Organization Of Festivals Research Articles

The use of accounting in managing the institutional complexities of a festival organisation pursuing financial and social objectives

PurposeThe purpose of this paper is to explore the use of accounting when managing the institutional complexities of a festival organisation pursuing financial and social objectives. Specifically, it focuses on how accounting can be implicated in handling a festival’s multiple and potentially conflicting logics. Also, through mobilising the concept of institutional work, the following builds on our knowledge of the importance of what people do, in managing an organisation’s institutional complexity.Design/methodology/approachThis paper is grounded in a qualitative case study, for which the primary data derives from interviews, plus examination of internal documents and information in the public domain.FindingsThe festival studied is commercially successful, though ultimately one of its main organisational goals is to maximise donations to charitable causes. Other goals include: offering an alternative community through music, particularly to the young; fostering new and innovative artistry; and nurturing a festival family that is rooted to a large extent in its army of volunteers. The paper reveals how seeking such goals simultaneously requires the handling of logics that potentially can pull in opposite directions. Moreover, it highlights the efforts of festival organisers to maintain coexistence between the different logics, including the utilisation of accounting, accounts and accountability to facilitate this.Originality/valueThere are three main contributions of the paper. First, it offers new insight into how accounting can be purposefully used to mediate between potentially opposing logics in a complex organisational setting. Second, the paper extends our knowledge of the use of accounting specifically within a popular culture context. Third, the following adds to recent use of the concept of institutional work to understand why and how people mobilise accounting to handle institutional complexity in organisational settings.

Exploring the challenges for women working in the event and festival sector in the Kingdom of Saudi Arabia

ABSTRACT In the Kingdom of Saudi Arabia (KSA), the participation of women in many activities, including employment, is severely restricted and their continued exclusion from public life is a significant issue as KSA looks to improve its economic prosperity. Women’s underrepresentation in many economic sectors is a focus of the national ‘Saudi Vision 2030’ programme. By cultivating an understanding of the workplace challenges and employment limitations faced by women in KSA, government and industry can improve employment opportunities for Saudi women. The primary aim of this study is to explore the challenges for women working in the KSA event and festival sector. This research used a case study approach involving semi-structured interviews with personnel from within event and festival organisations and ministries in KSA. The study identified several challenges to Saudi women’s inclusion in the sector: cultural values, social network, workplace environment, education and training, gender diversity and regulation. Addressing these issues through evidence-based strategies can improve empowerment and inclusion of women in the event and festival sector. The lessons learned can also be applied to other employment sectors in KSA and extend our current knowledge of challenges to women’s empowerment by providing new perspectives arising from the context of KSA.

Managerial characteristics and budget use in festival organizations

Festivals are an important part of popular culture and have increased in popularity in recent decades. However, they remain relatively unexplored in the accounting literature, and understanding of the use of management control tools in this context is low. This study aims to investigate the use of budgets in festivals. Informed by upper echelons theory, it investigates how individual and observable characteristics of festival managers are associated with variations in the use of budgets. The study is based on a survey of 61 festival managers from 40 festivals. The findings suggest that festival budgets are particularly important in the planning and coordination process but used less frequently for ex post evaluations. The findings also indicate a positive association between a business educational background and the use of budgets for most purposes, with the exceptions of performance evaluation and reward. This paper contributes to the literature on accounting in popular culture in general and in festivals specifically. Through its application of upper echelons theory, it also contributes to the management accounting and control literature, showing how individual characteristics of managers influence the use of budgets.

Opportunities for the Development of Film Tourism in Kraków

For several years film tourism has been perceived as a new trend in cultural tourism. Following this trend, this work aims to determine which forms of film tourism are currently developing in Kraków. Moreover, it wants to indicate the potential of the city to create a tourism product in this field. In the research, guidebooks, as well as film materials and internet sources, have been used. Moreover, the offer of Kraków travel agencies regarding organised guided tours based on film have been analysed, along with sources such as city council strategic documents and reports. The research has demonstrated that Kraków is a city with high tourist potential in those terms. It regards both film production (including its surrounding area) and organisation of film festivals. However, analysis of guidebooks and local travel agency offers has pointed to a low interest in film. The research presented in the article, due to its attempt at comprehensiveness and upto-dateness in the context of new ideas for the development of tourism products, constitutes a contribution to Polish literature on cultural tourism. In practical terms, it may become an inspiration for those who are responsible for creating tourism products based on Kraków’s film heritage.

