíbrio socioambiental. Nessa perspectiva, essa pesquisa apresenta uma discussão teórica reflexiva multidisciplinar sobre o cinema ambiental, inter-relacionando-o com a crise socioambiental, com concepções de meio ambiente, com festivais de cinema ambiental, com Educação Ambiental e com potencial educador do filme. Para isso, foi realizado um breve ensaio com algumas discussões que dão embasamento teórico à pesquisa, uma investigação do uso do termo "cinema ambiental", uma investigação e reflexão sobre as concepções de Cinema Ambiental e um levantamento histórico e de dados numéricos sobre o FICA (Festival Internacional de Cinema Ambiental), festival escolhido para examinarmos alguns filmes. As conclusões apontam que o termo "cinema ambiental" é utilizado em diversos contextos, suscitando interesses atinentes a grupos diversos, e que as concepções de Cinema Ambiental dependem das concepções ambientais dos sujeitos que a denominam, sendo que, nos festivais, outros critérios também estão presentes. Além dessas contribuições, essa pesquisa também contribui com algumas reflexões em relação ao FICA e com apontamentos sobre o potencial educador dos filmes ambientais, na perspectiva de uma Educação Ambiental Crítica
Abstract: With the expansion of the environmental crisis debate in society, emerge in the 1980s, as new spaces for placement of environmental issues, the environmental film festivals. The debate apparently homogeneous, is divergent, multiple and conflicting, being necessary to question the representations related to environmental issues and clarify the environmental conflicts, in order to identify where the gaps are, germs for emancipation and the environmental balance. In this perspective, this research presents a theoretical discussion about the film reflexive multidisciplinary environment, inter-relating it with the environmental crisis, with conceptions of environment, with environmental film festivals, with Environmental Education and educator with potential movie. For this, we conducted a brief test with some discussions that give theoretical research, an investigation of the use of the term "environmental theater", a research and reflection on the concepts of Environmental Film and a historical survey and numerical data on FICA (Environmental International Film Festival), chosen to examine some festival films the findings suggest that the term "environmental theater" is used in several contexts, raising concerns relating to different groups, and that the conceptions of environmental Cinema depend on environmental subjects' conceptions the call, and, at festivals, other criteria are also present. In addition to these contributions, this research also contributes some thoughts regarding the FICA and notes about the potential environmental educator of the films from the perspective of a Critical Environmental Education
Mestrado
Tecnologia e Inovação
Mestre em Tecnologia
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Kriel, Jaun Antonie. "Communication efficacy of South African arts festivals : the case of Klein Karoo National Arts Festival / J.A. Kriel". Thesis, North-West University, 2010. http://hdl.handle.net/10394/4451.
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The primary objective of this study was to determine the communication efficacy at arts
festivals with specific reference to the Klein Karoo Nasionale Kunstefees (KKNK). This goal
was achieved by firstly discussing the concept of communication. Secondly, a literature study
was conducted in order to examine the links between communication and events. Thirdly, the
results of the empirical research were discussed, and finally conclusions were drawn from
the research and recommendations were made with regard to the communication efficacy of
events, as well as for further research.
From the literature, communication between the event organisers and the local community
was defined. It was noted that communication plays an integral part in the success of an
event. The host community plays an integral part in events as role players. By establishing
and implementing an effective communication strategy to and from the organisers, the KKNK
will harvest the fruits of a successful cultural event.
Participation, decision making and informing the stakeholders using different types of media
was the means by which the KKNK organisers communicated with the host community.
Positive and negative impacts were measured in a questionnaire. The questionnaire that
sought to measure whether there were significant differences between the two host
communities of Oudtshoorn, and whether there were any differences in the results of the
communication strategy of the organisers when comparing the opinions of the white and of
the coloured communities. The questionnaires were distributed among the community
members of Oudtshoorn, using on a stratified sampling method, and by using a random
sampling method. A total of 258 questionnaires were completed, 110 from the white
community and 148 from the coloured community.
