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An extant scale concerning festival performance (FESTPERF) was developed to measure service quality perceptions of attendees to an Australian jazz and blues festival. Despite its noted applicability to music festivals, the study by Tkaczynski and Stokes (2010) focused on one festival of a particular type, and the generalizability of its findings to multiple special events and nonmusic events remains untested. To address these research limitations, this study applied FESTPERF to a theater performance and a film festival. One-hundred and sixty valid responses were collected and analyzed using exploratory factor analysis. It was identified that three factors, human service, venue, and performance, represented attendees’ perception of service quality at these special events. The performance factor was also significantly related to satisfaction and repurchase intent. Results from this study provided justification for the usage of the items proposed in the FESTPERF instrument to be applied to different special event settings with some minor modifications. Opportunities for future research are outlined and the limitations of this study are also provided.

This research attempts to examine the co-creation process involving Chiayi City International Band Festival (CIBF). It deploys a questionnaire survey which assesses the level of activity involvement, preference to local products, and place attachment. The questionnaire is pretested, which utilizes college students as the samples to screen the clarity of wordings covered in the questionnaire and the reliability of the study scales. Subsequently, 342 festivity attendees, who are not local residents, are invited to participate in the survey. Structural equational modeling is used to test the study hypotheses. The results show a mediating effect of co-creation between activity involvement and place attachment.

Efforts to contribute to the Sustainable Development Goals are increasingly part of tourism business planning, forming part of their business policies, linking with society and generating a sustainable hotel offer. The great impact it causes and, which in the short term it will achieve, digital tools in hotel activities can be evidenced. It will also help to collect the information that serves for the certifications of hotel companies. In spite of all the efforts, there is still a great knowledge gap that needs to be filled to achieve the expected business results and that it can be evidenced that the hospitality industry is now more than ever focussed on the care of its workers and on contributing to the sustainability of the world.

Considering the economic potential of festivals to Creative Tourism, this chapter discusses the potential of the small-scale ones for rural development. It reviews worldwide small-scale festivals and engages them with creative activities, presenting the results of some of the small-scale festivals that occur in Southern Europe. It explores the impacts of a small-scale festival on the development of a medium-sized city or a rural area and the challenges they must face in the future. Furthermore, it deals with what kind of new offer can be developed in order to make these territories more sustainable. In this context, Southern Europe plays an important role due to its rich historical heritage that can diversify the offer and the type of experience, being an excellent opportunity to promote the preservation of those at risk of disappearing. This chapter uses primary and secondary data. A geodatabase was created to understand South European festivals on Creative Tourism. Examples from Italy, Greece, Slovenia and Portugal were analysed.

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.

The issues surrounding the scholarship on children-inclusive events management are explored in depth to provide a context for this chapter. Focus then turns to the city of Winchester in the United Kingdom as a case study for potential events aimed at this age group. Through a synthesis of the findings from a thorough new research study along with emerging theories in narrative and storytelling as experience co-creation, a proposed design for a new event is put forward. It is hoped that this approach in the academic literature will encourage other researchers to include innovative proposals in their synthesis and conclusions. Finally, additional considerations of integrating city branding with a wider regional branding are explored through ethnobotany. Lessons are drawn from an example of brand management based on a city event for children in Scotland.

Many destination marketers organise events to draw economic benefits over the short and long term. However, this chapter suggests that events can result in more than economic benefits, as they can be used to improve a destination’s branding and image. The authors explain how the organisation and implementation of successful events can enhance the destination’s attributes. They explore the consumer-based brand equity (CBBE) of the event and examine its relationship with other variables, including the destination’s image. Moreover, they maintain that music festivals can enhance the destination’s image and branding, particularly, when the visitors share their positive experiences with others. The authors make reference to two Portuguese events: NOS Primavera Sound event and NOS ALIVE. In conclusion, they imply that such music events are improving the brand equity among customers and adding value to the destination marketing of Portugal.

Purpose – The main purpose of this chapter is to discuss cultural norms in the process of handing down traditional folk music. In doing so, I focus on learning what successors of the tradition think about the orthodoxy of their music and what they think is the ideal way to pass down cultural heritage. In addition, considering that cultural norms are socially constructed in the moment, it should be also examined what leads people to have such notions.

Design/methodology/approach – To achieve these purposes, I look at practices of handing down traditional folk music in Japan, developing five case studies of various ohayashi. I also analyze yosakoi, which is modernly arranged local folk music that is widely spread across the country in the form of community festivals.

Findings – The successors of traditions tend to consider tracing the roots of their music as an obligation. On the other hand, in the case of music with no exact origin, its successors seek to find their identities by learning lessons from local anonymous ancestors. Meanwhile, there are people who consider its economic value as a raison d’être for traditional music.

Originality/value – What gives originality to this chapter is that I adopt an approach, employing regional and urban sociology methods, of comparing the characteristics of the regions in which local folk music is based. Along with perspectives on macro social changes and the principle of music group formation, I also discuss the transformation of expertise in folk culture associated with the rise of institutional reflexivity.