The Cyclic Organization of Festivals as Temporary Events: The Critical Role of Spatial Practices

This paper explores how space and spatial practices are central to organizing complex nomadic festivals, particularly how they enable a small number of organizers to coordinate changing actor multiplicity and place-based temporality. We draw on insights from a longitudinal and inductive study of a moving food festival whereby a multiplicity of parties and growing membership transpired. Our analysis reveals that spatial and material practices of envisioning the overarching space, constructing idiosyncratic spaces, enacting distinctive spatial performances, and cultivating unique place-based experiences enable organizers to address core challenges associated with the diverse multiplicity of actors and the temporality of events. Building on the spatial turn in organization studies, we contribute new insights to the study of festivals, temporary organizing and collective meta-level identities.

Murals as the newest tourist resources: the case of Kyiv

The relevance of studying the murals is that the murals allow to diversify the tourist offer of the capital. The purpose of this publication is to analize the development of the murals and the opportunity of using them as a new type of tourism resource. One of the subjects of the study is to carry out a retrospective analysis of the existing collection of Kyiv’s murals and to substantiate their use in the organization of excursion routes in order to inform tourists. During the study of the murals, the creation of the route allows to track the change in the image of the urban environment under the influence of street art. In the process of researching the murals as a tourist resources of cities, we have introduced the term “conceptual tourist resources”, which in our opinion most accurately reflects their semantic charge. Murals are the alternative resources towards traditional tourism resources (natural, historical, cultural, socio-economical or socio-historical) that are widely used in the classifications of leading researchers in the tourism industry (Kvartal’nov V., Smal’ I., Beidyk O., Mal’s’ka M., Kuzyk S., Liubitseva O., Pankova Ye., Stafiichuk V., etc.). The study identified the 32 biggest murals in Kyiv and found that the murals are the relevant forms of street art that focuses on social, cultural, and historical topics. Mural paintings have been found to be motivating objects to visit and affect the formation of city’s new symbols. In the route we have developed, we have selected 24 representative murals made in different styles, dedicated to several topics: milestones of Ukrainian history, the fight between good and evil, friendship and devotion, freedom and equality. Thus, the involvement of murals in excursion routes allows residents and guests of the capital city to track the change in the image of the urban environment under the influence of street art. In the course of the study, it was found that murals are ambiguously perceived in society. The analysis showed that the appearance of modern murals on the streets of the capital began in the mid-2000s, a sharp increase in their number occurred during 2015 - 2017. It was determined that the main factors that influenced the development of muralism in Ukraine were the demands of society and the organization of art festivals, including Muralissimo, City Art, Dynamic Urban Culture Kyiv, Mural Social Club, Art United Us, Mural Social Club Back to school! Ukraine, French Spring, etc. The largest art festivals include City Art 2015, Dynamic Urban Culture Kyiv 2015, Mural Social Club 2016, 2017, Art United Us 2016, 2017, within which 88 works were created. The results of the study identified the trend in the development of muralism in Ukraine, which consists of the gradual change from spontaneous, anonymous street art to the development of concerted and commissioned by state bodies paintings, which are spread not only on the walls of industrial sites, residential buildings, but also on the walls of educational institutions, government institutions and the police department. Kyiv is the first city in the world where a mural was created on the walls of the police department. The study found that since the mid-2010, the murals began to establish in the central part of the city, and since 2014 they have spread to the so-called “gray” residential areas of Sviatoshyno, Darnytskyi, Desnyanskiy and Solomianskyi districts and Obolon’, etc. Today, the total number of murals in the capital is 160.

