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This paper aims to examine the role of grassroots (food) festivals for supporting the sustainability of micro and small producers, whilst exploring potential productive linkages between both stakeholders (festivals and producers) for enhancing a more authentic cultural offering and destination image in the visitor economy.

This paper is exploratory, qualitative and inductive. Evidence is underpinned by a purposive sample, drawing on ten in-depth interviews and 17 open-ended survey responses collected across 2014 and 2015 – drawing perspectives from traders participating in the EAT Cambridge festival.

This paper unpacks a series of serendipitous [as opposed to “strategic”] forms of festival and producer leveraging; strengthening B2C relationships and stimulating business to business networking and creative entrepreneurial collaborations. Positive emergent “embryonic” forms of event legacy are identified that support the longer-term sustainability of local producers and contribute towards an alternative idea of place and destination, more vibrant and authentic connectivity with localities and slower visitor experiences.

This study emphasises the importance of local bottom-up forms of “serendipitous leverage” for enhancing positive emergent “embryonic” legacies that advance “slow” tourism and local food agendas. In turn, this enhances the cultural offering and delivers longer-term sustainability for small local producers – particularly vital in the era of “Clone Town” threats and effects. The paper applies Chalip’s (2004) event leverage model to the empirical setting of EAT Cambridge and conceptually advances the framework by integrating “digital” forms of leverage.

Seeks to understand the inter‐organisational networks that influence events tourism strategy making by public‐sector event development agencies in Australia.

A qualitative methodology of convergent interviews, followed by multiple case research across six Australian states and territories, was employed. The inter‐organisational relationships and networks of events agencies that impact on their strategy processes for events tourism were the “cases” in focus.

Strategies of a reactive‐proactive nature mostly guide events tourism development by Australia's corporatised event development agencies. These agencies maintain “soft”, loosely formed networks that consist of relatively stable clusters of intra‐governmental and corporate membership with a peripheral, ad hoc membership of other stakeholders.

Although the paper studies perceptions of strategy making at a single point in time, it provides valuable insights into the public sector environment, institutional settings and key relationships that impact on events tourism strategies.

Event development agencies should consider how the unique requirements of event bidding, event development and expansion might facilitate different types of stakeholder engagement and network formation. Integration of regional, metropolitan and state strategies for events tourism may also widen the network of influence on strategies.

The paper informs public sector operatives establishing or managing event development agencies, where tourist generation is a primary marketing goal. It contributes new knowledge in a tourism field that is under‐researched.

This paper aims to discuss the role of a grassroots initiative in engaging local people in an innovative place-making fringe festival. Festivals such as the Carnival of Flowers are a major tourism event for regional cities like Toowoomba and contribute to place-making through marketing and engagement. Within the professional management of such events, there exists space for innovation and genuine community involvement, which can assist in authentically reflecting place identity. Avant Garden (2007-2008) models a successful grassroots fringe festival, initiated by community members in response to the challenge of long-term drought. Avant Garden engaged locals and tourists in a positive re-imagining of place via site-specific public artworks generated by the community.

A survey of 504 visitors to Toowoomba’s public gardens during the first weekend of the 2007 Carnival of Flowers examined how Avant Garden was received by the community.

The paper suggests that fringe festivals can provide place-making capacity in broadening festivals as an expression of local identity. Fringe festivals can allow authentic community engagement within a mainstream festival and can indicate longer-term innovations to place branding.

The paper includes implications for festival managers about effective ways to engage community in grassroots initiatives which reflect innovation, authenticity and greater diversity.

The paper provides a study of a visual arts fringe festival in the context of place management. The project described allows a “bottom up” approach to engaging the local community which provides authenticity and broadens the scope of an existing mainstream garden festival.

The purpose of this study is to examine how young residents in two Indonesian kampungs (urban informal settlements) participate in two grassroots art festivals and to what extent their participation affects their capacity and network.

This study uses a qualitative method. The data collection were done in 2017 and took the form of in-depth semi-structured interviews with 15 respondents in two kampungs, Kampung Dago Pojok, Bandung, and Kampung Bustaman, Semarang.

The results show that the grassroots festival can empower youth throughout its process while also influencing their networks. The festival could act as the catalyst for youth to gain event management skills and exchange cultural knowledge. This study also found that there are two sides the art festivals can bring to the youth regarding their network: while the festival was able to develop their internal and external network, it also led to social division within the community.

