The purpose of this study was to identify tourist profiles as a segmentation variable for three festivals (Innibos, Oppikoppi and Volksblad). Numerous segmentation studies have been done in the past; however, few were done where profiles were used as variables for segmentation of arts festivals. Market segmentation is the way in which tourism companies divide a market into smaller, more clearly defined groups that share similar needs, wants, and characteristics. Segmentation is important in order for a destination to target the right kind of visitor. Other reasons for doing this type of research is to increase the number of new tourist arrivals; to increase the length of stay of tourists; the amount of tourist expenditure per visitor stay and to broaden the activities and shows that are offered. Research for this study was undertaken at three festivals. These festivals are Innibos, Volksblad and Oppikoppi respectively. Questionnaires were distributed randomly during the course of the festivals. Data collection was done by field workers who distributed questionnaires to the attendants of the festivals. At each of the three festivals questionnaires were interviewer administered and the "recall method" was used, where respondents had lo recall their spending. It was also a destination-based survey, where interviews were held on-site during the event. Different sites were chosen to limit response bias towards a certain group of festival attendants. The questionnaires were distributed throughout the course of the three festivals respectively. The data was used to compile graphs and tables so that a profile of each festival can be designed. Correlations between the three festivals and their profiles were made. In this case the effect size is given by w= √(x2/n), where x2 is the usual Chi-square statistic for the contingency table and n is the sample size. In the special case of a 2x2 table, the effect size (w) is given by phi (Φ) coefficient. Note that the effect size is again independent of sample size. Oppikoppi has an average of 10 000 attendants, lnnibos and Volksblad have an average of approximately 30 000 attendants per year. The sample size of 400 questionnaires for Volksblad and 400 questionnaires for lnnibos was anticipated and 200 for Oppikoppi. The variables that were the focus point of this study were gender, occupation, language, province where the attendants reside, travel group size and number of days at festival. This information can contribute to better marketing and more targeted markets for a larger number of attendants. The organiser can determine what type of entertainment, music, song and dance can be packaged and marketed as a unique product. The research indicated that organisers from Volksblad and lnnibos can focus more on family entertainment that is suitable for the whole family. Oppikoppi is a rock festival and therefore the organisers can get more rock bands, especially Afrikaans rock. All three festivals are for Afrikaans speaking people so they can use Afrikaans magazines and newspapers as well as Afrikaans radio stations to market these festivals in the province of deliverance as well as bordering provinces. The study contributes to the information of the larger festivals that already exists like Aardklop, Grahamstown and KKNK. / Thesis (M.Com. (Tourism))--North-West University, Potchefstroom Campus, 2007.

This study aimed to examine how swedish tabloid press covered the sex crimes at music festivals that occurred in Sweden during the summer of 2016. The aim was also to examine if and how the press reproduces or opposes stereotypes and myths about sexual crime. The question examined was: How does swedish tabloid press portray victims, perpetrators, the festivals and sex crime?   To approach this we made a critical discourse analysis on 13 articles from the swedish newspapers Aftonbladet and Expressen, written during the time of the events. We found that there were many different and contradictory discourses about the sex crimes in our case. The victim was presented as innocent and without blame but there was also a discourse telling that women have a responsibility in making sure not to become a victim of sexual assault, by behaving and dressing right. The perpetrator was described as deviant and evil men, but also as men driven by lust not knowing what they were doing. They were also distant and indistinct in the text, which shifted the blame to the organizers of the festivals and to the police. Sex crime was overall presented as a serious phenomena. It was also presented as a new phenomena, both on the festivals and in the society. The crimes were presented as a problem isolated to festivals but also as a broader social problem. The festivals were described as unsafe places but also as safe places that had been soiled by the sex crimes.

