An Analysis Of The Strategies Used To Operate A Successful Music Festival
Total maximum word count 6050 words 22 pages (double spaced, 275 words per page) CHAPTER 1: INTRODUCTION From ancient beginnings people have used outdoor spaces to create festivals where individuals could connect with each other and their surrounding environment in occasions of celebration. This is still a practice in which modern day society seeks to explore. Music festivals run throughout the year in all seasons all over the world. They’ve become a very competitive market and industry on their own as well as a global nexus of connection amongst youth. While some music festivals are recording their highest numbers of attendees to date, others are collapsing and disappearing all together. This is the result from the considerable cultural and social transformation taking place, especially amongst the young. Social networking is increasingly disconnecting youth culturally and socially creating a fragmented social and cultural landscape. The music festival has to be used to offer connection, education, ritual and a sense of community. People want more out of the experience than some headlining acts. There is a counter culture emerging again like that in the sixties where people are antiwar, antiestablishment, pro-drugs, non-competitive, and individualistic. The festival space can synergize this culture and create an environment for patrons in which to express themselves with like-minded people through their shared taste in music. There has been a façade created through social networking where there is an increase in social connections. Seok (2007) found there is increasing disembodiment, increased loneliness, depression and decreased social support. Music festivals can combat this by providing a space wherein patrons can connect with like-minded people and can create an environment in which one can rediscover true identity. The research aims to provide a strategy for reference in how to achieve a successful music festival. This research will look at strategies to ensure the successful deliverance of the elements that can create a music festival that is able to synergise the culture. At best a festival can provide a space for a reframing of a personal understanding on different issues. Music festivals can create an environment where people are able to experience and experiment with different identities, filling the void and enabling participants to reconnect with the environment, culture and one another. 1. What is the importance of music festivals in today’s society? Event planning is a rapidly growing and changing multibillion-dollar industry (Allen 2009). Music Festivals are more dominant than ever in this industry. This literature review focuses on the elements of a successful music festival and the reasons behind their growing popularity. Analysing music festivals from their beginnings in Ancient times, to today’s festivals which function as an outlet to enable participants to reconnect with the environment, culture, one another, and rediscover genuine identity. Whilst there is literature into many elements that go into creating a successful music festival, this review will focus on the consistent fundamental elements as well as the importance of other elements that create a specific type of experience. It explores how technological influence is increasingly disconnecting youth culturally and socially and how the music festival can offer connection, education and a sense of community. Festivals are not a new phenomenon. For thousands of years humans have sought out the revelry, entertainment and escape from their day to day norm. For example, the Ancient Greeks would indulge in food and wine over multi day festivals held in celebration of their gods. The Dionysia Greek festival provided citizens with a release to celebrate the end of winter. It was held in honour of the Greek God Dionysos who was the ancient god of wine (Storey and Allan, 2005). Furthermore at the very root and beginning of western civilization over 3000 year old festivals celebrated with the social lubricant, alcohol. The festival provided the opportunity for participants to indulge and interact in a free environment. They celebrated the end of winter, the harvest, etc., and at these festivals drugs were taken openly and in fact were ritualized and celebrated. At the Temple of Eleusis, a festival of a unique kind was held every year for 2000 years. It was arranged and regulated by public officials and ran for 10 days. A chemical concoction of hallucinogenic liquid was passed around openly (Hari, 2015). They believed the drugs brought them closer to the gods and assisted with the letting go of inhibitions which allowed the free flow of creativity. These outdoor spaces where individuals could connect with each other and their surrounding environment in occasions of celebration is still a practice in which modern day society seeks to explore. The circus played a significant role in the development of the modern day outdoor festival we see today. The circus is, at its root, a visual performing art and therefore much like music festivals, unfettered by language barriers. It is an inclusive environment, where differences are celebrated through the common language of the performing art, whether it is music or visual displays (Kotar and Gessler, 2011). As a result, it is easily exportable to countries with native languages different from the language(s) of the performers. Early circus companies, realizing this, embarked on extensive international tours. The need to reach a greater population saw the shift from a