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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.

The main research questions critically examine online videos that draw attention to a local community of musical practice, noticing how these can potentially be included within the tourism promotion strategies. This paper develops a case study of four videos realised by the Louth County Board of the organisation Comhaltas Ceoltóirí Éireann (CCÉ) in Co. Louth, Ireland, as a part of the FleadhFest 2021 initiative. It highlights the role that virtual spaces have in enhancing a sense of belonging to a music/festival community as well as the possibility that visual and audio supports have in promoting and celebrating a destination and its cultural features.

The analysis involves a netnographic examination of these videos (Janta, 2017), informed by the concept of “tourist gaze” (Urry, 1990; 2002) and influenced by film-induced tourism studies (Beeton, 2005).

Results show how festival and event organisers responded to COVID-19 social restrictions by creating a virtual space for celebrating music heritage and local musicscape, placing an emphasis on local musical scene.

The research aims to inform future developments in how the organisation operates within and engages with virtual space, its members and a wider audience.

This is the first study to consider the virtual activities of CCÉ from an ethnomusicological as well as tourism, perspective.

To explore the value in reminiscing about past festivals as a potential way of improving wellbeing in socially isolated times.

The paper uses previous research on reminiscence, nostalgia and wellbeing to underpin the analysis of self-recorded memory narratives. These were gathered from 13 pairs of festivalgoers during Covid-19 restrictions and included gathering their individual memories and their reminiscences together. The participant pairs were a mix of friends, family and couples who had visited festivals in the UK, Finland and Denmark.

Four key areas that emerged through the analysis were the emotions of nostalgia and anticipation, and the processes of reliving emotions and bonding through memories.

Future studies could take a longitudinal approach to see how memory sharing evolves and the impact of this on wellbeing. The authors also recommend undertaking similar studies in other cultural settings.

This study findings have implications for both post-festival marketing and for the further development of reminiscence therapy interventions.

The method provides a window into memory sharing that has been little used in previous studies. The narratives confirm the value in sharing memories and the positive impact this has on wellbeing. They also illustrate that this happens through positive forms of nostalgia that centre on gratitude and lead to hope and optimism. Anticipation, not emphasised in other studies, was also found to be important in wellbeing and was triggered through looking back at happier times.

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.

Milton Nascimento is one of the most prolific Brazilian singers and songwriters of all time, an artist who has formed friendships and made songs with a host of Brazilian artists, with international stars from Latin America, and with artists abroad. Milton’s repertoire has made its way into the fabric of musical compilations of Brazilian music for international listeners. Perhaps unbeknownst to these international listeners, Milton, as an Afro-Brazilian artist, reflects a complex and paradoxical relationship to “race” in his music – at times openly touching upon racial themes, even during an area when the government forbade open discussion of racial tension in Brazil – but at times signifying race more subtly, either through subtle references to diversity in Brazil or through the very elements of his music.

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.

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.

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.

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.

Place-based community events fulfil important functions, internally and externally. They provide opportunities for people from diverse communities and cultures to encounter each other, to participate in pleasurable activities in convivial settings and to develop mutual understanding. The purpose of this paper is to investigate the value of such events as a means of resisting or challenging the deleterious effects of territorial stigmatisation.

The authors explore two place-based community events in areas that have been subject to territorial stigmatisation: Govanhill in Glasgow, Scotland, and South Dunedin, New Zealand. They draw on in-depth case study methods including observation and interviews with key local actors and employ inductive analysis to identify themes across the datasets.

The demonstrate how neighbourhood events in both Glasgow and Dunedin actively seek to address some of the deleterious outcomes of territorial stigmatisation by emphasising strength and asset-based discourses about the areas they reflect and represent. In their planning and organisation, both events play an important mediating role in building and empowering community, fostering intercultural encounters with difference and strengthening mutuality within their defined places. They make use of public and semi-public spaces to attract diverse groups while also increasing the visibility of marginalised populations through larger showcase events.

The empirical element focuses only on two events, one in Glasgow, Scotland (UK), and the other in South Dunedin (New Zealand). Data generated were wholly qualitative and do not provide quantitative evidence of “change” to material circumstances in either case study community.

Helps organisers think about how they need to better understand their communities if they are to attract diverse participation, including how they programme public and semi-public spaces.

Place-based community events have significant value to neighbourhoods, and they need to be resourced effectively if they are to sustain the benefits they produce. These events provide an opportunity for diverse communities to encounter each other and celebrate what they share rather than what divides them.

This paper is the first to examine how place-based community events help resist narratives of territorial stigmatisation, which produce negative representations about people and their environments. The paper draws on ethnographic insights generated over time rather than a one-off snapshot which undermines some events research.

Increasing evidence from high-income countries has revealed the positive impacts of creative entrepreneurship on the local economy, and these have attracted substantial attention in recent years. Creative industries are considered as the seedbeds for innovation; they are highly innovative and productive and are seen as drivers of economic development and social change. Creative industries are distinctive in that they have several transaction networks and income streams. Although creative industries are generating increasing interest in the minds of researchers and policy-makers in developed countries, the institutional and economic settings in Cameroon and other developing nations may not be so conducive to creative industries. The available evidence is insufficient to understand their performance and sustainability, let alone to estimate their contribution to the rest of the economy. This chapter demonstrates how the creative industries could contribute to the economic and social development of a nation. The chapter further explores the current situation of creative industries in Cameroon, with a focus on the artists of popular and folk music, the challenges they are facing, and provides ways forward.