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The COVID-19 pandemic has prompted the fast growth of online music festivals. This paper explores how festivalgoers' experience affects their satisfaction and drives their loyalty to re-attend online music festivals in China.

Based on an understanding of the music festival experience and the characteristics of live-streamed performances, this paper investigates five factors that affect festivalgoers' satisfaction and loyalty, namely the music experience, ambience experience, separation experience, social experience and novelty experience. The relationships between festivalgoers' experience, satisfaction and loyalty are also explored using structural equation modelling techniques.

The empirical results suggest that four of the above-mentioned five factors of the online music festival experience directly affect festivalgoers' satisfaction and loyalty. The online mode is a rapid adaptation of and preferred alternative to offline music festivals, whilst the creation of the experience, along with satisfaction with and loyalty to the online music festival, are determined by different factors compared to offline modes. Overall festival satisfaction positively enhances the relationship between festivalgoers' experience and loyalty to online music festivals.

This study offers a range of practical and managerial implications for organisers of online music festival, similar activities such as live-streaming concerts and stage performances and hybrid events.

This study explores a phenomenon that has evolved quickly since COVID-19 and will, potentially, have an ongoing and enduring impact on the music festival sector. It differentiates the understanding of festivalgoers' experience in online and offline modes, which is a new addition to the literature. It also enriches the theoretical understanding of the experience of, satisfaction with and loyalty to online music festivals.

This is amongst the first works to develop a technographic segmentation of smartphone users attending music festivals based on attitudes, motivations and usage patterns. We also aim to describe festivalgoers’ characteristics.

The data were collected from 522 festivalgoers who attended the Rainforest World Music Festival (RWMF) in Malaysia. A two-stage cluster analysis of Ward’s method and k-means was applied to develop technographic segmentation during the festival. Using discriminant analysis, we confirmed that each festivalgoer’s characteristics differ amongst groups.

Four technographic segments were developed: alarm hitters, technological tickers, plug pullers and fuse blowers. The results confirmed that festivalgoers had distinct characteristics and preferences based on smartphone use.

We extend previous research on the technographic segmentation of smartphones and festivalgoers. We highlighted the limitations of cluster analysis in terms of stability to produce a suitable number of segments and to include other festivals. The generalisability of the results may be constrained by the time gap between data collection and publication.

Our results can help marketing managers understand the needs of segments by selecting appropriate advertisements and promotional tools that appeal directly to the desired target segments.

This study will help local communities increase their revenue and job opportunities. The culture of music festivals for the next generation can be sustained and promoted by local and international festival lovers.

This study is the first to present festivalgoers' use of the technographic segmentation term in music festivals.

This paper aims to explore how music festival organisers negotiate diversity and inclusion in marketing and promotion practices through symbolic and social boundaries.

Based on semi-structured interviews with 18 festival organisers in Rotterdam and participant observation with six festival photographers I show that symbolic and social boundaries are employed in three areas: (1) boundaries in festival format (i.e. [partially] free or ticketed), (2) boundaries in distribution partners and technologies and (3) boundaries in promotional content.

Symbolic and social boundaries are intentionally used by festival organisers to build and delineate festival audiences. Implications are drawn on current understandings of the accessibility of music festival spaces, arguing that festival research should move beyond within-space dynamics to grasp the negotiation of diversity and inclusion at festivals more fully.

While music festivals are often marketed as celebratory spaces that are “welcoming to everyone”, few studies have investigated diversity and inclusion nor marketing and promotion practices at music festivals. This study shows how festival audiences are shaped through marketing and promotion practices.

The main research questions critically examine online videos that draw attention to a local community of musical practice, noticing how these can potentially be included within the tourism promotion strategies. This paper develops a case study of four videos realised by the Louth County Board of the organisation Comhaltas Ceoltóirí Éireann (CCÉ) in Co. Louth, Ireland, as a part of the FleadhFest 2021 initiative. It highlights the role that virtual spaces have in enhancing a sense of belonging to a music/festival community as well as the possibility that visual and audio supports have in promoting and celebrating a destination and its cultural features.

The analysis involves a netnographic examination of these videos (Janta, 2017), informed by the concept of “tourist gaze” (Urry, 1990; 2002) and influenced by film-induced tourism studies (Beeton, 2005).

Results show how festival and event organisers responded to COVID-19 social restrictions by creating a virtual space for celebrating music heritage and local musicscape, placing an emphasis on local musical scene.

The research aims to inform future developments in how the organisation operates within and engages with virtual space, its members and a wider audience.

This is the first study to consider the virtual activities of CCÉ from an ethnomusicological as well as tourism, perspective.

To explore the value in reminiscing about past festivals as a potential way of improving wellbeing in socially isolated times.

The paper uses previous research on reminiscence, nostalgia and wellbeing to underpin the analysis of self-recorded memory narratives. These were gathered from 13 pairs of festivalgoers during Covid-19 restrictions and included gathering their individual memories and their reminiscences together. The participant pairs were a mix of friends, family and couples who had visited festivals in the UK, Finland and Denmark.

Four key areas that emerged through the analysis were the emotions of nostalgia and anticipation, and the processes of reliving emotions and bonding through memories.