Means and standards deviations were determined following the affected sizes to explore the
differences between the importance of participation and communication in the two
communities, based on the dimensions of the various factors as determined in the factor
analysis. It became clear that there is a small effect (0.2-0.5) on the opinions of the two
communities regarding their being informed, community participation and the communication
from KKNK to the Oudtshoorn community in general. Decision-making and participation
opinions resulted in medium effects. It is the major significance of these effect sizes that the white and coloured communities do not believe they have equal decision making
opportunities and participation.
The chi-square test of significance revealed a small significance (0.1 - 0.3) in the following
areas: overall communication, information received and sought for through different types of
media and importance of the KKNK to Oudtshoorn. A medium significance (0.3 - 0.5) was
measured, and recommendations were made that programs meeting the needs of host
communities, decision making and having the community become active in festival programs
should be initiated.
This study contributes to the limited amount of literature available on the communication
efficacy of events to their host communities.Thesis (M.Com. (Tourism))--North-West University, Potchefstroom Campus, 2011.
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Crook, Nathan C. "Foods That Matter: Constructing Place and Community at Food Festivals in Northwest Ohio". Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1246453172.
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Lim, Haewen. "The contribution of festivals to city branding". Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/q367v/the-contribution-of-festivals-to-city-branding.
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The economic contribution of festivals and events has been widely acknowledged, but the relationship between a festival and city branding has received little attention. This thesis explores the role of festival stakeholders in the development of a city brand, providing a detailed account of city branding and festival sponsorship. The research focuses particular attention on cultural festivals by examining their role in the city branding process. To this end, one city (Seoul) and two festivals (Hi Seoul Festival and Seoul International Fireworks Festival) were chosen as case studies. A qualitative methodology based on semi-structured face-to-face interviews was determined to be the most appropriate approach for achieving the research aims. Ultimately, 46 face-to-face interviews of key individuals involved in festival and city marketing were conducted. All interviews were transcribed and coded by hand using thematic analysis. The research findings highlight differences in the two cultural festivals’ evolution and characteristics. Five key themes emerged: planning and management; sponsorship landscape; government and regulation; cultural content; and the link between city brand and festival brand. One significant aspect of paying more attention to branding a city appeared to be the changes Seoul’s mayors made to the city brand slogan. Moreover, a festival’s influence on the city as either a tourism asset or branding tool emerged from the government’s role as festival owner and sponsor. Festival ownership and sponsorship in Seoul and South Korea are heavily influenced by political factors. The analysis of qualitative evidence collected identified two key issues: consistency and political leverage. Having a consistent festival identity appeared to be a significant factor which contributed to city branding, but this process was also affected by the consistency of city branding itself. Political leverage caused fundamental problems for festival identity and city brand slogans in Seoul and improved strategic governance of festivals emerged as a key priority. Strong leadership and stakeholders’ cooperation are needed to ensure consistent management of festival identity. Based on these findings, the research concludes with the recommendation that reduced government involvement and increased private sponsorship provide the context in which festivals might make a more significant contribution to city branding.
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Todd, Kevin M. "Local festivals and their community building capacity". Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1266024.
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Many small towns in the state of Indianan hold yearly festivals. This thesis asks the question, "Do small town festivals have the capacity to build community?" The answer to this question was sought by first looking at prior research and then devising an Index to determine the primary components to community. The index identified Networks, Communion, Collaboration, and Behavior as the four primary components of community. Field study and data collection were conducted by the means of surveying festival visitors at seven small town festivals in Indiana and also by observing the visitors, events, and booths of each festival. Through statistical analysis of the data, it was determined that small town festivals do have the capacity to build community in that they possess and encourage the four main components of community.Department of Urban Planning
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Pontiff, Brenda Renee'. "The American renaissance festival". Thesis, Kansas State University, 1986. http://hdl.handle.net/2097/9947.