permanent structure, which was restrictive, to a more mobile and widely accessible enterprise. The popular use of the big top tent catered for this transitory entertainment environment. The modern festival incorporates many of the elements of the travelling circus as artists and equipment are transported from city to city, making them more accessible to the population. The most successful festivals of today incorporate both musical art and performing art. One such example of this is Coachella, a 15 year old festival that has hundreds of music acts and also roaming performing artists from acrobats to huge floats resembling creatures from an imaginary realm. This festival alone carried out over 6 days on two separate weekends one after another tallied an aggregate attendance of 579,000 (Billboard, 2015). It wouldn’t be until the late 60’s that the festival style we see today started taking shape. Woodstock festival was very influential in shaping the music festival scene. It synergized a way of life at the time and was promoted as 3 days of Peace and Music (Bennett, 2004). There were 32 acts over the weekend, which performed in front of 400,000 people, while only expecting 200,000 from the 186,000 tickets presold (Young and Lang, 1979). It encompassed the social and cultural transformation at the time, and it succeeded by giving the youth market its own identity (Bennett, 2004). Like many festivals today, it was held over multiple days and on large acreage away from built up towns, where noise pollution would not impact the community. While it was hugely popular and did return again with several spin offs, none were quite as successful as the first. The culture changed and Woodstock was unable to keep up. Summerfest, which began at the same time as Woodstock, would survive year in year out for over 35 years. Summerfest currently holds Guinness World Record as the world’s largest music festival boasting close to a million people through the gates each year. Summerfest and festivals like it, such as Bonnaroo Music and Arts festival, survived by adapting. They were able to attract a wider culture by including a multiple stage set up, catering for multiple genres, arts and crafts, comedy, film related entertainment, rides, water-skiing shows, yoga and a pop up market place. These festivals run over longer periods, some up to 11 days, allowing attendees to truly explore the culture and find identity within the festival space. In today’s technological society there is often a decline in personal face to face interactions. There is disembodiment, increased loneliness, depression and decreased social support (Seok, 2007). With social networking websites, there is a façade of being more connected, when in actuality there is an opposite effect. There is a considerable cultural and social transformation taking place, especially amongst the young. ‘The Woodstock festival synergized a way of life which had been growing through the Sixties: antiwar, antiestablishment, pro-drugs, non-competitive, and individualistic’ (Young and Lang, 1979, p. 5). That particular way of life is relevant again today. Most people are seeking “experiences and encounters extending beyond those that typically characterize the everyday lives of individuals in urban, regional and rural settings” (Bennett et al., 2014, p. 22). For most of the youth today there is still a yearning to connect culturally and socially and to find identity in today’s society, which the festival can provide for many participants. Festivals are a means in which participants are able to connect with like-minded people. The festival environment is a space for the articulation, performance and rediscovery of identity (Aitchison and Prichard, 2007). It allows for a strong sense of “being part of a community, however transient, a reframing of a personal understanding of a specific issue, perhaps sustainability, multiculturalism or reconciliation” (Gibson and Connell, 2011, p. 3). Dowd et al. (2004) suggested that music festivals provide a unique social space within which to express one’s self and to experience and experiment with different identities. For many, festivals fill the void that exists in today’s technological society and enable participants to reconnect with the environment, culture, one another, and rediscover genuine identity. 1.4.4 Drug Culture Part of the attraction to many festival-goers is that music/dancing events are spaces associated with the highest consumption levels of substances (Bellis, Hughes and Lowely, 2002). Many seek the escape provided by these festivals and for most festival patrons this is aided by partaking in the consumption of conscious altering drugs. “The ubiquity of drug use is so striking”, says physician Andrew Weil, that he concluded, “it must represent a basic human appetite” (Hari, 2015). Professor Aiegel delved deeper and described the desire to alter our consciousness as “the fourth drive”, that is embedded in all minds, alongside the desire to drink, eat and have sex, as it can allow us with moments of release and relief (Hari, 2015). While EMCDDA, 2006 has expressed serious concern about the increasing risk of drug related harm (including alcohol) to music festival attendees, it would seem unwarranted. While there has been an increase in substance usage, it is apparent that there has been an environment created where there are self-regulating protective behaviours. This suggests drug use is being contained within this developing social culture of ‘controlled intoxication’ (Martinus et al., 2010). Martinus et al., 2010 uncovered that in festivals, while drug use was the