Hokie BugFest is an annual free event designed by the Entomology Department at Virginia Tech to translate the importance of entomology to the public. The event has grown from 2,000 attendees in 2011 to over 8,000 attendees in 2017. Entomology faculty, staff, graduate students and alumni partner with Virginia Cooperative Extension, Virginia 4-H, and other entities to provide an educational experience to the public. The goal of this outreach event is to showcase entomological research, increase public awareness, elevate the appreciation of entomology, develop better public perceptions of insects and other arthropods, and educate participants about pesticide safety and pest management practices. Although many institutions host entomology outreach events like Hokie BugFest (Frazier, 2002; Hamm and Rayor, 2007; Hvenegaard et al., 2013), little research has been conducted to compare the impact of these activities. Whether these events impact public attitudes toward insects and other arthropods is also lacking (Pitt and Shockley, 2014). Several studies have been conducted in other states to investigate public attitudes toward arthropods and pesticides (Baldwin et al., 2008; Byrne et al., 1984; Frankie and Levenson, 1978; Hahn and Ascerno, 1991; Potter and Bessin, 1998); however, research is missing in Virginia. In order to contribute to this literature, three surveys were developed. One survey focused on investigating entomology outreach events similar to Hokie BugFest. Results revealed that event structure, attendance, funding sources, and popular exhibits impact the hosting institution and the surrounding communities. The other two surveys focused on gauging the impacts Hokie BugFest has on youth and adult attendees. Results indicated the event has a positive impact on attendee perceptions of insects, other arthropods, and pesticides. / Master of Science in Life Sciences / Each year, the Department of Entomology at Virginia Tech hosts Hokie BugFest, a free event designed to emphasize the importance of entomology to the public. The event began in 2011 and has grown from 2,000 attendees to over 8,000 attendees in 2017. Hokie BugFest is collaboratively organized by Entomology faculty, staff, graduate students and alumni who partner with Virginia Cooperative Extension, Virginia 4-H, and other entities to provide an educational experience to the public. The goal of this outreach event is to showcase entomological research, increase public awareness and appreciation of entomology, and educate attendees about pesticide safety and pest management practices. Although many institutions host entomology outreach events like Hokie BugFest, little is known of the impact of these activities and how they influence public attitudes toward entomology. Information is available for other states concerning public attitudes toward arthropods and pesticides, however is lacking in Virginia. In order to contribute to this body of work, this study focused on investigating entomology outreach events similar to Hokie BugFest. Results revealed information on event structure, attendance, funding sources, popular exhibits, and impacts on the hosting institution and surrounding communities. This study also focused on gauging the impacts of Hokie BugFest on youth and adult attendees. Results indicated the event has a positive impact on attendee perceptions of insects, other arthropods, and pesticides.

The purpose of the study was to develop an optimum market-positioning model for the special interest tourism market to support arts festivals in South Africa (SA). Three subareas were deemed essential for the model, namely determining which attributes contribute to the success of three arts festival scenarios, comparing the different arts festival packages as a tourism attraction and then combining these subareas to develop a model enabling future researchers and marketers to present a successful arts festival in South Africa. The three main arts festivals in South Africa, at Potchefstroom, Grahamstown and Oudtshoorn, were studied. Screening questions followed by judgmental and quota sampling were used to select only like-minded respondents from festival attendees on a scenario basis. In personal interviews the data were collected and then analysed using conjoint analysis and game theory. Conjoint analysis was used in a linear regression model with individual ratings for each product. The average of the r-squares in this study was 0,83, indicating a good fit between data and model developed. Then these results were used in the game theory, comparing the three arts festival scenarios to identify the most successful tourism attraction. A different combination of attributes gave each of the three festival scenarios an optimum market position in its own niche market. The study contributes to the existing body of positioning knowledge, specifically in the festivals and events domain. It also adds value as this model can be applied to other festivals in South Africa and also to other business sectors. / Transport Economy, Logistics & Tourism / D. Com. (Tourism Management)

The purpose of this study is to examine what characterizes brand identity and positioning regarding festivals on the current Swedish festival market. In relation to our purpose we are also going to analyze how festival attendees relate to a festivals brand identity. Our research question is as follows: What characterizes festivals brand identity and positioning on the current Swedish festival market? This study has been written with a qualitative research method and an inductive approach. Our empirical foundation is built on a rich content based on personal interviews. We interviewed in total 17 people who all have vast knowledge in our field of study. Five of our respondents have great knowledge within the festival business while the other 12 are experienced festival attendees. In our final chapter we present our conclusions that we have reached through our analysis of the empirical materials that we have weighed against theoretical framework. The conclusions we have reached are that the festivals are dependent on their core values which is a part of their brand identity, that in turn defines their positioning on the market. Festivals also need to offer added value in order to attract new customer and to maintain their current relationship to their customers.

