The Global Industry Of Festivals And Events Tourism Essay

The Global Industry Of Festivals And Events Tourism Essay A global industry of festivals and events has grown and expanded since the 90s. Nowadays, festivals are recognized as one of the top growing types of leisure- and tourism related phenomena (Dimmock and Tiyce, 2001). As Mintel International Group (2006) suggests, festivals are forecasted to grow a total of 106% in the next five years period. South Australian Tourism Commission (1997, p. 2) suggests an easily understandable meaning of festival :Festivals are celebrations of something the local community wishes to share and which involves the public as participants in the experience. Festivals must have as a prime objective a maximum amount of people participation, which must be an experience that is different from, or broader than day to day living. Festivals, and more specifically, music Festival Organizations are increasing in number every year worldwide. According to Frey (1994), the provision of music festivals has developed based on a stable increase in disposable incomes, accomp anied by an increased amount of time offered for holidays. Furthermore, another feature that makes music Festivals so popular, is the fact that music Festivals form events which include a variety of activities associated with the music (Bowen and Daniels, 2005), unlike concerts which provide mainly live music performances, rather than various event attractions. One of the most popular music Festivals in Greece for the last six years is the Synch Festival. The Synch Festival was born in 2004 at Lavrio Technological Cultural Park, an ex industrial area of unique beauty, aimed at bringing the Greek and international audience, in touch with contemporary sounds and images. Music, arts and new technologies coexist in a two day festival. Keeping the pace with modernity Synch offers its audience the possibility to meet with some of the most interesting aspects of global culture. Synchs main course is music but despite its focus on the various aspects of the contemporary electronic scene Sy nch denies all kinds of borders and separations that lead to limiting or rigidifying musical expression. The musicians participating in the festival originate from different backgrounds and currents to share their ideas discouraging easy categorization creating musical hybrids that constantly evolve. An uncommonly open-minded curatorial sensibility, tapping everything from experiemental microsound to minimal house and banging techno to local outfits using rock, jazz, regional music and electronic elements. The Wire Its got the perfect balance of industrial setting, a diverse multimedia programm, cutting edge electronic acts and classic live acts. One to watch! Time Out London Falassi (1987) argues that the collective role of a festival is directly connected to values that a community looks upon as vital to its ideology, such as social identity, historical continuity, and physical survival. Additionally, according to Arcodia and Robb (2000), a festival develops around the marking of unique occasions and around the festivity of important events. Thus, according to Usyal, Gahan and Martin (1993) a festival may be considered as the cultural resources of an area that make realizable the successful hosting of festival attendees. The phenomenal growth, coupled with increased consumer awareness and choice, requires the industry to manage the sector effectively and efficiently to ensure sustained development and growth in the future (Yeoman, Robertson, Ali-knight , 2004, p. xix). Therefore, according to Arcodia and Whitford (2010) festivals are expanding worldwide as an increasing and lively sector of the tourism and leisure industry, which have major economic, so cio-cultural, and political impacts on the destination and on the host groups, if managed properly. All the way through history, festivals have taken the forms of cultural traditions or have marked religious or historical occasions linked to the community staging the festival (Arcodia Robb, 2000). According to Earls (1993) historically, the way festivals celebrated special occasions was through art, ritual, and festivity; they were seen as public meetings that make peoples joint wishes and dreams reality and offer a significant event for a unique experience in their lives. The basic origins of this type of communal celebration which has cultural importance to the host population (Pardy, 1991), can be traced back to the carnival of Europe. ( Arcodia, Whitford, 2010) The defining characteristic of a special event or festival is its transience (Gilbert and Lizotte , 1998, pp. 73). This suggests that it would be difficult to encourage and maintain the same sense of occasion and enthusiasm, if such an event was to be held more often. Goldblatt (1997) defines a festival as a special eve nt that recognizes a unique moment in time with ceremony and ritual to satisfy specific needs(Goldblatt, 1997, pp.33).According to Yeoman et al. (2004) the word festival derives from feast and means a time of celebration. Yeoman, et al. (2004) argue that the features of festivals and events are unique, thus no common model of management fits them all. These characteristics include intangibility , production, often taking place at the same time as consumption, and perishability (Yeoman et al., 2004, pp.xx). Festivals and events have diverse levels of operating costs and they fall into both the not- for -profit