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Problem-solving approaches to research have dominated the not-for-profit festival management field. Little attention has been paid to how festival organizations successfully create cultures where knowledge transfer is practised within the high intensity of a festival life cycle. Drawing upon insights from social practice theory and appreciative inquiry (AI), the purpose of this paper is to offer a different conceptual approach to understanding how knowledge transfer “works” as an organizational practice to produce a collaborative festival culture.

This paper draws upon an ethnographic case study with the highly acclaimed Queensland Music Festival organization in Australia. The research questions and methods were framed around an appreciative approach that identified formal and informal practices that " worked " rather than a conventional problem-focused analysis.

This research focused on appreciating the cultural context that shaped the interrelationships between formal and informal knowledge transfer practices that enabled trust and collaboration. A range of knowledge transfer practices was identified that contributed to the creation of a shared festival ethos and the on-going sustainability of the festival vision.

The not-for-profit sector brings numerous challenges for festival organizations, and there is a need to appreciate how collaborative and creative knowledge transfer can occur formally and informally. Festival organizers can benefit from understanding the relational and practice dimensions of knowledge management as they are performed within specific organizational contexts.

An appreciative understanding of knowledge transfer practices has not yet been applied to not-for-profit festival organizations, where problem-solving approaches dominate the field.

Various literature have contextualised value co-creation concept in the music business and how that notion puts into practice in benefitting the actors in this particular business. The purpose of this paper is to review the extant literature to comprehend regarding the applicability of co-creation in music business which can be used to map and evaluate strategies used to stimulate and exercise co-creation experiences; focus from such co-creational activities; stages during which co-creation occurred; channels in which the music as cultural product is delivered; and the co-creative platform used that can be useful for practitioners as well as scholars in the music business.

Of the available academic databases that exist on the online platform, this study takes into account six scholarly databases, i.e., Emerald, EBSCO, ISI Web of Sciences, ProQuest, ScienceDirect and Scopus.

Having filtered through the initial 113 papers that fulfil the predetermined criteria, this study discovers 33 empirical journal and proceeding papers that have discussed the co-creation concept in the music context from 2011 to 2017.

The review practically implies that practitioners as well as scholars in the music or marketing field can first begin with planning and understanding the right strategy, focus, stage, channels and platforms before executing co-creational activities in the music business. This paper also speaks to the broader literature, particularly in the creative industries, that value co-creation can serve to be used to obtain monetary, experience or social value in the market using virtual and physical co-creative platforms. Other sectors in the creative industries can also infer that co-creation can be promoted and exercised through various orchestration strategies in several stages of the value chain.

This paper is the first to integrate five practical criteria as to how co-creation is applied and contextualised in the music business. It also contributes to the academic literature by presenting an exhaustive selective review of the value co-creation concept and its applicability to the music business.

This paper explores the concepts of knowledge-centric organizations in the performing arts sector to understand how specific organizational practices relate to measures of financial and operational performance.

A quantitative analysis of 368 small and mid-sized nonprofit performing arts organizations in the USA was undertaken via primary data on organizational practices and secondary data on performance metrics. Structural equation modeling was used to validate the latent construct of knowledge centricity and to test hypotheses on how knowledge centricity impacts financial and operational performance, and is influenced by firm-level demographic variables.

Results show several distinct performance metrics that are statistically associated with knowledge-centric practices of the organizations analyzed.

This article investigates the knowledge centricity of organizations, a relatively nascent theoretical concept, which is of significant relevance in today’s knowledge-driven economy. The findings can serve as a basis to further investigate strategic approaches that arts organizations can undertake to remain sustainable and operate effectively in a knowledge-driven society.

It provides critical insights into management practices and approaches that can be instituted to drive improved organizational performance.

Building on the extant literature, this article develops a conceptual framework of knowledge centricity and defines a knowledge-centric organization. It thoroughly investigates the latent construct of knowledge centricity, identifies how knowledge centricity impacts financial and operational performance of nonprofit performing arts organizations, and provides grounding for future studies.

This paper aims to present findings from a study conducted with non-profit organizations (NPOs) in Canada and Australia, focusing on the use of tools and technologies for knowledge management (KM). NPOs of different sizes and operating in different sectors were studied in two large-scale national surveys. The paper is useful to both practitioners in NPOs for understanding tool use for KM activities and to scholars to further develop the KM-NPO domain.

Two nation-wide surveys were conducted with Canadian and Australian NPOs of different sizes (i.e. very small to large-sized organizations) and operating in different sectors (e.g. animal welfare, education and research, culture and arts). An analysis of responses explores the use of tools and technologies by NPOs. Respondents identified the tools and technologies they used from nine pre-determined themes (quantitative data) plus an additional category of “other tools” (qualitative data), which allowed for free text responses. The quantitative data were analyzed using both descriptive and inferential statistical techniques and the qualitative data were analyzed using a thematic analysis approach.