Poster Queers: A Visual Analysis of an LGBTQ+ Film Festival

Abstract This study concerns itself with the visual representations of The Chicago LGBTQ+ International Film Festival (a.k.a. Reeling) with specific attention paid to their marketing campaign materials, as exemplified by the annually created festival poster. It is my aim to situate these posters alongside the historical contexts of queer identity, sociopolitical advocacy, and LGBTQ+ cinema. This analysis will navigate the 36-year period of the festival organization’s existence, providing key in-depth interrogations into the decades, images, and trends both visual and narrative. My unpacking and theoretical discussions of the festival’s visual culture has been informed by the practices of semiotics and film genre theory. These methods were employed to answer the primary research question: How have the poster advertisements, as visual signifiers for The Chicago LGBTQ+ International Film Festival, symbolized their organization’s mission, represented queer identities, and engaged with the politically contested history of queer cinematic representation?

The First World Festival of Negro Arts, Dakar 1966: Contexts and Legacies

Reviewed by: The First World Festival of Negro Arts, Dakar 1966: Contexts and Legacies ed. by David Murphy Yohann C. Ripert The First World Festival of Negro Arts, Dakar 1966: Contexts and Legacies ED. DAVID MURPHY Liverpool UP, 2016. xii + 224 pp. ISBN 9781781383162 cloth. The First World Festival of Negro Arts, Dakar 1966: Contexts and Legacies is a collection of ten essays that investigate art performances and postcolonial practices at a major cultural event promoted by Léopold Sedar Senghor, as well as the event's influence in large-scale spectacles of culture and the role of archives and archival-making from 1966 to 2016. Edited and introduced by David Murphy, the book is the only publication dedicated to a festival that some have cited as the "apotheosis" of Negritude (vii). Its most important contribution to the fields of African and postcolonial studies, however, is to combine multifaceted readings that go beyond Negritude and question the ways in which both Cold War ideology and Pan-African ideals haunted the First World Festival of Negro Arts, including how painters, choreographers, writers, and intellectuals have used the encounter to strengthen the ties between the African "homeland" and black peoples in the diaspora—especially in the United States. Though the book does not expand on the history of preceding cultural events (such as the 1956 Congress of Black Writers and Artists and its second iteration in 1959, as well as the 1962 Conference of African Writers of English Expression) to a 1966 festival (FESMAN) that aimed to create a platform for bolstering transnational blackness, David Murphy's thorough introduction theorizes the festival as "an attempt to produce a global community through a shared blackness" (5). Engaging with the most recent literature on aesthetics and politics in the postcolonial period, Murphy focuses on the political climate framing the festival's organization and stages its performance within a double bind that black intellectuals, artists, and statesmen faced after independence: between the reality of nationalism and the imagination of a postcolonial globality. To that end, Murphy questions both the "involvement of the important US delegation" in Senegal and the larger "role of culture in a post-imperial world" (9). In the volume's first part, "Contexts," each chapter engages with the double bind by offering a remarkable archival work on different aspects of the festival: staging of a "tradition" in art exhibitions (Vincent), creation of an "authentic" African ballet (Kringelbach), performance of the past in carefully programmed theatrical plays (Quinn and Bush), and coverage in popular media (Jaji). Perhaps [End Page 202] the strongest connection between these five chapters is their critical approach to the influence of and challenge to Senghor's aesthetic positions at the festival. Hélène Kringelbach not only analyzes how "the past was being reimagined in neo-traditional performance through the selection and standardization of a limited number of preforming practices" (74), she also retrieves from the archives a letter between Senghor's longtime ally Alioune Diop and Gray Cowan (Columbia University professor and future President of the African Studies Association) for academic expertise on "traditional African dances"—a request that seems to reveal an ideological contradiction between Senghor's strong sense of traditionalism and a lack of knowledge about those supposedly innate traditions. Similarly, Brian Quinn's close reading of Senghor's and Malraux's opening speeches revisits the "reworking of the relationship between culture and the State" (84) and then proceeds to analyze the behind-the-scenes of the festival's staging of Amadou Cissé Dia's Les Derniers Jours de Lat Dior to uncover a troubling instrumentalization of culture that "heads of states such as those in the audience at FESMAN" (95) can use for the mobilization of a nationalist sentiment. In the second part of the book, "Legacies," the focus turns to the festival's afterlives: from the 1969 Algiers festival conceived as a direct response to the Dakar event (Anderson) and the 1977 Lagos Festival explicitly hailed as its direct successor (Apter), to the making of the PANAFEST archive that examines the relation between those three festivals and the Zaire 1974 music festival (Vincent and Malaquais) and a more theoretical consideration of "festivalism" in Africa...

