In the past two years [2010-2012] we have done research on the visitor experience of music festivals. We conducted several surveys asking festival visitors for demographic variables, taste in music, their motivation for visiting festivals, mentalities and the evaluation of the festival. We also asked for the use of social media before, after and during the festival. Results show that visitors using social media have a significantly different festival experience from users that do not use social media before, during or after the festival. Results on difference in festival satisfaction are mixed.
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This paper provides an introduction to the special issue of the Journal of Policy Research in Tourism, Leisure and Events on Festival Cities and Tourism. It provides a contextualisation of the conversations surrounding the relationship between cities and their festivals during the Covid-19 pandemic. Focussing on the ‘festival city’ of Edinburgh, we examine how festival organisers reacted to the challenges of the pandemic, and how they strove to maintain contact with audiences and other stakeholders. We then review the different contributions to the special issue, ranging from festivalisation and suburban food festivals in Barcelona to an art festival in Dublin, the European Capital of Culture in Hungary and the festival portfolio of Hong Kong.
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From June 28 to July 7 the National Arts Festival took place in Grahamstown, South Africa. For the 20th time Cue, a daily print newspaper about the Festival, was produced by Rhodes University journalism students. It was the first time that the newspaper was printed in full color. Cue is at the core of journalistic production during the Festival. But nowadays, what is a newspaper without pictures or without an online edition? Cue Pix, run by the photo department at the School of Journalism and Media Studies in the AMM (African Media Matrix) provides the pictures. Cue Online is run by the NML (New Media Lab) in the same building and is mostly shoveling print content online. Cue Radio and Cue TV take care of the audio and video, and broadcast during the Festival. Up to 2000 copies of Cue newspaper were printed daily with the number of sold copies around 1600. The newspaper was sold in the Grahamstown streets for 3 Rand. The number of pages of Cue ranges from 16 to 20, including advertisements. Cue is produced by students and lecturers of the School of Journalism and consists of about 50 student-reporters, 10 sub-editors, and 2 editors (who are generally University staff). The productions layout is taken care of by a group of design students. Twenty students from the photo department take care of the pictures and rework them with Adobes Photoshop. Cue TV and Cue Radio (with a total of about 10 students) brought their reporting skills to the Festival as well. Reporting about the Festival by Cue is a major happening that has been growing over the years. From print to TV, to radio and online. This is fantastic, but also reflects equal problems in the media industry: each media platform runs their own show. Print, TV, radio and photography: they all have their own targets, content production, and some coordination. In order to take full advantage of the different possibilities of all the media platforms, convergence is the keyword.
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In celebration of the anniversary of the Hanze University and Academy Minerva in the year 2013, the research group Popular culture, Sustainability and Innovation (Centre of Applied Research and Innovation Art & Society) and Academy Minerva presented the first edition of the Energize Festival for sustainable art, design and lifestyle last November. I am happy to present this limited edition catalogue box with inspiring research posters and one minute movies by our students that formed the heart of the Energize Festival Exhibition. However, before informing you in more detail about the content of this box, I would first like to provide you with some background information on the festival’s theme…
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This paper reports the responses of nursing home residents who live in a psychogeriatric ward to the abstract interactive art installation ‘Morgendauw’, which was specifically designed for this study. All stakeholders were involved in designing and implementing Morgendauw. The artwork seems able to evoke responses in both the residents and their caregivers, but the amount and duration of the responses observed during the study were limited. 15 interactions over the course of 14 h were noted and almost all of them were initiated by the nursing home staff, physiotherapy students or visitors (n = 12). Interactions lasted for about 3 min on average. Although the nursing home residents initially did not seem to notice the artwork, the threshold of acknowledging and approaching the artwork was quickly overcome when staff nudged or directed the residents’ attention towards the artwork. Beyond this point, nursing home residents generally needed little explanation of the interface to interact with the artwork. The location in which Morgendauw was placed during the study or the characteristics of the installation seemed to create a threshold. Further research should focus on the importance and the effects of context when designing and implementing an interactive art installation in a nursing home environment.
