Thesis (Ed.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Background: Globalization and localization are constantly clashing, collapsing, and transforming one another, and many studies have investigated how various global companies deal with the balance in between these two opposite strategies. However, little does research reveal about how music festivals adapt and operate using globalization or localization in the global market. Further, studies have shown that the globalness of a brand adds value for customers, but this effect has not been investigated in the global music festival industry. Purpose: The purpose of this study is to deep understand a global music festival’s adaptiveness and how its adaptations are perceived by its attendees from different countries. Further, this study also aims to analyze how the globalness of a music festival affects and influences its attendees.   Method: A case study focusing on the music festival Lollapalooza and its editions in Brazil and Sweden. The study follows a deductive approach using a mixed-method by collecting both quantitative and qualitative data. An online survey, interviews, and an email questionnaire are the main primary sources of data collection. Conclusion:   The results show that adaptations are important for attendees as well as for the festival itself. Many adaptations were noticed by attendees, but it is still unsure what other ‘’invisible adaptations’’ were done in order to meet the market demands. The globalness of the festival makes customers assign additional positive attributes to the festival brand, while also local adaptations such as food, beverages, and artists were appreciated by the attendees. Thus, it appears that some aspects of a music festival should be globalized, while others should be localized, or that even glocalization should be utilized in global music festivals. To conclude, festival’s managers can use the findings to better understand that global cues can be used to raise the brand value of a festival, but more importantly, that globalization and localization should be applied in different aspects of a festival.

Indiana University-Purdue University Indianapolis (IUPUI) / In this era of globalization, people have more opportunities to meet many ethnic groups in their daily lives whether it is in schools, in the workplace, or even in the private sector or in government. Interacting with people from other countries can enhance our knowledge of cultural diversity and provide us with an international perspective. There are many ways of enhancing cultural understanding such as attending international festivals. While research on festivals is fast growing, study on visitors’ attitudes toward diverse cultures is relatively unexplored. This paper used a visitor attitude scale, a modified M-GUDS-S, to investigate visitors’ behavioral, cognitive, and/or affective components of diversity attitudes. The research was conducted at the 2014 Indy International Festival and focused on measuring visitation frequency, stay-time at the event, similar event participation, cultural interest, and overseas travel experience contributing to any observed differences on visitors’ attitudes. Also, the visitors’ intention to travel overseas after attending this festival was investigated. A total of 195 visitors was surveyed on site with 176 providing usable data. The findings suggest that international festivals play an important role in improving visitors’ awareness, appreciation, and acceptance of diverse cultures. Specifically, visitation frequency, the time spent at the event, and personal interest in cultures have significant influence on attitudes.

'Seeking the Soul', 'Auf der Suche nach der Seele' -so lautete das Motto des Alfred Schnittke gewidmeten einwöchigen Festivals, das in London vom 9. bis ZUlU 14. Januar 2001 stattgefunden hat.

Using data collected in the Icelandic community of Manitoba in the summer of 1985, this thesis outlines an alternative approach to the understanding of ethnicity in North America through analysis of the Icelandic Festival held each summer in Gimli, Manitoba. The Festival provides an entree through which the dynamics of the production, reproduction and transformation of West Icelandic identity are revealed. It is argued that when ethnic identity is conceived as being resident in the possession of particular attributes or characteristics, change becomes a threat to the continued existence of the ethnic group. As defined in this thesis, ethnic identity is an ideological representation of social relations which is contextualized in a particular historic formation. It involves a constant negotiation of the symbolic representation of identity through social interaction, and is contingent upon the consequences of these actions. Change, therefore, is a normal process of ethnicity which does not necessarily end in assimilation. Though the content of identity changes according to changing circumstances, it must retain the appearance of an "authentic" representation of the past. The Festival is a location of the political negotiation of Icelandic identity, as seen in the debates which exist in the community regarding the relevance of its Icelandic cultural content. It is argued that, while the Festival continues to address a public image of how the organizers believe the community should be perceived by the larger society, it is also a time when a private celebration takes place. This latter aspect of the Festival is where the perpetuation of the meaningfulness of Icelandic identity occurs. It is contained within the family reunions which take place during the Festival and the return to a sense of the past which is linked to a shared West Icelandic history. / Thesis / Master of Arts (MA)

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The Spring Festival, or Lunar New Year, is the most important festival in China. On every Lunar New Year's Eve since 1983, the state-run China Central TV (CCTV), the only national TV station in China, has held a celebrating gala. This thesis attempts to examine the CCTV Spring Festival Galas as a case study of China's statist nationalism. The research questions of this thesis are: what techniques and technologies have the CCTV Spring Festival Galas used to construct a Chinese national space? How have the CCTV Spring Festival Galas describe the Chinese national space? And what changes have taken place in these techniques and technologies as well as in the descriptions? To answer these questions, this thesis conducts a comparative research, comparing both the commonalities and differences between the galas of 1984-86 and those of 2004-06. Employing an interpretative textual analysis approach, it analyzes the videos of these six years' galas and explores the political meanings of words and programs in the galas. This thesis finds that in order to imagine a united Chinese national space, the galas mainly represent China in terms of classes, ethnic groups and places. With the presence of minorities and people from Hong Kong, Macao, and Taiwan, the galas focus on the boundary of the Chinese nation to construct the unity of China. Furthermore, in order to construct the greatness of this united Chinese national space, the galas use heroes and sites to symbolize China. The presence of traditional elements helps create a temporal dimension of the Chinese national space. As a result of, and in response to, the socio-economic changes in the last two decades, the techniques and technologies used by the galas have changed. Besides the great changes in stage settings and technologies, the major changes in the techniques include: in the 2004-06 galas, hosts play a much more important role in interpreting the political meanings of the programs and presenting the state's nationalist narrative to the audience, the Chinese Communist Party occupies a more central place in the galas, and home increasingly means individual family instead of the country of China. Correspondingly, the way the galas treat singers, actors, and hosts from Hong Kong and Taiwan has also changed. / Master of Arts

Urban Entertainment Destinations (UED) are a new form of development comprised of unanchored retail projects that mix entertainment venues and icon restaurants as a solution for enticing visitors back to the city. The difference between these destinations and the traditional shopping mall is the experience gained when leaving the destination. As a solution, several cities have considered Urban Entertainment Destinations as a developmental means for revitalizing the downtown. This thesis design project attempts to explore the significance of UED's by conducting a literature review and case study analysis of nine UED's across the United States. Studies extracted from each module revealed the importance of six key strategies- Placemaking, Multi-Anchoring, Contextual Links, Critical Mix & Mass, Programmability, and Branded Identity. Particular attention was placed on placemaking; designing gathering spaces, pathways, material choices, spatial relationships, and programmed land use. An emphasis has been made on incorporating the history and culture and the site's sense of place, two placemaking components that help create a distinct destination. These strategies were used as a basis for developing a set of design criteria that were in turn applied to the development of a master plan for a new UED in Rockford, Illinois. / Master of Landscape Architecture