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The purpose of this paper is to determine how festivals allocated their funds among various expense categories.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Gastronomic festivals are important events to bring people together around food-themed activities. This study aimed at determining the relationships between festival quality, memorable food experience, loyalty, behavioral intention, hedonic well-being, and eudaimonic well-being. In this study, festival quality is the independent variable that affects the memorable food experience, the memorable food experience is the independent variable that affects loyalty, and loyalty is the independent variable that affects behavioral intent. Hedonic well-being and eudaimonic well-being are moderating variables. Behavioral intention is the dependent variable, while memorable food experience and loyalty are both dependent and independent variables.

The population consisted of local tourists visiting Orange Blossom Carnival held in Adana, Turkey. The survey technique and the convenience sampling method were preferred and 545 data were obtained.

The analysis results showed that all dimensions of the memorable food experience are strongly affected by festival quality. Plus, superior service approach and high value perception dimensions of the memorable food experience have significant effects on loyalty. Furthermore, destination loyalty was found to have a strong effect on behavioral intentions. Moreover, higher levels of Hedonic well-being (HWB) and Eudomenic well-being (EWB) were found to increase the effect of loyalty on behavioral intention; accordingly, the moderator roles of HWB and EWB were determined.

This article provides information that the memorable dining experiences of festival visitors who attend the Orange Blossom Carnival in Adana affect the quality of the festival and their intentions to loyalty. In addition, in the study, it was found that the well-being of carnival visitors had a moderating role in the effect of their loyalty on their behavioral intentions. Therefore, this article provides information on how the food experiences and well-being of the visitors at the gastronomy festival will affect which factors.

According to the findings, gastronomy-based events may affect tourists’ experiences, and tourists’ psychological well-being affects loyalty and behavioral intentions. Destination management organizations can learn about gastronomy-based festivals. The results of the study include a number of theoretical and practical findings for destination management organizations, festival managers, policy makers and academics working in the literature.

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 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.

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.

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.

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.