Future studies could take a longitudinal approach to see how memory sharing evolves and the impact of this on wellbeing. The authors also recommend undertaking similar studies in other cultural settings.

This study findings have implications for both post-festival marketing and for the further development of reminiscence therapy interventions.

The method provides a window into memory sharing that has been little used in previous studies. The narratives confirm the value in sharing memories and the positive impact this has on wellbeing. They also illustrate that this happens through positive forms of nostalgia that centre on gratitude and lead to hope and optimism. Anticipation, not emphasised in other studies, was also found to be important in wellbeing and was triggered through looking back at happier times.

The study aims to understand the meaning of event-based and place-based community practices, as well as the resulting social impacts.

An ethnomethodological approach was followed (participant observation and interviews were supplemented by secondary data), with the analysis being exploratory and interpretative.

The festival and the place reinforce the community’s social practices, which have impacts beyond the festival, benefiting individuals, the community and the place, becoming a means for valorisation and diffusion of the rural way of life, and placemaking.

In this study the authors focus on social practices in the context of an event and of a place (the village where the event occurs). The authors connect to theories of practice, which they apply in the analysis. The value of the study lies on the underlying mechanisms (how communities exercise social practices in the context of festivals, and what social impacts may lead to) rather than its context-dependent specific results.

National and regional authorities can play a role in providing local communities with adequate tools to overcome the challenges they encounter. This can be done by issuing appropriate (events) plans and policies while giving room for the locals to voice their opinions.

Community-based festivals are key social practices that can strategically impact placemaking, strengthening community bonding, forging connections with outsiders and promoting well-being practices that discourage rural depopulation.

There is a scarcity of research that deepens the understanding of the role of festivals in placemaking and their social impacts, particularly in the rural context. This study contributes to closing this gap by focussing on the social practices of a community-based festival in a village in the interior of Portugal.

This paper aims to understand tourist behavior in Indian rural tourism by integrating the stimuli-organism-response (SOR) framework, service quality model (SERVQUAL) model and theory of planned behavior. It investigates the role of positive tourist-host interactions, destination image, trust and attitude in shaping pro-tourism intentions. Additionally, it explores the moderating effect of Indian traditionality on these relationships.

This study uses a mixed-methods approach, combining qualitative data from 15 respondents with quantitative analysis involving 580 tourists engaged in Indian rural tourism. Confirmatory factor analysis and structural equation modeling are used to examine relationships among tourist-host interactions, destination image, trust, attitude and pro-tourism intentions.

The study reveals that positive interactions and a positive destination image play crucial roles in building trust and shaping favorable attitudes toward rural tourism. Trust and attitude, in turn, significantly drive pro-tourism intentions. Furthermore, tourist attitude partially mediates the relationship between trust and intentions. The study introduces the novel concept of Indian traditionality as a moderator, highlighting its impact on trust, attitude and pro-tourism intentions.

Limitations include the focus on Indian rural tourism, which may limit generalizability, and potential response bias due to self-reported data. Future research could explore other cultural contexts and use diverse data collection methods.

This research offers practical insights for policymakers and stakeholders, emphasizing the importance of fostering positive tourist–host interactions and cultivating a positive destination image to enhance the overall tourist experience and promote sustainable rural tourism practices.

This study’s innovation lies in harmonizing theoretical frameworks to shed light on Indian rural tourism’s multifaceted aspects. It introduces Indian traditionality as a cultural moderator, enriching understanding of tourist behavior. The research contributes to academia and industry by guiding the development of sustainable tourism practices and improving the tourist experience.

本研究旨在通过整合 SOR 框架、SERVQUAL 模型和计划行为理论来理解印度乡村旅游中的游客行为。研究探讨了游客与东道主的积极互动、目的地形象、信任和态度在形成亲旅游意愿中的作用。此外, 本文还探讨了印度传统对这些关系的调节作用。

本研究采用混合方法, 将 15 名受访者的定性数据与 580 名参与印度乡村旅游的游客的定量分析相结合。研究采用了确证因子分析（CFA）和结构方程模型（SEM）来考察游客-接待方互动、目的地形象、信任、态度和亲旅游意愿之间的关系。

研究表明, 积极的互动和正面的目的地形象在建立信任和形成对乡村旅游的良好态度方面发挥着至关重要的作用。信任和态度反过来又会极大地推动亲旅游意愿。此外, 游客态度在一定程度上调节了信任与意愿之间的关系。研究引入了印度传统这一新颖的概念作为调节因素, 强调其对信任、态度和亲旅游意愿的影响。

研究的局限性包括：研究重点是印度乡村旅游, 这可能会限制研究的普遍性, 以及由于自我报告数据而可能产生的反应偏差。未来的研究可以探索其他文化背景, 并采用不同的数据收集方法。

这项研究为政策制定者和利益相关者提供了实用的见解, 强调了促进游客与东道主之间的积极互动以及培养积极的目的地形象对于提升整体游客体验和促进可持续乡村旅游实践的重要性。

本研究的创新之处在于协调理论框架, 揭示印度乡村旅游的多面性。它引入了印度传统作为文化调节因素, 丰富了我们对游客行为的理解。该研究通过指导可持续旅游实践的发展和改善游客体验, 为学术界和产业界做出了贡献。

Esta investigación pretende comprender el comportamiento del turista en el turismo rural de la India mediante la integración del marco SOR, el modelo SERVQUAL y la Teoría del Comportamiento Planificado. Investiga el papel de las interacciones positivas entre el turista y el anfitrión, la imagen del destino, la confianza y la actitud en la formación de las intenciones proturismo. Además, explora el efecto moderador de la tradicionalidad india en estas relaciones.