This research aimed to investigate how and why festival volunteers share knowledge in pulsating UK music festival organisations, through an interpretation of volunteers’ lived experiences of knowledge sharing during the event lifecycle. Within the UK music festival sector, competition for leisure spend is high, and successful management of knowledge activities has the ability to improve business, innovation, and competitive advantage. Research across Knowledge Management Studies, Festival Studies, and People and Organisation Studies is dominated by positivist, quantitative research; whereas, this research investigated a fuzzy concept (knowledge) in a socially-constructed world (music festival) and interpreted multiple realities of social actors (volunteers). To do this, a qualitative, phenomenological study was suitable to explore in-depth experiences and unveil meanings attached to them. Purposive sampling using social media resulted in a sample of adult festival volunteers (n=28) being recruited. The methods selected enabled the ability to privilege the participants’ voice and their lived experience; these were diaries (n=11) and in-depth interviews (n=9), or both (n=8). The empirical data generated was interpreted using thematic analysis, using Atlas.ti. The findings of this research illustrate how and why volunteers share knowledge that is attributed to a successful process of volunteering, which enables effective knowledge management and reproduction. Where volunteers’ motivations are satisfied, this leads to bounce-back, episodic volunteering. Knowledge enablers and the removal of barriers create conditions that are conducive for knowledge sharing, which have similar characteristics to conditions for volunteering continuance commitment. Where volunteers do not return, the organisation leaks knowledge. The original contribution of this research is through its use of qualitative phenomenological methods to explore how and why UK music festival volunteers share knowledge.

In the United States, school music groups perform in some sort of music festival every year. Most festivals are competitive in some way, but non-competitive festivals exist as well—even if they are not as well known. The purpose of this study is to observe an elementary school choir as they prepare for and participate in the “America Sings!” festival—a non-competitive music festival—in Washington, D.C. on May 4–5, 2014. This investigation sought to answer the following research questions: 1) What guides the decision to participate in the “America Sings!” festival?; 2) For the choral director, what personal experiences and past musical backgrounds shape the teacher’s feelings and attitudes about participating in an “America Sings!” festival?; 3) What are the benefits and challenges of attending an “America Sings!” festival?; 4) Does the service component of the “America Sings!” festival affect the participants?; 5) Does attending a non-competitive festival affect the self-reported attitudes of students and their teacher?; and 6) What range of student behaviors can be observed during their preparation for and performance in the “America Sings!” festival? Using qualitative case study, this study employed direct observation of the entire choir as well as recorded interviews with six students and their teacher. After data analysis, open coding, and theme construction, common themes began to emerge into two groups: pre-trip (performing, comparing types of festivals, preparation, service projects, and John Jacobson) and post-trip (benefits and challenges, performing, learning, John Jacobson, the “America Sings Effect”, and comparing types of festivals). These themes are presented, the research questions are answered, and recommendations are made for future researchers as well for those in the profession.

Esta pesquisa objetiva analisar a expressão da diversidade sexual e de gênero, interpelada por concepções de raça, no contexto das festas juninas de Belém. A partir de etnografia produzida em concursos juninos realizados em bairros periféricos da cidade e também em certames promovidos pela Prefeitura Municipal de Belém e pelo Governo do Estado do Pará, propõe-se abordar as festas juninas como um momento de congregação social ritualizado. Pressupõe-se que a participação de certos sujeitos nesse contexto festivo (especialmente as mulheres cisgênero, os homens homossexuais, as travestis e pessoas transgênero) pode render importantes reflexões acerca de processos nos quais gênero, raça e sexualidade são articulados em performance. Numa abordagem que privilegia a análise do contexto etnográfico a partir da problematização de marcadores sociais da diferença articulados, esta pesquisa dedica-se ao entendimento de como as festas juninas produzem sujeitos generificados, racializados e sexualizados. A intenção é dar inteligibilidade a um tenso processo de reconhecimento de certos sujeitos no contexto de realização de um ciclo festivo popular produzido pelo Estado, mas também por produtores culturais das periferias de Belém. / This research aims to analyze the expression of sexual and gender diversity, intersected by conceptions of race, in the context of the June festivals in Belém. From ethnography produced in June competitions held on \"peripheral\" areas of the city and also in competitions promoted by Belém City Hall and Government of the State of Pará, it is proposed to address these contests as a moment of ritualized social congregation. It is assumed that the participation of certain subjects in this festive context (especially cisgender women, gay men, travestis and transgender people) can yield important insights about processes in which gender, race and sexuality are articulated in performance. In an approach that focuses on the analysis of the ethnographic context from the questioning of social markers of difference articulated, this research is dedicated to the understanding of how the June festivals produce gendered, racialized and sexualized people. The intention is to give intelligibility to a tense process of recognition of certain subjects in the context of a popular festive cycle produced by the State but also by peripheral cultural producers in Belém.