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Nadavulakere, Shivasharan S. "International film festivals as field-configuring events". Thesis, City University London, 2008. http://openaccess.city.ac.uk/8591/.
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Studies examining the issue of organizational field evolution, especially on cultural field's, have found that some events shape the process by acting as 'purveyors of legitimacy' (Anand and Peterson, 2000). However, no research is forthcoming on events such as international film festivals that serve a similar function. A new theoretical framework - field-configuring events (FCEs) by Lampel' and Meyer (2008) seeks to rectify the lack of attention paid to 'events' by organization scientists. . Adopting their framework, my research explicates one such event in cultural industries, particularly the global film in9ustry - international filin festival. Towards that end, my PhD thesis spawns four papers - one conceptual and three empirical papers. First, I articulate international film festivals as field-configuring events, and identify some of their key characteristics: spatial embededness, temporal recurrence, programming, premiership, juried competition, film markets, side bars, and accreditation. Second, I examine the organization, strategy, and performance of international film festivals. I propose that a prototypical international film festival is a competition of 'films, and its perfonnance is dependent on two resource streams: reputation of nominated films/film makers, and reputation of members of the jury panel. Third, I explicate the macro linkages between an FCE and national film institutions such as BFI through a process known as retrospective consecration. I propose that international film festivals such as Cannes, Venice, and Berlin directly impact BFI's efforts of anointing the best British films of the 20th century or 'BFI Top Ido'. Finally, I focus on the micro linkages between international film festivals and BFI choices, particularly focusing on how the. choices emerge from a voting college. The BFI's 'Top 100' voting college consists of three groups of respondents or 'cultural hierarchies' - experts, peers, and the public, and I propose that international film festivals represent a fonn of critical recognition and shape expert choices.
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Kang, Shin-Young. "Authenticity in heritage festivals in South Korea". Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/11462.
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The aim of this study is to explore the role of authenticity in heritage festivals in Korea. It compares and critically evaluates the commodification of heritage festivals in Korea by investigating the tourists’, the performers’ (ethnic community) and the policy makers’ perceptions of authenticity based on comparative case studies and detailed empirical investigations of two contrasting heritage festivals in Korea. As one of the most debated issues in heritage tourism, authenticity has been an important topic of discussion. However, current authenticity research has been dominated by the naturalistic tradition with a strong emphasis on theory building. This study addresses the gap between conceptual and detailed empirical research in the area of authenticity. Therefore, this study identified stakeholders; visitors, performers and policy makers’ perception of authenticity in two comparative cultural heritage festival. The Baudeogi Festival in Anseong was selected as the first case study as it is representative of a commodified heritage festival. The Baudeogi Festival was started under deliberate government strategy in 2001 to promote local development. The second cases study, the Danoje Festival in Gangneung, was selected as representative of ancient forms of festivals. The Danoje festival is preserved and inherited from generation to generation for centuries by the local community and was registered as world intangible heritage by UNESCO in 2005. 800 visitor surveys were conducted with 17 interviews from festival performers and policymakers in both case festivals to identify their motivations for participating and their perceptions of authenticity. Several important findings emerged. Firstly, visitors’ characteristics at both festivals showed slight differences reflecting the character of the local area. Danoje visitors were younger than Baudeogi visitors while most Baudeogi visitors were with a family group whereas Danoje visitors also had a considerable number of friend/colleague groups. Regarding motivation, Baudeogi visitors generally showed stronger motivation than Danoje visitors about heritage festival visitation. The motivation to visit heritage festival were reduced through factor analysis to four each dimensions: cultural learning; escape/family togetherness; the need for authenticity; and enjoyment/socialisation factor at Baudeogi while enjoyment/novelty authenticity/cultural learning, family togetherness escape/socialisation were divers to those attending in the Danoje Festival. Secondly, authenticity was understood differently by stakeholders. Among visitors’ motivation, existential authenticity was identified as a strongest predictor for overall satisfaction from both festivals. Otherwise, performers and policy makers largely showed objective-related authenticity providers of the festival. However, there were tactical variations: performers and policy makers displayed existential