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The purpose of this paper is to propose and introduce a new classification model to segment a nation’s cultural tourists based on their motivations to travel to a military music festival. Little research is apparent about the types of people, and their motivations, who attend these types of festivals. In addition, the research investigates the impact of military music festivals on the concepts of patriotism and national identity.

The research approach involves empirical testing of a Canadian audience attending the Royal Nova Scotia International Tattoo, a longstanding annual musical event held in Nova Scotia, Canada, that pays tribute to the country’s military heritage. A proposed classification model that includes two dimensions is applied, which investigates: motivation to attend the event and kinship to Canada’s military and naval traditions.

Findings provide a better understanding of the diversity of the Canadian cultural tourist audience attending a military music display in terms of tourists’ demographics, experience of the show and the desire to return. This research also provides new insights as to the ability of a military musical event to arouse emotions of national pride, patriotism and strengthen national identity.

This research is important to event sponsors and organizers of military music events as they attempt to maintain productivity and attendance growth in an increasingly competitive entertainment environment.

This paper aims to present a framework to analyse whether information published on social media is accessible for people with disabilities (PwD), namely, visual and hearing disabilities, with an application to a music festival.

The methodology used in this exploratory study consists of establishing a recommended framework to assess social media accessibility for PwD, especially for people with visual and hearing disabilities (PwVHD), and analyse, through an observation grid, if the information published on the official pages of the “Rock in Rio Lisboa” music festival on Facebook, Instagram, Twitter and YouTube is accessible for this target audience.

The results indicate that, although the Rock in Rio Lisboa music festival is promoted as a festival for all, posts on social media are not accessible for people with visual and/or hearing disabilities and do not meet most of the defined parameters established in the proposed assessment framework.

Social media accessibility has not been analysed in previous research in the tourism context. This paper aims to fill in the void by establishing criteria and parameters that can serve as a basis for a framework for accessibility assessment in social media for PwVHD.

Within the ongoing digitalization of society and dimensions of integration, equality, citizen needs, sustainability and quality of life are of increasing importance as driving forces for cities to become smart. The purpose of this paper is to examine participatory management challenges in becoming a smart old town in the context of cultural heritage.

An explorative approach was applied on a qualitative single case study including in-depth interviews with 21 stakeholders representing local entrepreneurs, nonprofit organizations, the municipality, politicians, tourism organization and residents of an old town district in a Norwegian city. Additionally, participatory observations and document studies were performed. Findings were continuously validated with the respondents.

The present study contributes with stakeholder views on challenges arising from the development of a smart old town and suggests possible innovative solutions for participatory management. The transformation of a city with cultural heritage into a smart city require efforts that go beyond smart ICT implementations into issues of social sustainability.

The study brings forward the opportunities that lie in the dynamics of interaction between the spirit of cultural heritage and the body of participatory management. It con-tributes by responding to calls for further research to deepen the insights into stakeholder inclusion in cultural heritage-based city transformation. This explorative study has its limitations as it is based on one qualitative single case.

Participatory management insights and recommendations for smart city transformation are provided.

The study addresses socially sustainable outcomes to create democratic conditions that promote inclusion and community building by understanding what people need and expect from the place where they live and work.

This study is positioned as unique in terms of its complex nature of transforming an old town to become a smart old town based on cultural heritage and an open and coordinated inclusion of stakeholders. Smartness in context of city transformation is revealed in many dimensions ranging from technology-driven to more participant-driven.

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.

This research makes a fresh contribution by exploring an understudied aspect of the Tropicália movement: visual performance. After offering a historical overview, we examine the movement’s communicative legacy. We contend that, in addition to song’s lyrics and musical symbols, it is vital to consider a third dimension: visual performance.

The addition of the visual allows for a more fundamental understanding of the many complex meanings that the Tropicalistas constructed in their resistance to political oppression, as well as broader cultural mores and expectations.

Our examination of archival performance videos reveals that Tropicalistas employed modes of dress and a specific, intentional orientation toward their listeners as particularly powerful tools of expression. Revealing these two dimensions of Tropicália performance allows us to better understand the importance of performance as a key element of resistance. The Tropicália movement’s performative reconfigurations of self and other became a vital channel through which the Tropicalistas manage to speak truth to power to challenge the oppressive military regime and question assumptions about Brazilian national identity.

Exploring the role of performance as part of the overall meaning of musical expression opens up new vistas of understanding. While relevant to Tropicália as a pivotal and wholly Brazilian artistic movement, the contributions of this study have implications beyond this particular setting. The analytical approach reveals how artistic movements can serve as both the substance and the expression of national being.

The paper aims to discuss the tensions between rock and pop genres at Rock in Rio, the most significant music festival in Brazil (which also has had international editions in Portugal, Spain and the USA), analyzing the construction and consolidation of Rock in Rio as a rock-related brand and mapping the disputes, negotiations and controversies between rock and pop music fans.