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-11T12:44:42Z No. of bitstreams: 1 Lize Antunes de Oliveira.pdf: 78673563 bytes, checksum: 1e01aebb50f105f0889c7f3a0ba07fc8 (MD5) / Made available in DSpace on 2017-07-11T12:44:42Z (GMT). No. of bitstreams: 1 Lize Antunes de Oliveira.pdf: 78673563 bytes, checksum: 1e01aebb50f105f0889c7f3a0ba07fc8 (MD5) Previous issue date: 2017-06-22 / Entertainment occupies a privileged position in contemporary society, based on consumption and visibility, result of new socioeconomic and cultural dynamics, which the spectacle is one of its manifestations. The current scene of the music industry suggests other ways of consuming music, motivating interest in understanding the evolution of festivals and the consequent reinvention of previous practices. A better comprehension of this context justifies the choice of Rock in Rio music festival as an object of study. The event underwent a remarkable change throughout its history: from a first edition of difficult set up, in 1985, until its consolidation as a brand of global impact. The research corpus covers the 1985 and 2015 Rock in Rio editions, manifested in audio-visual texts of their main artists’ performances, such as Queen and Metallica; communication pieces of sponsoring brands of the festival in 2015; And the spatial configuration of the Cidade do Rock in the thirty years commemorative edition of Rock in Rio, from which are apprehended the emerging senses of the lived one, given that its structure conditions the interactions between the subjects that make the fruition experience of the event and its value construction happen. The proposed study seeks to show that Rock in Rio is unique as a collective experience. Its methodology of analysis and theoretical foundation addresses Greimas' semiotics and its unfolding, such as Landowski's sociosemiotics (2014a; 2014b) and its dynamics of sense and interaction regimes between subjects, besides the contributions of semioticists of the French line who develop studies on the relations between expression and content, spatiality and the semiotics of situations. The perception of spectacle by Charle (2012) is fundamental to better achieve the suggested analyzes. In the expectation of these conceptions guiding the research in the comprehension of the topics addressed, we have the support in a literature that allows the understanding of the socio-cultural and economic movements that transform entertainment into consumption goods, like the work of Pine and Gilmore (2011), and the emergence of the audience as the subject of the show, based on the contributions of Rancière (2012). The investigation confirms the hypothesis that the sensitive experience articulated to the construction of value of the festival by a complex destinator is what makes the audience loyal to Rock in Rio, which is revealed to be a strong brand of the entertainment during its thirty years of history / O entretenimento ocupa posição privilegiada na sociedade contemporânea, fundamentada no consumo e na visibilidade, resultado de novas dinâmicas socioeconômicas e culturais, das quais o espetáculo é uma das suas manifestações. O cenário atual em que se insere a indústria musical sugere outras formas de consumir música, motivando o interesse em compreender a evolução dos festivais e a consequente reinvenção de práticas precedentes. Uma maior compreensão desse contexto justifica a escolha do festival de música Rock in Rio como objeto de estudo. O evento passou por uma mudança notória no decorrer de sua história: de uma primeira edição, em 1985, de difícil construção, até a sua consolidação como marca de impacto global. O corpus da pesquisa abrange as edições do Rock in Rio de 1985 e de 2015, manifestadas em textos audiovisuais das performances de seus principais artistas, como Queen e Metallica; as peças de comunicação de marcas patrocinadoras do festival em 2015; e a configuração espacial da Cidade do Rock na edição comemorativa dos trinta anos do Rock in Rio, da qual são apreendidos os sentidos emergentes do vivido, dado que sua estrutura condiciona as interações entre os sujeitos que fazem a experiência de fruição do evento e de sua construção de valor acontecer. O estudo proposto busca dar a ver que o Rock in Rio faz-se único como experiência coletiva. Tem como metodologia de análise e fundamentação teórica a semiótica de Greimas e seus desdobramentos, como a sociossemiótica de Landowski (2014a; 2014b) e sua dinâmica dos regimes de sentido e de interação entre sujeitos, além das contribuições de semioticistas da linha francesa que desenvolvem estudos sobre as relações entre expressão e conteúdo, a espacialidade e a semiótica das situações. É fundamental a percepção de espetáculo por Charle (2012) para uma melhor consecução das análises sugeridas. Na expectativa dessas concepções orientarem a pesquisa na compreensão dos temas abordados, tem-se o apoio em uma literatura que permite o entendimento dos movimentos socioculturais e econômicos que transformam o entretenimento em bem de consumo, como a obra de Pine e Gilmore (2011), e a emergência do público como sujeito do espetáculo, a partir das contribuições de Rancière (2012). A investigação confirma a hipótese de que a experiência sensível articulada à construção de valor do festival por um destinador complexo é o que fideliza o público ao Rock in Rio, o qual se revela uma forte marca do entretenimento no decurso de seus trinta anos de história

