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1 – 10 of over 9000Wayne W. Smith, Stephen W. Litvin, Andrea Canberg and Stacy R. Tomas
The purpose of this paper is to determine how festivals allocated their funds among various expense categories.
Abstract
Purpose
The purpose of this paper is to determine how festivals allocated their funds among various expense categories.
Design/methodology/approach
Festival managers from across North and South Carolina were asked to specify the percentages of their expense budgets allocated to each of the following categories: marketing, administrative, entertainment and operations.
Findings
It was found that “smaller” festivals spend a significantly greater proportion of their budgets on marketing (23 percent) and a far smaller share on administrative expenditures (5 percent) than do their “larger” counterparts that spend only 15 percent on marketing and triple the “smaller” festival's administrative costs (15 percent). The differences related to their spending for entertainment (35 versus 28 percent) and operations (36 versus 41 percent) are not as dramatic in relation to their proportion of total spending. The data herein suggest that festival size plays an important role when it comes to such allocations.
Originality/value
The paper has provided benchmarks that hopefully will assist festival directors' budget‐decision‐making strategies as they allow a measure with which to evaluate those decisions. While the research needs to be interpreted with great care due to its relatively small sample size and broad budgetary categorizations, the findings provide a guide to assist festival organizers as they manage their events for the benefit of their stakeholders and the communities that support them. The paper also provides a starting point for future research in this area, much of which is needed.
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For many wineries and wine regions the annual wine festival is a strategic tool for encouraging cellar door visitation. Wine festivals offer the opportunity to socialise, possibly…
Abstract
For many wineries and wine regions the annual wine festival is a strategic tool for encouraging cellar door visitation. Wine festivals offer the opportunity to socialise, possibly with friends and family, whilst learning about and enjoying a natural, agricultural setting and product. Revenue and recognition is generated for the participating wineries, awareness of the area and its resources is enhanced, and the community at large and outside providers find a new source of customers. Whilst this is a worthy list of benefits for all stakeholders, is there a longer‐term direct benefit to wineries? This study of wine festival participants looks at the propensity of wine festival attendees to be persuaded to revisit the participating wineries as a consequence of their attendance at a wine festival. The paper concludes that there are positive future visitation benefits not just for the wineries staging the festival but also the influence extends and benefits the wider industry.
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Insun Sunny Lee, Charles Arcodia and Timothy Jeonglyeol Lee
The purpose of this paper is to examine why people visit multicultural festivals, with the overall aim being to better understand the apparent popularity of multicultural festivals…
Abstract
Purpose
The purpose of this paper is to examine why people visit multicultural festivals, with the overall aim being to better understand the apparent popularity of multicultural festivals. The paper aims to provide key stakeholders with a platform upon which to better manage and improve multicultural festivals as tourism attractions.
Design/methodology/approach
An on‐site questionnaire survey was administered at one of the multicultural festivals in South Korea in 2010. The reasons for visit were measured using a scale based on existing benefit scales, and literature related to multiculturalism. In total, 17 items were analyzed as visitor reasons for their visit. Demographic questions included age, nationality, the reason for living in South Korea if not a Korean, and gender. Out of 203 collected questionnaires, 183 were considered usable.
Findings
In total, five factors were identified as the reasons for attending a multicultural festival – family togetherness, escape, cultural exploration, socialization, and curiosity. The cultural exploration proved to be the most common reason for attending a multicultural festival for visitors.
Practical implications
The findings of this study will help all key stakeholders to more fully understand what visitors want, and guide festival management to organize sustainable festivals as a niche tourism attraction. Due to the desire for cultural exploration, festivals should offer multicultural themed activities. Sport competitions can be good for socialization between migrants and South Koreans, or migrants themselves.
Originality/value
Although multicultural festivals are held in many countries, there appears to be little research into the multicultural festivals in a country like South Korea, in transit from being ethnically homogeneous to becoming a multicultural society. This paper is a pioneer study in that particular discipline.
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Stephen Litvin, Bing Pan and Wayne Smith
The accurate measure of the economic contribution of festivals and special events is a challenge. Using a case study, the purpose of this paper is to demonstrate a previously…
Abstract
Purpose
The accurate measure of the economic contribution of festivals and special events is a challenge. Using a case study, the purpose of this paper is to demonstrate a previously un‐captured economic contribution from increased hotel rates during the period of festival or event; the “rising tide” effect.
Design/methodology/approach
This paper uses a case study on Charleston's hotel occupancy changes, and how the changes coincide with the occurrence of festivals and events in the community, to demonstrate the increased tourism income due to rising accommodation prices during festivals and events.
