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The purpose of this research paper is to examine whether enduring involvement theory plays a role in predicting craft beer and food festival visitors' experience of the festivalscape. Though craft beer and brewing is a growing area of research, there has been limited studies and theory application in this area. Around the world, craft breweries are increasing in number and producing more unique styles of beer as the demand for craft beer increases. Craft beer consumers visit many of these breweries and are attracted to craft beer festivals in which they can sample multiple local, regional, national and international craft beers.

A quantitative methodology was used based on data collected at the site of the festival. Researchers collected 204 useable surveys from visitors attending the North Miami Brewfest in North Miami, Florida, USA. Structural equation modeling was employed to examine the relationships among enduring involvement, festivalscape, satisfaction, revisit intention and word-of-mouth.

The results revealed that enduring involvement is significant in predicting all four factors of festivalscape (food/beverage quality, convenience, facility and festival staff). The festivalscape factors facility, food quality and festival staff predicted festival attendee satisfaction which in turn predicted both revisit intention and word-of-mouth. However, the festivalscape factor convenience did not influence satisfaction.

The authors surveyed only one festival in one region in South Florida. Further studies can survey multiple festivals in multiple regions to increase the generalizability of the research model. Enduring involvement theory could be applied to other niche areas in hospitality and tourism in the future (in addition to craft beer tourism).

Craft beer festival organizers should appeal to craft beer clubs, breweries and publications to attract those with a commitment to the craft beer industry to their event. People with an enduring, lasting commitment to craft beer are more likely to have a positive experience of the festivalscape at the event. Lastly, festival organizers should focus on the festivalscape factors facility, festival staff and food and beverage quality to influence satisfaction at the event.

This project applies enduring involvement theory in a festival setting. The research is further unique by adding enduring involvement as a predictor of festivalscape experience.

The purpose of this paper is to examine the links between perceived festival service performance quality, satisfaction, buying wine at the event, and the first-time/repeat tourist dynamic.

The research was conducted on 368 attendees at a major wine festival in the northeast USA using intercept face-to-face interviews.

The facility-related quality aspects are a stronger predictor of buying behaviour than activity-related aspects and amenities. A relationship between performance quality perception and satisfaction could not be found. 35-year and older repeat visitors are the highest yielding festival visitor group from a financial viewpoint. First-timers are far more short-term oriented than repeat visitors when making the final decision to attend the festival event.

It is very important to achieve a high degree of repeat festival attendance as this directly influenced the financial gains in selling more wine. The nature and types of activities offered at a festival must be cohesive with the theme of the event. The festival activities offered should be continually evaluated for signs of wear out, and renewed, or replaced if necessary.

The research provides a new perspective to festivalscape knowledge in that it identifies the first-time and repeat visitor dynamic as a strong predictor of actual buying behaviour at a festival. The higher the proportion of repeat visitors, the higher the likelihood of (wine) buying.

The purpose of this paper is to explore festivalgoer/camper perceptions of and responses to the non-urban festival service environment (blended festivalscape).

For this exploratory study a quantitative approach was adopted. A self-administered online survey was administered to recipient members of an Australian non-urban festival e-newsletter database resulting in 398 usable responses from festival campers.

Environmental beliefs held by festival campers’ influenced their perceptions of naturescape, socialscape and overall satisfaction. Festival campers’ who attended more than once were found to have stronger pro-environmental beliefs than those who attended once. Festival camper perception of naturescape has a positive moderating influence leading to greater overall satisfaction and the likelihood of repeat attendance and positive word-of-mouth.

It is very important to know how festivalgoers perceive and relate to their festival service environment. Critical to the appeal and success of the non-urban festival is the alignment of festivalgoer environmental beliefs to the natural setting in which they are held. Limitations include use of a single case study context.

This paper responds to lack of research on non-urban festivals when compared to urban festivals and the surprisingly little interest shown in the central role of natural settings and the camping experience. A closer understanding of the environmental beliefs of campers at non-urban festivals has the potential to provide beneficial outcomes for people, profit and planet.