The purpose of the study was to develop an optimum market-positioning model for the special interest tourism market to support arts festivals in South Africa (SA). Three subareas were deemed essential for the model, namely determining which attributes contribute to the success of three arts festival scenarios, comparing the different arts festival packages as a tourism attraction and then combining these subareas to develop a model enabling future researchers and marketers to present a successful arts festival in South Africa. The three main arts festivals in South Africa, at Potchefstroom, Grahamstown and Oudtshoorn, were studied. Screening questions followed by judgmental and quota sampling were used to select only like-minded respondents from festival attendees on a scenario basis. In personal interviews the data were collected and then analysed using conjoint analysis and game theory. Conjoint analysis was used in a linear regression model with individual ratings for each product. The average of the r-squares in this study was 0,83, indicating a good fit between data and model developed. Then these results were used in the game theory, comparing the three arts festival scenarios to identify the most successful tourism attraction. A different combination of attributes gave each of the three festival scenarios an optimum market position in its own niche market. The study contributes to the existing body of positioning knowledge, specifically in the festivals and events domain. It also adds value as this model can be applied to other festivals in South Africa and also to other business sectors. / Transport Economy, Logistics and Tourism / D. Com. (Tourism Management)

Este estudo tem como tema central a busca por uma maior e melhor compreensão do Festival Internacional do Folclore (FIF), que se realiza anualmente em Nova Petrópolis, Rio Grande do Sul, Brasil, colocando-o em diálogo com o turismo, as memórias locais e a etnicidade. Busca-se perceber se o FIF, ao longo das suas 40 edições, teria contribuído para a preservação da memória local, ao mesmo tempo em que incentivaria uma nova memória social do lugar. Para a condução da pesquisa, optou-se pelo viés qualitativo com suporte metodológico na história oral, por se entender que este é o caminho para a interpretação das experiências instauradas e vividas pelos participantes, assim como para o reconhecimento das diversas vozes relacionadas com o Festival. Os dados foram colhidos através de revisão bibliográfica, pesquisa documental e de campo, na forma de entrevistas e observação participante. Buscou-se aproximar a área teórica do turismo e dos eventos, considerando o contexto da história do turismo e do FIF em Nova Petrópolis. Na análise destes temas, afloraram diálogos e (inter) relações que indicam a preservação da memória local, mas se evidencia a construção de novas memórias, especialmente aquelas associadas à germanidade, imaginário que, uma vez criado e projetado na comunidade, estaria contribuindo para a construção de uma identidade e um sentimento de pertencimento e identidade de Nova Petrópolis, a ela associados. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-04-16T16:38:35Z No. of bitstreams: 1 Dissertacao Luciane Roseli Schommer.pdf: 33985768 bytes, checksum: 43ccdd03ab50ab2e57071bf1d5f08f35 (MD5) / Made available in DSpace on 2015-04-16T16:38:35Z (GMT). No. of bitstreams: 1 Dissertacao Luciane Roseli Schommer.pdf: 33985768 bytes, checksum: 43ccdd03ab50ab2e57071bf1d5f08f35 (MD5) / The main theme of this study is the search for a bigger and better understanding of the International Folklore Festival (FIF – Festival Internacional de Folclore), which takes place annually in Nova Petrópolis, Rio Grande do Sul, Brazil; connecting it with tourism, local memories and ethnicity. It tries to discover if FIF, during its forty editions, has contributed to the preservation of the local memory and, at the same time, encouraged the creation of a new social memory from the region. To conduct this research, a qualitative method was chosen, supported in the oral history, since this is the way to interpret the experiences lived by its participants, such as the recognition from the several voices related to the Festival. The data were collected through bibliographic revision, document and field research as interviews and participant observation. This study tried to approximate the theory field to tourism and events, considering the historic background from tourism and FIF in Nova Petrópolis. In the analysis of these themes, dialogues and (inter)relations that indicate the local memory preservation stand out, however the construction of new memories are evident, especially those related to germanness, an imaginary that once created and constructed in the community, would be contributing to an identity construction and a belonging and identity feeling from Nova Petrópolis, related to it.