and profit- making categories. They can range from small-scale , locally based events, to large international festivals (Yeoman, et al, 2004). Previous studies on festival motivation(Uysal et al,1996, Nicholson and Pearce, 2001, Crompton and McKay, 1997) jointly demonstrate that the type of the festival is a significant predictor of motives. As a result, further exploration on various types of festivals should be conducted, in order to improve our understanding of the relationship between the kind of the festival and the visitor motives. A significant characteristic of a festival is the sense of community, belonging and celebration engendered by an event, which is a communal and free social meeting including a variety of media such as arts, performances and shows (Goldblatt, 1997). Cultural consumption is an intangible pleasure-seeking experience. The consumer experience in cultural products appears to have as its main elements the multisensorial, fantastic and emotional aspects of any consumer experience (Bourdeau, Paradis and Nyeck, 1997; Bourdeau, Decoster, Paradis; Hirschman and Holbrook, 1982). In other words, it can be perceived as a self-gratifying consumer experience with an experiential perspective (Hirschman and Holbrook, 1982). The intangible characteristics of attendance at a cultural festival make the event a consumer facility. According to Bourdeau et al.( ) more generally, it is a hedonistic experience in which consumers use their senses. It is only after this hedonistic experience, when they leave the festival site, that they develop feelings of satisfaction or dissatisfaction ( pp.1, in Bourdaeu, De coster Paradis,2001). Managers of a cultural scheme must supply an intangible, hedonistic experience but one that includes not only the basic service but peripheral services as well (Eiglier and Langeard, 1987). The basic service is the principal reason for attending. In the case of a music festival, it is the content of the event the live shows. Peripheral services are those surrounding the event such as festival information services. The intangible, hedonistic nature of a festival visit makes it difficult for managers to determine satisfaction levels among consumers. Swan and Combs (1976) have demonstrated empirically that when performance does not meet the consumers expectations, dissatisfaction results, and when performance does meet expectations, satisfaction results. Generally, the variance between expectations and performance correlates positively with feelings of satisfaction or dissatisfaction. Howard (1977, p. 57) defines satisf action, from an expectancy theory perspective, as the consumers mental state of being adequately or inadequately rewarded for the sacrifice he or she has undergone. The degree of adequacy results from comparing actual past experience with the reward that was expected from the brand in terms of its potential to satisfy motives served by its product class.} (Bourdeau, De Coster, Paradis, 2001) terasties allages One of the original service quality theories is that customers are satisfied when their judgment of the service they have received (perception) equals or exceeds what they expected: Customer Satisfaction (CS)= Perceptions(P) =Expectations. This is known as the gap analysis theory (Zeithalm et al., 1990) or Olivers expectancy disconfirmation(Oliver, 1997). Zeithaml et al. considered that the factors that influence customers formulation of their expectations are word of mouth , personal needs, external communications, and past experience. Johnson and Mathews (1997) noted that the expectations of a frequent user of a facility would rely more on the influence of past experiences than other sources of information(eg. Advertisements). Researchers have no way of knowing what a first-time users expectations are based upon. Dale (1994a) suggests that world class experiences are used to formulate expectations. Parasuraman et al. (1988) tried to set customer expectations in context by suggesting that they are what an organization should offer. (Williams and Buswell, , pp.63-64) (table , pp. 67) MOTIVATIONS : The success of a festival is heavily dependent on the implementation of a strategic marketing plan; an understanding of the relationship between a destination event and its visitors and the identification of target markets are critical factors in the process (Thomson and Schoefield, 2009). Festival organizers are likely to contend that their primary goal is to provide high quality, satisfying experiences that visitors perceive to be good value in order to increase the probability that the visitors will return in the future and/or recommend the festival to others in their social circle (Lee, Petrick and Crompton, 2007). Since competition among festivals and destinations is increasing, the need for information on festivals, specifically analysis of motivations for attending festivals and events (Getz, 1993), has become crucial. Actual attendance itself may be attributed to multiple motives or just a single motive. In order for the event organizers to manage to deliver a great experience, the event product definition is a vital step. The event product is a unique blend of activities, which are the tools for achieving the overall event aims and satisfying customer needs. Event design should be customer orientated , and event organizers should create a mix that satisfies the largest number of potential customers na to allaksw ( Salem, Jones, Morgan, 2004, in Yeoman). Getz