Cooperative Learning of Seiryu-Tai Hayashi Learners for the Hida Furukawa Festival in Japan

The residents of Furukawa-cho, Hida City, Gifu Prefecture, Japan use cooperative learning during festival organization to preserve the various traditional arts of Hida Furukawa Festival, such as Hayashi. The goals of this study were to (1) analyze the aspects of cooperative learning of Seiryu-tai Hayashi learners involved in the Furukawa Festival, and (2) determine the effects of factors influencing cooperative learning on the aspects of cooperative learning among these learners. We applied grounded theory and conducted a field study on the six years of the Furukawa Festival and residents’ daily lives since 2014. We numbered, coded, and categorized text data, and classified the data using the KJ method. We applied the five elements of cooperative learning by Johnson and Johnson, and analyzed the cooperative learning processing of Seiryu-tai, considering five aspects: (1) cultivation and skills: to follow the norms of Hayashi learning and then cultivate the skills; (2) demonstration and imitation: the process of Hayashi learning without notation; (3) instruction and accompanying: elders addressed norms and demonstrated skills, providing comfort and encouragement; (4) experience and feeling: interacting with unqualified learners to experience the Hayashi atmosphere, and (5) others and interaction: experience of a different culture. From the analyses, we found that the five elements of cooperative learning in Hayashi cooperative learning provide new functions. We applied the five elements of cooperative learning to analyze the five aspects of Azure Dragon Stall’s Hayashi cooperative learning: (1) positive interdependence: deep interdependence exists in the core of the learning circle, and guarding and immersion are included; (2) individual accountability: achievement of following the norms, enhancing skills, and having a tacit agreement on the instrumental ensemble; (3) promotive interaction: five interactive types are influenced, including people who follow etiquette, people who need to be advised, people who imitate, people with tolerance, and people who interact; (4) the division of social skills into four types including playing, performing, senior, and foreign, and (5) group processing, which includes learners, instructors, senior learners, elders, youths, and foreign visitors, who jointly form the Hayashi learning circle.

Emergence and Spread of Exchange Centres in Early Medieval Western India

The present article basically seeks to look into the emergence and spread of exchange centres, popularly known as maṇḍapikās and haṭṭas, in western India during the early medieval period (c. 600–1300 ce). Large-scale land grants, introduction of better means of irrigational facilities such as araghaṭṭa and vāpī acted as catalyst for the growth of agrarian economy, leading to the availability of marketable surplus. All this altogether led to dynamic upsurge in trading activities, ultimately providing a favourable ground for the rise of exchange centres in different parts of Rajasthan and Gujarat. Political initiative by the rulers, rise of temple economy, organisation of fairs and festivals and the spatial context of an exchange centre were enabling factors. Merchants and merchant groups also in their capacity played a crucial role in the growth of exchange centres during this period.

Methods of Goods Delivery to the Historic Core of the City of Šibenik During the Tourist Season

Abstract City logistics has the goal of optimizing the entire logistics system within the city area and thus positively impact the quality of life. Different measures and initiatives, aimed at the optimisation of city logistics and reduction of the negative effects of urban freight transport are access zones or goods (freight) receiving points in the city centre, restrictions of vehicle dimensions, time schedule of delivery, consolidation strategies, use of urban distribution or consolidation centres, use of electric cars, use of urban public transport and mobility management. In the last couple of years, the city of Šibenik has experienced a tourism boom, which includes the organisation of numerous festivals in the old town core, an increase in the number of visitors, an increase in the number of catering and shopping facilities, private accommodation units, hotels and hostels. The increased number of tourists and commercial establishments also broaches the question of delivery of food and non-food products into the old part of the city, especially during the tourist season.

