This thesis is a history of the Sydney and Melbourne International Film Festivals, and covers the years from 1945 to 1972. Based primarily on archival material, it is an organisational history dealing with the attempts by the two Film Festivals to negotiate between the demands of �culture� and �industry� throughout this period. The thesis begins with a consideration of the origins of the Festivals in the post-war period �with the attempts by non-Hollywood producers to break into the cinema market, the collapse of the �mass audience�, and the growth of the film society movement in Australia. The thesis then examines the establishment in the early 1950s of the Sydney and Melbourne Festivals as small, amateur events, run by and for film enthusiasts. It then traces the Festivals� historical development until 1972, by which time both Festivals had achieved an important status as social and cultural organisations within Australia. The main themes dealt with throughout this period of development include the Festivals� difficult negotiations with both the international and domestic film trade, their ongoing internal debates over their role and purpose as cultural organisations, their responses to the appearance of other international film festivals in Australia, their relation to the Australian film industry, and their fight to liberalise Australia�s film censorship regulations.

<p>Lately, more and more music festivals have emerged in Sweden. People’s desire and need to visit these events only seems to increase. Cultural tourism and music tourism has developed into a significant and important part of the experience industry and it employs more and more people within the tourism industry. The purpose of this paper is to investigate which effects this can have on the local community. Focus is held on the touristic and economic impact on the nearby municipality and region.</p><p>The paper is based on a case study on Sweden Rock Festival, which is one of Swedens largest music festivals with a heavy-metal direction. Sweden Rock Festival is located in the south of Sweden in a small municipality called Sölvesborg. Sölvesborg has about 17 000 inhabitants and each year some 33 200 festival visitors decend on the area to attend the festival. To investigate the touristic and economic impact that Sweden Rock Festival has on Sölvesborg, interviews have been conducted. These interviews have been done by either telephone or by e-mail with people from the municipality, the Sweden Rock Festival organization and people with connections to the local business life. Also, two experienced festival attenders have been interviewed to investigate the visitors use of the area’s supply of tourism attractions besides Sweden Rock Festival.</p><p>The study has shown that Sweden Rock Festival has contributed to putting Sölvesborg on the touristic map and increased the awareness and knowledge about the area. New camping sites and restaurants have opened and many companies benefits on the vistitors that Sweden Rock Festival attracts. The tourism- and travel industry on the destination has increased its sales and more job opportunities have been created. As a conclusion, the study shows that it can be viewed as a good idea to use music festivals as a means to increase a destinations touristic and economic value.</p> / <p>Det har på senare tid uppkommit fler och fler musikfestivaler i Sverige. Människors önskan och vilja att besöka dessa evenemang verkar bara tillta. Kultur och musikturismen har utvecklats till att bli en betydande del av upplevelseindustrin som sysselsätter allt fler människor inom turismbranschen. Denna uppsats syftar till att ta reda på vilka effekter detta kan få för lokalsamhället. Fokus ligger på den turistiska och ekonomiska påverkan för den närliggande kommunen och regionen.Uppsatsen baseras på en fallstudie av Sweden Rock Festival som är en av Sveriges största årligen återkommande musikevenemang och inriktar sig på musik av det alternativa slaget, främst hårdrock och metal. Anledningen till att valet av undersökningsobjekt föll på just Sweden Rock Festival är att det efter sökningar på Internet och i litteratur verkade finnas betydligt mindre forskning kring den i jämförelse med andra svenska musikfestivaler, exempelvis Hultsfredsfestivalen. Detta ansågs som något märkligt då Sweden Rock Festival drar mest besökare av alla de svenska festivalerna och har ökat i besökarantal under flera år i rad och fortsätter att växa i popularitet.Sweden Rock Festival är lokaliserad till Sölvesborgs kommun i de sydvästra delarna av Blekinge i södra Sverige. Festivalområdet ligger i en liten by med namnet Norje dit drygt 33 000 besökare reser varje år för att lyssna till musik och leva festivalliv under ett par dagar. Sölvesborgs kommun har knappt 17 000 invånare, så när invånarantalet under en vecka i juni varje år mer än fördubblas är det ingen långsökt tanke att detta medför en viss påverkan på samhället.För att ta reda på hur Sölvesborgs kommun har påverkats av Sweden Rock Festival vad gäller turism och ekonomisk utveckling har ett antal intervjuer genomförts dels via telefon, men också med hjälp av e-mail. Personerna som har intervjuats är verksamma inom Sölvesborgs kommun, inom Sweden Rock Festivals organisation eller har kopplingar till företagandet på orten. För att undersöka i vilken utsträckning som Sölvesborgs turismutbud utöver attraktionen Sweden Rock Festival utnyttjandes, har två rutinerade Sweden Rock-besökare intervjuats.Undersökningen har visat att Sölvesborg har satts på kartan på ett sätt som aldrig hade hänt om inte Sweden Rock Festival hade funnits. Festivalen har ökat medvetenheten och kunskapen om Sölvesborgs kommun bland människor runt om i landet. Till följd av Sweden Rock Festival har det öppnats campingar och restauranger och företag i många olika branscher som gynnas av de besökare som festivalen attraherar. Turism- och reseindustrin i Sölvesborgs kommun har ökat i omsättning och fler arbetstillfällen har skapats, vilket kan öka inflyttning till orten samt minska utflyttning. Sammanfattningsvis visar studien att det ses som en god idé att använda musikfestivaler för att öka en destinations turistiska och ekonomiska värde.</p>