The authors analyze those facts from a framework composed by discussions about musical genres (Frith, 1996; Blacking, 1995), social constructions about rock and pop, as well as debates about taste as performance (Hennion, 2007) on digital platforms. The corpus consists of 58 posts published between 2018 and 2019 in the period prior to Rock in Rio 2019, analyzed qualitatively.

By recalling the history of Rock in Rio, the authors demonstrate that the discourses and strategies involving the festival are contradictory, which reflects on disputes about the meanings of festivals on social media. A diverse set of controversy was found, such as discussions about the artists' authenticity as well as arguments that refer to the social constructions linked to certain musical genres.

The paper analyzes the Rock in Rio music festival from a perspective that is not observed very often, offering insights about the relevance of music genres as mediators of the perception of the festival as a brand and the controversies involving fans and anti-fans.

The purpose of this paper is to attempt to provide a detailed profile of the jazz festival audience in terms of age, gender, degree qualifications, home ownership levels, newspaper readership, frequency of attending live jazz performances, interest in attending other festivals and CD purchase behaviour. In addition, it seeks to examine the cultural diversity of improvisation.

Survey data were collected from patrons at the Cheltenham International Jazz Festival in order to establish the demographic profile of the jazz audience and distinguish between two broad categories of jazz fan (modern and hybrid). Hybrid jazz fans are categorised as those purchasing traditional/mainstream jazz CDs who may also purchase modern jazz CDs, thus distinguishing them from exclusively modern jazz fans who do not purchase traditional/mainstream jazz CDs.

Results identified a statistically significant difference between modern and hybrid jazz fans in terms of gender profile, newspaper readership, CD purchase behaviour, overall concert attendance and interest in attending a variety of other festivals.

Differences in purchase behaviour and festival preferences suggest likely differences between segments in terms of the potential demand for cross‐selling of other live entertainment services and related merchandise. Increased awareness of such differences creates the opportunity for more effectively targeted sponsorship.

The paper focuses upon the audience for an art form that has been relatively neglected by the management literature.

This article analyzes an approach to public diplomacy that involves leveraging local voices. It demonstrates the power of culture, particularly in collective settings such as festivals, to engage citizens in countering violent extremism, building peace and tolerance, and fighting corruption. Four case studies from Mali illustrate how integrating historical and living culture into peace-building strategies works effectively in this West African nation torn by jihadist and ethnic strife.

The author has used a field-based approach. The conclusions presented here are based on her own experiences in Mali, as well as hundreds of conversations with Malian colleagues and officials. The cultural diplomacy/soft power/hard power framework for the article is based on her own experiences as US Ambassador to the Netherlands, 1998–2001.

Culture, especially music, has unparalleled and untapped capacity to bring people together across differences in Mali, and to inspire them to envision a positive future for their country, and to work to achieve it. The lessons from the Mali case studies can be applied elsewhere.

These Malian case studies demonstrate that culture belongs at the center and not the periphery of peace-building. They also show the efficacy of the “leverage local voices” approach to cultural diplomacy. The findings here are based on my experiences and those of others working in Mali.

Based on the findings from these Malian case studies, local cultural expression and actors should be integrated into efforts to build peace and counter violent extremism.

These Malian case studies also demonstrate that shared cultural events help build social cohesion in societies frayed by conflict and/or violent extremism. In countries with high illiteracy rates like Mali, song lyrics help convey socio-political messages of peace, tolerance, and unity.

The “leverage local voices” approach to cultural diplomacy offers a different model than the traditional method of sending artists from the originating country (such as the USA) abroad. Local voices – whether living or from the past, as in the case of the Timbuktu manuscripts – have greater credibility and resonance than foreign ones. That culture works so effectively toward reconciliation, social cohesion and building peace in one of the most challenging environments in the world – Mali – suggests that other countries and regions should also explore and exploit the power of culture to dampen violence and orient the population to living together harmoniously.

The purpose of this paper is to explore the use of accounting when managing the institutional complexities of a festival organisation pursuing financial and social objectives. Specifically, it focuses on how accounting can be implicated in handling a festival’s multiple and potentially conflicting logics. Also, through mobilising the concept of institutional work, the following builds on our knowledge of the importance of what people do, in managing an organisation’s institutional complexity.

This paper is grounded in a qualitative case study, for which the primary data derives from interviews, plus examination of internal documents and information in the public domain.

The festival studied is commercially successful, though ultimately one of its main organisational goals is to maximise donations to charitable causes. Other goals include: offering an alternative community through music, particularly to the young; fostering new and innovative artistry; and nurturing a festival family that is rooted to a large extent in its army of volunteers. The paper reveals how seeking such goals simultaneously requires the handling of logics that potentially can pull in opposite directions. Moreover, it highlights the efforts of festival organisers to maintain coexistence between the different logics, including the utilisation of accounting, accounts and accountability to facilitate this.

There are three main contributions of the paper. First, it offers new insight into how accounting can be purposefully used to mediate between potentially opposing logics in a complex organisational setting. Second, the paper extends our knowledge of the use of accounting specifically within a popular culture context. Third, the following adds to recent use of the concept of institutional work to understand why and how people mobilise accounting to handle institutional complexity in organisational settings.