authenticity as a means of engineering visitor satisfaction. Furthermore, the commodified Baudeogi festival was commonly perceived as staged authenticity (Cohen 1979) by visitors, where performers and local government viewed it as real in a staged setting whereas central and regional government perceived it as contrived authenticity, as a staged festival. In contrast, Gangneung Danoje Festival was perceived as an authentic experience by all levels of governments and by performers as real in a real setting, while it was perceived as denial of authenticity by visitors as staged festival. This result indicated that the perception of authenticity was identified as depending on personal judgement (Cohen 1988). Finally, through linear multiple regression analysis, visitors’ motivation and perception of authenticity was identified as an influence to visitors’ post-trip behaviours (satisfaction, recommendation and revisit). For the Danoje Festival, visitors’ perception of authenticity showed effective causal relationship to visitors’ intention of recommendation. Also, visitor satisfaction more strongly affected to intention of recommend and revisit. Keywords: Local Cultural Heritage Festival, Perception of Authenticity, Commodification, Stakeholders, Motivation, Satisfaction
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Ager, Laura C. "Universities and festivals : cultural production in context". Thesis, University of Salford, 2016. http://usir.salford.ac.uk/41034/.
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This thesis critically examines universities as cultural producers within the creative ecologies of their cities, with a focus on the occasions when they produce cultural events for the public. It is a context-specific and empirical study that examines events at three individual universities in major UK cities. It takes as its starting point the range of third mission, or engagement activities through which universities form links with the local cultural sector and to the wider community and considers how the university, a relatively permanent institution that constitutes the major element of the UK higher education landscape, provides a set of conditions and a site for a temporally bounded cultural formation, a festival. Festivals have not been extensively researched in this particular context and the understanding gained about the processes, structures and human networks through which they are designed, developed and delivered constitutes an original contribution of the PhD. Festival programmes are different to other types of public cultural programmes that are offered to the public on a year-round basis. Although it presents itself as a single phenomenon, the festival is actually a kind of meta-text, or an assemblage of texts and discourses. Festivals offer a spatially and temporally bounded public platform or ‘pop-up third place’ where university activities are externalised and made available for public exhibition and consumption. These dimensions create a discursive formation around the production of such festivals which are investigated using qualitative methods. The thesis is interested in understanding the effects of contemporary and political discourses on higher education and on what is produced, with regard to how the effects are mediated through the distinctiveness of individual places. It takes a theoretically informed look at how changes within the wider political economy of higher education have affected the way in which UK universities are managed, how they report to Government and what they produce. It argues that although the production of festivals is advocated under the ‘public engagement with research’ agenda, the festivals studied reveal a changing political culture within Higher Education.
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Boiko, M. "The Best Music Festivals in Europe 2017". Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/8367.
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Earl, Cameron Phillip. "Public health management at outdoor music festivals". Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16235/1/Cameron_Earl_Thesis.pdf.
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Background Information: Outdoor music festivals (OMFs) are complex events to organise with many exceeding the population of a small city. Minimising public health impacts at these events is important with improved event planning and management seen as the best method to achieve this. Key players in improving public health outcomes include the environmental health practitioners (EHPs) working within local government authorities (LGAs) that regulate OMFs and volunteer organisations with an investment in volunteer staff working at events. In order to have a positive impact there is a need for more evidence and to date there has been limited research undertaken in this area.
The research aim: The aim of this research program was to enhance event planning and management at OMFs and add to the body of knowledge on volunteers, crowd safety and quality event planning for OMFs. This aim was formulated by the following objectives.
1.To investigate the capacity of volunteers working at OMFs to successfully contribute to public health and emergency management;
2.To identify the key factors that can be used to improve public health management at OMFs; and
3.To identify priority concerns and influential factors that are most likely to have an impact on crowd behaviour and safety for patrons attending OMFs.