in 1997 pointed out the importance of the definition of the event product , by arguing that (oxi quote na to allaksw) many events suffer from a product orientation that is , they try to sell their event with little or no regard for what potential customers need , want, and will pay for. Hall in 1992 identifies three important objectives of event marketing: (oxi quotes, na to allaksw) read their customer needs and motivations , develop products that meet these needs, and build a communication program which express the events pur pose and objectives. Individuals, participating as audience at a festival or special event wish to satisfy their curiosity about place and people. Often they want to do what locals do and hope the festival experience will give them entrà ©e to the ways of life of a particular place(Yeoman, 2004,pp.38). Participants wish to emerge from the event with experiences and stories to talk about back home. These people want to avoid unsafe situations , discomfort, doubts, worries, embarrassment, making too many complex decisions , or being treated as computer number and being made to feel a nuisance. It is a marketing truism that people do not buy products or services , they buy the expectation of benefits that satisfy a need. (oli I paragrafos Yeoman, Robertson, Ali-Knight, 2004) giauto na to allaksw) No matter what the reason is for hosting a festival or event , there is a wide range of customers , each with different expectations , and this will impact on the management processes considered for each individual festival or event. (Yeoman, et al.,2004, pp. xx) According to Grainger-Jones (1999, p.53) leisure is defined as the application of disposable time to an activity which is perceived by the individual as either beneficial or enjoyable. Motivations are a hypothetical construct to define the driving forces of human behavior (Kroeber et al, 2003) and explain why people do what they do instead of choosing an alternative option. . The personal motivational drives of individuals are filtered and redirected by the social circles of workmates, family and friends (Burch, 1969). Therefore, the motives to attend a festival could vary from entertainment, socialization or excitement, to escape , or even relaxation . Needless to say, event organizers might have misconception of their customers motivation. Wicks and Fesenmaier (1993) examined the perceptual gap on customer expectations between visitor and vendors, identifying those areas of the event that need improvement. The same analogy also has applicability to the identification of the motivation gap that may exist between attendees and festival and event providers. {As Fodness (1994) points out, the motivation represents the major driving power in explaining human behavior, although it is not the exclusive factor.}(fODNESS, 1994)na to allaksw. Lee and Lee (2001) concluded that segmenting festival markets through motivations enables event managers to identify the strengths and opportunities of each market and helps guarantee their satisfaction. In most situations where festival visitors are heterogeneous, segmenting these visitor groups and understanding their characteristics based on festival motivations will be a powerful marketing tool, that enables event managers to enhance and promote event features preferred and valued by target segments (Formica Uysal, 1996, 1998). Crompton and McKay (1997) contend that event managers should strive to better understand the motives of festival attendance in order to design better products and services for them and because motives are a precursor of satisfaction and a factor in decision making, this in turn can lead to greater attendance. Crompton and McKay (1997) studied visitor motivation within the festival content for the following reasons: (1) it allows matching the festivals program to visitors needs; (2) it helps safeguard visitor satisfaction by increasing the chance of meeting the visitors diverse needs; and (3) it warrants repeat visitation, which is essential for the viability of the festival. Oakes( 2003) further contends that information regarding motivations can also be used to lure sponsors who are key to event funding. Schoefield and Thomson (2007) also agree It is critically important to identify festival visitor motivations and to measure the performance of festivals from the consumer perspective. They suggest that from a planning and management perspective it is vital to determine visitor satisfaction and behavioral intention with respect to repeat visits and to help identify the factors which affect visitor motivation and their experiential outcomes. (apo Gelder, Robinson, 2009,) Bowen and Daniels (2005) state that understanding why people go to music festivals can help planners align their marketing efforts to emphasize the attributes that best reflect the mission and goals of each event . Nicholson and Pearce (2001) believe that these factors will become increasingly important as the growing number and diversity of events, especial ly festivals, lead to heightened competition , in particular when events are initiated or expanded to encourage tourism and thus boost local economies (Daniels, 2004). Apo Glastonbury pdf Getz (1993) also emphasized the importance of analyzing visitors motives for attending festivals and events. Identifying such motivations is a prerequisite for planning event programs effectively and marketing them to visitors (Crompton McKay, 1997). Analysis of