Title: Festivalernas Intåg – Korröfestivalen- en bordunstämmas resa genom festivaliseringen The Korrö festival- The establishment of a Swedish Folk Music Festival. This thesis describes how folk music festivals have been escalating during the past few and how they have influenced Swedish folk music. To reach my results I have been studying one festival in particular which is the Korrö Folk Music Festival. This event started in the mid-eighties as a small happening that attracted almost exclusively musicians that were a part of the bordooon movement. The bordoon movement gathered a couple of days in the summer at what they called the “Korrö bordunstämma” to build instruments and play folk music. Later on the event started to attract other people through public live concerts. These concerts became more and more popular and they soon took over the original purpose of the event. This became a turning point for “Korrö bordunstämma” who now decided to change name to the Korrö Folk Music Festival. I have been studying the history of this event to see if I could find any particular circumstances that may have contributed to the popularity this event have reached over the years. I will illustrate how certain factors such as organisation, economy and alteration of visitors have affected the festival. This text will give the reader a presentation of a festival in constant change. I believe that The Korrö Folk Music Festival has been an important part of the development of modern Swedish folk music and still is.

<p>Title: Festivalernas Intåg – Korröfestivalen- en bordunstämmas resa genom festivaliseringen</p><p>The Korrö festival- The establishment of a Swedish Folk Music Festival.</p><p>This thesis describes how folk music festivals have been escalating during the past few and how they have influenced Swedish folk music. To reach my results I have been studying one festival in particular which is the Korrö Folk Music Festival. This event started in the mid-eighties as a small happening that attracted almost exclusively musicians that were a part of the bordooon movement. The bordoon movement gathered a couple of days in the summer at what they called the “Korrö bordunstämma” to build instruments and play folk music. Later on the event started to attract other people through public live concerts. These concerts became more and more popular and they soon took over the original purpose of the event. This became a turning point for “Korrö bordunstämma” who now decided to change name to the Korrö Folk Music Festival. I have been studying the history of this event to see if I could find any particular circumstances that may have contributed to the popularity this event have reached over the years. I will illustrate how certain factors such as organisation, economy and alteration of visitors have affected the festival. This text will give the reader a presentation of a festival in constant change. I believe that The Korrö Folk Music Festival has been an important part of the development of modern Swedish folk music and still is.</p>

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Syftet med denna studie är att öka förståelsen för vad som motiverar volontärer och vad de har för förhoppningar och förväntningar när de kommer för att arbeta på en musikfestival, och hur denna grupp människor passar in i mallen som motivationsteoretiker målat upp för vad människor motiveras av och hur vi motiverar arbetskraft. Vi insåg under vårt arbete med musikfestivalvolontärer att det finns mycket lite kunskap om gruppen samt om hur man på bästa sätt arbetar mot volontärer på en festival. Vad som speciellt intresserade oss var upptäckten av hur många av de volontärer som anmält sig med sedan valde att oanmält inte dyka upp till festivalen eller att avbryta arbetet under festivalens gång. Studien försöker att belysa detta ämne och bidra till mer kunskap inom detta fält och ytterligare en upptäckt vi gjort är att den förutspådda skillnaden mellan arbetsledaren och volontärers attityder inte är så stor. Det finns en högre medvetenhet om volontärernas situation hos arbetledare än vad som initialt observerats, men att denna kunskap allt för sällan kan omvandlas till handling. Vi har alltså undersökt volontärers motivation och arbetsledares attityder för att förstå vad bortfallet av ideell arbetskraft under festivaler beror på, både före och under genomförandet. Denna uppsats är riktad mot personer som har ett intresse av fenomenet motivation hos ideell arbetskraft. / The purpose of this study is to increase understanding of what motivates volunteers and what their hopes and expectations are when they come to work at a music festival. We want to examine how motivation theories can be applied on this group of people and by that grasp how volunteers get motivated. During our work with music festivals we realized that there is very little knowledge about the volunteers and how to best work with volunteers at a festival. One thing that particularly captured our interest was the discovery of how many of the volunteers who signed up to work at the festival and then totaly unannounced chose not to show up at the festival at all or to suspend their work during the festival. This study attempts to shed light on this topic and contribute to more knowledge in this field, further more we also discovered that the difference between the supervisor and the volunteers’ attitude was not as great as we predicted. We found out that the supervisors’ awareness of the volunteers’ situation is a greater than initially observed, but that this knowledge infrequently converts into action. We have examined the volunteers’ motivation and the supervisor's attitudes in order to understand what is causing the loss of volunteers during festivals, both before and during implementation. This paper is directed at people who have an interest in the phenomenon motivation of nonprofit workers.