Este trabalho tem como foco de interpretação histórica a produção musical autoral dos compositores riograndinos destinada à participação em festivais de música realizados ao longo da década de 1970 na cidade do Rio Grande – RS. Neste sentido, balizando a pesquisa em uma abordagem contextual, procuro descrever como os artistas da época, desvinculados dos meios de comunicação, da indústria do disco e do mercado cultural, produziam suas canções, em um ambiente hostil, onde a censura, a repressão e a tortura, foram práticas comuns, e os festivais de música um dos poucos canais de expressão cultural da população local, ainda que sofressem a interferência direta de grupos ligados as elites políticas e econômicas que possuíam interesses bem definidos quanto aos proveitos que estes eventos poderiam reverter. / This work focuses on the historical interpretation of the musical production of composers riograndinos copyright intended participation in music festivals held throughout 1970 in Rio Grande - RS. In this sense, it marks out the research in a contextual approach, I try to describe how the artists of the time, unlinked media, the recording industry and the cultural market, producing their songs in a hostile environment, where censorship, repression and torture, were common practices, and music festivals one of the few channels of cultural expression of the local population, though suffered direct interference from groups linked to political and economic elites who had well-defined interests regarding the income that these events could reverse.

In my dissertation I critically analyze and evaluate how the Turkish nation and culture is `performed' and `constructed' in two Turkish Festivals in Chicago: The Chicago Turkish Festival and The Chicago Turkish World Festival. I examine what this representation suggests about the complex national and cultural identity politics the Turkish Diaspora negotiate, with both their native and adoptive countries. My study draws on theories of nationalism and transnational nationalism, as well as critical cultural studies concepts including the `tourist gaze', (cultural) `spectacle', and `internal colonialism.' Because nationality festivals are public demonstrations involving a mass audience, my dissertation investigates how representations of Turkey (visual and verbal) are dependent upon the images and narratives popular among the American audience that are targeted. In an era of globalization, the cultural representation of Turkey in these two Turkish festivals in Chicago is used for political and commercial ends to: a) form good relations with the local U.S. state officials and to help lobby for the Turkish community in Chicago; and b) open up new means of income for local artists and entrepreneurs as well as transnational businesses that attend these festivals from Turkey and other countries. The Turkish American cultural organizations, The Turkish American Cultural Alliance (TACA) and the Turkish American Society of Chicago (TASC), that organizes these festivals, in many ways take part in nationalism from abroad (transnational nationalism) when they promote the official national discourses of the homeland and receive material and moral support from the Turkish Consulate of Chicago and the Tourism and Culture Ministry in Turkey. My dissertation demonstrates how Turkey's representation in these festivals by the two leading Turkish American organizations have become dependent on both European Orientalist discourses of the Ottoman Era that are internalized by the Turks today, as well as the very singular and monolithic nationalist discourses of the Turkey's founding fathers. I include a historical analysis of Chicago's Turkish community, including the way it was represented at Chicago's Columbian Exposition in 1893 (Chapter 2), an ethnographic analysis of the Turkish American organizations that have organized the Turkish festivals in Chicago (Chapter 3), and a critical analysis of activities and live performances that take place at both festivals (Chapter 4 & 5). My methods of study are field note observations, interviews conducted with the festival organizers and volunteers, and surveys conducted with festival participants. My research reveals that although the two Turkish American organizations, TACA and TASC, use similar national and cultural narratives, symbols, and representations, they differ in their choice of glorifying either Ottoman history or the history of the Turkish Republic, and on the degree to which Islam constitutes Turkish culture and national identity. This serves political ends as it reflects the ongoing political debates in Turkey over what social and cultural identities make up the Turkish nation.