Methods: This research program has involved a series of five exploratory research studies exploring two main themes within public health management for OMFs, event planning capacity and volunteer capacity. Four studies used a cross-sectional design and survey methodology to collect self-report data from each cohort while the remaining study utilised case methods.
The study participants were recruited from Australian and European OMFs. For volunteer capacity, data have been collected from volunteers at two internationally recognised OMFs. One had formal training for their volunteers and the other did not. For planning capacity, data have been collected on consumer concerns regarding OMFs, priority factors that influence crowd behaviour and safety and leadership in event planning.
Results (volunteer capacity): The first studies assessed the public health and emergency management capacity of volunteers working at two OMFs. Volunteer training was provided at one event but not at the other. Comparatively, the participants from the OMF where training was provided reported noticeably better awareness of and involvement in public health and emergency management at that event. Additionally, this awareness was improved with experience volunteering at the study festivals. These studies highlighted the benefits of volunteer training and retention.
Results (event planning capacity): The next three studies focused on event planning capacity with the first being a case study on event planning leadership. The purpose of this study was to demonstrate that the event licensing programs managed by LGAs could improve health outcomes for OMFs. A European OMF, the Glastonbury Festival, was chosen for this study. After problems in 2000, it was highly likely that the event would never be held again unless public health and safety was improved. This study documents the progression from that 2000 event through to the 2004 event that was considered the safest event yet. The LGA EHPs working through the event licensing programs had engineered these changes.
The next study focused on consumer priority concerns associated with attending OMFs. A wide range of public health issues were identified as high concern including access to drinking water, toilets, safe food and personal protection issues such as females being grabbed or losing valuables. Safety in the mosh pit was a particular concern for almost half of the participants in the study. Also mosh pit safety was identified with other concerns such as females being grabbed, needing first aid, being struck by thrown items, crowd sizes, losing valuables and alcohol-related behaviour. Making safety in the mosh pit the most important public health issue for these study participants.
The final study focused on identifying the main influences on crowd behaviour and safety at OMFs, particularly mosh pits. This study follows on from the consumer study. The study participants were skilled event security guards, specialising in OMFs and considered the performers, the music and group mentality as the most common motivators for changes in mosh pit behaviour. They also considered that generally (1) crowd composition, (2) drugs and particularly alcohol, (3) the type of performance, (4) venue configuration, and (5) activities of security staff were highly influential on crowd behaviour and safety at OMFs.
Conclusion: Results from this research program have added to the body of evidence on public health management for OMFs. Findings support capacity building and retention for volunteer staff working at OMFs. Also this research has provided evidence on quality event planning, crowd behaviour and safety that can support EHPs working with OMFs. All of these studies have been published in peer-reviewed journals in order to communicate these findings to volunteer organisations and EHPs involved with OMFs.
Where to from here? There remains considerable opportunity for research on a variety of topics related to public health management for OMFs. Some specific areas where further work is recommended are:
othe development and evaluation of a pilot training program (web-based) for Australian volunteers working at OMFs (this training package is currently under development);
othe development of a national code of practice for the event management industry;
oresearch into festival patrons' risk perceptions and the impacts of those choices;
oevaluation of the planning and management approaches used by specific OMFs; and
oadditional detailed investigations of event characteristics such as crowd mood and its impacts on public health safety at OMFs.
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Earl, Cameron Phillip. "Public health management at outdoor music festivals". Queensland University of Technology, 2006. http://eprints.qut.edu.au/16235/.
