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The purpose of this paper is to address the gaps in research on strategic planning for the social impacts of small-scale events in rural areas and small cities. This is achieved by investigating the social utility inferred by small-scale art festivals with a creative tourism element in terms of increasing social capital and positive social change, from an event stakeholder perspective.

The identified gap in knowledge is addressed by using interviews and fieldnotes from participant observation to co-create meaning with the organizers of four small-scale art festivals in small cities and rural areas in Portugal. Theoretical frameworks relating to creative tourism development and social capital creation are used to analyze the social utility of small-scale art festivals.

Creative tourism activities are integrated within small-scale art festivals in small cities and rural areas in various ways, mainly through art-related workshops. Significant empirical data give insight into how small-scale art festivals create social value by increasing the host community’s pride and reinforcing the social fabric of the festival’s local and “portable” community, in part through these creative tourism activities.

One of the limitations of this study is that it focuses on the perspectives and insights of the festival organizers. An analysis of the festival participants’ views, local community stakeholder analysis and community impact analyses would offer further insights into how the creative tourism experiences and other moments of shared meaning generation within small-scale art festivals influence the creation of social utility.

This paper offers insights into how creative tourism activities are being integrated into small-scale art festivals in small cities and rural contexts, and how these activities foster social connections among festival participants and with the local community. This addresses significant gaps in the literature on strategic planning for the social impacts of events, particularly in the context of small-scale events in rural areas/small cities, and the strategic value of including creative tourism activities within small-scale festivals.

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.

This paper aims to analyse the effects of events image from host communities’ perspective on the city’s overall image and the intention to recommend the events and the city as a tourism destination.

The research used a bivariate data analysis based on Spearman’s correlation and regression analysis to determine useful variables to predict the intention to recommend the city as a tourism destination. Data collection was face-to-face and online with a non-probabilistic sample of Viseu city residents, the second largest city in the central region of Portugal.

The findings had implications for researchers, governments and stakeholders. From the resident’s point of view, there is a high correlation between the overall city image and the intention to recommend it as a tourism destination. Event image and the intention to recommend the event participation affect the overall city image. Results point out the resident as natural promoters of events and their city if the local events have an appeal that generates their participation. Conclusions indicated that cities need to re-thinking tourism from the citizen’s perspective as staycation is a grown option.

Event image by host-city residents’ perceptions is an underdevelopment theme in the literature, although residents’ participation is essential to the success of most events. Local events can promote tourist citizenship and reinforce the positioning of tourism destinations, associating them with an image of desirable places to visit and live.

The purpose of this paper is to examine the contribution of small-scale, rural festivals to the social sustainability of their host communities. Small-scale, community originated festivals proliferate the rural landscape throughout the UK and yet despite this, festival research has focussed predominantly on large, urban events and on their economic impact (Wood, 2009; Gibson and Connell, 2011). This paper seeks to address the perceived research gap by examining these events through a lens of social sustainability.

The research uses a case study approach focussed on four festivals in Northumberland, UK. Individual interviews and focus groups were conducted with festival organisers, key figures and visitors. Following a constructivist grounded theory method four principle indicators were identified to determine festival contribution to community social sustainability. These indicators are: contribution to community pride and localness, enhancement of knowledge and understanding, contribution to the continuity of local culture and enablement of networks of connectivity.

The findings demonstrate the networks of connections which festivals enable between the culture, heritage and people (individuals and groups) of a place. By focussing on four indicators the paper shows the social impact of connections through the festival processes and content. The paper argues that small-scale festivals in rural locations can contribute to social sustainability if they demonstrate a balance of both consistency and innovation and accessibility and openness within the locale.

This paper addresses the gap in social impact research into rural festivals and presents an original approach to identify festival impact on community social sustainability.

This chapter discusses emerging issues in event management with a focus on small-scale events. The author reflects on managerial approaches to stakeholder involvement and engagement, and underlines the complexity of strategy formulation for destination development planning. This contribution also provides advanced conceptual instruments for event marketing as guiding principles that permeate destination-marketing strategies. In addition, the author investigates the role and nature of sponsorship linked to enhancing the value of small-scale events and highlights fundamental issues in developing a marketing management model for place marketing and the key drivers of event management strategies involving sponsors and event participants.

To know the role of online social media (OSM) on the experience and communication of a gay film festival (ZeFestival) in a tourist destination: Nice, France

Literature review accompanied with a qualitative study and netnographic analysis.

Informs on the use of OSMs by both organizers and festival goers, with a much poorer involvement of stakeholders than was envisaged. Proposes avenues for finding the causes of this lack of communication and sharing of the online experience.

An exploratory study of a single gay film festival. The research work should be extended to other gay cultural events in Nice and France as a whole.

Recommendations for online experience sharing and communication before, during, and after the event.

This theme has been hardly broached on an international scale and never in a French context.

This paper aims to explore how the entertainment economy excludes individuals and facilitates private investment, the problematic shift towards a “creative economy” and increased regulations within Sydney’s entertainment sector. It also examines how a grass-roots, rural festival can be regarded as an extension of the urban context. It discusses the alternative counterculture(s) that exist despite (or perhaps because of) increasing inaccessibility and regulation, using as a case study an activist collective created in this climate, the Marrickville Warehouse Alliance, focusing specifically on its Star Shitty River Retreat festival.

A phenomenological, mixed-method approach is used with a focus on qualitative in-depth interviews with festival organisers.

This paper demonstrates how politics, embedded within urban place, can be transported to a rural festival site. The phenomenological accounts recorded with the festival organisers, paired with key theories within the literature, demonstrate how organising committees can shape the understanding of place and politics in grass-roots festival environments.