norm, the negative consequences associated with their use was uncommon. Whether it is to stay up later, enhance the music or expand their consciousness, according to Measham (2006) most festival attendees share the single-minded determination to get inebriated. It is therefore important that such a key reason be managed effectively to keep attendees safe and well educated. Due to the nature of festivals, with loud performances and the requirement of a large open space, it often sees them being placed in regional areas. While sometimes unintentional, the remoteness of the festival becomes part of the allure, as it allows patrons to truly feel as though they have escaped from their commitments. More often than not, this is done intentionally to provide participants with the getaway they desire as well as increasing exposure to regional areas. Festivals “can have a significant influence within small communities and can play a valuable, although sometimes contested, role in contributing to regional development” (Gibson and Connell, 2011, p. 201). For example Falls Festival, held in the coastal town of Lorne in Victoria, has been deliberately located in a regional town to provide economic and cultural benefits (Gibson and Connell, 2011). The festival event is able to give cities the chance to showcase themselves, maintain identity and a sense of community, encourage the return of former residents, and with this, provide benefits for the tourism industry and allow for economic development (Carlsen & Taylor, 2002; Gibson and Connell, 2011). There is an increasing trend for the more successful festivals to incorporate an educational element. For example at Rainbow Serpent festival there are workshops that are fully attended. Many stages host guest speakers to talk on environmental issues and connect with our indigenous cultural heritage. Such like festivals are a kind of social practice, offering possibilities of identity work and an arena for learning which creates an educational medium (Karlsen and Brandstrom, 2008). Mair and Laing (2012) found that there is a large sum of people who, through going to these festivals, have gained a significant amount of knowledge that they did not have before and have learned how to apply that in their lives. Karlsen and Brandstrom (2008) claim the music festival can offer possibilities of identity work therefore an arena for learning through the possible educational medium. Many festivals, including Maitreya and Rainbow Serpent, aim to reach beyond the festival by using it as an opportunity to pass on important information and ideas to the wider community, promoting educational activities for developing awareness, respect, and the ongoing protection of both the local and the global environment (Giorgi et al., 2011). After reviewing the literature, it is evident there is a gap in the research into why these elements make a successful festival. How the festival scene needs to reflect and synergise changes in youth culture and what strategies can be implemented for the deliverance of a successful music entertainment event. Success defined from profits grossed and overall patron satisfaction of the event. Festival going as an escape from the mundane has been a part of the human experience for thousands of years. As ever drug usage, in connection with the festival experience is a pervasive part of festival culture, developed as a rebellion against increasing social disconnection as a result of technology and social networking. Recently music festivals are also being used to offer an arena in which to participate in educational activities for developing awareness, respect, and the ongoing protection of both the local and the global environment. The location is as important as the entertainment; contributing to the escapist experience, environmental education as well as promoting regional development and supporting remote communities. There is a gap in the research into why these elements make a successful festival, and how the festival scene needs to reflect and synergise the changes in youth culture. Using a case study method allows the investigator to retain the holistic and meaningful characteristics within its real-life context, especially when the parameters between phenomenon and content are not clearly evident (Yin 2009). Yin states that case study inquiry A major critique of case study methodology is that there’s a lack of generalizability of findings (Flyvbjerg, 2004). Yin (2009) also suggested that the method of generalisation is a major flaw within case studies. However through the usage of multiple case studies one can enhance the external validity, or generalizability, of the findings (Merriam, 1998). Bryman & Burgess (1999) supposed quantitative and qualitative research are complimentary rather than oppositional, and recognise each can be used to support research. For the case studies that will be used in this research, a combination of qualitative and quantitative research methods will be used in order to explore research theory. 