Pełny tekst źródłaStreszczenie:
Background Information: Outdoor music festivals (OMFs) are complex events to organise with many exceeding the population of a small city. Minimising public health impacts at these events is important with improved event planning and management seen as the best method to achieve this. Key players in improving public health outcomes include the environmental health practitioners (EHPs) working within local government authorities (LGAs) that regulate OMFs and volunteer organisations with an investment in volunteer staff working at events. In order to have a positive impact there is a need for more evidence and to date there has been limited research undertaken in this area. The research aim: The aim of this research program was to enhance event planning and management at OMFs and add to the body of knowledge on volunteers, crowd safety and quality event planning for OMFs. This aim was formulated by the following objectives. 1.To investigate the capacity of volunteers working at OMFs to successfully contribute to public health and emergency management; 2.To identify the key factors that can be used to improve public health management at OMFs; and 3.To identify priority concerns and influential factors that are most likely to have an impact on crowd behaviour and safety for patrons attending OMFs. Methods: This research program has involved a series of five exploratory research studies exploring two main themes within public health management for OMFs, event planning capacity and volunteer capacity. Four studies used a cross-sectional design and survey methodology to collect self-report data from each cohort while the remaining study utilised case methods. The study participants were recruited from Australian and European OMFs. For volunteer capacity, data have been collected from volunteers at two internationally recognised OMFs. One had formal training for their volunteers and the other did not. For planning capacity, data have been collected on consumer concerns regarding OMFs, priority factors that influence crowd behaviour and safety and leadership in event planning. Results (volunteer capacity): The first studies assessed the public health and emergency management capacity of volunteers working at two OMFs. Volunteer training was provided at one event but not at the other. Comparatively, the participants from the OMF where training was provided reported noticeably better awareness of and involvement in public health and emergency management at that event. Additionally, this awareness was improved with experience volunteering at the study festivals. These studies highlighted the benefits of volunteer training and retention. Results (event planning capacity): The next three studies focused on event planning capacity with the first being a case study on event planning leadership. The purpose of this study was to demonstrate that the event licensing programs managed by LGAs could improve health outcomes for OMFs. A European OMF, the Glastonbury Festival, was chosen for this study. After problems in 2000, it was highly likely that the event would never be held again unless public health and safety was improved. This study documents the progression from that 2000 event through to the 2004 event that was considered the safest event yet. The LGA EHPs working through the event licensing programs had engineered these changes. The next study focused on consumer priority concerns associated with attending OMFs. A wide range of public health issues were identified as high concern including access to drinking water, toilets, safe food and personal protection issues such as females being grabbed or losing valuables. Safety in the mosh pit was a particular concern for almost half of the participants in the study. Also mosh pit safety was identified with other concerns such as females being grabbed, needing first aid, being struck by thrown items, crowd sizes, losing valuables and alcohol-related behaviour. Making safety in the mosh pit the most important public health issue for these study participants. The final study focused on identifying the main influences on crowd behaviour and safety at OMFs, particularly mosh pits. This study follows on from the consumer study. The study participants were skilled event security guards, specialising in OMFs and considered the performers, the music and group mentality as the most common motivators for changes in mosh pit behaviour. They also considered that generally (1) crowd composition, (2) drugs and particularly alcohol, (3) the type of performance, (4) venue configuration, and (5) activities of security staff were highly influential on crowd behaviour and safety at OMFs. Conclusion: Results from this research program have added to the body of evidence on public health management for OMFs. Findings support capacity building and retention for volunteer staff working at OMFs. Also this research has provided evidence on quality event planning, crowd behaviour and safety that can support EHPs working with OMFs. All of these studies have been published in peer-reviewed journals in order to communicate these findings to volunteer organisations and EHPs involved with OMFs. Where to from here? There remains considerable opportunity for research on a variety of topics related to public health management for OMFs. Some specific areas where further work is recommended are: othe development and evaluation of a pilot training program (web-based) for Australian volunteers working at OMFs (this training package is currently under development); othe development of a national code of practice for the event management industry; oresearch into festival patrons' risk perceptions and the impacts of those choices; oevaluation of the planning and management approaches used by specific OMFs; and oadditional detailed investigations of event characteristics such as crowd mood and its impacts on public health safety at OMFs.