Inaugural Events and Beer Tourist Behavior: Capitalizing on the Craft Beer Movement

The craft beer movement has resulted in an increased number of beer festivals. Consequentially, many event organizers, groups, and individuals have sought to capitalize on this movement by hosting inaugural beer festivals. This article proposes a multidimensional conceptualization of perceived value specific to beer festivals incorporated into a model for beer tourist behavior by exploring the staging of an inaugural beer festival hosted in a rural community located in Southeastern New Mexico (USA). A mixed-methods approach incorporates depth interviews and questionnaire data. In-depth interviews with 10 attendees provide supplementary information not obtained from the questionnaire. Sixty attendees completed the questionnaire resulting in a 34% response rate. Researchers performed an exploratory factor analysis and regression analyses to test the models. The multidimensional conceptualization of perceived value and the elements comprising servicescape significantly impact satisfaction. Additionally, satisfaction impacts intentions to purchase and to visit. Furthermore, theoretical and practical implications regarding (1) festival organization, (2) marketing to attendees, and (3) marketing to vendors are discussed to benefit both academicians and event organizers, groups, and individuals hosting inaugural events in general and inaugural beer festivals in particular.

An Investigation on Food Image, Festival Satisfaction and Loyalty: Example of Alaçatı Herb Festival

9. Alaçatı Ot Festivali’ne katılan ziyaretçilerin festivale yönelik algıladıkları yiyecek imajının festival memnuniyetleri ve festival sadakati üzerindeki etkileri araştırılmıştır. Bu bağlamda 6-8 Nisan 2018 Alaçatı Ot Festivali alanında maksimum çeşitlilik örnekleme yöntemi ile 9 kişi ile görüşme tekniği kullanılarak veriler toplanmıştır. Görüşmeler araştırmacılar tarafından yazılı ve sesli kayıt altına alınmıştır. Yapılan araştırma sonucunda ziyaretçilerin festivale yönelik algılarının olumlu yönde olduğu belirtilmektedir. Ayrıca festival sadakatinin, festivali başkalarına tavsiye etme ve tekrar ziyaret etme niyeti açısından etkili olduğu ancak festival organizasyonunda farklı rekreatif faaliyetler eklenmesi ile festival memnuniyeti üzerinde daha olumlu etki yaratacağı elde edilen bulgular arasında yer almaktadır.

Resource mobilisation and Russian LGBT activism

ABSTRACT The paper explores the role of resources in LGBT activism in Russia. Russian LGBT activism emerged and developed after the fall of the Soviet Union with activists engaging in various activities such as organisation of cultural festivals, publication of press, litigation, and organisation of street events. However, the state’s pressure and negative public attitudes that intensified in the country in recent years make the work of LGBT activists increasingly complicated. The paper analyses Russian LGBT activism through a prism of social movement theories to examine resources available to Russian LGBT activists.

Вьетнам — Россия: диалог культур

The article provides information about the cultural connections of the Far-Eastern Region of Russia with the cultural activists of Vietnam, performances of dance ensembles, exchange of concert programs and organization of combined festivals. Separate attention is given to the selfl ess activities of reconstructing the traditional temple and the rituals of the recent representatives of the Le imperial family carried out by a representative of the dynasty Mrs. Le Thi Minh. Description is given of the historical facts and traditions of the culture of Vietnam, a characterization of the ritual costumes is presented, and information is given of the artistic work carried out by youth ensembles in Vladivostok in restoring Vietnam’s dance ritual culture with the assistance of Mrs. Le Thi Minh.

Культурно-просвітницька діяльність лемківської еміграції у висвітленні русинської періодики Другої Речі Посполитої