This thesis investigates the presentation of AmaXhosa traditional dancing and music on the stages of the National Arts Festival (NAF), Main Programme, of South Africa in 2009. Four productions featuring AmaXhosa traditional dancing and music, as well as a fine art exhibition, are analysed to determine how the AmaXhosa culture is being portrayed, what is considered authentic and how these productions may affect the memory of the AmaXhosa nation. In an attempt to understand the position of these productions within the NAF the South African cultural context as well as the NAF is examined. The post-apartheid, post-rainbow nation, South African cultural context is discussed and how the NAF could contribute towards creating a more unified South African identity. Incorporated and inscribed memory categories are related to how one could determine authenticity in traditional indigenous productions. A cautionary note on incorporated memory is linked to efficacy, while a loss of incorporated memory within the AmaXhosa society may result in ritual acts being orientated towards entertainment. If the private culture is consistently displayed in the public realm then it is inevitable that the ways in which the AmaXhosa recollect their history will be altered. The contribution of the transitional spaces of theatres and proscenium arch stages to the choreography and incorporated memory of the performers relates to the collective recollection of the AmaXhosa. Bearing this in mind, this thesis suggests that the NAF is playing a dual role in the evolution of the AmaXhosa. It is both positively contributing to the economic upliftment of a sector of the population and exposing people to this rich and multilayered culture. However, it is also impacting the efficacy of the private culture and fracturing the traditional knowledge of the AmaXhosa by assisting in the inscription of their performance forms. / This thesis consists of three parts (1 pdf document and two video mp4 files)

Este estudo tem como tema central a busca por uma maior e melhor compreensão do Festival Internacional do Folclore (FIF), que se realiza anualmente em Nova Petrópolis, Rio Grande do Sul, Brasil, colocando-o em diálogo com o turismo, as memórias locais e a etnicidade. Busca-se perceber se o FIF, ao longo das suas 40 edições, teria contribuído para a preservação da memória local, ao mesmo tempo em que incentivaria uma nova memória social do lugar. Para a condução da pesquisa, optou-se pelo viés qualitativo com suporte metodológico na história oral, por se entender que este é o caminho para a interpretação das experiências instauradas e vividas pelos participantes, assim como para o reconhecimento das diversas vozes relacionadas com o Festival. Os dados foram colhidos através de revisão bibliográfica, pesquisa documental e de campo, na forma de entrevistas e observação participante. Buscou-se aproximar a área teórica do turismo e dos eventos, considerando o contexto da história do turismo e do FIF em Nova Petrópolis. Na análise destes temas, afloraram diálogos e (inter) relações que indicam a preservação da memória local, mas se evidencia a construção de novas memórias, especialmente aquelas associadas à germanidade, imaginário que, uma vez criado e projetado na comunidade, estaria contribuindo para a construção de uma identidade e um sentimento de pertencimento e identidade de Nova Petrópolis, a ela associados. / The main theme of this study is the search for a bigger and better understanding of the International Folklore Festival (FIF – Festival Internacional de Folclore), which takes place annually in Nova Petrópolis, Rio Grande do Sul, Brazil; connecting it with tourism, local memories and ethnicity. It tries to discover if FIF, during its forty editions, has contributed to the preservation of the local memory and, at the same time, encouraged the creation of a new social memory from the region. To conduct this research, a qualitative method was chosen, supported in the oral history, since this is the way to interpret the experiences lived by its participants, such as the recognition from the several voices related to the Festival. The data were collected through bibliographic revision, document and field research as interviews and participant observation. This study tried to approximate the theory field to tourism and events, considering the historic background from tourism and FIF in Nova Petrópolis. In the analysis of these themes, dialogues and (inter)relations that indicate the local memory preservation stand out, however the construction of new memories are evident, especially those related to germanness, an imaginary that once created and constructed in the community, would be contributing to an identity construction and a belonging and identity feeling from Nova Petrópolis, related to it.