Festivals have become a global phenomenon and now serve as a platform to promote the leisure and tourism industry within a nation. These events have an undisputed economic effect – not only on the hosting community – but also on the global community. Despite the encouraging community support and the socio-economic impact and spin-offs that are generated by means of such events, the financing of art festivals remains an intricate issue. The fact remains that not all festivals are financially self-sustainable and so require extensive sponsorship in order to ensure the continuation of the event. Limited government funding available due to budget constraints curbs the financial support forthcoming from municipalities and so forces event organisers to seek alternative funding to ensure the survival and feasibility of events. This responsibility places an additional burden on event organisers and so necessitates the use of assessment tools in order to convince private and public institutions or individuals to invest in such events through sponsorships. During an extensive literature study, it became apparent that the need exists to re-assess fully the economic impact analysis of events. The literature revealed that varying models are used to conduct economic impact analyses. In order to establish a concise framework within which to conduct an economic assessment, it was decided to select only the most-used models – Computable General Equilibrium (CGE), Input-Output (I-O) and Social Accounting Matrix (SAM). The dilemma facing tourism economists is to determine which economic assessment approach is most effective as every methodology has its own advantages and disadvantages. In addition, the type and size of an event also plays a fundamental role when selecting an appropriate measuring tool. This research was further motivated because of the existing gap that exists in the South African context for no study has yet been conducted where the various models that assess economic impact have been applied to the collated data of the same event. This study thus aims to provide an overview and a comparison of competing and supplementing methodologies for modelling the regional economic dynamics and the impacts of events. It further investigates the manner in which regional CGE, I-O and SAM based (multiplier) models operate towards capturing the region-specific, inter-regional and multi-regional production, consumption and factor market patterns as result of expenditures incurred during events. An analysis of the virtues and the limitations of these economic assessment methodologies suggests that it may be the considerations such as the data collection/compilation, expected output, research objectives and costs involved that ultimately determine the choice of a specific modelling framework. While addressing the problem stated above, this study produced the following three articles that are now embodied in the work: * Article 1 - “Critical assessment of economic impact analyses of the ABSA Klein Karoo National Arts Festival”, and * Article 2 - “Critical assessment of economic impact analyses of the Aardklop National Arts Festival”. Article 2 investigated and compared the economic assessment results when applying specific constructed models, being the Social Accounting Matrix (SAM) and Computable General Equilibrium (CGE) for the appropriate provinces, to the available data obtained from previous surveys conducted at the 2010 ABSA Klein Karoo National Arts Festival and from the Aardklop National Arts Festival. The two articles indicated that when different models of assessment are applied to the same data set of an event, the economic impact results might differ significantly. This may serve as a warning to economic assessors, academics and researchers that economic impact results can be misleading and therefore the application thereof should be handled with the utmost care in order to avoid misinterpretations and misconceptions. * Article 3, “Assessing the economic impact of the Aardklop National Arts Festival: a feast of models to opt for – or not?” In this article, data from a visitor and business survey conducted at the 2010 Aardklop National Arts Festival was used in the analyses made by applying SAM, CGE and I-O regional models constructed for South Africa’s Northwest Province. Results from these analyses were then compared in order to give researchers and practitioners a better insight and clarity regarding which approach works best for the economic assessment of an arts festival. This article highlighted the fact that the measured economic impact results differ when various models that are applied to the same event. It also became evident that the most conservative economic impact was measured by an I-O model, followed with a higher SAM measurement, while CGE revealed the highest economic assessment. The most significant contribution of this study is embedded in the fact that within the South African context – and even globally – it is the first study of its kind that aimed to determine the economic impact by means of applying more than one assessment model to the data set of a single event. Further, this study provides guidelines for event organisers, academics and economic advisors to follow in conjunction with the existing body of knowledge and practical implementation structures when assessing the economic impact of events. / Thesis (PhD (Tourism Management))--North-West University, Potchefstroom Campus, 2012