1.10 Research Project Plan CHAPTER 2: LITERATURE REVIEW The circus played a significant role in the development of the modern day outdoor festival we see today. The circus is, at its root, a visual performing art and therefore much like music festivals, unfettered by language barriers. It is an inclusive environment, where differences are celebrated through the common language of the performing art, whether it is music or visual displays (Kotar and Gessler, 2011). As a result, it is easily exportable to countries with native languages different from the language(s) of the performers. Early circus companies, realizing this, embarked on extensive international tours. The need to reach a greater population saw the shift from a permanent structure, which was restrictive, to a more mobile and widely accessible enterprise. The popular use of the big top tent catered for this transitory entertainment environment. The modern festival incorporates many of the elements of the travelling circus as artists and equipment are transported from city to city, making them more accessible to the population. The most successful festivals of today incorporate both musical art and performing art. One such example of this is Coachella, a 15 year old festival that has hundreds of music acts and also roaming performing artists from acrobats to huge floats resembling creatures from an imaginary realm. This festival alone carried out over 6 days on two separate weekends one after another tallied an aggregate attendance of 579,000 (Billboard, 2015). It wouldn’t be until the late 60’s that the festival style we see today started taking shape. Woodstock festival was very influential in shaping the music festival scene. It synergized a way of life at the time and was promoted as 3 days of Peace and Music (Bennett, 2004). There were 32 acts over the weekend, which performed in front of 400,000 people, while only expecting 200,000 from the 186,000 tickets presold (Young and Lang, 1979). It encompassed the social and cultural transformation at the time, and it succeeded by giving the youth market its own identity (Bennett, 2004). Like many festivals today, it was held over multiple days and on large acreage away from built up towns, where noise pollution would not impact the community. While it was hugely popular and did return again with several spin offs, none were quite as successful as the first. The culture changed and Woodstock was unable to keep up. Summerfest, which began at the same time as Woodstock, would survive year in year out for over 35 years. Summerfest currently holds Guinness World Record as the world’s largest music festival boasting close to a million people through the gates each year. Summerfest and festivals like it, such as Bonnaroo Music and Arts festival, survived by adapting. They were able to attract a wider culture by including a multiple stage set up, catering for multiple genres, arts and crafts, comedy, film related entertainment, rides, water-skiing shows, yoga and a pop up market place. These festivals run over longer periods, some up to 11 days, allowing attendees to truly explore the culture and find identity within the festival space. Festivals are a means in which participants are able to connect with like-minded people. The festival environment is a space for the articulation, performance and rediscovery of identity (Aitchison and Prichard, 2007). It allows for a strong sense of “being part of a community, however transient, a reframing of a personal understanding of a specific issue, perhaps sustainability, multiculturalism or reconciliation” (Gibson and Connell, 2011, p. 3). Dowd et al. (2004) suggested that music festivals provide a unique social space within which to express one’s self and to experience and experiment with different identities. For many, festivals fill the void that exists in today’s technological society and enable participants to reconnect with the environment, culture, one another, and rediscover genuine identity. 2.3.1 Drug Culture Part of the attraction to many festival-goers is that music/dancing events are spaces associated with the highest consumption levels of substances (Bellis, Hughes and Lowely, 2002). Many seek the escape provided by these festivals and for most festival patrons this is aided by partaking in the consumption of conscious altering drugs. “The ubiquity of drug use is so striking”, says physician Andrew Weil, that he concluded, “it must represent a basic human appetite” (Hari, 2015). Professor Aiegel delved deeper and described the desire to alter our consciousness as “the fourth drive”, that is embedded in all minds, alongside the desire to drink, eat and have sex, as it can allow us with moments of release and relief (Hari, 2015). While EMCDDA, 2006 has expressed serious concern about the increasing risk of drug related harm (including alcohol) to music festival attendees, it would seem unwarranted. While there has been an increase in substance usage, it is apparent that there has been an environment created where there are self-regulating protective behaviours. This suggests drug use is being contained within this developing social culture of ‘controlled intoxication’ (Martinus et al., 2010). Martinus et al., 2010 uncovered that in festivals, while drug use was the norm, the negative consequences associated with their use was uncommon. Whether it is to stay up later, enhance the music or expand their consciousness, according to Measham (2006) most festival attendees share the single-minded determination to get inebriated. It is therefore important that such a key reason be managed effectively to keep attendees safe and well educated. Due to the nature of festivals, with loud performances and the requirement of a large open space, it often sees them being placed in regional areas. While sometimes unintentional, the remoteness of the festival becomes part of the allure, as it allows patrons to truly feel as though they have escaped from their commitments. More often than not, this is done intentionally to provide participants with the getaway they desire as well as increasing exposure to regional areas. Festivals “can have a significant influence within small communities