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Lam, Wai-ping. "Festival impacts on the tourist economy in Hong Kong". Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31572741.
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Kwon, Hyun Jin. "The impact of cultural events on the cinema and tourism in a community, Busan Busan's alternative industry to the cinema and tourism industry after the Pusan International Film Festival (PIFF) /". Online version, 2002. http://www.uwstout.edu/lib/thesis/2002/2002kwonh.pdf.
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Martins, Maria João Santos. "Planeamento de marketing de eventos : plano de marketing para o festival NOS Alive 2020". Master's thesis, Instituto Superior de Economia e Gestão, 2018. http://hdl.handle.net/10400.5/17300.
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Mestrado em MarketingO presente trabalho de projeto tem como principal objetivo a delineação de estratégias de marketing e plano de ação para o Festival de Música NOS Alive. Este objetivo será cumprido através da elaboração de um Plano de Marketing. Este projeto irá ser aplicado ao festival de música NOS Alive, o evento realiza-se desde 2007 no Passeio Marítimo de Algés, em Lisboa. É organizado pela produtora de eventos Everything Is New (EiN) e patrocinado pela NOS. O setor dos eventos e festivais de música é extremamente competitivo, sendo que, só em Portugal, realizaram-se 272 festivais de música, o que representou um aumento de 9,2% em relação ao ano anterior (APORFEST, 2017). Na metodologia, a estratégia utilizada foi baseada nos primeiros passos da action research, em que foram utilizadas tanto fontes primárias como secundárias, na recolha dos dados. Assim, múltiplos métodos de recolha de dados foram utilizados: (1) entrevista semiestruturada ao Diretor da EiN; (2) um questionário online aos participantes de festivais de música; e (3) dados secundários. Desta forma, com os procedimentos referidos anteriormente, foi possível a identificação dos principais pontos fortes e fracos do festival, bem como as oportunidades e ameaças do mercado. Assim, o Plano de Marketing desenvolvido apresenta diversas estratégias e ações, cujo foco é o crescimento contínuo e reforço da imagem do NOS Alive, bem como uma melhoria a nível de resultados alcançados.
The main objective of this project is the definition of a marketing strategy and an action plan for the NOS Alive Music Festival. This goal will be achieved through the elaboration of a Marketing Plan. This project is focused on the NOS Alive Music Festival, which is held in the Passeio Marítimo de Algés, in Lisbon, since 2007. The event is organized and produced by Everything Is New (EiN) and sponsored by NOS. The music festival industry is extremely competitive and, in Portugal alone 272 music festivals took place in 2017, representing an increase of 9.2% over the previous year (APORFEST, 2017). The methodologic strategy applied in this research project is based on the first steps of the action research methods, in which both primary and secondary sources were used in the data collection. Multiple methods of data collection were used: (1) a semi-structured interview with EiN's Director; (2) an online questionnaire targeted music festivals participants; and (3) secondary data. This way, considering the above-mentioned procedures, it was possible to identify the main strengths and weaknesses of the festival, as well as the opportunities and threats of this particular market. Therefore, the Marketing Plan developed presents several strategies and their implementation, focused in the continuous growth and reinforcement of the image of the NOS Alive festival, as well as in the improvement of the results achieved.
info:eu-repo/semantics/publishedVersion
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Motale, Matebello Dieketseng Bethsheba. "The social impact of arts festivals : a case of the ABSA Klein Karoo National Arts Festival / M.D.B. Motale". Thesis, North-West University, 2008. http://hdl.handle.net/10394/1774.
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Cummings, Joanne. "Sold out ! an ethnographic study of Australian indie music festivals /". View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35961.
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Thesis (Ph.D.)--University of Western Sydney, 2007.A thesis submitted in total fulfillment of the requirements for the degree of Doctor of Philosophy to the College of Arts, School of Social Sciences, University of Western Sydney. Includes bibliographical references.