Festivals have become a global phenomenon and now serve as a platform to promote the leisure and tourism industry within a nation. These events have an undisputed economic effect – not only on the hosting community – but also on the global community. Despite the encouraging community support and the socio-economic impact and spin-offs that are generated by means of such events, the financing of art festivals remains an intricate issue. The fact remains that not all festivals are financially self-sustainable and so require extensive sponsorship in order to ensure the continuation of the event. Limited government funding available due to budget constraints curbs the financial support forthcoming from municipalities and so forces event organisers to seek alternative funding to ensure the survival and feasibility of events. This responsibility places an additional burden on event organisers and so necessitates the use of assessment tools in order to convince private and public institutions or individuals to invest in such events through sponsorships. During an extensive literature study, it became apparent that the need exists to re-assess fully the economic impact analysis of events. The literature revealed that varying models are used to conduct economic impact analyses. In order to establish a concise framework within which to conduct an economic assessment, it was decided to select only the most-used models – Computable General Equilibrium (CGE), Input-Output (I-O) and Social Accounting Matrix (SAM). The dilemma facing tourism economists is to determine which economic assessment approach is most effective as every methodology has its own advantages and disadvantages. In addition, the type and size of an event also plays a fundamental role when selecting an appropriate measuring tool. This research was further motivated because of the existing gap that exists in the South African context for no study has yet been conducted where the various models that assess economic impact have been applied to the collated data of the same event. This study thus aims to provide an overview and a comparison of competing and supplementing methodologies for modelling the regional economic dynamics and the impacts of events. It further investigates the manner in which regional CGE, I-O and SAM based (multiplier) models operate towards capturing the region-specific, inter-regional and multi-regional production, consumption and factor market patterns as result of expenditures incurred during events. An analysis of the virtues and the limitations of these economic assessment methodologies suggests that it may be the considerations such as the data collection/compilation, expected output, research objectives and costs involved that ultimately determine the choice of a specific modelling framework. While addressing the problem stated above, this study produced the following three articles that are now embodied in the work: * Article 1 - “Critical assessment of economic impact analyses of the ABSA Klein Karoo National Arts Festival”, and * Article 2 - “Critical assessment of economic impact analyses of the Aardklop National Arts Festival”. Article 2 investigated and compared the economic assessment results when applying specific constructed models, being the Social Accounting Matrix (SAM) and Computable General Equilibrium (CGE) for the appropriate provinces, to the available data obtained from previous surveys conducted at the 2010 ABSA Klein Karoo National Arts Festival and from the Aardklop National Arts Festival. The two articles indicated that when different models of assessment are applied to the same data set of an event, the economic impact results might differ significantly. This may serve as a warning to economic assessors, academics and researchers that economic impact results can be misleading and therefore the application thereof should be handled with the utmost care in order to avoid misinterpretations and misconceptions. * Article 3, “Assessing the economic impact of the Aardklop National Arts Festival: a feast of models to opt for – or not?” In this article, data from a visitor and business survey conducted at the 2010 Aardklop National Arts Festival was used in the analyses made by applying SAM, CGE and I-O regional models constructed for South Africa’s Northwest Province. Results from these analyses were then compared in order to give researchers and practitioners a better insight and clarity regarding which approach works best for the economic assessment of an arts festival. This article highlighted the fact that the measured economic impact results differ when various models that are applied to the same event. It also became evident that the most conservative economic impact was measured by an I-O model, followed with a higher SAM measurement, while CGE revealed the highest economic assessment. The most significant contribution of this study is embedded in the fact that within the South African context – and even globally – it is the first study of its kind that aimed to determine the economic impact by means of applying more than one assessment model to the data set of a single event. Further, this study provides guidelines for event organisers, academics and economic advisors to follow in conjunction with the existing body of knowledge and practical implementation structures when assessing the economic impact of events. / Thesis (PhD (Tourism Management))--North-West University, Potchefstroom Campus, 2012