The purpose of this paper is to determine whether a music festival leads to additional intangible benefits such as the appreciation of the specific music genre and music tourism. This was done by using visitors’ behavioural intentions related to these benefits as a tool for market segmentation.

The research followed a quantitative approach by conducting a visitor survey at an international jazz festival in South Africa.

The results showed that visitors’ post-festival behavioural intentions are a useful market segmentation tool. This approach revealed three distinct market segments with different levels of post-festival behavioural intentions (high, medium, and low). The results further showed that music festivals have the potential to create benefits beyond the festival itself or the host destination in the form of music tourism and the appreciation of a music genre. However, influencing visitors’ behavioural intentions can only be achieved by a thorough understanding of the characteristics of the market.

This research applied an innovative market segmentation approach that showed the post-festival behavioural intentions of different visitor segments at a music festival. The findings confirm that music festivals can have far-reaching benefits that can contribute to their legacy.

The purpose of this paper is to understand the process of value co-creation by examining festival attendees’ perspectives of their festival experiences. Service-dominant logic (SDL) is used as a framework to understand the how value is co-created in the festival setting.

Using a SDL approach and personal meaning mapping methods, this research offers insight into how value is co-created by the attendee, festival, and influential others.

This research found that personal, social, cultural, physical, place, and arts presentation domains come together to add value to the festival experience.

This research adds insight into the value co-creation process if festival settings. SDL is examined in relation to findings and re-conceptualized based on findings. This research was not intended to generalize all performing arts festivals but instead provided a detailed descriptive account of the experiences offered by performing arts festivals examined.

These findings contribute to the understanding of how co-created experiences can be developed, marketed and managed and provide insight into areas of future research to better understand the co-creation process in event contexts.

By providing a framework for understanding the festival experience, employing SDL, and using of experiential assessment methods across festivals, this research fulfils an identified need for an in-depth understanding of the co-created meanings of festival experiences.

The purpose of this paper is to fill the gap in the literature by focusing on the profile and loyalty of visitors to a literary arts festival in South Africa. In addition, this research advocates that festivals can influence visitors’ supplementary behavioural intentions and actions beyond loyalty in the form of literary arts appreciation, purchases and tourism.

A visitor survey was conducted at one of the oldest literary arts festivals in the country where a total of 391 completed self-administered questionnaires were obtained. The statistical analyses comprised three factor analyses (motives to attend the festival, satisfaction with the festival offering elements and behavioural intentions) as well as structural equation modelling, to establish the relationship between the motives, evaluation of the “festivalscapes”, behavioural intentions and loyalty.

The findings confirmed that literary arts festival loyalty is the principle behavioural intention that will occur after attending a literary arts festival. However, the results demonstrated that literary arts festivals also have the potential to increase and stimulate supplementary behavioural intentions in the form of greater awareness of the arts, increased purchasing behaviour of literary works, increased travel to support the literary arts and greater personal involvement.

Festivals, irrespective of the art form that they showcase, therefore, play a significant role in encouraging and increasing purchasing behaviour, which is vital to the viability and continuation of the arts industry.

This is one of the first studies to research the literary arts festival market in South Africa, thereby making a distinct contribution by expanding the literature on the needs of this neglected market and the aspects that influence loyalty to these types of festivals.

The purpose of this paper is to examine the mediating effect of perceived festival value on the relationship between satisfaction and experiences in the context of a music festival. The study presented herein also examined festival experiences based on the experience economy model.

A face-to-face survey was performed at the rock music festival Kuzey Fest in Sinop/Turkey, where 336 questionnaires were completed. The statistical analyses conducted to establish the relationship between experiences, perceived value and satisfaction comprised explanatory factor analyses and multiple regression analysis.

This study showed that the experience economy in the context of music festivals consists of four experience dimensions. According to the findings, the participants had predominantly entertainment and aesthetics experiences through passive participation. The study concluded that there were partial and full mediating roles of perceived festival value in the relationship between some experience dimensions and satisfaction; however, it was also found that escape experiences did not significantly affect satisfaction. Finally, the aesthetics, education, entertainment and festival value variables were important pioneer variables for satisfaction.