Marketing communications, which can affect the sensory perception of the consumer, are becoming popular. One of these is event marketing. This type of marketing communication is able to build direct communication with the brand through exposure to emotions. Over the past five years in Russia, on average, there have been four new gastronomic festivals every year, therefore so the focus of this work is aimed at studying this type of event marketing. In the work, the features of event marketing and gastronomic festivals was analyzed, the model of the influence of the concept on the communication of festivals was created, the peculiarities of the concept of holding festivals in Russia, Brazil and Hungary was releved. Based on the results obtained, the concept of a new gastronomic festival for the city of Yekaterinburg was created, taking into account the cultural characteristics of Russia and the characteristics of the city. / Приобретают популярность маркетинговые коммуникации способные вызвать у покупателя определенные эмоции, повлиять на его чувственное восприятие и вовлечь в процесс непосредственной коммуникации между компанией и потребителем. Событийный маркетинг является одним из таких инструментов, реализующий выстраивание непосредственной коммуникации с брендом с помощью воздействия на эмоции. За последние пять лет в России в среднем появлялось по четыре новых гастрономических фестиваля ежегодно, поэтому акцент работы смещен на изучение данного вида событийного маркетинга. В работе проанализированы особенности событийного маркетинга и гастрономических фестивалей, создана модель влияния концепции на коммуникации фестивалей, выявлены особенности концепций проведения фестивалей в России, Бразилии и Венгрии. На основе полученных результатов создана концепция нового гастрономического фестиваля для города Екатеринбурга с учетом культурных особенностей России и характеристик города.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / The purpose of this thesis is twofold. In the first instance, it is to document the origins and history of the eisteddfod in general, and more specifically, in South Africa. In the second instance, this thesis will attempt to describe the meaning and role of the eisteddfod in South Africa. This will be achieved with the help of a case study, which will require that a local eisteddfod be researched and discussed. As a result of involvement with eisteddfods over a period of twenty-five years (first as a participant and later as a teacher and a member of the judging panel), the writer has, over time, become increasingly fascinated with the phenomenon of the eisteddfod. Some of the questions that have arisen include: Why do eisteddfods still take palce in South Africa? What role do they play in the present-day cultural education of learners? Do they still bear relevance in current musical (specifically vocal) practice? This thesis is aimed at determining why such high value is attached to eisteddfods in certain communities. Why did this centuries-old tradition, brought from the northern hemisphere to South Africa, survive for so long? And why is it so important for some teachers, parents and children that they must participate? There is a large volume of literature concerning the international history of the eisteddfod. As this general history is already comprehensively described, it will only be presented in this thesis as a broad historical framework for the more specific history of the eisteddfod in South Africa. The local history of the eisteddfod is, however, poorly covered by published information. The literature in existence is often incomplete, and in most cases covers only up to the 1960‟s. News and magazine archives can only really help to identify the location and date of various eisteddfods, and to highlight some interesting aspects thereof. The latest academic literature was published as far back as 1994. The hypothesis of the current study relates to the suspicion that significant change has taken place in the last thirteen years (since 1994) regarding the meaning and vi function of the eisteddfod in South Africa. As the literature relating to this period is so sparse, this hypothesis will be empirically tested in a case study. To place the eisteddfod in South Africa in a historical context it is important to first investigate its origins. Its origin in Wales and subsequent development will be examined. This background study will assist in determining how eisteddfods in South Africa compare with those in other countries. To describe the