The Klein Karoo National Arts Festival (KKNK) and the Aardklop National Arts Festival (Aardklop) are two of the largest and most popular arts festivals in South Africa. From a sustainability point of view, the primary aim of these festivals is to increase show ticket sales. However, show ticket sales have declined in recent years which, if this trend continues, will result in the discontinuation of these festivals. Market segmentation can assist the festivals' marketers/organisers to address this problem by identifying markets that buy show tickets, thereby supporting the festivals' shows/productions. With the latter in mind, the main purpose of this study was to critically evaluate different segmentation variables and approaches available to segment visitors who buy show tickets. Market segmentation is the process of dividing the festival market into smaller, more clearly defined groups that share similar needs, wants and characteristics. The more detailed the knowledge of the needs and motives of potential visitors, the closer the festivals can get to a customised festival programme creating greater satisfaction, long-term relationships, repeat visits and an increase in tickets supporting the shows/productions. Various variables/bases are used to segment a market to understand visitors' needs, motives and expectations. These variables/bases of segmentation include demographics;--expenditure, psychographies, decision behaviour, geographic, product specific, interests, travel motivations and communication channels. These variables give a complete visitors profile and are used to identify and compare different segments. Although these variables have been recommended as viable segmentation bases, there seems to be no single ideal base or variable that is the most effective segmentation criterion, since each variable serves a specific purpose. Therefore, the most appropriate variable or variables can only be selected if the objectives of the segmentation strategy are clearly defined. With the aim of the festivals in mind, it is therefore imperative to evaluate these segmentation variables and approaches critically to determine the most suitable variables to segment the festival market. To achieve the latter as well as the goal of this study, the study is divided into five articles. Research for all the articles was undertaken at the festivals and data obtained from 2008 were used for Aardklop, while data gathered in 2009 were used for the KKNK. Questionnaires were interview-administered and distributed randomly during the course of the festivals. In total, 495 questionnaires were completed in the visitor survey for Aardklop and 555 questionnaires for the KKNK. The variables travel motives, expenditure, visitor behaviour in terms of genre attendance and frequency of visitation were applied separately as well as in combination to address the goal of this study. Along with these variables, combination of statistical analysis or approaches including factor analysis, cluster analysis, regression analysis, AN OVA, as weI! as independent t-tests were applied to segment the festivals' markets. The best results were obtained when the variables and statistical analyses were used in combination rather than alone and provided valuable insights into the profile of the festivals' visitors. The contribution of this research therefore lies in the following: • Visitors at two similar Afrikaans festivals were, for the first time, analysed and compared using various methods of segmentation. • The methods used to segment the visitors were applied for the first time not only in this study, but also in the South African festival context. The following methods were applied for the first time in this study and can therefore be seen as a benchmark in South African festival research: Travel motives as a method of market segmentation; Distinguishing between genre attendees and non-genre attendees; Frequency of visitation and Segmenting and clustering festival visitors based on the genres attended. • The methods used in this study therefore add value to the tourism and festival industry and contribute to the body of knowledge about South African arts festival visitors and especially about the optimum approach to segment the festival market. • A combination of variables should be used to comprehensively segment the festival market with the aim of increasing show ticket sales.. • In addition, from a methodology point of view, this study has contributed to the following: Questionnaire design and development, selection of the sampling frame and size, as well as the type of statistical analysis used (separately and in combination). This study therefore greatly assists not only festival marketers/organisers but also future researchers. The information obtained from this study can be applied to comprehensively segment and profile the festival market and customise the festival programme based on visitor’s needs. This should lead to an increase in ticket sales, a greater economic impact and, ultimately, to the continuous sustainability of arts festivals in South Africa. / Thesis (Ph.D. (Tourism))--North-West University, Potchefstroom Campus, 2010.

