definition for festival tourism

Event and festival research: a review and research directions

International Journal of Event and Festival Management

ISSN : 1758-2954

Article publication date: 19 November 2019

Issue publication date: 19 November 2019

Mair, J. and Weber, K. (2019), "Event and festival research: a review and research directions", International Journal of Event and Festival Management , Vol. 10 No. 3, pp. 209-216. https://doi.org/10.1108/IJEFM-10-2019-080

Emerald Publishing Limited

Copyright © 2019, Emerald Publishing Limited

Events and festivals are key elements of the tourism product in many destinations ( Getz and Page, 2016 ). The ability of festivals and events to attract visitors to a host region, and to contribute to its economic and social well-being explains the significance afforded to them in many tourism policies and strategies ( Mair and Whitford, 2013 ). This contribution is a strong justification for public funding of events and festivals ( Felsenstein and Fleischer, 2003 ; O’Hagan, 1992 ). Thus, in conjunction with tourism, they are becoming a realistic policy option for regional development ( Moscardo, 2007 ; Robinson et al. , 2004 ). However, the rapid growth of the events/festival industry in the past few decades has not always been matched with the level of research devoted to investigating it. Additionally, the fragmented nature of the research that exists poses challenges for researchers and practitioners trying to identify both the existing knowledge and any research gaps. Nonetheless, the interest of the academic community in event and festival research has increased significantly, particularly in the past decade. This has broadly aligned with the time that the International Journal of Event and Festival Management has been in existence. Here we look back on the general direction of research in our field and provide some potential avenues for future research to strengthen and enrich event and festival research.

To date, several reviews have examined the state of research relating to festivals and events. Getz (2010) reviewed the literature on festivals, identifying three major discourses – a classical discourse, concerning the roles, meanings and impacts of festivals in society and culture; an instrumentalist discourse, where festivals are viewed as tools to be used in economic development, particularly in relation to tourism and place marketing; and an event management discourse, which focuses on the production and marketing of festivals and the management of festival organisations ( Getz, 2010 ). Getz and Page (2016) also reviewed the event tourism literature. According to Getz (2013), there are five core propositions of event tourism: events can attract visitors who may not otherwise visit the area; events can create a positive destination image and branding; events contribute to place marketing by making destinations more attractive; events animate cities, resorts and parks; and event tourism is a catalyst for other forms of development. A more recent review of trends in event management research was published in 2017, highlighting the themes which appeared to represent the most popular research topics over the period from 1998 until 2013 in studies published in leading hospitality and tourism as well as event-focused academic journals ( Park and Park, 2017 ). A total of 698 articles were analysed and results showed that the most popular research topics were marketing, events and destinations and management. Planning and evaluation of events along with the use of technology in events were also well represented in this sample. However, events education and human resources in events appeared to be less well researched ( Park and Park, 2017 ). Other reviews have been completed in the area of festivals, but they have been limited by a focus on papers published in journals associated with one discipline or field of study only. For example, Cudny (2014) took a geographical perspective and Frost (2015) reviewed anthropological studies of festivals, which broadly position festivals as sites of cultural practice and experience. However, neither addressed festival management issues.

The literature on events and festivals has been approached from a number of theoretical perspectives. Initially, cultural and social research predominated. However, more recently far more research has taken a business orientation, focusing on themes such as management, marketing and tourism, as noted by Park and Park (2017) .

Festivals/events and tourism

The links between events (particularly festivals) and tourism have been a fertile area for research. Increasing tourism is one of the key reasons why local governments support and stage festivals ( Mayfield and Crompton, 1995 ), and according to Anderssen and Getz (2009), many destinations view festivals as attractions and use them as part of their destination marketing strategy. There are clear benefits to hosting festivals, primarily in terms of economic but also social benefits. In relation to economic benefits, increasing visitor numbers, supporting job creation and underpinning economic development appear to be the main positive impacts of festivals; however, the extent of such positive impacts is disputed in relation to whether festivals actually attract visitors ( McKercher et al. , 2006 ); whether visitors are even aware of festivals when they make their destination decision ( Oh and Lee, 2012 ); and whether festival visitors, many of whom camp and eat on the festival site, are actually making much economic contribution at all (Saleh and Ryan, 2003). Further, in relation to social benefits such as community cohesion, sense of place, belonging and identity, the literature appears somewhat contrary. While there is plenty of evidence to suggest that these are the objectives of festival organisers, funding bodies and local authorities, there appears to be less evidence of whether festivals are successful in achieving these objectives, and through which mechanisms this may be facilitated. Further, while festivals have unique features and cultural dimensions which are also important factors for attracting tourists, the importance of exercising caution when using tangible or intangible historic and cultural resources for festival activities seems to be less acknowledged. Therefore, while the potential benefits of festivals have been clearly outlined, research appears to be lacking in terms of truly comprehending how best to achieve these desired benefits.

Festivals/events and marketing

There is also a significant body of work that examines events/festivals and marketing, with this topic representing the most widely researched theme identified by Park and Park (2017) . Drawing on initial work by Crompton and McKay (1997) , who proposed six key motivational dimensions to explain festival attendance, researchers have examined attendance motivations in a multitude of contexts, yet for the most part, few significant differences have been found. Existing reviews have already ascertained that attendance motivations have been thoroughly researched ( Getz, 2010 ); yet, studies continue to be published in this topic. For example, while there have been some minor differences to the original Crompton and McKay (1997) motivation framework, the underlying dimensions appear to be relatively stable over time and across a variety of contexts. Nonetheless, each year more studies appear testing these dimensions in yet more contexts.

Similarly, an established body of research has concluded that good quality festivals result in attendee satisfaction, which then leads to increased loyalty in the form of future re-purchase intentions (see for example, Anil, 2012 ; Cole and Illum, 2006 ; Cole and Chancellor, 2009 ; Lee et al. , 2007 ; Son and Lee, 2011 ; Mason and Nassivera, 2013 ). Nevertheless, despite this literature, studies examining the relationship between satisfaction, quality and loyalty continue to be published. Finally, market segmentation studies occur frequently in the festival literature, yet as most are case study based, they are failing to make generalisable contributions to our knowledge of this area. In summary, it appears that in these areas, researchers have simply been making only small, incremental contributions.

Several issues have arisen in relation to festival marketing and consumer behaviour which would present useful opportunities for further study. For example, the decision-making process of festival goers requires more research, as much of this research to date has been undertaken in case study contexts, without further generalisation (e.g. Kruger and Saayman, 2012 ). Further, there is a noticeable lack of research in areas of marketing that more recently gained greater popularity, including experiential marketing, and very little research on the role of social media and events. Experiential marketing focuses primarily on helping consumers to experience a brand, with the goal of forming a memorable connection and an expected outcome of future purchases and brand loyalty. Festivals offer an unrivalled opportunity for organisations to showcase their brands and build a connection in the mind of the consumer between the festival experience and the brand experience, as noted by Chen et al. (2011) , yet this is a relatively unexplored area where future research should be carried out.

Social media has also been the focus of surprisingly few festival studies thus far. This is particularly unexpected given the widespread use of various types of social media and its obvious links with marketing. In a case study of music festivals, Hudson and Hudson (2013) carried out some pioneering work to understand how festival organisers are engaging with both social media and their consumers. Their findings suggest that music festival organisers are proactive in using social media. In a subsequent study, Hudson et al. (2015) developed a conceptual model that was subsequently tested with music festival attendees. Study findings provided evidence that social media do indeed have a significant influence on emotions and attachments to festival brands, and that social media-based relationships lead to desired outcomes such as positive word of mouth. Montanari et al. (2013) examine an Italian photography festival, and revealed how using social media and Web 2.0 technology enhanced the way the festival was able to communicate with its audience. Social media is also changing the way potential attendees make their attendance decision. Lee et al. (2012) investigated whether engagement with a festival “event” page on Facebook was linked with actual attendance at the festival. They found some evidence to suggest that the event Facebook page stimulated emotions and a desire to attend the actual festival. Research by Williams et al. (2015) suggests that festivals are both generators and animators of electronic word of mouth, but the authors acknowledge the exploratory nature of their research. Sigala (2018a, b) has advanced our conceptual knowledge of social media as it relates to both festival management and marketing, creating a typology of the way that social media is being used in festival management and organisation. She also drew attention to the use and influence of social media on both attendee experiences and decision making and festival marketing strategies. In view of the omnipresent nature of social media, this is an area where there is a considerable need for further research in the festival context; there is ample room for new studies relating to social media to bring theory development and practical implications.

Technology mediated experiences are changing the festivalscape as events and festivals integrate hardware, software, netware and humanware into the attendee experience ( Neuhofer et al. , 2014 ; Robertson et al. , 2015 ; Van Winkle et al. , 2018 ). ICT has been used at events and festivals for utilitarian and hedonic purposes yet little is known about the implications for the events, attendees, volunteers and other stakeholders. Thus, research into the integration of ICT into the administration, design, marketing, operations and risk management of events and festivals is essential. An upcoming special issue of IJEFM will focus on these key issues.