and can play a valuable, although sometimes contested, role in contributing to regional development” (Gibson and Connell, 2011, p. 201). For example Falls Festival, held in the coastal town of Lorne in Victoria, has been deliberately located in a regional town to provide economic and cultural benefits (Gibson and Connell, 2011). The festival event is able to give cities the chance to showcase themselves, maintain identity and a sense of community, encourage the return of former residents, and with this, provide benefits for the tourism industry and allow for economic development (Carlsen & Taylor, 2002; Gibson and Connell, 2011). There is an increasing trend for the more successful festivals to incorporate an educational element. For example at Rainbow Serpent festival there are workshops that are fully attended. Many stages host guest speakers to talk on environmental issues and connect with our indigenous cultural heritage. Such like festivals are a kind of social practice, offering possibilities of identity work and an arena for learning which creates an educational medium (Karlsen and Brandstrom, 2008). Mair and Laing (2012) found that there is a large sum of people who, through going to these festivals, have gained a significant amount of knowledge that they did not have before and have learned how to apply that in their lives. Karlsen and Brandstrom (2008) claim the music festival can offer possibilities of identity work therefore an arena for learning through the possible educational medium. Many festivals, including Maitreya and Rainbow Serpent, aim to reach beyond the festival by using it as an opportunity to pass on important information and ideas to the wider community, promoting educational activities for developing awareness, respect, and the ongoing protection of both the local and the global environment (Giorgi et al., 2011). Economic Cities in particular understand that a festival can bring media attention and that festivals contribute to social and cultural engagement and bring in tourists. Ultra Music Festival has grown into what may stack up as the country’s biggest dance musicevent: six days, with attendance topping 300,000 and $79 million flowing into the Miami economy Social Hayes and MacLeod (2007), who argued that there is no room in the experience economy for standardized offerings. Rather, they suggested that the visitor should be “ … encouraged to immerse, and perhaps find themselves in unique self-tailored experiences that reflect their personality and interest” (p. 48) festivals are multidimensional spaces where the senses are being triggered and where local and international visitors can be part of multiple worlds, making the management of the experience and the competition process between festivals extremely complex (Go & Fenema, 2006; Ryan & Gu, 2010) Environmental 2. Why are alternative music festivals gaining popularity over commercial festival events? 3. Does a highly desired/highly paid line up influence the success of a music festival? 4. How do changing social cultures impact music festival events? 5. What elements and strategies can be put in place to deliver a successful music festival? The majority of study respondents identified that their love of country music was the primary reason for attending the festival. However, the overall results indicated that it was the variety of activities and festival atmosphere that were considered by visitors as being the most important aspects of their participation. Pine and Gilmore (1999) argued that positive visitor experiences result from engaging in memorable offerings that have an enduring affective element to them. “strategic drift.” This concept reflects the situation where an organization inadequately matches the changing consumer needs in the external environment with their strategies (Dwyer et al., 2009) “it was an experience — from the music, to what people wear, to the entire environment” Heineken (MASON, K 2013, ‘Ultra’s Big Beat’, Billboard, 125, 10, pp. 26-27, Business Source Complete, EBSCOhost, viewed 16 September 2015.) Location is important for smaller and midrange urban and countryside festivals that often compete for the same regional audience. REFERENCES Aitchison, C. and Pritchard, A. (2007). Festivals and events. Eastbourne: Leisure Studies Association.
Style: Harvard
US English
Sources 2 to 10 sources (mainly 2005 to 2015)
1.1 Introduction/Background
People have long sought out the revelry, entertainment and escape from their quotidian. Music festivals can provide an outlet for this. With many commercial orientated festivals closing down within Australia in recent years it is apparent that these major music festivals are lacking fundamental elements in which patrons are seeking. People want more than just popular music acts. While some festivals have failed, other alternative festivals that have incorporated diverse elements of location, education and drug cultures, are prospering. This research aims to create strategies in which to ensure the deliverance of these elements in creating a successful music festival. Success defined as not only commercially, but also the overall ‘good vibe’ and connectivity of the event. Is the music festival an event where patrons can’t wait for the second instalment?
1.2 Research Rationale
In recent years, commercial festivals have been seeing lower patron attendance and as a result have needed to close down. In contrast alternative music festivals providing patrons with a different experience are selling out in record times. This paper analyses the strategies that help create the elements that make up phenomenon.
