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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.

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.

This paper aims to consider the relationship between urban events and urban public space, asking whether cities have enough space for events and whether events have enough space in cities.

Policy analysis surrounding events and festivals in the Netherlands is used to understand the dynamics of urban events, supported by content analysis of policy documents. A vignette of event space struggles in Amsterdam illustrates the contradictions of the event/space relationship.

The research identifies a policy shift in the Netherlands towards urban events from expansive, festivalisation strategies to defensive, NIMBYist policies. It exposes contradictions between protecting space as a living resource and the exploitation of space for regenerative purposes. Three future scenarios for urban events are outlined: conflict and competition, growth and harmony and digitalisation and virtualisation.

Develops scenarios for the future relationship between events and urban space.

Provides an analysis of the recursive spatial implications of the growth of the events sector for cities and the growth of cities for events.

This study aims to address the question of what coordination mechanism can be used for cultural production and, in particular, for the governance of music culture production. The authors locate their reflection within the specific institutional innovations introduced in Italy in 2017, focusing on the idea of shared administration and the public–private collaboration instituted in Trentino (a province located in northern Italy) in support of its cultural policy.

This study focusses on the Trentino’s music school system. This includes 13 organisations (musicians’ cooperatives as well as associations of musicians and students, plus one municipal school which do not overlap with the public school system). To analyse shared administration features, the authors rely on selected information from 50 interviews with Trentino Music Schools (TMS) teachers and administrators, and on the proceedings of the 1994 music school conference organised by the schools at the time when this novel educational system was created.

To offer an innovative educational service, the public actor (Provincia Autonoma di Trento [PAT]) and the schools (TMS) have developed a strong interdependence at the different levels of decision-making: PAT needs organisations that are sufficiently structured and organised to respect requirements of transparency and accountability, as well as educational standards, whereas TMS need public funding to maintain their service accessible for users, good labour conditions and be financially sustainable. Likewise, the success of TMS in educating thousands of students every year, including additional teaching programmes funded by PAT within general public schools, has contributed to decrease the exclusion from music education, raise interest in young people for music and fed enrolment in TMS as well as in the public schools related to the conservatoire filière. Conclusions emphasise the existence of a polycentric system of music culture production which needs to acknowledge the risk of being trapped in a static disequilibrium, while recognising change and the need to support and promote a culture of cooperation among schools and across layered institutional levels over time.

Further research can observe this system of cultural production over time, to appreciate changes and organisational tranformations, while introducing comparative analysis with other systems in different regions.

The relationship between the public and private sectors to design, organise and manage activities of collective interest (in the social, cultural, sporting and other fields) can increasingly become an effective and efficient alternative to the traditional bureaucratic as well as to the competitive method. For this to happen, however, all actors involved must be aware not only of areas of efficiency but also of inefficiency. To remedy the latter, corrective measures will have to be introduced. For example, fostering and improving “co-programmazione” and “co-progettazione” means giving all stakeholders involved the opportunity to actively participate. Should the number of participants increase, more discussion fora could be set up because one alone may not be sufficient to foster maximum involvement, to enhance different points of view, to allow for intersectoral and multidisciplinary interpretations and responses.

The system governance based on co-programming and co-design has allowed – despite limitations – to pursue educational purposes and thus well-being for the users, as well as for the teachers and the community as a whole. The continuity of this educational and cultural action has been guaranteed by the economic and financial sustainability of the schools, which is highly dependent on the public actor funding personnel costs, and in turn tied to the number of students (demand) attending each school. Actors embedded in the system need to build awareness of industry and cultural changes and knowledge of how to introduce more adaptive capacity. This points towards the need for strengthening networking capacity and collaboration among schools and other relevant stakeholders.

The case presented is a unique system of music culture production in Italy, and its governance has never been addressed by previous studies. It provides an application of shared administration to which public administrations and communities can learn to improve access to music culture and education. For public and private organisations to take advantage of the method of “co-programmazione” and “co-progettazione”, to make the production of a meritorious good more efficient and to favour its maximum accessibility, this study considers the strengths and weaknesses of this approach, or the areas of efficiency and inefficiency, for which new measures will have to be introduced.

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.

This article examines curatorial practices, both traditional and digital, in the Guizhou Provincial Museum’s ethnic exhibition to assess their effectiveness in representing ethnic minority cultures, fostering learning and inspiring curiosity about ethnic textiles and costumes and associated cultures. It also explores audience expectations concerning digital technology use in future exhibitions.

A mixed-methods approach was employed, where visitor data were collected through questionnaires, together with interviews with expert, museum professionals and ethnic minority textile practitioners. Their expertise proved instrumental in shaping the design of the study and enhancing the overall visitor experience, and thus fostering a deeper appreciation and understanding of ethnic minority cultures.

Visitors were generally satisfied with the exhibition, valuing their educational experience on ethnic textiles and cultures. There is a notable demand for more immersive digital technologies in museum exhibitions. The study underscores the importance of participatory design with stakeholders, especially ethnic minority groups, for genuine and compelling cultural representation.

This study delves into the potentials of digital technologies in the curation of ethnic minority textiles, particularly for enhancing education and cultural communication. Ethnic textiles and costumes provide rich sensory experience, and they carry deep cultural significance, especially during festive occasions. Our findings bridge this gap; they offer insights for museums aiming to deepen the visitor experiences and understanding of ethnic cultures through the use of digital technologies.

Building on the theory of brand psychological ownership, this paper aims to explore the mediating role of brand psychological ownership in the relationship between brand personality (innocence/coolness) and consumers’ preferences, as well as identify the boundary conditions of this relationship.

To test the hypotheses, a series of four experiments were conducted in Wuhan, a city in southern China, using questionnaires administered at two universities and two supermarkets. Hypotheses were tested using PLS-SEM in SmartPLS 4.

The results indicate that brand personality, specifically the dimensions of innocence and coolness, has a significant impact on consumers’ brand preferences. Brands with a cool personality are preferred over those with an innocent personality. Moreover, the relationship between brand personality and consumers’ brand preferences is moderated by power motivation and identity centrality.

This study contributes to the literature by differentiating between brand personality of innocence and coolness as two separate constructs and proposing brand psychological ownership as a mechanism through which brand personality affects brand preferences. The study’s samples were drawn from universities and supermarkets in southern China, providing evidence for the significant moderating effects of power motivation and identity centrality on consumers’ brand preferences.

This study aimed to determine the motivations of a select group of South Africans in terms of their potential engagement with cultural tourism; more specifically, the study set out to show whether these motivations influence the cultural activities that the tourists want to participate in and whether their interest in specific cultural activities determines their destination choices. Furthermore, the mediating role of activities in the relationship between cultural motivations and destination choice was also assessed.

An online panel survey collected responses from 1,530 potential cultural tourists across South Africa. Hypotheses were tested, using structural equation modelling.

The results show that tourists' motivations for cultural tourism influence their likelihood of participating in specific cultural activities. Cultural tourism is shown to be influenced by more than learning and includes entertainment, relaxation, novelty and escape dimensions. There also seems to be a difference in the activities engaged in by destination type. For example, tourists likely to take part in indigenous cultural tourism activities are more likely to do so at hedonic destinations.

This paper contributes to the understanding of cultural tourism activities, aiding destinations in attracting cultural tourists. Destinations need to develop activities that match visitor motivations, increase satisfaction and encourage visitors to return.

The paper increases the understanding of cultural tourism in South Africa and underlines the importance of communities in providing distinctive tourism activities. The study also has an important social dimension, highlighting the role of social status in cultural tourism consumption and destination selection.