festival motivations also helps event managers to better position their festivals (Scott, 1996). PURPOSES OF THE STUDY By understanding what drives and motivates participation, the festival management could probably gain better insight into a strategy to maintain attendees and to drew new ones to the festival (Van Zyl, 2006). The primary aim of the present research is therefore to fill the gap in previous research by determining what motivational factors push and pull visitors to attend the Synch Festival, held in Athens, Greece, and participate in it, and what are their expectations. Comparisons will also be made with the point of view of the manager of the organizing company. By understanding attendees motivations you can give the opportunity to the event organizers to tailor promotions and develop desired services. The research objectives are : To explore and review the literature relevant to the motivation and expectations of people attending leisure events, with particular emphasis on music festivals. To investigate what motivates people to attend the Synch Festival and their expectations of the event. To explore and review the ways in which the Synch Festival is managed and organized, and in particular , the degree to which (if at all) customer expectation and motivation is considered. To report the findings of my research and, where appropriate, make recommendations and suggestions to the event organizers , as well as fill the literature gap as far as the exploration of festival motivations at a national level, is concerned. To achieve this, the article is structured as follows: the literature review is followed by a description of the method of research, then a discussion of the results, a discussion of the findings and their implications and, finally, concluding remarks.

Heritage and Narrative Style in Alice Walker’s Essay

Everyday Use (1973), one of legendary author Alice Walker’s most popular and often anthologized short stories, employs a unique narrative style that serves not as a device to indicate chronology of events, but for a more significant goal. The transitions between the different tenses—past, present and future—symbolize the conflict exposed in the story of a black woman and her two daughters, who are polar opposites of each other. Specifically, it tackles the discussion of the African-American heritage, used in the story as a stage for different interpretations coming from various points of knowledge. The voices changes represent debates of future vs. present, present vs. past, affirmation vs. negation, and family vs. heritage. The narrator is the woman, Mrs. Johnson, referred to by her daughters as â€Å"Mama†, who lives in rural American South presumably during the late 1960s or early 70s. She has two daughters—Dee, the prettier one who left home for the city to study; and Maggie, of the many burn scars from a fire that raged their first home, and is painfully shy and prefers to stay in the background. The events start with the arrival of Dee, after many years, with her mother and sister preparing for the moment. This is mainly the reason for the future tense used in the opening paragraphs, as Mrs. Johnson describes how the just-swept yard looks like, and how nervous Maggie seems. Anticipation for what they may witness upon the arrival of Dee is clearly communicated, as well as references to the world they live in, unchanged by time yet comfortable for its occupants. Here, the typical texture of rural black America is subtly depicted, as detailed by the hard clay yard and the presence of elm trees. The next parts suddenly shift to present tense, as Mr. Johnson describes herself, and her relationship with her daughters. and the personalities of the two girls. She reveals her farm life and background, and how this contrasts and echoes the resulting characters of Dee and Maggie. Introspection is used throughout, indicating the inner debate Mrs. Johnson has with herself and possibly to validate her failure or success in raising her daughters. She speaks of Maggie in the present tense, but later changes to the past when describing Dee—showing that her familiarity with her girl remains purely in her memory. She compares Dee’s life as a teenager with that of her own, defining the obvious differences in attitude, education, and opportunities received. Several mentions of how Dee refused to live in the old house and possibly in the new one, representative of backwoods life, are points of emphasis referring to her character and attitude. These two observations, both real and anticipated, are the first hints at Dee’s negation of their heritage. Mrs. Johnson’s narrative also tells of another symbolic scene, as their first house burned down—when Maggie was marked with the permanent burn scars. Dee, while it was happening, was a safe distance away as she watched the burning intently, oblivious to the danger and the harm it was causing her sister. This image serves as an illustration of Dee’s hatred of the culture and heritage they have come to know, and how it has scarred her sister and rendered her insecure and invisible. Dee, who lives by her own rules, ultimately emerges as the clear winner in this phase of their unspoken battle. See more: how to start a personal narrative essay examples The narration of Dee’s arrival again begins with the future tense, but is literally cut abruptly by her presence. The voice shifts back to present, as Mrs. Johnson describes in graphic detail the strangeness of