Festivals/events and management

Three key aspects of strategic festival management have received significant attention from researchers – stakeholder management; festival success factors and conversely, festival failures; and festivals and environmental sustainability. The importance of understanding and managing stakeholders is widely acknowledged (e.g. Reid, 2007 ), and it may very well be that further research will simply underline this. However, in relation to other aspects of management, there are certainly areas where more research is required. For example, whilst knowledge transfer appears to be taking place in successful festivals ( Stadler et al. , 2014 ), transfer of knowledge is not well defined, or even explicitly acknowledged. Interestingly, festival failure has apparently been the subject of more research than festival success but further areas for useful contributions remain. These include succession planning and risk management. In addition, differences in strategic management planning and operations between festivals under different types of ownership appear significantly under-researched (Andersson and Getz, 2009; Carlsen and Andersson 2011 ). Despite a few studies (e.g. Robertson and Yeoman, 2014; Yeoman, 2013 ), there have also been few attempts to foresee future trends and issues that are likely to affect festivals and their management.

Getz and Page (2016) also argue for further research to better understand the role that festivals play in bringing together disparate groups such as visitors and residents. Complex relationships between communal identity and place emerge as people have various sets of connections to multiple notions of “place” and “home”. This is an area where social science research could play an important role, bringing together the business aspects of tourism and festival management with the issues of place, space and people researched by geographers and social scientists.

There is also a small but growing body of knowledge on festivals and sustainability; however, this topical area offers considerable potential for future research, and ample room for further theoretical and practical contributions. Research attention may be placed on issues such as the triple bottom line, links between festivals and social sustainability, and even the opportunities for festivals to play an education and behaviour change role in relation to pro-environmental behaviour. For example, Andersson and Lundberg (2013) considered the notion of commensurability and proposed a framework for assessing the overall TBL sustainability of a festival by allocating a monetary value to each component. This is done using market values of emission rights, the shadow costs of environmental resources, contingent valuation analysis of (willingness to pay for) socio-cultural impacts and estimates of direct expenditure and opportunity cost. However, the authors acknowledge that there are aspects of their framework which are subjective, and they note that future research is needed to clarify the generalisability of their framework. Duran et al. (2014) also propose a framework – the Sustainable Festival Management Model – which highlights that stakeholder participation, especially non-governmental organisations, the tourism sector and local people who might be impacted by the festival, is vital for the development of a sustainable festival. Van Niekerk and Coetzee (2011) used the VICE model (visitor, industry community and environment) to assess the sustainability of an arts festival in South Africa and suggest that this framework can help to identify critical issues relating to a festival and its sustainability. However, they also note that research using this model is somewhat limited in the events context and that further research on the efficacy and usefulness of the model is required ( Van Niekerk and Coetzee, 2011 ).

Implications for future festival/event research

There are several implications for future festival/event research resulting from the brief overview provided. These can be classified as opportunities for interdisciplinary research, a reliance on the western perspective and a corresponding lack of different cultural perspectives, an absence of research into the pedagogy of festival/event studies and finally, an array of limitations associated with the current body of knowledge.

First, there is a lack of interdisciplinary work that incorporates business and social and/or spatial perspectives. In his review, Getz (2010) highlighted that the classical discourse was under-acknowledged in extant festival studies, and that more connections should be made between festival studies and other disciplines such as sociology and anthropology. Further, Cudny (2014) called for more theoretical research to underpin the development of festival studies in future. Much of the work that has taken a business perspective, perhaps not surprisingly, has focused inwards on the festival – how to market, manage, stage it and provide a good quality service and experience (see Park and Park, 2017 ). However, very little of the festival research appearing in the business literature has been outwardly focused – considering how festivals may be mechanisms for achieving other aims – social, cultural, political, behavioural, etc. Clearly, in order to survive, festivals have to be successful business products, but in order to achieve other objectives, managers need to be aware of some of the issues that are explored in the social sciences and humanities literature, such as inclusion vs exclusion at festivals, festivals and authenticity/tradition, and festivals as spaces of protest, counterculture and self-expression, to name but a few. Interdisciplinary work, using theories and concepts from beyond business disciplines (e.g. social capital, affect and emotion theories and Florida’s (2002, 2003) creative industries framework) would inform festival research, and while the majority of recent work being published on festivals has appeared in journals associated with tourism, events and business more broadly, applying other disciplinary theories and frameworks would bring these to a new audience and thus, help to make a greater contribution.

Second, there is a dearth of different cultural perspectives in festival and event research. While already highlighted by Getz (2010) , it appears that researchers have not paid much heed to his call for comparative and cross-cultural studies. There is a need to move away from Western paradigms when examining non-Western phenomena. For example, Pine (2002) suggested that the development policy of hotel groups or chains established in China needs to consider the Chinese socio-economic context, thus implying that a research model should be developed specifically for China hotel development. China’s hotel industry is different from that of other countries due to fierce competition, multiform ownership and management systems, and coupled with China’s unique culture society might require a different research approach. Similar considerations would be of value in relation to festivals research in other non-western contexts. In a similar vein, the number of countries with resident populations that are culturally diverse has led to an awareness of the importance of building well-organised, multicultural societies ( Chin, 1992 ; Lee et al. , 2012 ; Parekh, 2006 ). Festivals can play a significant role in this. Multicultural festivals are especially important for minority groups seeking to maintain cultural traditions ( Lee et al. , 2012 ). However, despite some initial research in this area, further detailed study of the nature of festivals in a multicultural society would be of tremendous value.

Third, there are no pedagogical articles specifically related to festival studies. There is a relatively limited body of knowledge relating to teaching event management. For example Getz (2010) highlights that events students should learn and be able to apply both event specific knowledge (such as understanding the meaning, importance and impacts of festivals and events, and in addition their limited duration and episodic nature) as well as management specific knowledge including marketing, finance and accounting. Additionally, initiatives such as the development of the International Event Management Body of Knowledge seek to define research and understand the parameters of events and the knowledge, understanding and skills required in order to succeed in a contemporary environment ( Silvers et al. , 2005 ). Nonetheless, the pedagogy of festival and event studies remains an important, yet significantly under-researched area.

Finally, there are a number of limitations relating to the existing body of festival/event literature. Reminiscent of other review papers in the broader tourism and hospitality context, and beyond (e.g. Denizci Guillet and Mohammed, 2015 ; Kong and Cheung, 2009 ; Mattila, 2004 ; Yoo and Weber, 2005 ), the vast majority of papers relating to festival/event research are empirical rather than conceptual and theoretical in nature. In addition, as has been noted already, much of the research in the field of festivals has taken a case study approach. This has arguably limited the scope and scale of our knowledge of festivals. More sophisticated methods, both qualitative and quantitative, would provide a more nuanced study of particular festivals and places, yet at the same time contribute further to advancing our theoretical and practical knowledge of festivals.

Given this, a call for greater theory development and testing within the festival context appears timely. This is in line with Oh et al. (2004 , p. 441) who note that “[…] applications are not a wrong effort to make; what is needed is a stronger conceptual rigour and meaningful contribution [to] back to the mainstream theoretical thought through creative application and domain-specific theory development activities.”

Judith Mair and Karin Weber

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Sigala , M. ( 2018b ), “ Social media and the transformation of the festival industry: a typology of festivals and the formation of new markets ”, in Mair , J. (Ed.), The Handbook of Festivals , Routledge , Abingdon .

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Further reading

Andersson , T.D. and Getz , D. ( 2008 ), “ Stakeholder management strategies of festivals ”, Journal of Convention & Event Tourism , Vol. 9 No. 3 , pp. 199 - 220 .

Chang , J. ( 2006 ), “ Segmenting tourists to aboriginal cultural festivals: an example in the Rukai tribal area, Taiwan ”, Tourism Management , Vol. 27 No. 6 , pp. 1224 - 1234 .

Lee , J. ( 2014 ), “ Visitors’ emotional responses to the festival environment ”, Journal of Travel & Tourism Marketing , Vol. 31 No. 1 , pp. 114 - 131 .

Saleh , F. and Ryan , C. ( 1993 ), “ Jazz and knitwear: factors that attract tourists to festivals ”, Tourism Management , Vol. 14 No. 4 , pp. 289 - 297 .

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Chapter 6. Events, Culture, Heritage, and Sport (Entertainment)

6.1 Festivals and Events

When travellers enter Canada, there is a good chance they will be asked at the border, “What is the nature of your trip?” Whether the answer is for business, leisure, or visiting friends and relatives, there’s a possibility that travellers will participate in some of the following activities (as listed in the Statistics Canada International Travel Survey):

• Attend a festival or fair, or other cultural events
• Visit a zoo, aquarium, botanical garden, historic site, national park, museum, or art gallery
• Watch sports or participate in gaming

These activities fall under the realm of entertainment as it relates to tourism. Documenting every activity that could be on a tourist’s to-do list would be nearly impossible, for what one traveler would find entertaining, another may not. This chapter focuses on the major components of arts, entertainment, and attractions, including motion pictures, video exhibitions, and wineries; all activities listed under the North American Industry Classification System we learned about in Chapter 1 .

Festival and Major Events Canada (FAME) released a report in 2019 detailing the economic impacts of the 17 largest festivals and events in Quebec, which amounted to a whopping $378 million in tourist spending. Let’s take a closer look at this segment of the sector and its impact across Canada.

The International Dictionary of Event Management defines a festival as a “public celebration that conveys, through a kaleidoscope of activities, certain meanings to participants and spectators” (Goldblatt, 2001, p. 78). Other definitions, including those used by the Ontario Trillium Foundation and the European Union, highlight accessibility to the general public and short duration as key elements that define a festival.

Search “festivals in Canada” online and over 900 million results will appear. To define these activities in the context of tourism, we need to consider two fundamental questions, “Who are these activities aimed at?” and “Why are they being celebrated?”