development of the eisteddfod in South Africa is more complicated, due to the lack of an accurately described history. The defined scope of this thesis does not, however, include the production of an accurate history. Rather, a partial history is compiled using contemporary sources such as newspapers and magazines, as well as secondary sources. The most important and possibly the most challenging aspect of this thesis concerns an in-depth investigation of the Paarl-Valley Eisteddfod. The purpose of this investigation was an empirical study to collect information regarding a specific eisteddfod as well as the community that participate and support it. This information was used to form interpretations as to whether an institution like the eisteddfod is still relevant, and if it still adds value to the development of children, learners and musicians. It also helped to direct speculation about the meaning and function of the eisteddfod to participants, parents and teachers.

The primary purpose of this study was to determine the status of brand loyalty to art festivals with reference to Klein Karoo national Arts Festival (KKNK). This was achieved by firstly analysing and discussing the role of branding in tourism marketing. Secondly, a literature study was conducted to analyse the concept brand loyalty. Thirdly, the results of the empirical research were discussed and finally the conclusions were drawn from the research and recommendations were made with regard to visitors’ loyalty to the KKNK. Literature indicated that when marketing a tourism product or service it involves a complex bundle of value, which is intangible, inseparable, variable and perishable. Therefore the tourist’s experience with the product is important to keep in mind. Every tourist counts in the tourism industry therefore knowledge related to the needs and wants of the tourists. This can be determined by market research that is designed to collect, analyse, interpret and report information. The marketer can use this information to create a marketing mix, however, in the tourism and hospitality industry the four P’s (price, promotion, product, place) are extended with more P’s, namely people, physical environment, processes, packaging, participation, productservice mix, presentation mix and communication mix. The tourism product or festival should be positioned in the minds of the tourists and this cannot be achieved without branding the product. The brand name is used to identify and differentiate the product from its competitors. It also creates meaning for the tourist and establishes a competitive position in the minds of the tourist. Brand loyalty should be an important marketing goal of the tourism product because it reduces a brand’s vulnerability to competitors’ action and create a committed relationship with the tourists that insure lifelong visiting behaviour among tourists or positive word-of-mouth recommendations. Brand loyalty is build on six levels which can also be utilised to determine the visitors loyalty towards the brand and to assist the marketer on focussing on areas which should be improved to achieve a higher level of loyalty. The aim of the marketer should be to achieve the highest level of brand loyalty namely Resonance. For the purpose of this study the visitors’ profile and the current status of brand loyalty, were measured by means of a questionnaire and the objective of the questionnaire was to determine how loyal the visitors were to the KKNK. The questionnaires were distributed among the visitors at the KKNK in Oudtshoorn, in April 2009. Availability sampling was used to collect the data based on the fact that the respondents were conveniently available on the festival grounds and at show venues and willing to complete the questionnaires. A total of 422 questionnaires were completed during the festival. The factor analysis determined that Brand Feelings were the loyalty level that was rated the highest by the respondents to the KKNK. Therefore it was determined that the visitors’ loyalty to KKNK is currently at the fifth loyalty level and will have the most influence on the visitors when deciding to visit or recommend the KKNK. This is expected for a festival that is 15 years old however, the organisers of the KKNK can continue to improve the visitors loyalty until they reach the sixth and highest, loyalty level. This study contributes to the limited available literature on brand loyalty to arts festivals. / Thesis (M.Com. (Tourism))--North-West University, Potchefstroom Campus, 2012