Findings
The study validates the increased tourism income due to rising accommodation prices during festivals and events, which can provide a significant boost to the economy of a local community.
Practical implications
Festival organizations, as well as hoteliers and other beneficiaries of tourist spending during festivals and events, should note how this additional contribution benefits them and their communities.
Originality/value
Many economic contributions of festivals/events overstate their values. The current study first demonstrates a previously un‐captured economic contribution using a case study approach.
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This paper aims to explore how music festival organisers negotiate diversity and inclusion in marketing and promotion practices through symbolic and social boundaries.
Abstract
Purpose
This paper aims to explore how music festival organisers negotiate diversity and inclusion in marketing and promotion practices through symbolic and social boundaries.
Design/methodology/approach
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.
Findings
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.
Originality/value
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.
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Maria Luciana De Almeida, Marisa P. de Brito and Lilian Soares Outtes Wanderley
The study aims to understand the meaning of event-based and place-based community practices, as well as the resulting social impacts.
Abstract
Purpose
The study aims to understand the meaning of event-based and place-based community practices, as well as the resulting social impacts.
Design/methodology/approach
An ethnomethodological approach was followed (participant observation and interviews were supplemented by secondary data), with the analysis being exploratory and interpretative.
Findings
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.
Research limitations/implications
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.
Practical implications
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.
Social implications
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.
Originality/value
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.
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In jam festival music scenes, participants build elaborate networks that connect members formally and informally between music events. Largely regional in scope, participants form…
Abstract
In jam festival music scenes, participants build elaborate networks that connect members formally and informally between music events. Largely regional in scope, participants form these networks to develop and perform scene identities and cultivate intimate social relationships. Emerging through cultivated “crews” and “camps,” members build hubs of interaction that sustain and persist well beyond the festival event to create a vital sense of belonging and place. While the affective relationships formed at music festival events tend to be temporary, diffuse, and episodic, scene networks provide a “portable” interactional infrastructure that promotes relational continuity and persistence. These networks also provide more pragmatic benefits to networked members in the form of social and subcultural capital exchanged for symbolic and material rewards within the scene. Drawing from nearly 20 years of formal and informal participant observation in festival scenes, I provide an analysis of these networks and articulate common practices that drive their formation and continuation.
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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…
Abstract
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.
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Wu-Chung Wu, Wen-Xi Chen and Tzung-Cheng Huan
A special event requiring little capital for development is regarded as a unique type of attractions. Art festival is a popular form among all special events, famous example…
Abstract
A special event requiring little capital for development is regarded as a unique type of attractions. Art festival is a popular form among all special events, famous example including Edinburgh Festival in England. However, the literature on the measurement of successful factors of art festivals is limited. This study uses Chiayi International Band Festival for a case study to evaluate performance factors of art festivals. The performance attributes are developed based on Kotler's Three Levels of Product framework. Importance–Performance Analysis (IPA) is used to evaluate the performance attributes perceived by the visitors. Further, a SWOT analysis is deployed to provide managerial strategies and implications.
Deniz Karagöz and Haywantee Ramkissoon
The objective of this study was to examine the relationships among festival personality, satisfaction and loyalty. Also, the study further analyzed the moderation effect of…
Abstract
Purpose
The objective of this study was to examine the relationships among festival personality, satisfaction and loyalty. Also, the study further analyzed the moderation effect of involvement on the relationships between festival personality, satisfaction and loyalty.
Design/methodology/approach
The authors adopt a two-stage mixed-method approach. Through a list of brand personality traits from previous research and in-depth interviews with participants of a film festival, festival personality constructs were identified: exceptional, competent, reliable and cozy. The authors then analyzed an integrative model of festival personality, satisfaction, involvement and loyalty from the qualitative findings. A survey with a convenience sample of 279 film festival participants was conducted.
Findings
The findings suggest that festival personality influence satisfaction and loyalty. Furthermore, this study confirms the significant impact of involvement on the relationships between festival personality, satisfaction and loyalty.
Originality/value
This study enables authors to understand the festival personality from the perspective of the visitors and expands the theoretical understanding of how the personality of the festival affects the visitors. The findings of this study suggest that the festival personality can be predictors and determinants of participants' satisfaction and loyalty. Also, this is one of the first attempts to identify the effects of involvement on festival personality and its outcomes. Current research findings demonstrated involvement as a moderator variable in the relationships between festival personality and festival satisfaction and loyalty.
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