This thesis seeks to understand the social impacts that festivals have on their host communities. It focuses on community festivals as one type of event which have a particularly strong connection to their host community. Community festivals are traditionally organised by and for the local community, and often celebrate a theme that has developed from within the community itself. Community festivals provide members of a community with opportunities to engage in socialisation, entertainment and the establishment of social networks, which can contribute to the enhancement of community cohesion and the building of social capital within a community. Additionally, they can provide tourism benefits such as increased visitation and promotion of a destination’s image. However, there is the potential for negative social impacts to result from the hosting of a festival, including traffic congestion, overcrowding, vandalism and increased antisocial behaviour. This thesis seeks to understand the perceived social impacts of community festivals from the perspective of the resident population. Six important questions are addressed in this thesis: 1) what are the underlying dimensions of the social impacts of community festivals?; 2) what are a host community’s expectations and perceptions of the social impacts of a festival?; 3) are there distinct subgroups within a community who differ in their feelings towards a festival?; 4) do these subgroups hold differing perceptions of the social impacts of community festivals?; 5) can the Social Impact Perception (SIP) scale be used to measure residents’ perceptions of the social impacts of community festivals?; and 6) what are the implications of this research for the planning and management of future community festivals? In order to explore these issues, this study draws on literature from the areas of tourism and sociology. It is from the tourism literature, more specifically on events, that community festivals are introduced as the focus of this thesis. The sociological literature on communities reinforces the importance of the ‘community’ in community festivals, and examines the role that festivals can play in contributing to community development, community wellbeing and the enhancement of social capital. Two community festivals were studied, one in Western Australia and the other in Victoria, Australia. Data were collected from residents in each of these two communities at one point in time following the staging of their festival. Both qualitative and quantitative methods were used, including semi-structured interviews, focus groups, observational techniques, document analysis and a residents’ perceptions questionnaire. The results revealed that there are distinct subgroups within a community who choose to be involved with their festival in a range of ways and who perceive the social impacts resulting from the festival quite differently. These subgroups have been labelled the tolerators, economically connected, attendees, avoiders and volunteers. Whilst holding varied perceptions of the positive and negative nature of the impacts and levels at which they occur, residents perceive the social impacts of community festivals to occur within six impact dimensions: inconvenience, community identity and cohesion, personal frustration, entertainment and socialisation opportunities, community growth and development, and behavioural consequences. Those residents who participate in the festival, either as volunteers or attendees, tend to be those who are most positive about the festival and its impacts. This participation in the community provides opportunities for social transactions, relationship building and the development of social networks, which in turn have positive outcomes for community wellbeing and the development of social capital. This research has a number of implications for the management of future community festivals, in respect to providing a better understanding of residents’ perceptions of the social impacts a festival creates; towards better satisfying the diverse needs of distinct community subgroups; and related to how festivals can be used to contribute to community wellbeing and the enhancement of social capital. / Doctor of Philosophy (PhD)

This thesis examines four regional community cultural festivals in the Northern Rivers region of New South Wales, Australia. It reveals the complex interplay of a sense of place and community, a destination’s identity and representation, host guest relationships and the underlying nature and role of celebration expressed in each festival. It examines the regional context in which the Jacaranda Festival in Grafton, the Beef Week celebrations in Casino, the New Year’s Eve celebrations in Byron Bay and the Mardi Grass Law reform rally in Nimbin are conducted. An extensive literature review provides a global perspective on theories, issues and trends in the sectors reflected in the case study festivals. The phenomenological approach to the case study methodology is explained before each festival is closely scrutinized, addressing the study’s aim.The thesis aims at a better understanding of the elements of resilience fostered by festivals when communities take intentional action. This resilience dimension emerged as a major outcome of the initial investigation of the nature and role of festivals in regional communities.The thesis argues that festivals allow people to reflect and determine a sense of community and place, represent their image and identity and contribute to cultural tourism. Community festivals involve the local population in a shared experience to their mutual benefit by providing both social functions and symbolic meanings. This study contends that community-based festivals celebrate the community’s social identity, its historical continuity and its cultural resilience. They