Quantitative data analysis provides key findings including the popularity of physical, print documents across all NPO sizes and sectors. Statistical tests revealed, for example, there is no significant difference for the same-sized organizations in Canadian and Australian NPOs in the use of tools and technologies for KM activities. However, there were differences in the use of tools and technologies across different sizes of NPOs. The qualitative analysis revealed a number of additional tools and technologies and also provided contextual details about the nature of tool use. The paper provides specific examples of the types of tools and technologies NPOs use.

The paper has both practical and academic contributions, including areas for future research. The findings on the use of KM tools and technologies by NPOs contribute to the growing body of literature in the KM domain in general and also build the literature base for the understudied KM-NPO domain. NPOs will also find the paper useful in better understanding tools and technological implementation for KM activities. The study is unique not only in the content focus on KM for NPOs but also for the comparative study of activities in two countries.

Festivals are conceptualised in this chapter as temporary organisations embedded in more permanent structures (e.g. festival lead organisation). Festivals face a series of paradoxical tensions common to temporary organisations in creative fields. These tensions arise, in part, from the diversity of actors involved in festivals and the distinctive values and priorities they bring to their festival organisational involvement. Lucca Comics & Games (LC&G), which is one of the biggest comic-cons in the world, operates in the intersection of different institutional contexts, which include a wide range of actors involved. Thus, tensions appear within the LC&G domain as a result of these actors’ different levels of involvement in the festival organisation and their diverse identities. These tensions and their resolutions will be analysed from the perspective of extant theory on paradox. A specific focus of this chapter is on the belonging paradox, which concerns the role of competing identities among different types of festival participants and how these competing identities are manifested in the organisational identity of LC&G, its structures and processes. Our study provides evidence of identity tensions as both/and relationships that are not mutually exclusive or antagonistic. The authors also suggest that ‘place identity’ requires further examination as a distinctive feature of temporary organising in festivals, considering its role in mediating tensions arising from the belonging paradox amongst festival main actors (exhibitors, artists, public bodies and lead organisation employees).

Arts festivals use projects to showcase creative works, configuring a creative field, whether locally, regionally or internationally, by whom engages and attends to the arts festival: artists, funders, media and audiences. This study compares the Edinburgh and Berlin arts festivals founded after World War II. Each city began with a founding festival. Edinburgh International Festival of Music and Drama sought to reconcile and heal international relations whereas the Berlin International Film Festival sought to showcase free expression and democracy. Both founding festivals were internationally oriented, as seen in their names. Each city added festivals over time and engaged in distinct temporal strategies and configured different creative fields. Edinburgh’s additional festivals entrained to its founding festival, synchronizing in time and place five festivals which led to greater duration and intensity of the experience and configured an international creative field: artists, media, and audiences who attended and engaged with the city festivals. In contrast, Berlin’s founding Film festival, which was internationally oriented, was followed by festivals that were treated as distinct, scheduling each festival sequentially across a yearly calendar and configuring a creative field regionally oriented around Germanic language and culture. Thus, a city’s temporal strategies for arts festivals may configure international, regional and local creative fields, changing who comprises the field to interact.

Considering the economic potential of festivals to Creative Tourism, this chapter discusses the potential of the small-scale ones for rural development. It reviews worldwide small-scale festivals and engages them with creative activities, presenting the results of some of the small-scale festivals that occur in Southern Europe. It explores the impacts of a small-scale festival on the development of a medium-sized city or a rural area and the challenges they must face in the future. Furthermore, it deals with what kind of new offer can be developed in order to make these territories more sustainable. In this context, Southern Europe plays an important role due to its rich historical heritage that can diversify the offer and the type of experience, being an excellent opportunity to promote the preservation of those at risk of disappearing. This chapter uses primary and secondary data. A geodatabase was created to understand South European festivals on Creative Tourism. Examples from Italy, Greece, Slovenia and Portugal were analysed.

In-person film festival experiences have faced uncertain futures since the spread of COVID-19. Snap-lockdowns, unclear and rapidly changing rules to public density allowances in theatres, distribution and challenges of “working-from-home” have become prominent issues to creative and cultural workers employed within the film festival ecosystem. The purpose of this paper, drawing from a series of interviews with film festival directors, organisers and workers within Australia, offers insight into the working lives of those employed within the film festival sector during 2020.

Using the research team's existing professional networks and a targeted approach of participant recruitment, this paper draws upon interview data from 5 semi-structured interviews with participants located in various Australian capital cities, who were working in the film festival sector during 2020. Participants were all mid-career, having at least 5 years of employment experience within the film festival ecosystem (directors, programmers and content creators) as well as having experience in other adjacent cultural and creative work.

The results in this study highlight common concerns of the legacy precarity has on professional and creative practice for those engaged in creative and cultural work, but also of unusual and unexpected opportunities for creativity and new film festival delivery beyond the dominant mode of in-theatre only experience pre-COVID-19.

The originality of this study lies in its qualitative exploration of the various employment experiences of Australian film festival workers during COVID-19.