The broad nature of festivals has lead to the development of classification types. For instance, funding for the federal government’s Building Communities through Arts and Heritage Program is available under three categories, depending on the type of festival:

• Local festivals funding is provided to local groups for recurring festivals that present the work of local artists, artisans, or historical performers.
• Community anniversaries funding is provided to local groups for non-recurring local events and capital projects that commemorate an anniversary of 100 years (or greater, in increments of 25 years).
• Legacy funding is provided to community-initiated capital projects that restore or transform event spaces and places. Eligible projects are those that commemorate a 100th anniversary (or greater, in increments of 25 years) of a significant local historical event or local historical personality.

Funds awarded in BC ranges from $2000 for the Nelson History Theatre Society’s Arts and Heritage Festival in 2012 (Government of Canada, 2014a) to $100,200 for the Vancouver International Film Festival in 2017 (Government of Canada, 2017). In 2017-2018, federal funding from the Canada Arts Presentation Fund, Canada Cultural Spaces Fund, and Canada Cultural Investment Fund resulted in $183 million in infrastructure and program development funds to support organizations that professionally present arts festivals or performing arts series (Government of Canada, 2019).

Spotlight On: International Festivals and Events Association

Founded in 1956 as the Festival Manager’s Association, the International Festivals and Events Association (IFEA) supports professionals who produce and support celebrations for the benefit of their communities. Membership is required to access many of their resources. For more information, visit the International Festivals and Events Association website .

Festivals and events in BC celebrate theatre, dance, film, crafts, visual arts, and more. Just a few examples are Bard on the Beach, Vancouver International Improv Festival, Cornucopia, and the Cowichan Wine and Culinary Festival.

Spotlight On: Cornucopia, Whistler’s Celebration of Wine and Food

For the “epicurious, cornucopia is food + drink unleashed.” Dubbed “so wild you can taste it” this 11-day event showcases tasting events, drink seminars, chef lunches and demos, avant-garde parties and more. For additional information, visit Cornucopia .

An event is a happening at a given place and time, usually of some importance, celebrating or commemorating a special occasion. To help broaden this simple definition, categories have been developed based on the scale of events. These categories, presented in Table 6.1, overlap and are not hard and fast, but help cover a range of events.

Events can be extremely complex projects, which is why, over time, the role of event planners has taken on greater importance. The development of education, training programs, and professional designations such as CMPs (Certified Meeting Planners), CSEP (Certified Special Events Professional), and CMM (Certificate in Meeting Management) has led to increased credibility in this business and demonstrates the importance of the sector to the economy. Furthermore, there are a variety of event management certifications and diplomas offered in BC that enable future event and festival planners to gain specific skills and knowledge within the sector.

Various tasks involved in event planning include:

• Conceptualizing/theming
• Logistics and planning
• Human resource management
• Marketing and public relations
• Budgeting and financial management
• Sponsorship procurement
• Management and evaluation

But events aren’t just for leisure visitors. In fact, the tourism industry has a long history of creating, hosting, and promoting events that draw business travelers. The next section explores meetings, conventions, and incentive travel, also known as MCIT .

(As it relates to tourism) includes attending festivals, events, fairs, spectator sports, zoos, botanical gardens, historic sites, cultural venues, attractions, museums, and galleries.

Public event that features multiple activities in celebration of a culture, an anniversary or historical date, art form, or product (food, timber, etc.).

Organization that supports professionals who produce and support celebrations for the benefit of their respective communities.

A happening at a given place and time, usually of some importance, celebrating or commemorating a special occasion; can include mega-events, special events, hallmark events, festivals, and local community events.

All special events with programming aimed at a business audience.

Introduction to Tourism and Hospitality in BC - 2nd Edition Copyright © 2015, 2020, 2021 by Morgan Westcott and Wendy Anderson, Eds is licensed under a Creative Commons Attribution 4.0 International License , except where otherwise noted.

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Research Article

New perspectives on satisfaction and loyalty in festival tourism: The function of tangible and intangible attributes

Roles Investigation, Methodology, Resources

Affiliation Faculty of Economics Sciences, Department of Business and Management, University of Malaga, Malaga, Spain

Roles Data curation, Formal analysis, Methodology, Software, Validation

Affiliation Faculty of Economics Sciences, Department of Statistics and Econometrics, University of Malaga, Malaga, Spain

Roles Conceptualization, Funding acquisition, Supervision, Writing – original draft, Writing – review & editing

* E-mail: [email protected]

Affiliation Faculty of Tourism, Institute of Tourism Intelligence and Innovation Research (i3t), University of Malaga, Malaga, Spain

Roles Data curation, Formal analysis, Writing – original draft

• Jesús Molina-Gómez, 
• Pere Mercadé-Melé, 
• Fernando Almeida-García, 
• Raquel Ruiz-Berrón

• Published: February 24, 2021
• https://doi.org/10.1371/journal.pone.0246562
• Reader Comments

This research explains how attributes perceived during the festival celebration generate loyalty in terms of satisfaction. As regard, tangible aspects (festival entertainment and aesthetics) and intangible aspects (escapism and education) shall be differentiated. A theoretical model is proposed, which explains the effects of festival attributes on satisfaction and loyalty through structural equation modelling. The model was estimated with a sample of 440 people attending Weekend Beach Festival in Spain. The research proves the relationship between attributes and loyalty through satisfaction as a moderating variable; likewise, tangible attributes are deemed to have a greater influence on loyalty, specifically, the aesthetic/environment experience.

Citation: Molina-Gómez J, Mercadé-Melé P, Almeida-García F, Ruiz-Berrón R (2021) New perspectives on satisfaction and loyalty in festival tourism: The function of tangible and intangible attributes. PLoS ONE 16(2): e0246562. https://doi.org/10.1371/journal.pone.0246562

Editor: Dejan Dragan, Univerza v Mariboru, SLOVENIA

Received: February 9, 2020; Accepted: December 29, 2020; Published: February 24, 2021

Copyright: © 2021 Molina-Gómez et al. This is an open access article distributed under the terms of the Creative Commons Attribution License , which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

Data Availability: All relevant data are within the paper and its Supporting information files.

Funding: F. Almeida-García is part of a research team that has received funds to develop this research. The research has received funding from the research projects: "Over-tourism in Spanish coastal destinations. Tourism decrease strategies". (RTI2018-094844-B-C33). Ministry of Science, Technology and Telecommunications, Spain.

Competing interests: NO authors have competing interests.

Introduction

Nowadays, festivals are considered to be a fundamental pillar within the tourism industry. Festivals are valued, among other characteristics, for their ability to create an image in destinations and for being a tourist offering itself [ 1 ]. According to [ 2 ], this experiential product is essential for tourism promotion and is a clear marketing tool for the destination. Festivals play an increasingly more important role in tourist activity, thus relating them to various topics:

• Academic interest on this topic is global, therefore studies can be found in any region around the world, whether in Europe [ 3 ], the Middle East [ 4 ], Asia [ 5 ], Africa [ 6 ], North America [ 7 ] and Oceania [ 8 ].
• In recent years, research has focused on the analysis of visitors’ characteristics: the segmentation of attendees [ 2 ], their behaviour in theoretical models [ 9 ], attendees’ characteristics [ 10 ], satisfaction [ 5 ] and the loyalty created by festivals in their users [ 7 ].

Many authors define festival tourism as an experience product and a tourist offering made up of experiential aspects [ 7 , 11 ]. On the other hand, festival tourism focuses on experience as one of the main competitive advantages, so much so that [ 12 ] defend the existence of an experience economy as a fundamental variable to value festival consumers’ behaviour. For these authors, festival consumers’ behaviour lies in the festival’s educational experience, entertainment, escapism and aesthetics. Organisers wish to create an environment for a satisfactory experience; they must generate an interest to return [ 13 ]. According to [ 14 ], the factors which contribute to creating satisfaction and loyalty in festival tourism are the festival’s activities, authenticity-uniqueness, sales concessions, environment, escape and socialisation throughout the event.

Some studies which analyse festival-goers’ loyalty highlight that festival’s characteristics influence loyalty through festival experience [ 3 , 15 ]; other studies consider the type of attribute and perceptions on loyalty [ 14 ]. However, no focus has been made on the specific weight of each attribute and the festival experience to explain their effect on festival attendees’ satisfaction and loyalty.

The aim of this study is to demonstrate the effect of the tangibility and intangibility of attributes on loyalty through satisfaction in festival tourism, bearing in mind the distinctive value of attributes ( Fig 1 ). This research delves into previous studies which have analysed relationships between categories and loyalty and satisfaction in festivals [ 3 , 9 , 14 , 15 ]. This study provides a new analysis on the distinctive role of festival attributes and experiences with regard to loyalty and satisfaction. This research represents an advance on the contributions of [ 12 ] in relation to the experiences and analyses of [ 14 ] on tangible and intangible attributes. Specifically, following the recommendation of [ 14 ]: a future festival study could use structural equation modelling to test the hypothesis that tangible attributes influence loyalty through attendee satisfaction , whereas intangible attributes influence loyalty directly (p.216). Thus, we apply structural equation modelling to find out the impact of tangible and intangible attributes on satisfaction and loyalty based on experience.

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https://doi.org/10.1371/journal.pone.0246562.g001

Likewise, this research is aimed at increasing knowledge on festival attendees’ perceptions and obtaining useful results for festival managers. We believe that a better analysis of the experiences and attributes of festivals clearly influence a more suitable management of these events. These two above-mentioned elements help to design the offer, distribution and sale of festivals, and allow a better understanding of the behaviour and evolution of the market, and explain the role of satisfaction and loyalty as essential elements in the competitiveness of festivals.