The Klein Karoo National Arts Festival (KKNK) and the Aardklop National Arts Festival (Aardklop) are two of the largest and most popular arts festivals in South Africa. From a sustainability point of view, the primary aim of these festivals is to increase show ticket sales. However, show ticket sales have declined in recent years which, if this trend continues, will result in the discontinuation of these festivals. Market segmentation can assist the festivals' marketers/organisers to address this problem by identifying markets that buy show tickets, thereby supporting the festivals' shows/productions. With the latter in mind, the main purpose of this study was to critically evaluate different segmentation variables and approaches available to segment visitors who buy show tickets. Market segmentation is the process of dividing the festival market into smaller, more clearly defined groups that share similar needs, wants and characteristics. The more detailed the knowledge of the needs and motives of potential visitors, the closer the festivals can get to a customised festival programme creating greater satisfaction, long-term relationships, repeat visits and an increase in tickets supporting the shows/productions. Various variables/bases are used to segment a market to understand visitors' needs, motives and expectations. These variables/bases of segmentation include demographics;--expenditure, psychographies, decision behaviour, geographic, product specific, interests, travel motivations and communication channels. These variables give a complete visitors profile and are used to identify and compare different segments. Although these variables have been recommended as viable segmentation bases, there seems to be no single ideal base or variable that is the most effective segmentation criterion, since each variable serves a specific purpose. Therefore, the most appropriate variable or variables can only be selected if the objectives of the segmentation strategy are clearly defined. With the aim of the festivals in mind, it is therefore imperative to evaluate these segmentation variables and approaches critically to determine the most suitable variables to segment the festival market. To achieve the latter as well as the goal of this study, the study is divided into five articles. Research for all the articles was undertaken at the festivals and data obtained from 2008 were used for Aardklop, while data gathered in 2009 were used for the KKNK. Questionnaires were interview-administered and distributed randomly during the course of the festivals. In total, 495 questionnaires were completed in the visitor survey for Aardklop and 555 questionnaires for the KKNK. The variables travel motives, expenditure, visitor behaviour in terms of genre attendance and frequency of visitation were applied separately as well as in combination to address the goal of this study. Along with these variables, combination of statistical analysis or approaches including factor analysis, cluster analysis, regression analysis, AN OVA, as weI! as independent t-tests were applied to segment the festivals' markets. The best results were obtained when the variables and statistical analyses were used in combination rather than alone and provided valuable insights into the profile of the festivals' visitors. The contribution of this research therefore lies in the following: • Visitors at two similar Afrikaans festivals were, for the first time, analysed and compared using various methods of segmentation. • The methods used to segment the visitors were applied for the first time not only in this study, but also in the South African festival context. The following methods were applied for the first time in this study and can therefore be seen as a benchmark in South African festival research: Travel motives as a method of market segmentation; Distinguishing between genre attendees and non-genre attendees; Frequency of visitation and Segmenting and clustering festival visitors based on the genres attended. • The methods used in this study therefore add value to the tourism and festival industry and contribute to the body of knowledge about South African arts festival visitors and especially about the optimum approach to segment the festival market. • A combination of variables should be used to comprehensively segment the festival market with the aim of increasing show ticket sales.. • In addition, from a methodology point of view, this study has contributed to the following: Questionnaire design and development, selection of the sampling frame and size, as well as the type of statistical analysis used (separately and in combination). This study therefore greatly assists not only festival marketers/organisers but also future researchers. The information obtained from this study can be applied to comprehensively segment and profile the festival market and customise the festival programme based on visitor’s needs. This should lead to an increase in ticket sales, a greater economic impact and, ultimately, to the continuous sustainability of arts festivals in South Africa. / Thesis (Ph.D. (Tourism))--North-West University, Potchefstroom Campus, 2010.