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This qualitative study explores how leisure events can facilitate the creation of new narratives by analysing the case of the Kaya Kaya festival in Otrobanda, Curaçao. Kaya Kaya has played an instrumental role in transforming the dominant narrative of Otrobanda from a stigmatised area, perceived as problematic, to a vibrant, artistic neighbourhood. Through interviews and participatory workshops, including collage making, the study provides a nuanced view of how the event enabled narrative change by engaging the local community and altering physical spaces through murals and other art forms. It also examines the consequences of this narrative shift for the place, community, and individuals. The paper contributes to event studies by applying a narrative approach to understand the social value of events and by demonstrating how they can foster new, positive narratives for neighbourhoods. Ultimately, the study reveals that the new, progressive narrative remains incomplete, as a result of narrative construction.
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Een van de grootste uitdagingen voor de meeste hedendaagse Europese samenlevingen is de toenemende vergrijzing. Ondanks het feit dat 65-plussers over minder dan dertig jaar bijna een kwart van de bevolking zullen uitmaken, legt onze moderne maatschappij steeds meer nadruk op jeugdigheid en worden ouderen eerder uitgesloten dan verwelkomd. In de dans - een kunstvorm die overwegend met jonge lichamen werkt – had Act Your Age tot doel dit te veranderen. Act Your Age was een Europees project van twee jaar, waarbij het oudere lichaam centraal stond, geïnitieerd door partners Dance House Lemesos (Cyprus), Opera Estate Festival (Italië) en festival de Nederlandse Dansdagen. In Act Your Age stonden de menselijke vragen, verlangens en angsten in relatie tot ouder worden centraal. Twaalf choreografen gaven in 2012 en 2013 ouderen letterlijk en figuurlijk een podium. Het project bestond uit artistiek onderzoek, workshops, en expert- en community bijeenkomsten en creëerde een uitwisseling tussen Europese ouderen, jonge dansmakers, professionals uit de zorg en wetenschap en een breed publiek. Door de oudere performer daarbij een prominente plek te geven droeg Act Your Age op een constructieve, maar ook vernieuwende manier bij aan de discussie over de toenemende vergrijzing van de maatschappij en de beeldvorming rondom het oudere lichaam. Het eerste jaar (mei 2012-mei 2013) richtte zich op workshops en onderzoek en het tweede jaar op het presenteren van de uitkomsten. Tussentijds werd de voortgang van Act Your Age gepresenteerd aan het publiek rondom vindt festivals van de partners.
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What is a pop-up store and how can it be used for organisational counterspacing? The pop-up can be interpreted as a fashionable and hypermodern platform focusing on the needs of a younger generation of consumers that searches for new experiences and is prone to ad hoc decision-making. From this perspective, the pop-up is a typical expression of the experience economy. But it is more. The ephemeral pop-up store, usually lasting from one day to six months, is also a spatial practice on the boundary between place as something stable/univocal and space as something transitory/polyphonic. Organizational theory has criticized the idea of a stable place and proposed the concept of spacing with a focus on the becoming of space. In this article, the pop-up store is introduced as a fashionable intervention into organizational spacing. It suggests a complementary perspective to non-representational theory and frames the pop-up as co-actor engaging everyday users in appropriating space. Drawing on Lefebvre’s notions of differential space, festival and evental moment, theory is revisited and then operationalized in two pop-up store experiments. Apart from contributing to the ongoing theoretical exploration of the spacing concept, this article aims to inspire differential pop-up practices in organisations. https://www.linkedin.com/in/overdiek12345/
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This project focussed on the way in which images were used on Instagram to connect to the Oerol festival 2017 in the sense of ‘presencing’ (cf Meese et al., 2015). The case study is part of a PhD project that focuses on liveness in the mediatised experience of cultural events/festivals. Liveness is understood as being connected through media to events that matter to us as they unfold (cf. Vianello, 1985; Couldry, 2004; Auslander, 2012). Oerol is an ideal case to study how liveness is constituted during a cultural event.Oerol is an annual festival for theatre, dance, street theatre, art and music that takes place during ten days in June on the island of Terschelling. Since performances are created or adapted specially for the unique natural locations where they are carried out (beaches, woods, dikes, barns, streets, etc) this case provides an interesting surrounding to explore the relation between presence and liveness. The festival attracts about 50.000 visitors each year.
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