her daughter’s appearance, with a decidedly humorous tone that connotes subtle sarcasm over the absurdity. Dee, who now wants to be called Wangero, is made to appear like a caricature; the same, if not worse, goes for her male companion, who introduces himself as the Muslim Asalamalakim. The action is shown through various details that indicate both insincerity and pretense, starting with Dee’s laughable affectations in using a Polaroid camera—a symbol of technology, and, in this context, a device used to separate herself with her old life—her stylized wardrobe, and Asalamalakim’s unreal claim of his religious preference. Dee’s appearance in supposedly native African garb can be best described as her own personal style, and not cultural; Mrs. Johnson confirms this by recalling a unique trait of her daughter, that she always knew what style was, and was never without her own. But when Mrs. Johnson questions Dee, or Wangero, about her name change, her daughter simply and directly replies that Dee is dead. At this point, the narrative tense makes the most significant shift in the whole story—because this is the defining moment when Dee has become Wangero, and has finally revealed her decision to cut her African-American affinity, and consequently, her ties with her family. The concept of grief, which always alludes to the past, enters Mrs. Johnson’s narrative as a technique to contain the events as part of memory, and to point toward closure. As the story progresses, Wangero seems to take a curious interest in certain objects in the house, regular items that are used for their purpose yet pinpoint the kind of lifestyle its owners have. Wangero looks at them like souvenirs or decorative pieces that would be symbols of a life she has left, that solely serve as art. Her claim to the butter churn indicates her goal to showcase the object as a foreign memento, much like the Polaroid photos she took of her family and the house. However, while the churn was indeed a kitchen tool often used, its relevance to Mrs. Johnson and Maggie is closely-connected to their family’s history, because it was made by one of their relatives—coincidentally, the husband of the aunt Dee was named after. After a while, Wangero moves on to search for something that turns out to be the main reason for her visit: the set of quilts sewn by her grandmother, assisted by her mother and aunt. They were made from her grandmother’s dresses, and were all hand-stitched. For families like theirs, the quilts stand for values and relationships, and the time it took to create them also refer to togetherness and female bonding. Again, just like the churn, Wangero wanted the quilts for show—but on a larger scale. What have always been objects with purpose, meaning, and value in personal terms were about to be turned into conversation pieces and lonely wall decor; for this is exactly what Wangero had in mind. Mrs. Johnson informs her that she is reserving the quilts for when Maggie weds equally average John Thomas, but Wangero declares that Maggie would only put them to everyday use, and would eventually destroy such great pieces of art. The same ‘art’ that she had deemed old-fashioned when Mrs. Johnson offered her one went she went off to college. Maggie, as always, is willing to give up the quilts to her sister, but at this instance, her mother is overcome with her own realization—that the quilts deserved to stay with Maggie, possibly the one tangible representation of equality between her daughters. Wangero expresses her disgust over her family’s seeming ignorance and disrespect for their heritage, as she defined it, and for their lack of drive and objective. She departs by wearing oversized sunglasses, covering most of her face, yet another symbol of Wangero’s mindset to cover up and maintain a facade over her real identity. The last sentence of the story returns to present tense, as Mrs. Johnson relates how she and Maggie would just sit there, enjoying checkerberry snuff, unmindful of Wangero’s exit. Clearly, the narrator opts for this change to refer to actual change in their lives; she no longer had Wangero on a pedestal, and instead realized the value of the daughter who chose family over all else. Alice Walker made use of the innovative device of shifting tenses to communicate the reality of many black American families in the debate between heritage and empowerment. During this period, when racism and equality were still being discussed on a national scale, heritage exclusively referred to family and traditional values. The cultural identity and affirmation Wangero sought appeared shallow, for its sole meaning to her was for showcase, and was simply a rejection of all things familiar and valuable. The transposition of tenses shows Wangero’s superficial understanding of her newfound ideology, and the greater problem of her family’s acceptance if it. The device also plays out Mrs. Johnson’s predicament in making a wise choice, as established by the many questions she asked herself in the beginning of the story. Much of it was about her two girls, and which one she would choose—the smart, beautiful Dee, or the timid, deformed Maggie? Eventually, her decision, albeit unconsciously, was slowly and firmly made as she discovered how easy it had always been for Dee to turn her back on family and heritage. Because heritage for Dee or Wangero was one that was shown and remembered through photos and mementos, as detached from her self as old history books.