To this end, a structural equation model shall be used in order to discover the specific weight of each of the attributes of a festival and their relation with the variables of satisfaction and loyalty. The research is conducted on the basis of a survey on 440 attendees of the music festival Weekend Beach Festival in 2018 (WBF-2018), located on the Costa del Sol, in Andalusia (Spain).

Literature review

Attributes and experience in festival tourism.

Consumers have experienced a process that pursues the satisfaction of psychological needs, such as inspiration, authenticity and sense of belonging to a community [ 16 ]. It is also important to remember that modern-day tourists seek to be informed and demand a more personal and memorable experiential offering. Thus, companies have been forced to reconsider their business model, since only organisations which are prepared to offer an adequate consumption experience shall succeed in the market [ 17 ].

Festival attributes.

Many studies have been conducted on festivals, with several of them focusing on the aspects and attributes that influence on these events. [ 18 ] analysed the influence of four festival aspects (programme, souvenirs, food and facilities) on the value perceived and satisfaction; [ 14 ] carried out a meta-analysis in which they analysed 66 festival studies and identified the existence of six key attributes that attendees perceived at these kinds of events: programme, authenticity, concessions, environment, enjoyment and socialisation. These authors propose a classification according to the tangibility and intangibility of attributes, in which programme, authenticity, concessions and environment are tangible aspects and socialisation and enjoyment are intangible.

Experience in festival tourism.

One of the first definitions of experience was described as “a subjective mental state felt by visitors during service delivery” [11, p.166]. [ 19 ] understands experience as the result of a group of reflections that originate during moments of conscience. [ 20 ] considers experience as a collection of relationships between the customer and a product/company to create a comfortable sensation.

[ 12 , 21 ] proposed a consumer experience analysis framework which included four types of economic offerings: merchandise, goods, services and experiences; while the first three offerings are external, the experience solely exists in the mind of individuals; they separated service and experience from an economic perspective, creating the theory of the experience economy and identifying four areas of consumer experience: education, entertainment, escapism and aesthetics. The experiential link that a consumer may perceive depends on their participation and relationship with their environment, which result in a more intense and stronger experience [ 12 ]. Different studies have been developed on the basis of this theory, concluding that the dimensions of consumer experience are based on feeling, learning, and being and doing, respectively [ 22 ]. Lastly, [ 14 ] related the experience at festivals with the programme, authenticity, concessions, environment, enjoyment and socialisation.

Table 1 presents a list of all of the authors who have investigated these attributes (tangible and intangible) in connection with experience, satisfaction, loyalty and festival tourism.

https://doi.org/10.1371/journal.pone.0246562.t001

Having presented the classification of festival studies according to the type of attribute and their connection with satisfaction and loyalty, studies relating to the hypothesis proposed in this research are analysed, linking experiences with tangible and intangible attributes and thus establishing a connection between these elements. Table 2 presents the order and correspondence between experiences [ 12 ] and related attributes [ 14 ] according to their tangibility and intangibility.

https://doi.org/10.1371/journal.pone.0246562.t002

In the following two sections experiences and attributes are related in accordance with Table 2 .

Tangible experiences and attributes

Entertainment and festival programme..

One of the key aspects to understand the role of experience in the analysis of festivals is entertainment, which is a crucial aspect for satisfaction and loyalty. The entertainment experience in the festival context occurs when people passively watch other peoples’ performances [ 54 ]. The attribute linked to entertainment is usually found in the festival programme [ 14 ]. In Norway the quality of a jazz concert was measured based on the choice of artists, sound quality and programme [ 40 ]. [ 8 ] measured this attribute through activities such as wine, food and entertainment; [ 3 ] evaluated an Italian philosophy festival using the topics included in the programme. Two Korean festival programmes were evaluated through aspects such as enjoyment, diversity, amazement, correct organisation and planning [ 9 , 29 ].

An example of entertainment analysis as an economic experience is the study conducted by [ 54 ]. This study was applied to a university festival in Iowa in which they identified that the different festival attributes affected the memory experienced and loyalty. Loyalty also demonstrates a connection with entertainment. [ 35 ] analysed a sporting event which confirmed the link of satisfaction and loyalty with entertainment and the competitive tournament. Bearing in mind the aforementioned studies, the following hypothesis is proposed.

• H1. Entertainment will significantly predict satisfaction with the festival.

Aesthetics and festival environment.

The aesthetic experience describes the evaluation of the physical aspects, mood or environment of the festival [ 21 ]. Over the years, studies have differentiated between servicescape and festivalescape . The first term is defined as the environment or influence on consumer’s feelings and behaviour [ 62 ]. In contrast, festivalescape refers to the general environment that attendees may perceive [ 30 ]. [ 63 ] consider the environment to be the essential motivation to attend the festival. [ 30 ] highlight the importance of festivalescape on satisfaction and loyalty. Subsequently, [ 22 ] verified the existing link between aesthetics and satisfaction perceived by attendees.

Regarding aesthetics and environment, [ 14 ] find authenticity to be a festival attribute: the authenticity of the local culture, environment and food, drinks and souvenir selling points. These authors understand the environment or atmosphere to be the festival’s location. Many studies have researched the attribute of festival environments and most of them highlight the importance of hygiene, safety, accessibility and resting areas [ 9 , 15 , 33 ].

Souvenir shops and food stalls have a relevant role at festivals, leading to various studies [ 14 , 29 ]. At the Ginseng festival in Korea, [ 52 ] highlighted food and memory as significant variables. They also linked environment and accessories (souvenirs and food) with loyalty.

The aesthetic experience attribute is found in the authenticity and properties that are discovered in the town in which the festival is held [ 14 ]. At a cultural festival in Mongolia, research was conducted on the learning of the culture and the unique environment recreated [ 36 ]. [ 33 ] highlighted that floats, costumes, music and the city’s image are essential elements of the Patras carnival in Greece. At an Irani artisan festival, [ 4 ] highlighted the influence of the local staff, traditional exhibition and unique environment. Satisfaction in relation to the authenticity of festivals’ local characteristics has been approached by many authors [ 44 – 46 ]. Loyalty is also positively related to this attribute [ 6 , 50 , 55 , 56 ]. On the basis of the studies analysed, the following hypothesis is proposed:

• H2. The festival aesthetics will significantly predict satisfaction with the festival.

Experiences and intangible attributes

Education and socialisation at festivals..

The educational dimension is considered as the participants’ need to know, to experience new skills and abilities that may help intellectual and physical growth ( Table 2 ) [ 12 ]. Educational development within experiences continues to grow [ 64 ], positioning self-education as a fundamental motivation for festival attendees [ 65 ]. [ 66 ] confirm this dimension at the Sidmouth festival, which was one of the reasons for their presence. The socialisation aspect is linked to educational experience, that is, social relationships made at the festival [ 14 ]. Relations with other people, the sense of belonging and proximity were crucial to evaluate social identity [ 3 ]. [ 24 ] also relates the intangible feeling of socialisation at these events with satisfaction and loyalty. At a charity golf event, [ 59 ] identifies familiarity as a sense of belonging and a group link. On the basis of the studies analysed, the following hypotheses is proposed:

• H3. The educational experience will significantly predict satisfaction with the festival.

Escapism and enjoyment at the festival.

Escapism is defined as the participants’ desire to get out of their routine where they are often stuck in, to escape reality, to live new experiences that change their routine ( Table 2 ) [ 67 ]. In [ 24 ] analysed a blues music festival in a Turkish city where attendees commented that, for them, the festival was an escape and a novel experience. The representative attribute of escapism experience is enjoyment [ 14 ].

Attendees’ pleasure or hedonism was evaluated using phrases such as: the customer was satisfied; they appreciated the feeling of escapism and enjoyed the experience [ 3 ]. The following hypotheses is proposed for this research:

• H4. The escapism experience will significantly predict satisfaction with the festival.

Satisfaction at festivals.

According to (p.54) [ 68 ], satisfaction is defined as “ an evaluation based on the global purchase and consumption experience of a good or service in time ”; subsequent studies broadened knowledge on satisfaction, concluding that two precedents existed: the satisfaction of properties and information. Satisfaction of properties is explained as “ a subjective satisfaction judgement resulting from observations of the attribute performance ” (p.17) and the satisfaction of information as “ a subjective satisfaction criteria of the information used when choosing a product” (p.18). Satisfaction has not been included as an attribute in previous studies, although it has been mentioned as a key word along with festivals [ 9 ] or visitors [ 43 ].

Regarding the experience, [ 69 ] researched festival context and highlighted that satisfaction would be explained as a general evaluation of the individual’s experience at a festival. In recent years, a positive relationship is observed between satisfaction and loyalty and it is concluded that satisfaction determines attitude and the willingness to consume is a result of the experience perceived by the customer with a product or service [ 70 ]. The more the customers are satisfied with the product or service, the more they shall be willing to recommend it [ 71 ].

Loyalty at festivals and its connection with satisfaction

[ 70 ] defined loyalty as a strong commitment to buy back or endorse a consistent product or service again in the future , leading to repeat purchases of the same brand , despite influences and marketing efforts that can potentially cause a disruption and behaviour change (p. 34). According to this author, loyalty is a multidimensional concept that develops in several stages of loyalty: affective loyalty, cognitive loyalty, action loyalty and conative loyalty [ 70 ]. Loyalty can be explained from variables such as attitude or behaviour [ 72 ]. Usually, in marketing studies, loyalty has been analysed as a single construct that incorporates the aforementioned variables [ 73 , 74 ]. In this study, the measurement of loyalty was defined by adapting the [ 75 ] scale, related to the theory of planned behaviour (TPB) and the tendency to repeat.