Formulation of the problem . During the second half of the XIX - first third of the XX century Ukrainians experienced several powerful waves of emigration. At the same time, the emigration flow from the Lemko lands was marked by the greatest intensity due to severe natural economic conditions and the problem of land scarcity. Having faced a new socio-economic and cultural-mental situation, having adapted to completely unusual natural and economic circumstances, the Lemkos did not give up their own national identity. They launched an active cultural and educational work aimed at cultivating a sense of their own national and cultural identity among the settlers. This important and diverse cultural and educational activity of Lemko activists abroad has not become the object of independent scientific reflection, which makes it impossible to create a holistic image of the national service of diaspora Ukrainians. The purpose of the article is to clarify the forms, manifestations and content of the cultural and educational work of the Ruthenian emigration on the basis of the newspapers «Our Lemko» and «Lemko». The main results of the study. Lemko newspapers mainly wrote about numerous American and Canadian communities. The newspapers published independent thematic sections that specifically covered the life of Ruthenians in North America. It is important to note that these columns were edited by the Lemko correspondents in emigration, so that the contributors could recreate a fairly complete picture of the rich cultural and social life of the Lemkos in New York, Philadelphia, Chicago, Winnipeg, Montreal, Toronto, and others. Along with the articles about the life of Lemkos in the North American countries, quite a few Lemko newspapers wrote about the cultural life of Lemko communities in South American countries, such as Brazil, Peru and Paraguay. The newspapers published columns «To the Lemko Brothers from Uruguay» and «Ukrainians in Argentina» that provide information about the cultural achievements of the Lemkos in these countries. The newspapers published articles about the life of Ruthenians in France, Germany, Britain, Czechoslovakia, Lithuania, and Yugoslavia as well. They inform about various cultural and educational events and considerable achievements of Lemko emigration in these countries. Finally, there were a few publications from Manchuria (Green Wedge) that give an idea of the scale of Lemko’s emigration. Conclusions. The study suggests that the cultural and educational movement of Lemko emigrants was extremely active, especially given the modest financial resources of the migrants, who mostly worked in the least prestigious and therefore low-paid jobs. The diversity of Ruthenian cultural life is also striking, it includes various projects such as creation of educational institutions, establishment of museums and Sunday schools, organisation of folklore festivals, publication of periodicals and implementation of translation projects. As a result, this work, mostly conducted in the spirit of unity, became an important and organic component of the cultural life of foreign Ukrainians in the interwar period. This allowed to preserve Lemko cultural diversity and ethnic identity and pass them on to the post-war generation of Ruthenians, who were deprived of the right to live on their native land by totalitarian regimes.

Этнокультурный неотрадиционализм как ресурс формирования идентичности в современных социокультурных трансформациях

This article aims to explain ethnocultural neo-traditionalism as a tool for the formation of ethnic and national identity and for identification of possible interconnection and synergy of these types of identity. The authors interpret ethno-cultural neo-traditionalism and identity problems as the global manifestation of ambiguous consequences of the contemporary socio-cultural transformations. They argue for treating it as a resource for the formation of ethnic and national identity, analyzing the problems and contradictions arising in this case. The potential possibilities of the proposed conceptual scheme are illustrated by two illustrative cases: Breton (Celtic people in France) and Selkup (Siberian people in Russia). In order to achieve this goal, besides the case study, the authors have used sociocultural approach in its authorial interpretation, which allows considering ethnocultural neo-traditionalism, first, as an inter-cultural phenomenon — the effect of interaction between different ethnocultures — and second, as an integrative policy that consolidates the potential of the ethnos in synchrony and diachrony. The analysis of Breton neo-traditionalism from the abovementioned positions allowed to reveal such features as participation in the Breton cultural movement of authentic bearers of tradition, its transmission to new generations through direct immersion in a living tradition, participation in the movement of families and its mass character, absence of borders between spectators and performers, accumulation of various modifications and local variations of cultures, enrichment of tradition with modern elements and experimentation, urban localization of holidays, formation of cultural industry, and organization of international cultural festivals, inclusive of various social and cultural practices. Such experience, presented in the Selkup cultural movement, forms and confirms a positive ethnic identity with the assistance of the state. Cultural expansion and international recognition of ethnocultural non-traditionalism practices remove the problem of local ethno-political ambitions and strengthen national identity as a prerequisite for the development of ethnic identity. Thus, the analysis shows the possibilities of cooperation, synergy of national and ethnic identities based on the implementation of the strategy of ethno-cultural non-traditionalism.