Este estudio emplea un enfoque metodológico mixto, combinando datos cualitativos de 15 encuestados con un análisis cuantitativo en el que participan 580 turistas en el ámbito del turismo rural en India. Se utilizan el análisis factorial confirmatorio (AFC) y el modelo de ecuaciones estructurales (SEM) para examinar las relaciones entre las interacciones turista-anfitrión, la imagen del destino, la confianza, la actitud y las intenciones a favor del turismo.

El estudio revela que las interacciones positivas y una imagen favorable del destino desempeñan un papel crucial en la creación de confianza y en la formación de actitudes positivas hacia el turismo rural. La confianza y la actitud, a su vez, impulsan significativamente las intenciones proturismo. Además, la actitud del turista es un mediador parcial en la relación entre confianza e intenciones. El estudio introduce el novedoso concepto de tradicionalidad India como moderador, destacando su impacto en la confianza, la actitud y las intenciones proturismo.

Las limitaciones incluyen el hecho de centrarse en el turismo rural en India, lo que puede limitar que sea generalizado, y el posible sesgo de respuesta debido a los datos auto declarados. Futuras investigaciones podrían explorar otros contextos culturales y emplear diversos métodos de recogida de datos.

Esta investigación ofrece ideas prácticas para los responsables políticos y las partes interesadas, haciendo hincapié en la importancia de fomentar las interacciones positivas entre el turista y el anfitrión y cultivar una imagen positiva del destino para mejorar la experiencia turística en general y promover prácticas sostenibles de turismo rural.

La innovación de este estudio radica en la armonización de los marcos teóricos para arrojar luz sobre los aspectos polifacéticos del turismo rural en India. Introduce la tradicionalidad India como moderador cultural, enriqueciendo nuestra comprensión del comportamiento turístico. La investigación contribuye al mundo académico y a la industria orientando el desarrollo de prácticas turísticas sostenibles y mejorando la experiencia del turista.

Legitimacy is a classic theme, quite present in organisational studies in general, but in the field of tourism it still has room to advance. For that reason, this research seeks to delimit the concept of legitimacy and adapt it to the context of tourism events; and seeks to validate a measurement instrument that allows to evaluate of its recognition in the imagination of residents, and to evaluate the impacts of this construct on residents’ trust in the organisers of Brazilian Oktoberfest, on the negative externalities of those events and, ultimately, on the achievement of residents’ loyalty.

The locus of the research are the cities of Blumenau, Santa Catarina and Santa Cruz do Sul, Santa Catarina, both located in southern Brazil, whose residents answered an online questionnaire about the legitimacy of the Oktoberfest held there. A total of 365 valid questionnaires were collected, tabulated in statistical software and interpreted using exploratory-confirmatory factor analysis and structural equation modelling.

The results show that festival legitimacy is a theoretical construct that can be measured as either a first-order or second-order factor, consisting of three factors, called moral legitimacy, pragmatic legitimacy and cognitive legitimacy.

This research provides a valid and reliable tool for assessing local residents' acceptance of ethno-cultural festivals. It also shows variations in the perception of legitimacy, demonstrating that this can influence other aspects of residents' perception of ethnocultural events.

This paper aims to consider the relationship between urban events and urban public space, asking whether cities have enough space for events and whether events have enough space in cities.

Policy analysis surrounding events and festivals in the Netherlands is used to understand the dynamics of urban events, supported by content analysis of policy documents. A vignette of event space struggles in Amsterdam illustrates the contradictions of the event/space relationship.

The research identifies a policy shift in the Netherlands towards urban events from expansive, festivalisation strategies to defensive, NIMBYist policies. It exposes contradictions between protecting space as a living resource and the exploitation of space for regenerative purposes. Three future scenarios for urban events are outlined: conflict and competition, growth and harmony and digitalisation and virtualisation.

Develops scenarios for the future relationship between events and urban space.

Provides an analysis of the recursive spatial implications of the growth of the events sector for cities and the growth of cities for events.

Milton Nascimento is one of the most prolific Brazilian singers and songwriters of all time, an artist who has formed friendships and made songs with a host of Brazilian artists, with international stars from Latin America, and with artists abroad. Milton’s repertoire has made its way into the fabric of musical compilations of Brazilian music for international listeners. Perhaps unbeknownst to these international listeners, Milton, as an Afro-Brazilian artist, reflects a complex and paradoxical relationship to “race” in his music – at times openly touching upon racial themes, even during an area when the government forbade open discussion of racial tension in Brazil – but at times signifying race more subtly, either through subtle references to diversity in Brazil or through the very elements of his music.