1.3 Aims and Objectives
The current literature shows that festivals, which incorporate elements beyond having a highly desired and highly paid line up, are succeeding where others are not. Patrons are seeking an escape to which the music festival can provide. This research aims to create strategies in which to ensure the deliverance of elements like the location, education and drug cultures in creating a successful music festival.
1.3.1 Research Questions
2. Why are alternative music festivals gaining popularity over commercial festival events?
3. Does a highly desired/highly paid line up influence the success of a music festival?
4. How do changing social cultures impact music festival events?
5. What strategies can be put in place to deliver a successful music festival?
1.4 Research Context
1.4.1 Introduction
1.4.2 Background
1.4.3 Importance of Entertainment Events
1.4.5 Location
1.4.6 Educational
1.4.7 Gap Analysis
1.4.8 Conclusion
1.5 Research Methodology and Design
For this research paper, secondary data will be used in the form of case studies. This will provide a good insight from a range of views as to what makes a successful music festival. Case studies are useful for exploratory purposes like ‘Why are music festivals important’ or ‘How does changing culture impact festival events’ as Yin (2009) outlines. Case studies combine data collection methods such as interviews, questionnaires and observations that can provide both qualitative and quantitative research (Eisenhardt, 1989). Both of these research approaches will be necessary in achieving research aims through providing description and generating theory.
• Copes with the technically distinctive situation in which there will be many more variables of interest than data points, and as one result
• Relies on multiple sources of evidence, with data needing to converge in a triangulating fashion, and as a result
• Benefits from the prior development of theoretical propositions to guide data collection and analysis (2009, p. 18)
Gluckman (1961) posed that the case study has three main uses: as ‘apt illustrations’, as ‘social situations’ and as ‘extended case studies’. These classifications are based on degree of complexity and duration of time. While ‘extended case studies’ follow a sequence of events in order to link together situations and events over longer periods of time and are far more complex than ‘apt illustrations’. It is a combination of these three uses that will provide beneficial data for reviewing.
1.6 Discussion and Expected Findings
The current literature shows that a festival that embodies the culture of the time is going to succeed over one that does not adapt.
The festival experience is more than just highly paid, headlining acts.
1.7 Potential Contribution of Research
The research will aim to provide a strategy and insight to industry professionals on how to produce a better festival experience for patrons.
1.8 Ethics Requirements
Due to time constraints, only secondary data will be used for this research and therefore there will be no ethics requirements.
1.9 Conclusion
1 2 3 4 5 6 7 8 9 10 11 12
Data Collection
Data Analysis
Draft Final report
Prepare Poster
Revise final report
Proof final report
Poster Presentation
Thesis submission
2.1 Introduction
Event planning is a rapidly growing and changing multibillion-dollar industry (Allen 2009). Music Festivals are more dominant than ever in this industry. This literature review focuses on the elements of a successful music festival and the reasons behind their growing popularity. Analysing music festivals from their beginnings in Ancient times, to today’s festivals which function as an outlet to enable participants to reconnect with the environment, culture, one another, and rediscover genuine identity. Whilst there is literature into many elements that go into creating a successful music festival, this review will focus on the consistent fundamental elements as well as the importance of other elements that create a specific type of experience. It explores how technological influence is increasingly disconnecting youth culturally and socially and how the music festival can offer connection, education and a sense of community.
2.2 Background
Festivals are not a new phenomenon. For thousands of years humans have sought out the revelry, entertainment and escape from their day to day norm. The Ancient Greeks would indulge in food and wine over multi day festivals held in celebration of their gods. The Dionysia Greek festival provided citizens with a release to celebrate the end of winter. It was held in honour of the Greek God Dionysos who was the ancient god of wine (Storey and Allan, 2005). At the very root and beginning of western civilization over 3000 year old festivals celebrated with the social lubricant, alcohol. The festival provided the opportunity for participants to indulge and interact in a free environment. They celebrated the end of winter, the harvest, etc., and at these festivals drugs were taken openly and in fact were ritualized and celebrated. At the Temple of Eleusis, a festival of a unique kind was held every year for 2000 years. It was arranged and regulated by public officials and ran for 10 days. A chemical concoction of hallucinogenic liquid was passed around openly (Hari, 2015). They believed the drugs brought them closer to the gods and assisted with the letting go of inhibitions which allowed the free flow of creativity. These outdoor spaces where individuals could connect with each other and their surrounding environment in occasions of celebration is still a practice in which modern day society seeks to explore.