This study provides industry practitioners with meaningful insight on how to build rich festival experiences and satisfaction.

Perceived value is a critical factor for developing satisfaction and gaining a competitive edge. While much is known about the effect of festival experiences on satisfaction, there is little research examining festival value within the framework of experiences and satisfaction. This research also provides valuable insights for applying the experience economy within the context of events management.

The role and importance of arts festivals are well documented within the festival and events literature. Art and culture, as well as the subsequent enhancement thereof, are especially significant in multicultural societies. However, little is known regarding the role of culinary experiences within an arts festival setting. The paper aims to discuss these issues.

The case study was a well-known and popular Afrikaans national arts festival held annually in Potchefstroom, South Africa. Visitors to three distinct tasting experiences (brandy, whisky and sparkling wine, including Méthode Cap Classique), offered as part of the festival programme, were surveyed.

In the analyses, 292 completed questionnaires were included, which revealed three managerial factors for a successful tasting experience, as well as six tasting experience dimensions. In all cases, the experiences exceeded the expectations. This research greatly contributes towards the body of knowledge regarding tasting experiences at national arts festivals, an aspect that has not been researched to date.

Based on the results, practical implications are provided to enhance the current tasting experiences as well as visitor loyalty. This research is a stepping stone towards understanding the needs and preferences of the visitors, as well as identifying how the festival can capitalise on delivering these experiences.

This research identified for the first time the factors that contribute to a memorable tasting experience, as well as evaluated the tasting experience dimensions.

To make sense of the relationship between the festival attendance and the aims in arts festival management, the purpose of this paper is to explore the key characteristics for success and analyze the perceptions of the future in arts festival productions.

This qualitative study uses interviews with festival managers and empathy-based stories (MEBS) written by members of festival audience. Discourse analysis is employed for answering the questions: What are the characteristics of a successful festival, and what could ruin it?

The paper highlights the importance of interaction with the audience orchestrated by the festival organization. Such interaction co-constructs a more holistic festival experience valued by both parties, which supports the sustainability and future success.

The research data are limited to one country, and music festivals dominate the data.

Among managers, there is a need to consider audiences as consumers and as producers in the current competitive climate in the arts and cultural field and clarify the role of the audience as a partner in the networked festival production by placing the attendee at the core of the strategic planning process of arts festivals.

The research combines the views of the demand-and-supply side. It adds to the knowledge in arts and festival management by exploring the relationship between attendance and the aims of arts festival management in general, and the key characteristics of success in the arts festival context in particular. MEBS offers new interesting opportunities for future research in qualitative festival research.

The purpose of this paper is to understand how festival quality, satisfaction and intention to return among cannabis festival attendees were interrelated by using the 2018 Mile High 420 Cannabis Festival in Denver, Colorado, USA.

This study employed an online survey with festival attendees to the 2018 Mile High 420 Festival. A total of 664 attendees participated in the survey.

Findings of the study revealed the demographic profile of cannabis festival attendees (i.e. relatively young, single and evenly distributed in terms of gender and residency) and its relationships with respondents’ perceived festival qualities. In addition, two dimensions of festival quality unique to the context of marijuana festival influenced attendees’ satisfaction and intent to return significantly. Festival attendees’ travel characteristics were used to describe attendees’ satisfaction and intent to return to a different degree. This research has also highlighted a lack of research in the area of cannabis events/festivals.

This study is the first investigation that studied a cannabis-themed festival in the tourism literature. As legalization of recreational cannabis has been embraced in the USA and abroad (i.e. Canada), the findings of this empirical study will help the industry professionals and policy makers to understand this unprecedented SIT market and can be used as the benchmarks for their legal and operational practicality. Further, this study highlights research gaps in the tourism literature, and identifies those areas where future study is unlikely to provide new knowledge.