By leaving “no trace” on the site and engaging with and contributing to the indigenous community, the Star Shitty River Retreat festival can be categorised as a type of “creative enhancement”, in which a shared environment of political and communal understanding creates a unique, yet temporary, sense of place within a rural setting.

There is limited literature on the Australian festival context. The finding that rural festival sites can be regarded as an extension of the urban context lends itself to the concept of de-territorialisation or blurring of city boundaries, reinforcing how a festival’s geographical location is of little significance when supported by “portable communities”.

Cultural festivals have started to be held face-to-face with masks and distance measures after the gradual lifting of restrictions following the COVID-19 pandemic. On the other hand, the risk of COVID-19 transmission continues. This study aimed to test the relationship between participants' experience quality and life satisfaction and the moderator role of the COVID-19 risk perception in this relationship within the scope of the Festival on Wheels (Gezici Festival) as a cultural festival.

The data were collected by face-to-face and online survey techniques in Ankara, Sinop and Kastamonu cities in the context of the 26th Festival on Wheels. A total of 130 questionnaires were collected, and structural equation modelling was applied to the data analysis.

According to the findings, the experience quality with the dimensions of entertainment and escape has a significant effect on life satisfaction. On the other hand, the perceived risk of COVID-19 does not have a statistically significant effect on this relationship.

The results indicate that experience quality directly affects subjective life satisfaction, while the impact of the COVID-19 pandemic on event experiences and outcomes has begun to disappear.

The purpose of this paper is to explore a grassroot festival in rural France organized around the concept of soup. The annual fête de la soupe held in a village in Auvergne provides a small-scale example of the ways in which space, time and festivalization interact in placemaking.

Ethnographic research highlights the motivations and experiences of the organizers and volunteer-participants, as well as some of the organizational challenges.

Revealing that the profit motive and economic outcomes are not dominant, this paper shows instead that the fête constitutes a space of relation-building between place and people, between people themselves and an introspective moment over the past and future of place as “rural”. While preserving rurality symbolized and mediated by the exchange of soup as the ultimate peasant dish, the festival is also an opportunity for villagers to revitalize the rural and showcase it as a place of creativity.

The study addresses the experience of volunteers and organizers in festivals, uses qualitative methods to do so and focuses on festivals in the rural setting, filling three gaps identified by others in the literature.

This paper responds to a range of theory and industry reporting, to provide an informed narrative which explores the current state of accessibility at UK festivals for people who are Deaf or disabled and the potential implications of developments in ICT for enhancing design, marketing, operations and performances across all phases of festival delivery, in order to improve inclusivity and accessibility. To this end, the paper addresses the following question: What do representatives of the UK live music industry perceive as barriers to accessibility and exemplars of current best practice for music festival attendees who are Deaf or disabled? What do representatives of the UK live music industry consider as the role of ICT to increase accessibility for music festival attendees who are Deaf or disabled?

Primary research focused on supply-side considerations with a sample group of 10 UK live music industry professionals. The scope of the research was limited geographically to England and by artform to open-air music festivals, venues which host some music festival provision and a Sector Support Organisation. Open questions elucidated qualitative information around; awareness of accessibility and inclusivity initiatives; potential for co-creation; non-digital improvements; current technological influences; and potential digital futures for accessible “live” experiences. A conceptual framework was constructed and semi-structured face-to-face interviews were carried out with six respondents, and four respondents completed a structured, self-administered e-mail questionnaire.

Findings include: ICT can facilitate enhanced dialogue with existing and potential audience members who are Deaf or disabled to both; reduce existing social exclusion (Duffy et al., 2019) and improve the visitor experience for all attendees. All respondents agreed that physical enhancements are important and some mentioned communications and customer care. Respondents reported increasingly ambitious usages of ICT at music festivals, which may support suggestions of a virtual experience trend (Robertson et al., 2015). Online ticketing systems have potential to grant equal functionality to people who are Deaf or disabled, as recommended by the Department for Culture, Media & Sport (2015). Respondents broadly welcomed the potential for positive impacts of ICT on increasingly accessible live experiences at music festivals which retained a sense of authenticity and “liveness”. Challenges around “as live” ICT-derived experiences were identified including risks of creating second-class experiences for Deaf and disabled attendees.

The limitations of this case study include the small sample size and limited scope.

Promoters should: consider further developing the co-creation of accessibility initiatives, utilising ICT to both deliver improvements and engage with potential audience members who are Deaf or disabled. Seek to pro-actively recruit staff members who are Deaf or disabled and significantly increase their programming of performers who are Deaf or disabled. Consider reviewing their ticketing processes for music festivals, to identify accessibility challenges for audience members and implement appropriate ICT-based solutions. Consider maximising accessibility benefits for audience members who are Deaf or disabled from existing ICT provision on site and explore additional bespoke ICT solutions at music festivals.

Adopting the best practices described across the festival sector may improve inclusivity for disabled people at music festivals and other events. Event management educators should consider reviewing provision to ensure that best practice is embedded around accessibility for audience members who are Deaf or disabled. Additional public funding should be provided to drive ICT-derived improvements to accessibility for audience members who are Deaf or disabled at smaller-scale music festivals. Further research should be considered around inclusive approaches to digital experiences within a music festival environment for audience members who are Deaf or disabled and tensions between accessibility and notions of “liveness”.

The “snapshot” of digital aspects of accessibility at UK festivals within this research is of particular value due to paucity of other research in this area, and it's narrative from varied industry professionals. The paper makes recommendations to promoters, academics and public funders, to attempt to advance inclusion (or at least to mitigate current exclusion) and identify directions for future research into accessible digital experiences at music festivals for people who are Deaf or disabled.