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Rouxel-Reynier, Sylvie. "Homo-festivus, pélerin culturel, approche sociologique du festival de théâtre et de ses acteurs sociaux". Paris 10, 2002. http://www.theses.fr/2002PA100004.
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Il s'agit de comprendre le sens culturel et social qu'accordent les acteurs sociaux à un festival de théâtre, lorsqu'ils s'y rendent. Phénomène social complexe à définir le festival de thèatre releve à la fois du fait festif et du fait théatral. Le fait théatral à un pouvoir de division social tout en étant une occasion de communion collective. Le fait festif suppose la participation active des individus dans un contexte "aquotidien" révélant la communion et la subversion. . .
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Rocha, Ricardo Gil Pedreiro. "Os públicos do Festival Paredes de Coura 2011: expectativas, motivações e práticas". Master's thesis, 2011. http://hdl.handle.net/10071/4590.
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Os festivais de música de Verão são, há já várias décadas, parte integrante da cultura juvenil ocidental. No entanto, em Portugal, apenas na década de 90, estes se tornam assíduos no panorama cultural nacional.
Não sendo fenómenos isolados, quase todos com periodicidade anual, é interessante verificar que existem poucos estudos académicos sobre estas produções culturais, algumas delas em grande massa.
Num ano em que mais uma vez, dias específicos e festivais completos esgotaram as suas bilheteiras, os festivais de Verão tornam-se ainda mais assunto da ordem do dia, como negócio cultural que inverte as tendências económicas actuais.
Dentro deste panorama, o Festival Paredes de Coura, assume-me com um dos mais consistentes eventos do circuito nacional. Será um dos mais antigos festivais a realizarem-se sem interrupções em território luso, com um cartaz musical detentor de uma linha directriz bem definida e uma localização com características naturais invejáveis.
Porém, o enfoque deste estudo vai para os Públicos deste Festival e todas as informações acumuladas sobre estes, desde os seus dados mais básicos, às suas motivações e expectativas, passando pela relação dos públicos com festival.
Para o efeito, foi aplicada uma metodologia de carácter exploratória/descritiva, materializada através de um questionário, entregue aleatoriamente no terreno a 115 indivíduos.
Os resultados do estudo ambicionam trazer à luz do conhecimento, maiores informações sobre os públicos do supracitado festival e de eventos do género, no sentido da dissolução de dogmas e pré-conceitos existentes em parte do espectro social e mediático português, sobre estes eventos e os seus frequentadores.Summer festival of music are, from decades ago part of juvenile western culture. However, in Portugal, just on the 90’s, it become assiduous on the national cultural panorama. Not being isolated phenomenon, almost every single is annual, it’s interesting to verify that there are not so many academic studies about these cultural productions, some on them in large scale. In one year that once again, there were many single days and full festivals were sold out, summer festivals became even more news headliners, as cultural business that reverses the current economic tendencies. As part of this scene, Paredes de Coura Festival, assumes as one of the most consistent events of the national circuit. It’s one of the oldest festivals occurring without breaks in Portuguese soil, with a lineup that owns a clear and well defined vision e a geographic localization with natural and enviable characteristics. Although, the focus of this study goes to the festival’s Public and all the collected data about them, from basic information, to the motivations and expectation, passing through the relationship between the Public and the festival itself. To achieve that, it was applied an exploratory/descriptive type of methodology, created through a questionnaire, randomly delivered on the field to 115 individuals. The study’s results strive to bring to light new and wider data about the Public of the mentioned festival and these kinds of event, trying to dissolve dogmas and pre-concepts that exist still exist in part of the social spectrum and national media, about these types of event and people that take part on them.
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Wermeille, Anaïs. "Le "Festivable" ou conceptualisation de l'expérience des festivals de cinéma : exemple du Festival du Nouveau Cinéma de Montréal". Thèse, 2008. http://hdl.handle.net/1866/7149.
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