The Cold War During World War II - 2112 Words

The Cold War began during World War Two when Adolf Hitler ordered the invasion of the U.S.S.R, which Joseph Stalin reacted with the desire to crush Germany and eventually to resist against anyone who was opposed to communism. After Germany surrendered on May 7, 1945, in order to insure Germany would not come to power again, Germany and Berlin were divided among the four major powers of the Allies: France, Britain, America, and the U.S.S.R. Unlike Russia, who planned to destroy Germany so they could not attack Russia again, America used the Marshall Plan which President Truman created with his Secretary of State, George C. Marshall, which gave sixteen countries in Europe $12.5 billion of aid. Though at first Congress was not in favor of†¦show more content†¦Fear of the expansion of the communist Soviet influence led to America creating several counter measures against Russia. One of the first clashes between the United States and Russia was the Berlin Blockade from June 26, 1948 to September 30, 1949. The U.S.S.R. blocked all roads and railway to the Berlin so they could eventually take over all of Berlin, but the Allies organized the Berlin Airlift to feed the people of West Berlin. In order to combat the spread of communism, America joined Britain, France, Belgium, and the Netherlands to form the North Atlantic Treaty Organization (NATO); if any country under NATO was attacked by the Soviet Union, it was considered an attack on all NATO nations. The United States also passed the National Security Act in 1947 which created the Central Intelligence Agency to spy on communist countries, topple communist governments, and support anti-communist revolts. Meanwhile in Asia, China, which had been freed from Japanese occupation from Russia, had a revolution in October 1949, led by Mao Zedong, which established them as communist nation. Korea, who had also been occupied by Japan until the end of World War Two, had been divided into two parts, the north and the south: the north had been occupied by Russia down to the 38th parallel and the south by the United States. Both sides had established governments and in 1950 North Korea, backed by communist China and the U.S.S.R., and South Korea,

The Current System Of Global Social Networking Essay

The world has become a global village where the vast majority of people are now connected to one another in a broad network made possible by the internet. This development of an electronic independence has changed the manner in which people throughout the world communicate with one another, and has allowed for a near elimination of the physical and cultural borders that once made such interactions difficult. As Boyd (2014) noted, communication processes and the free exchange of thoughts and ideas among people were once hindered by long distances and cultural divides, but this is no longer true as knowledge and information are currently free flowing. The current system of global social networking allows for ample sharing of thoughts and ideas with online social networks such as Twitter and Facebook emerging as giants in this new world (Hogan, 2010). Qualman (2010) stated that the introduction of technological innovations and infrastructure into countries has been a major catalyst for political and socioeconomic advancement in developing nations. Yet such innovation has also been a critical topic of debate and a focus of research attention. This is true as related to the development of social networking sites as well. Various studies highlight the impact of social media sites on their users with both positive and negative findings suggested. With rapid advances in the information technology sector occurring within the last two decades numerous countries have gained open accessShow MoreRelatedThe Current System Of Global Social Networking Essay1663 Words   |  7 PagesIntroduction The world has become a global village where the vast majority of people are now connected to one another in a broad network made possible by the internet. 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As Boyd (2014) noted, communication processes and the free exchange of thoughts and ideas among people were once hindered by long distances and cultural divides, but this is no longer true as knowledge and information are currently free flowing. The current system of global social networking allows for ample sharing of thoughts and ideas with online social networks such as Twitter and Facebook emerging as giants in this new world (Hogan, 2010). Qualman (2010) stated that the introduction of technological innovations and infrastructure into countries has been a major catalyst for political and socioeconomic advancement in developing nations. Yet such innovation has also been a critical topic of debate and a focus of research attention. This is true as related to the development of social networking site as well. Various studies highlight the impact of social media sites on their users with both positive and negative findings suggested. 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