Other authors consider loyalty in festival tourism as the predisposition of users to repeat certain behaviour [ 15 ], which implies the intention to attend festivals again [ 26 ] and recommend them to others [ 49 ]. Said repetition has been analysed in the tourism field with regards to loyalty regarding specific destinations. The authors [ 76 ] adapted Best’s loyalty index to a tourist destination (Seville, Spain) taking into account the number of repeated visits to the destination [ 77 ]. According to these authors, high loyalty implies more than three visits to the same destination. However, it is not very common to study loyalty at festivals through this type of specific measures. The number of times a festival is attended is not analysed so much as the aspects that affect loyalty, the effects of loyalty and the recommendation to attend a festival.

Some studies measure loyalty as future expenses; for example, purchasing wine after attending an Australian wine festival [ 78 ] or the intention to commit to donating in order to help a cause after attending a charity festival [ 59 ]. [ 33 ] states that attendees’ intentions are directly influenced by the festival experience. Likewise, several studies that have linked satisfaction and loyalty, observed this fact in catering services [ 79 , 80 ].

In other research conducted on festivals, satisfaction is a positive precedent towards loyalty [ 23 , 81 ]; more recently, a study analysed the effect caused by the four attributes (programme, souvenirs, food and facilities) on the value perceived and, consequently, on satisfaction and loyalty. This study concluded that satisfaction and loyalty may be improved through the value perceived, since they are positively related [ 18 ]. Other studies show how emotional solidarity is directly influenced by tourist loyalty and satisfaction. A good example is the study carried out on the Cape Verde Islands, where it is shown the existence of a positive relationship between the variables [ 82 ]. Likewise, the case of the study conducted in Karkala (India) at a religious festival generates an emotional solidarity that has a positive effect on loyalty and, partially, on satisfaction [ 83 ].

• H5. The festival satisfaction will significantly predict loyalty with the festival.

Methodology

The study setting: festival description.

The study was carried out on the “Weekend Beach Festival (WBF)” held on the Costa del Sol, Torre del Mar, Spain. The festival was first held in 2014 and was one of the most cutting-edge tourism proposals on the coast of Malaga. The festival had a 67,000 m 2 enclosure with three stages just metres from the beach, hosting current national and international artists. The festival was held for four days in July and reached a record figure of 140,000 attendees in 2008; the growth experienced over recent years has been a breathtaking 42% in comparison to 2015. It is currently number 11 in the official Spanish festival ranking according to the Social Network Festival Awards 2018. The tourists’ staying in the town has increased each year until it reached 100% capacity during its celebration over recent years. 20% of attendees are locals and 80% of them come from the rest of Spain and abroad.

Research instrument

Information gathering was carried out using a structured questionnaire. It was handed out personally in bars, establishments and streets in the town of Torre del Mar, Malaga, the city in which the festival was held. A two-stage method was used to choose the sample. In the first step, the method for selecting the sample was proportional and stratified according to the attendees’ origin. In the second stage, the respondents were selected in a non-probabilistic way for convenience. This method is suitable when it is difficult to find the participants and it is equally valid [ 84 ]. Prior to the fieldwork, a group dynamic was used to explain the procedure of gathering information. Furthermore, a pre-test was taken by 20 people to evaluate their understanding of the questions.

Fieldwork was carried out from June to July 2018, achieving 440 valid questionnaires, with a sampling error of 4.7% and a confidence level of 95%. The response rate was 89%. The research we have carried out has been based on anonymous surveys that respect ethical and analytical standards in the field of social sciences and do not require the prior approval of an ethical committee, in accordance with national and European legislation.

The questionnaire does not ask about sensitive social aspects such as race, religion, sexual orientation, diseases, etc. The items are focused on the analysis of the analysis of the analysed phenomenon (festival). The funding source has not requested the analysis of any particular group. All authors respect the rules of confidentiality and ethics regarding the analysis of data and results, in accordance with national, European standards and international agreements.

In order to have a greater representation of data, a multi-stage sampling by quotas was carried out based on the gender ( Table 3 ). With regards to the respondents’ profile, 50.4% of the participants were female and 49.6% were male. Most respondents were between 20 and 24 years of age (51.8%), followed by those between 15 and 19 (23.6%).

https://doi.org/10.1371/journal.pone.0246562.t003

Measurement scale of variables

The nature of the causal links is reflective [ 85 , 86 ], because they are more suitable for defining attitudinal features [ 87 , 88 ]. The constructs analysed on economical experiences (entertainment, aesthetics, and education) were measured against 4 items each one, and 3 for escapism construct, through an adaptation of the scale proposed by [ 9 , 54 ]. Satisfaction was measured against 3 items based on the consumer’s literature and their behaviour [ 74 , 89 ]. Loyalty is measured against 3 items through an adaptation of the scale proposed by [ 75 ]. The total number of items is 21. The evaluation of the constructs was estimated on a Likert scale of seven points that ranged from (1) strongly disagree to (7) strongly agree. The scale with the items used can be seen in Table 4 and the annex of Supporting information.

Psychometric properties.

https://doi.org/10.1371/journal.pone.0246562.t004

Statistical analysis of the data is based on a structural equation model (SEM) to identify the specific weight of each of the attributes and their relationship with the two variables: satisfaction and loyalty. For the analysis of the model being studied, the recommendations made by [ 90 ] were followed. Additionally, STATA.15 software was used for their estimation. At the beginning, the goodness of fit of the measurement model was analysed on the basis of the confirmatory factor analysis (CFA) to evaluate the psychometric properties. Then, the causal relationships have been analysed on the basis of the structural equation modelling (SEM).

Analysis of the psychometric properties of the measurement model

In the following tables, the psychometric properties are evaluated using the main measures of reliability, validity and goodness and the matrix of correlations between factors.

First, in order to assess common method bias, we applied Harman’s single factor method [ 91 – 93 ]. The first factor that has been obtained by applying the exploratory factor analysis to all the variables of the model represents 29.92% of the total variance, being below the threshold of 50%.

In Table 4 it is observed that the variables of the theoretical model fulfil all of the measures of reliability. The average variance extracted (AVE) is higher than 0.5 [ 94 ], the Cronbach alpha (α) is higher than 0.7 [ 95 ] and the composite reliability index (CRI) is higher than 0.7 [ 94 ]. The measures of validity are also adequate; the coefficients of standardised loadings are higher than 0.5 and its averages are higher than 0.7 [ 96 ]; therefore, convergent validity is confirmed. This means that the items of a construct are co-related with each other [ 96 ].

The amount of variance that each construct captures from its indicators (AVE) is higher than the variance that said construct shares with other constructs in the model; therefore, the discriminating validity of the measurement model is confirmed [ 94 ]. Table 5 provides the square root of the AVE of each construct, which is higher than the correlations with other constructs in the model. With regard to the measures of goodness, the root mean square error of approximation (RMSEA) is appropriate, since it is lower or equal to 0.08 [ 97 ] and the Tucker-Lewis index (0.91) and the comparative fit index (0.93) are close to 1 [ 98 ]. The only indicator that does not comply is the χ 2 (480.29). However, this is not considered to be a limitation, since it is very sensitive to the sample size [ 93 ] and, frequently, the hypothesis of a good fit of the model is rejected in large samples even if it is significant [ 99 ].

Correlations among the constructs.

https://doi.org/10.1371/journal.pone.0246562.t005

Analysis of the structural relations and hypotheses proposed

Table 6 analyses the standardised coefficients of the structural relationships of the theoretical model proposed. The ordinal data was analysed, taking in account non-normality problems. The model was estimated using maximum likelihood with Satorra-Bentler adjustments [ 100 , 101 ]. In this case, the statistical indices are robust.

https://doi.org/10.1371/journal.pone.0246562.t006

It can be observed that all of the causal relationships are statistically significant (H1 and H5 are supported). In this sense, it can be stated that a positive causal relationship exists between entertainment experience and satisfaction (β = 0.2816), aesthetics experience and satisfaction (β = 0.3675), education experience and satisfaction (β = 0.1086), escapism experience and satisfaction (β = 0.1607) and, finally, between satisfaction and loyalty (β = 0.1832). Therefore, the results show a direct relationship between the different experiences and satisfaction, as well as satisfaction and loyalty. The most intense of the causal relationships between perceived destination attributes and satisfaction occurs between the aesthetics experience and satisfaction, followed by the entertainment experience, escapism and, finally, the education experience. This SEM analysis provides empirical evidence that tangible attributes, such as entertainment and aesthetics, have a greater influence on satisfaction and loyalty than intangible attributes (education and escapism). To analyse the predictive capacity of the model, the coefficient of determination (R 2 ) has been calculated, and the results obtained are 0.39 for satisfaction and 0.14 for loyalty. Fig 2 shows the model with its respective structural coefficients.

https://doi.org/10.1371/journal.pone.0246562.g002

Discussion, conclusions and implications for management

The results confirmed the impact of the different experiences on satisfaction and loyalty in the festival’s context; the results gathered, thanks to the analysis of the structural equation model, as recommended by [ 14 ], shows how tangible and intangible attributes generate satisfaction and loyalty in attendees from the experience, providing tangible attributes (programme, authenticity, concessions and atmosphere) a higher level of satisfaction. In contrast, in the study conducted by [ 54 ], on the basis of a regression analysis, a direct positive relationship is found between entertainment and aesthetics experience, and loyalty; however, this same relationship is not evidenced between education and escapism experience and loyalty; that is to say, only a relationship between tangible attributes and loyalty is found. By contrast, our research points out the existence of a relationship between tangible and intangible attributes and loyalty through satisfaction, having tangible attributes a higher impact on loyalty than the intangible ones.