The Impact of Political Transformations on the Development of Spanish Culture After 1975

The Polish version of the article was published in Roczniki Humanistyczne 61 (2013), issue 2.
 The political transformations in Spain that ended with the free parliamentary elections of 15th June 1977 were a powerful catalyst for the activity of the Spanish nation in all walks of life. Between 1975 and 1990 a real revolution took place in the Spanish mass media and in culture. It resulted in the setting up of modern periodicals (among others, El País, El Mundo, Navarra Hoy, Diario la Rioja and many others), over 2,600 radio stations and a network of modern television channels broadcasting programs devoted to the culture and languages of the autonomous communities. The Ministry of Culture established in 1977 supported initiatives promoting the multiculturalism of the Kingdom of Spain, which resulted in the opening of several dozen modern museums, institutes of modern art and the organization of numerous festivals.
 The decentralization of the country made it possible to emphasize the multiculturalism of the Spanish autonomous communities that today act as a magnet for 70 million tourists from all over the world.

Future of the arts festivals: do the views of managers and attendees match?

PurposeTo make sense of the relationship between the festival attendance and the aims in arts festival management, the purpose of this paper is to explore the key characteristics for success and analyze the perceptions of the future in arts festival productions.Design/methodology/approachThis qualitative study uses interviews with festival managers and empathy-based stories (MEBS) written by members of festival audience. Discourse analysis is employed for answering the questions: What are the characteristics of a successful festival, and what could ruin it?FindingsThe paper highlights the importance of interaction with the audience orchestrated by the festival organization. Such interaction co-constructs a more holistic festival experience valued by both parties, which supports the sustainability and future success.Research limitations/implicationsThe research data are limited to one country, and music festivals dominate the data.Practical implicationsAmong managers, there is a need to consider audiences as consumers and as producers in the current competitive climate in the arts and cultural field and clarify the role of the audience as a partner in the networked festival production by placing the attendee at the core of the strategic planning process of arts festivals.Originality/valueThe research combines the views of the demand-and-supply side. It adds to the knowledge in arts and festival management by exploring the relationship between attendance and the aims of arts festival management in general, and the key characteristics of success in the arts festival context in particular. MEBS offers new interesting opportunities for future research in qualitative festival research.

Innovative Socio-Cultural Project Development Realized by The Leaders of Folklore Groups to Preserve and Develop the National Folk Culture

The article is devoted to innovative socio-cultural project development as a way of preserving and developing folk culture. In the modern world, far from traditional culture, folk rituals and art must penetrate life itself, as it was two hundred years ago, and accompany daily events and activities. Innovative socio-cultural project development contributes to this. The conceptual justification for the implementation of the laws and principles of innovation was carried out by M.M. Potashnik, L.S. Podymova and A.V. Khutorskoy. The essence of innovation was revealed by F. Bezrudnyi, V.S. Dudchenko and O.S. Sovetova. A special area of cultural innovation is the ethnocultural sphere; its features were considered in the works by N.G. Mikhailova, L.L. Khristiansen and A.S. Iareshko. The study reveals the features of project development in the field of culture and leisure, which consist in the fact that it is aimed at updating existing or developing and introducing new technologies significant for culture and priority artistic and spiritual values. The authors have systematized modern projects in the field of folk culture related to the creation of audiovisual products, organization of festivals and celebrations based on the materials of regional song folklore, artistic and creative recreation of folk clothes, jewelry, crafts and ceremonies, stage productions, as well as new forms of cultural activity, including quests, cities of folk crafts, virtual travel. The study may be useful to teachers and methodologists in developing educational programs in universities of culture and art, to social and cultural workers in organizing and conducting socio-cultural projects related to folk culture, to heads of ethnocultural centers and amateur and professional groups in conducting artistic and creative activities, as well as scientific researchers of modern sociocultural processes. The novelty of the study is associated with its conclusions. Based on the fact that the socio-cultural sphere has acquired both a non-commercial and commercial nature today, a head of a folklore collective must be an economically and legally competent specialist, whose activity correlates with the laws of cultural- and socio-historical, as well as modern, processes and experience of social communication and interaction. For successful development of innovative thinking in leaders of folk groups and institutions in the cultural sphere, scientifically based information is needed, concerning both structural and procedural characteristics of innovative thinking and socio-psychological determinants of its development and implementation.