The originality of this paper lies in the context of the research where it contributes to understanding the implications of community-based art festivals in the developing context, particularly in the low-income informal settlements. The paper’s content also provides insights that festivals can also be understood as more than place marketing or branding but as collections of steps and efforts of the community to provide meaningful actions for their place and people.

This paper aims to investigate the impact of place-making on the quality of place through community-organised art festivals, with two case studies in urban informal settlements or kampungs in Indonesia.

Findings presented here are based on data collected and 39 in-depth interviews conducted in 2017 in two kampungs, namely, Kampung Dago Pojok, Bandung and Kampung Bustaman, Semarang.

This paper argues that place-making can happen through temporary practices, such as festivals, and improve the quality of place in informal settlements. It indicates and analyses the kinds of activities that increase the aesthetic value of spaces and build a positive image of the kampungs. The study concludes with the finding that place-making through temporary interventions has the potential to permanently change and reshape public space. At the core of these activities is the collective and voluntary work known as kerja bakti that is done by the kampung communities and the civil society organizations involved.

The paper offers a fresh perspective in the context of understanding the implications of place-making in the Global South. Assessing the development of public space, the paper provides insights into the use of grassroots festivals as a tool to permanently reshape urban spaces and engage the local community throughout the process.

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 case study demonstrates how a start-up professional sport league, the Women's United Soccer Association (WUSA), successfully incorporated an interactive fan festival into its inaugural Championship Weekend. Prior to revealing the details of the WUSA event, the history and rationale of interactive fan festivals is outlined. Also highlighted are the key marketing concepts applied (relationship marketing, brand management, experiential branding) in order to assist sport properties interested in using the interactive fan festival as a marketing tool in the future.

Within New Zealand, cultural festivals play a vital role in the local representation of diasporic cultures. By analysing the production design of festivals, in Auckland, New Zealand representing Indian culture between 1995 and 2015, the purpose of this paper is to create a deeper understanding of collaborative networks and power relationships. Using Richard’s pulsar/iterative network theory and Booth’s notion of cultural production networks, a new theoretical model is proposed to visually track the collaborative networks that sustain and bridge cultures, empower communities and fulfil political agendas.

This ethnographic research draws upon event management studies, industry practice, ethnomusicology and sociology to take a multi-disciplinary approach to an applied research project. Using Richards’ pulsar and iterative event framework Castells’ network theory, combined with qualitative data, this research considers critical collaborative relationships clusters and how they might impact on the temporal nature of festivals.

The 1997 Festival of Asia and the subsequent Lantern Festival in 2000 and Diwali: Festival of Lights in 2002 were pulsar events that played a significant role in collaborative networks that expand across cultures, countries and traditions. The subsequent iterative events have played a vital role in the representation of Asian cultural identity in general and, more specifically, representing of the city’s growing – in both size and cultural diversity – Indian diaspora.

This research proposes a new conceptual model on festival management and diasporic communities in the Asia-Pacific region. Richards’ and Booth’s conceptual models are used, as a starting point, to offer a new way of considering the importance of looking at collaborative relationships through historical perspectives. The framework explored contributes a new approach to cultural festival network theory and a means to understand the complexity of networks required that engage actors from inside and outside both local and global communities.

To date, researchers examining the motivations of volunteers at festivals and events have used a range of measurement indexes, most of which appear to have common antecedents in the psychology literature. It is not clear if different events actually require different scales, or if individual scales are more generalizable than is currently recognized so that the proliferation of scales is largely an academic exercise. The current study takes a preliminary step in exploring this issue by using an existing scale developed to measure the motivations of volunteers at western sporting events to examine the motivations of volunteers at a music festival in China.

The Volunteer Motivation Scale for International Sporting Events (VMS-ISE) is administered to volunteers at the Midi Music Festival in China. The 467 respondents are divided into two subgroups. Exploratory factor analysis (EFA) is applied to the first subsample to explore the factor structure of the index. Confirmatory factor analysis (CFA) is then applied to the second subsample to test the factor structure of the resolved scale.

The results of the EFA are promising, yielding a resolved factor structure, which is very close to the hypothesized index. The resolved scale is reasonably well supported by the subsequent CFA.

The findings suggest it may be possible for researchers to use a smaller number of scales on a larger range of festivals leading to a better understanding of similarities and differences in motivations across event volunteers. The results should also be helpful to festival organizers in their continuing efforts to recruit volunteers.