The conclusions provided by this study may be used by festival organisers to discover which specific experiences and attributes generate the greater satisfaction and loyalty in attendees. This research highlights that tangible attributes are linked to entertainment and aesthetics experiences, being entertainment a key element at festivals for attendees with regards to satisfaction and loyalty.

Knowing festival audience is essential in order to identify what type of entertainment to offer. Thus, a highly-educated audience shall show more musical interest for classical music or traditional theatre [ 102 ]. In contrast, a middle-class audience shall be more interested in music such as pop, hip-hop, jazz or modern dance [ 67 ].

Adequate ground facilities, food quality, souvenirs and authenticity of the location in which the festival is held impact on the aesthetic experience. Thus, variables are deemed crucial for festival-goers and, as a result, they must be thoroughly looked after. An example of the foregoing is the Greek carnival in Patras, where the quality of the event depended on the quality of the food, drinks and hygiene of the toilets [ 33 ]. In the case of the Punggi Ginseng festival (Korea), food and memory were essential variables of the event [ 52 ]. The authenticity of the artisan Turkmen festival in Iran was based on unique products, local staff, traditional presentation and unique atmosphere [ 4 ]. Thus, festival organisers are recommended to make the most of local characteristics to boost the festival’s authenticity [ 67 ].

With regards to festivals’ intangible attributes, socialisation and enjoyment are related to the education and escapism experiences respectively. The aforementioned attributes generate a positive effect on satisfaction and loyalty, although to a lesser extent than tangible attributes. Intangible attributes and experiences are fundamental for planning festivals, once analysed the study conducted by [ 3 ] regarding socialisation and learning, in which attitudes such as the sense of belonging, concordance and identity with other customers and proximity were identified. In this sense, [ 59 ] identified the sense of belonging at a charity golf event and [ 67 ] suggested the inclusion of personal growth as a variable that increases attendance to these events.

Regarding enjoyment and escapism experience, achieving the enjoyment of festival attendees is a way of accomplishing a feeling of escapism. This topic has been discussed by various authors, some of them highlighting escapism or novelties [ 24 ]; other studies highlight the enjoyment of the experience [ 3 ] and fun [ 13 ].

Therefore, this study may be concluded with evident results. On the one hand, it has been demonstrated that the satisfaction of festival tourists has a direct impact on loyalty and that tangible attributes generate a greater influence; particularly attributes which relate to the aesthetics experience, rather than those which relate to the entertainment experience ( Table 6 ) ( Fig 2 ); therefore, the first, second and fifth hypotheses from our research are accepted. On the other hand, to a lesser extent, intangible attributes generate a positive effect on satisfaction and loyalty, having escapism experience attributes a greater influence than education experience attributes ( Table 6 ) ( Fig 2 ); thus, the third, fourth and fifth hypotheses from our research are accepted. Therefore, tangible attributes present a greater causal relationship than intangible attributes in satisfaction and loyalty, according to the analysis model analysed in this research.

The practical implications of this research highlight that event managers should prioritise entertainment experience and aesthetics experience, because they are the attributes that have the highest influence on the satisfaction and loyalty of festival goers. Moreover, these managers should not forget tangible aspects such as education experience and escapism experience, because although they influence to a lesser extent, they also present a remarkable causal relationship with satisfaction and loyalty. This is in line with other authors who have studied the relationship and satisfaction through attributes [ 73 , 74 ]. The experience of a successful activity is crucial to the long-term competitiveness of destinations [ 103 ].

Limitations and future research

When conducting this research, we came across some limitations which are discussed as follows. The festival participants studied are attendees to a current music festival (Weekend Beach Festival, WBF-2018) and, consequently, the data obtained may not be applicable to other festivals with different characteristics. With regards to creating the analysis scale, the results of the study indicate that tangible and intangible attributes only account for experiences. It would be appropriate for future studies to investigate other aspects such as emotions and experienced memories, which may be important for the analysis of affective variables. Another limitation of this study is the lack of attention paid to the interaction that visitors showed at the festival, emotional solidarity playing an important role in festival tourism, as described by the authors [ 104 , 105 ].

Likewise, no control effect has been included in the model for this study. Future research should include some control variables such as service quality, perceived value and any other variable that is considered crucial to explain the model. Lastly, research on festivals could focus on other aspects of interest such as the change in perception of festivals by new generations. In future research, emotional solidarity in festival tourism will be taken into account as a key element to better explain the behaviour of visitors and their interaction with the destination [ 82 , 105 ].

Supporting information

https://doi.org/10.1371/journal.pone.0246562.s001

https://doi.org/10.1371/journal.pone.0246562.s002

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Festival Statistics: Key Concepts and Current Practices

In any community, festivals are an important showcase of culture and creativity, and the cornerstone of economic development strategies to attract tourists. But governments often lack the tools necessary to measure the full impact of such multi-faceted events.

A new publication from the UNESCO Institute for Statistics aims to fill the gap.  Festival Statistics: Key concepts and current practices , is the third in  series of cultural statistics handbooks  for policy-makers and practitioners. The handbook sets out major areas of research and practice in the measurement of festivals to help organisers and national authorities to evaluate the economic impacts of festivals.

Festival statistics can be cross-functional. They can be used to develop a macro-understanding of the role and impact of festivals on society, which can in turn inform policy on culture, development and diversity, as well as project management, tourism development and cultural industries commercially-driven or not-for-profit.

Simple definition of festivals as “themed, public celebrations” is the most practical approach. The  2009 UNESCO Framework for Cultural Statistics (FCS)  categorizes festivals under ‘performance and celebration’, further defining them as including “all expressions of cultural events. that occur locally and can be informal in nature”.

In addition to assessing commonly-used methods of evaluation, the handbook provides guidance on how to measure the environmental, social and cultural impacts. It reviews best practices and provides a set of recommendations for festival organizers, public bodies and local communities to consider when deciding how their events should be measured.

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The potential of festivals and their contribution to culture and tourism.

Greek Economic Outlook - 2014 (pp.61-66) - Centre Of Planning and Economic Research

Related Papers

V. Katsoni, A. Upadhya, A. Stratigea (eds.) Tourism, Culture and Heritage in a Smart Economy, Third International Conference IACuDiT, Athens 2016, Springer Proceedings in Business and Economics, pp 411-424

Dimitris Kourkourids , Sofia Tsiftelidou

During the last decades tourism has shown a rapid growth in international level. This rapid growth of tourism has created the need for diversification and enrichment of tourism products of each destination. Thus, in this highly competitive environment, each tourism destination seeks to enrich and diversify its tourism product utilizing existing tourism resources or creating new tourist attractions, such as cultural festivals. In fact, the effects of cultural festivals, as noted in the international bibliography, are multifaceted and multilayered, since they not only contribute to tourism and economic development of a region but also to its cultural development. Thus, more and more regions worldwide wanting to extract positive results in economic, cultural and social level, organize cultural festivals. This study seeks to investigate and assess the contribution of cultural festivals in tourism development through the case study of the Municipality of Thessaloniki. Particularly, the aim of this study is to examine the contribution of cultural festivals, both in local businesses and in the whole city. More specifically, this paper consists of three basic parts: (a) the theoretical framework of the dissertation, analyzing theoretical concepts related to the tourism phenomenon and especially cultural tourism, (b) a case study which analyzes the current situation in the Municipality of Thessaloniki and in particular the organization of cultural festivals and (c) the research part, which describes the research methodology and analyzes the results of primary research.

International Journal of Cultural and Digital Tourism Volume 4, Spring 2017

Vasiliki Georgoula

Towns and cities are increasingly using arts festivals as an important motivator to attract tourism and to stimulate urban development. This research seeks to address tourism interrelationships that develop between destination residents, festival visitors, cultural stakeholders and the tourism industry. The objective of the paper is to explore the role of the International Arts Festivals in the tourism development of Kalamata and Drama, Greece, through measurement and evaluation of the perceptions of its main stakeholder's groups. Primary data were collected with online questionnaires, distributed during autumn 2016. 130 questionnaires were answered concerning the Drama International Short Film Festival and 186 questionnaires were answered concerning the Kalamata International Dance Festival. The two Festivals are significantly acknowledged for their overall role in the cities' tourism image and growth, despite different characteristics of the two festivals and of the two cities. The city of Drama has benefited from its festival, which has played a significant part in improving the city's tourism infrastructure, image and first-time visitor attraction. As Kalamata is an already established destination, the festival there may have not necessarily translated into much higher tourism revenues and infrastructure improvement, but is has significantly enhanced its image and high-profile visitor attraction. The residents and cultural stakeholders value the role of the festivals not only because of increased revenues through tourism but also for raising cultural standards in their cities. The visitors seem to consider festivals as a great motive for visiting a destination and an opportunity to combine their visit with holidays and sightseeing in the greater area.