are socially constructed and negotiated phenomena and can be staged in everyday places that also become tourist places. Festivals provide a forum for creativity, custom, heritage and cultural practices for both resident and guest.Investigating community cultural festivals from multiple perspectives allows for greater understanding of the nuances of the relationships between stakeholders. By identifying the patterns, structures and meanings of the contexts that festivals represent we are better informed of the distinctive values, interests and aspirations held by residents when they host festivals. Perspectives on community festivals and resilience were canvassed from diverse perspectives as demonstrated by the following typical responses:Nourishing resilience through Festivals and CommunitiesThere are many intangible reasons why a community chooses to host a festival such as socio-cultural, economic, political and environmental and each reason is not mutually exclusive (Backman et al, 1995).The Northern Rivers region stands apart from the rest of rural Australia as living as if the future matters. This is a very powerful attractor in these times of urban decay and environmental despair (Dunstan, 1994:2).Sense of place, can be described as, the common ground where interpretation and community development meets in a concern to create or enhance a sense of place, to establish what is significant and valued in the environment or heritage of a particular community, and to provide action for its wider appreciation and conservation (Binks, 1989:191 cited Trotter, 1998).Democratic communities take responsibility for their future. It is undeniable that cohesive community events based on ideals create a sense of community. The excitement and joy that people feel when they work together for their community and future means that they will attempt to recreate that experience. It becomes their preferred way (Emery, 1995:70).…the notion of community is always something of a myth. A community implies a coherent entity with a clear identity and a commonality of purpose. The reality is that communities, more often than not, are made up of an agglomeration of factions and interest groups often locked in competitive relationships (Smit, 1995 cited in Joppe, 1996:475).Community, the custodians of the content of Australian tourism, must be enabled to participate in tourism by forming its content. Only if Australians are involved in tourism will it survive, (Wood, 1993:7).Through direct contact and interaction with each festival, the qualitative exploratory study reveals how in formal and informal ways participants at the four case study sites demonstrate the diverse and fragmented nature of festivals. Although none of these festivals is identical, some consistent patterns do emerge to demonstrate that comparisons can be developed. These patterns have their own advantages and disadvantages and it is evident that success or failure is not linked to a particular model for such festivals. Each community has an ongoing challenge of determining how their festival can best meet its needs presently and into the future. Each is trying to keep pace with the changes that are taking place within their communities, within the region and from external forces. This is where the study also generates new knowledge: tracking the changes occurring in community festivals in contemporary regional Australia.Through a systematic analysis of data the study significantly contributes to our understanding of the character of community festivals. Through surveys, interviews, media analysis, photographic images and critical observation, it clearly observes that social, economic and environmental issues currently presented in the literature require greater deconstruction and critical engagement. Rich and quilted description of the festivals informs this research providing grounded scholarly investigation. This approach leads to a greater understanding of significant social and cultural agendas in regional communities. Festivals add value to communities. They creatively produce and embed culture. They can be viewed as celebrations of resilience.Through a systematic analysis of data the study significantly contributes to our understanding of the character of community festivals. Through surveys, interviews, media analysis, photographic images and critical observation, it clearly observes that social, economic and environmental issues currently presented in the literature require greater deconstruction and critical engagement. Rich and quilted description of the festivals informs this research providing grounded scholarly investigation. This approach leads to a greater understanding of significant social and cultural agendas in regional communities. Festivals add value to communities. They creatively produce and embed culture. They can be viewed as celebrations of resilience.At the core of the investigation is an analysis of how the process of nourishing resilience by making inclusive celebrations, unleashes relationships between many stakeholders. Each participant contributes to the program, traditions, cultural practices, impact and reach of events with differing voices and emphases.In principle, festivals and their host communities offer individual members a framework for attending to general aspects of life. This study reaffirms that community festivals particularly hold a significant position in three areas of the human condition. They celebrate a sense of place through organising inclusive activities in specific safe environments. They provide a vehicle for communities to host visitors and share such activities as representations of communally agreed values, interests and aspirations. Finally, they are the outward manifestation of the identity of the community and provide a distinctive identifier of place and people.