Cultural Policy and Management, Yearbook 2009

Dora Konsola , Nicholas Karachalis

Dimitris Koutoulas

Festivals have been generating a significant amount of arts travel, a form of cultural tourism, for decades, with millions of tourists attending major European festivals each year. The Athens Festival was founded half a century ago with the purpose of attracting tourists to the Greek capital, but it never managed to establish itself as a significant tourist attraction. Neither the festival’s programme of performances nor its organisation and marketing were compatible with the way the tourism market works. Basic requirements such as advance ticket sales or wholesale arrangements have never been satisfactorily integrated in the festival’s marketing planning. Specific guidelines are proposed in the paper aimed at marketing the festival in a professional manner and at designing a programme of performances that is attractive not just for the Athenian public but also for international tourists. KEYWORDS: Cultural tourism, Festivals, Marketing Strategy, Athens

Oradea Journal of Business and Economics

In the latest years, academics have talked more and more about the creative economy, as a cause of a different classification and division of the economic activities, including in its area all those activities which are based on the human resource, its talent and intellectual capital. The creativity seems to be a too special feature, having its own ways to flourish and to be exploited, so it has to be treated separately from the sectors of manufacture, industry or services. The Romanian culture is transmitted and exploited in various ways, starting with the commercialisation of handicrafts and ending with the organisation of events with artistic or symbolic expression. We will focus on the performing arts, organized as events for different communities. These events appear as leisure activities and have an important social feature because they have the attribute to develop the sense of identity, belonging to the group and social cohesion. These aspects are crucial for the development...

A. Matias, P. Nijkamp, M. Sarmento (eds.) Quantitative Methods in Tourism Economics, Advances in Tourism Economics Series, Physica-Verlag. A Springer Company, Heidelberg, pp 175-194.

Dimitris Kourkourids

In this chapter we discuss one example of the link between cultural events and local economic development and more specifically film festivals as generators of positive externalities in regional towns. Cultural events are increasingly considered to be a cost effective way to boost local economies of host cities and regions and have thus become a subject of interest at academic and public policy level. Research results on the impact of festivals and events underline the fact that important direct and indirect economic benefits are often generated for host communities. However, most studies examine this issue within standard multiplier impact analysis. One area of research that has not received much attention is the analysis of the perceptions of local key interest groups about the impact of cultural festivals on host communities. The purpose of this chapter is to present an instrument to assess the perceptions of festival organizers, local authorities and tourism market about the economic impact of regional cultural festivals on local communities. The aims of the research are, to assess if and how festivals act as regional development stimulants that encourage local economic revitalization and to investigate whether festivals are incorporated into regional economic development policies. The Delphi method was implemented through a research survey with representatives of the key interest groups. The study looks at film festivals that take place on a regular basis in regional towns in Greece and makes use of primary data obtained by a questionnaire survey addressed to festival organizers, local authorities and hotel managers about core economic and tourism impacts of film festivals and their significance for host communities.

Quantitative Methods in Tourism Economics

TOURISMOS: An International Multidisciplinary Refereed Journal of Tourism, Volume 14, Issue 2 , ISSN: 1790-8418 (Print Version)

This paper presents an analysis of two renowned international arts festivals visitors’ motives and profile characteristics, in two medium sized Greek cities: the Kalamata International Dance Festival and the Drama International Short Film Festival. The purpose of the study was to determine the reasons visitors attend these festivals, necessary for building more concise marketing strategies and, therefore, more successful and sustainable events, with long-term benefits, ranging from the local to the national levels. The research addresses international arts festivals that share four main characteristics: a) they host international professional artists, 2) they feature explicitly-stated artistic visions and objectives, 3) they are publicly funded, and 4) they have achieved a consecutive 23 years of successful presence in each city. These two case studies represent two cultural events which have managed to maintain their popularity and high status, on the European festival map, as well as to raise their host cities’ cultural and tourism standards, despite the serious economic cutback they have both faced. Due to limited available funds, the festivals lack marketing resources and specifically data collection on visitor motivation, a gap which this study aims to remedy. Primary data were collected with the aid of online structured questionnaires, distributed and collected during autumn 2016. 130 questionnaires were answered by visitors of the Drama International Short Film Festival and 186 questionnaires were answered by visitors of the Kalamata International Dance Festival. Even though both festivals share similar characteristics regarding their organization and their aims, our analysis emphasized the heterogeneity of the motives of attendance in connection with the visitors’ profile characteristics, for each event. While some similarities were found, especially between demographic sample characteristics and visitors’ profiles, the general picture to emerge from the findings indicates significant differences between the two cases. Arts festivals-goers do not appear to constitute a single homogeneous market; rather, each event appears to attract different audiences for different reasons. The implications of these findings, deriving from statistical analysis, are discussed and suggestions for further research are outlined. This research aims to contribute to knowledge concerning the marketing strategies of International Arts Festivals in medium-sized cities, useful for research and academic purposes, as well as to local and national authorities and other agencies and bodies, responsible for urban tourism and cultural city/town planning and management.

M. de MIGUEL MOLINA, V. SANTAMARINA CAMPOS y M. del V. SEGARRA OÑA (eds.), Tourism and Creative Industry. Valencia: Editorial UPV. ISBN 978-84-9048-153-0.

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Military Music Festival in Moscow: Spasskaya Tower Means Brotherhood

By skope  •  august 30, 2017.

‘Spasskaya Tower’ Festival is taking place at the Moscow Red Square now. You have an opportunity to see X International Military Music Festival till the 3rd of September.

Spasskaya Tower is a music fiesta, a spectacular show, staged on the background of the monumental walls of the Kremlin, and a great ‘battlefield’ of the bands from different countries fighting for the love and admiration of the audience. The harmonious combination of military, classical, folk and popular music, military band parades and dance shows, laser and pyrotechnical effects makes the Festival one of the brightest and most memorable events of the year.

Tix: http://kremlin-military-tattoo.ru/en/tickets/

Participants from Austria, Armenia, Belarus, Egypt, India, Italy, Kazakhstan, China, Russia, Turkey, Uzbekistan, Switzerland and the European Union perform at the Red Square in Moscow. The Chilean equestrian band Escuadra Ecuestre de Palmas de Peñaflor demonstrates its skills as a part of the day program of the Festival.

The 10th anniversary of the “Spasskaya Tower” is the main theme of the Festival. In the course of ten years, more 150 bands from 50 countries have taken part in the Festival, many foreign orchestras became permanent participants and real friends of “Spasskaya Tower”. It has become one of the most important military tatoos in the world.

http://kremlin-military-tattoo.ru/en/

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40 Facts About Elektrostal

Written by Lanette Mayes

Modified & Updated: 02 Mar 2024

Reviewed by Jessica Corbett

Elektrostal is a vibrant city located in the Moscow Oblast region of Russia. With a rich history, stunning architecture, and a thriving community, Elektrostal is a city that has much to offer. Whether you are a history buff, nature enthusiast, or simply curious about different cultures, Elektrostal is sure to captivate you.

This article will provide you with 40 fascinating facts about Elektrostal, giving you a better understanding of why this city is worth exploring. From its origins as an industrial hub to its modern-day charm, we will delve into the various aspects that make Elektrostal a unique and must-visit destination.

So, join us as we uncover the hidden treasures of Elektrostal and discover what makes this city a true gem in the heart of Russia.

Key Takeaways:

• Elektrostal, known as the “Motor City of Russia,” is a vibrant and growing city with a rich industrial history, offering diverse cultural experiences and a strong commitment to environmental sustainability.
• With its convenient location near Moscow, Elektrostal provides a picturesque landscape, vibrant nightlife, and a range of recreational activities, making it an ideal destination for residents and visitors alike.

Known as the “Motor City of Russia.”

Elektrostal, a city located in the Moscow Oblast region of Russia, earned the nickname “Motor City” due to its significant involvement in the automotive industry.

Home to the Elektrostal Metallurgical Plant.

Elektrostal is renowned for its metallurgical plant, which has been producing high-quality steel and alloys since its establishment in 1916.

Boasts a rich industrial heritage.

Elektrostal has a long history of industrial development, contributing to the growth and progress of the region.

Founded in 1916.

The city of Elektrostal was founded in 1916 as a result of the construction of the Elektrostal Metallurgical Plant.

Located approximately 50 kilometers east of Moscow.

Elektrostal is situated in close proximity to the Russian capital, making it easily accessible for both residents and visitors.

Known for its vibrant cultural scene.

Elektrostal is home to several cultural institutions, including museums, theaters, and art galleries that showcase the city’s rich artistic heritage.

A popular destination for nature lovers.

Surrounded by picturesque landscapes and forests, Elektrostal offers ample opportunities for outdoor activities such as hiking, camping, and birdwatching.

Hosts the annual Elektrostal City Day celebrations.

Every year, Elektrostal organizes festive events and activities to celebrate its founding, bringing together residents and visitors in a spirit of unity and joy.

Has a population of approximately 160,000 people.

Elektrostal is home to a diverse and vibrant community of around 160,000 residents, contributing to its dynamic atmosphere.

Boasts excellent education facilities.

The city is known for its well-established educational institutions, providing quality education to students of all ages.

A center for scientific research and innovation.

Elektrostal serves as an important hub for scientific research, particularly in the fields of metallurgy, materials science, and engineering.

Surrounded by picturesque lakes.

The city is blessed with numerous beautiful lakes, offering scenic views and recreational opportunities for locals and visitors alike.

Well-connected transportation system.

Elektrostal benefits from an efficient transportation network, including highways, railways, and public transportation options, ensuring convenient travel within and beyond the city.

Famous for its traditional Russian cuisine.

Food enthusiasts can indulge in authentic Russian dishes at numerous restaurants and cafes scattered throughout Elektrostal.

Home to notable architectural landmarks.

Elektrostal boasts impressive architecture, including the Church of the Transfiguration of the Lord and the Elektrostal Palace of Culture.

Offers a wide range of recreational facilities.

Residents and visitors can enjoy various recreational activities, such as sports complexes, swimming pools, and fitness centers, enhancing the overall quality of life.

Provides a high standard of healthcare.

Elektrostal is equipped with modern medical facilities, ensuring residents have access to quality healthcare services.

Home to the Elektrostal History Museum.

The Elektrostal History Museum showcases the city’s fascinating past through exhibitions and displays.

A hub for sports enthusiasts.

Elektrostal is passionate about sports, with numerous stadiums, arenas, and sports clubs offering opportunities for athletes and spectators.

Celebrates diverse cultural festivals.

Throughout the year, Elektrostal hosts a variety of cultural festivals, celebrating different ethnicities, traditions, and art forms.

Electric power played a significant role in its early development.

Elektrostal owes its name and initial growth to the establishment of electric power stations and the utilization of electricity in the industrial sector.

Boasts a thriving economy.

The city’s strong industrial base, coupled with its strategic location near Moscow, has contributed to Elektrostal’s prosperous economic status.

Houses the Elektrostal Drama Theater.

The Elektrostal Drama Theater is a cultural centerpiece, attracting theater enthusiasts from far and wide.

Popular destination for winter sports.

Elektrostal’s proximity to ski resorts and winter sport facilities makes it a favorite destination for skiing, snowboarding, and other winter activities.

Promotes environmental sustainability.

Elektrostal prioritizes environmental protection and sustainability, implementing initiatives to reduce pollution and preserve natural resources.

Home to renowned educational institutions.

Elektrostal is known for its prestigious schools and universities, offering a wide range of academic programs to students.

Committed to cultural preservation.

The city values its cultural heritage and takes active steps to preserve and promote traditional customs, crafts, and arts.

Hosts an annual International Film Festival.

The Elektrostal International Film Festival attracts filmmakers and cinema enthusiasts from around the world, showcasing a diverse range of films.

Encourages entrepreneurship and innovation.

Elektrostal supports aspiring entrepreneurs and fosters a culture of innovation, providing opportunities for startups and business development.

Offers a range of housing options.

Elektrostal provides diverse housing options, including apartments, houses, and residential complexes, catering to different lifestyles and budgets.

Home to notable sports teams.

Elektrostal is proud of its sports legacy, with several successful sports teams competing at regional and national levels.

Boasts a vibrant nightlife scene.

Residents and visitors can enjoy a lively nightlife in Elektrostal, with numerous bars, clubs, and entertainment venues.

Promotes cultural exchange and international relations.

Elektrostal actively engages in international partnerships, cultural exchanges, and diplomatic collaborations to foster global connections.

Surrounded by beautiful nature reserves.

Nearby nature reserves, such as the Barybino Forest and Luchinskoye Lake, offer opportunities for nature enthusiasts to explore and appreciate the region’s biodiversity.

Commemorates historical events.

The city pays tribute to significant historical events through memorials, monuments, and exhibitions, ensuring the preservation of collective memory.

Promotes sports and youth development.

Elektrostal invests in sports infrastructure and programs to encourage youth participation, health, and physical fitness.

Hosts annual cultural and artistic festivals.

Throughout the year, Elektrostal celebrates its cultural diversity through festivals dedicated to music, dance, art, and theater.

Provides a picturesque landscape for photography enthusiasts.

The city’s scenic beauty, architectural landmarks, and natural surroundings make it a paradise for photographers.

Connects to Moscow via a direct train line.

The convenient train connection between Elektrostal and Moscow makes commuting between the two cities effortless.

A city with a bright future.

Elektrostal continues to grow and develop, aiming to become a model city in terms of infrastructure, sustainability, and quality of life for its residents.

In conclusion, Elektrostal is a fascinating city with a rich history and a vibrant present. From its origins as a center of steel production to its modern-day status as a hub for education and industry, Elektrostal has plenty to offer both residents and visitors. With its beautiful parks, cultural attractions, and proximity to Moscow, there is no shortage of things to see and do in this dynamic city. Whether you’re interested in exploring its historical landmarks, enjoying outdoor activities, or immersing yourself in the local culture, Elektrostal has something for everyone. So, next time you find yourself in the Moscow region, don’t miss the opportunity to discover the hidden gems of Elektrostal.

Q: What is the population of Elektrostal?

A: As of the latest data, the population of Elektrostal is approximately XXXX.

Q: How far is Elektrostal from Moscow?

A: Elektrostal is located approximately XX kilometers away from Moscow.

Q: Are there any famous landmarks in Elektrostal?

A: Yes, Elektrostal is home to several notable landmarks, including XXXX and XXXX.

Q: What industries are prominent in Elektrostal?

A: Elektrostal is known for its steel production industry and is also a center for engineering and manufacturing.

Q: Are there any universities or educational institutions in Elektrostal?

A: Yes, Elektrostal is home to XXXX University and several other educational institutions.

Q: What are some popular outdoor activities in Elektrostal?

A: Elektrostal offers several outdoor activities, such as hiking, cycling, and picnicking in its beautiful parks.

Q: Is Elektrostal well-connected in terms of transportation?

A: Yes, Elektrostal has good transportation links, including trains and buses, making it easily accessible from nearby cities.

Q: Are there any annual events or festivals in Elektrostal?

A: Yes, Elektrostal hosts various events and festivals throughout the year, including XXXX and XXXX.

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Festivalisation and Its Effects on the Urban Space

• First Online: 04 June 2016

Cite this chapter

• Waldemar Cudny 2  

Part of the book series: Springer Geography ((SPRINGERGEOGR))

1874 Accesses

In this chapter, the basic conceptions and definitions related to festivalisation, the main impacts of festivals on space, the concept of festival tourism and the most important types of festivalisation spaces are characterised. The description of the basic conceptions and definitions related to festivalisation includes concepts such as geographical space and its types, or urban space. This is the theoretical basis for the analysis developed further in the book. The concept of festivalisation and its main features are investigated in this chapter as well. In the next subchapter, the most important impacts of festivals on urban space, divided into tangible, intangible, positive, and negative ones, are described. Further on, the reader can find references to festival tourism, first to the understanding of the concept of tourism and its classifications. The definitions of tourism, tourists and tourist assets are given here as well. Later the definition of festival tourism as one of the tourism types is formulated, and its influence on tourism space is briefly presented. The last subchapter presents festivalisation spaces. They are urban spaces which festivals influence most strongly: e.g. festival centres as spaces of permanent festivalisation, or theatres, museums, streets and squares, occupied temporarily for festival purposes. The theoretical characteristic of different festivalisation spaces is supplemented with many practical examples.

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Cudny, W. (2016). Festivalisation and Its Effects on the Urban Space. In: Festivalisation of Urban Spaces. Springer Geography. Springer, Cham. https://doi.org/10.1007/978-3-319-31997-1_4

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Napier Art Deco Festival 2024: Millions pumped into Hawke’s Bay economy, report says

Napier’s 2024 Art Deco Festival organisers say it injected $8.7 million into the Hawke’s Bay economy and had a $22m gross benefit for the wider New Zealand economy.

They now fear proposed cuts to Hawke’s Bay Tourism could have “dire consequences” for the promotion of the festival.

After a four-year hiatus due to Covid-19 and Cyclone Gabrielle , more than 50,000 people attended an Art Deco event in early February 2024.

According to a report by Event Economics, a division of Fresh Info, 10 per cent of attendees were international visitors who spent an estimated $9m while in New Zealand and on average stayed for almost three weeks.

However, there is concern the proposed defunding of Hawke’s Bay Tourism , currently receiving $1.52m annually from Hawke’s Bay Regional Council , would lead to a halt in promotional activities for regional tourism, including the Art Deco Trust, from July of this year.

Hawke’s Bay Tourism’s members currently pay about $160,000 a year to the organisation for annual membership.

Hawke’s Bay Tourism has said the loss of funding would mean closing Hawke’s Bay Tourism’s website and severing its connections with local, national and international media outlets.

“We work very closely with Hawke’s Bay Tourism to drive visitation to the region, and any disruption in these marketing activities would have dire consequences on the established marketing infrastructure,” Art Deco Trust chairwoman Barbara Arnott said.

Arnott said even a temporary hiatus in marketing activities would be “devastating for the region as a whole” and labelled the potential defunding as “Draconian” decision-making.

“Hawke’s Bay Regional Council was identified as the most appropriate regional agency to deliver a cost-effective funding model to support regional marketing, and the proposed defunding of Hawke’s Bay Tourism will be felt by all,” she said.

“Our hugely successful marketing campaigns are reliant on Hawke’s Bay Tourism, a well-oiled marketing machine that, in addition to supporting the festival, facilitates our attendance to trade shows where we can connect with agents.”

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Arnott believed most in the tourism sector would “feel the pinch” that would be available if Hawke’s Bay Tourism remained funded.

“Defunding Hawke’s Bay Tourism will have cascading repercussions that will impact the festival and tourism and extend beyond the tourist sector, affecting businesses across the region.

“The impact of tourism in Hawke’s Bay resonates deeply, benefiting not only the 10 per cent of Hawke’s Bay workers directly employed in tourism but also the 80 per cent of tourism spending that permeates the wider economy.”

Arnott said 20 per cent of all visitor expenditure in the region directly benefits the tourism industry, while 80 per cent circulates within the wider community.

“Our hugely popular festival and the wider tourism ecosystem didn’t happen by accident. It is the product of a well-oiled marketing machine, built and tuned over the years to deliver staggering results, as this recent report proves.”