2.3 Importance of Entertainment Events
In today’s technological society there is often a decline in personal face to face interactions. There is disembodiment, increased loneliness, depression and decreased social support (Seok, 2007). With social networking websites, there is a façade of being more connected, when in actuality there is an opposite effect. There is a considerable cultural and social transformation taking place, especially amongst the young. ‘The Woodstock festival synergized a way of life which had been growing through the Sixties: antiwar, antiestablishment, pro-drugs, non-competitive, and individualistic’ (Young and Lang, 1979, p. 5). That particular way of life is relevant again today. Most people are seeking “experiences and encounters extending beyond those that typically characterize the everyday lives of individuals in urban, regional and rural settings” (Bennett et al., 2014, p. 22). For most of the youth today there is still a yearning to connect culturally and socially and to find identity in today’s society, which the festival can provide for many participants.
2.3.2 Location
2.3.6 Educational
2.4 Gap Analysis
After reviewing the literature, there is a gap in the research into why these elements make a successful festival. How the festival scene needs to reflect and synergise changes in youth culture and what strategies can be implemented for the deliverance of a successful music entertainment event. Success defined from profits grossed and overall patron satisfaction of the event.
2.5 Conclusion
Festival going as an escape from the mundane has been a part of the human experience for thousands of years. As ever drug usage, in connection with the festival experience is a pervasive part of festival culture, developed as a rebellion against increasing social disconnection as a result of technology and social networking. Recently music festivals are also being used to offer an arena in which to participate in educational activities for developing awareness, respect, and the ongoing protection of both the local and the global environment. The location is as important as the entertainment; contributing to the escapist experience, environmental education as well as promoting regional development and supporting remote communities. There is a gap in the research into why these elements make a successful festival, and how the festival scene needs to reflect and synergise the changes in youth culture.
1. What is the importance of music festivals in today’s society?
(Mark A. A. M. Leenders, Frank M. Go & Pawan V. Bhansing (2015) The Importance of the Location in Hosting a Festival: A Mapping Approach, Journal of Hospitality Marketing & Management, 24:7, 754-769)
(Hayes, D., & MacLeod, N. (2007). Packaging places: Designing heritage trails using an experience economy perspective to maximize visitor engagement. Journal of Vacation Marketing, 13(1), 45–58.)
Discuss why I’ve broken up into these categories. Socioeconomic components of a developed economy.
Educational
(Shane Pegg & Ian Patterson (2010) Rethinking Music Festivals as a Staged Event: Gaining Insights from Understanding Visitor Motivations and the Experiences They Seek, Journal of Convention & Event Tourism, 11:2, 85-99)
(Pine, B., & Gilmore, J. (1999). The Experience Economy. Boston: Harvard Business School Press.)
(Dwyer, L., Edwards, D., Mistillis, N., Roman, C., & Scott, N. (2009). Destination and enterprise management for a tourism future. Tourism Management, 30(1), 63–74)
Genre is important for countryside festivals. These countryside festivals compete for pop and rock audiences, mainly.
Size is important for festivals that configure the broader music industry. These larger festivals configure a broad set of relationships between visitors and the music industry at large and experience lower location dependency. These festivals seem to have considerable power to move the festival to another city or venue, as the location is not a key driver for competition success. These festivals are probably less likely to create regional identities but more research is needed on the effects To cite this article: Mark A. A. M. Leenders, Frank M. Go & Pawan V. Bhansing (2015) The Importance of the Location in Hosting a Festival: A Mapping Approach, Journal of Hospitality Marketing & Management, 24:7, 754-769)
Allen, J. (2009). Event planning. Mississauga, Ont.: J. Wiley & Sons Canada.
Annualreport.emcdda.europa.eu, (2015). EMCDDA | Publications. [online] Available at: http://annualreport.emcdda.europa.eu [Accessed 13 Apr. 2015].
Bellis, M., Hughes, K. and Lowey, H. (2002). Healthy nightclubs and recreational substance use.Addictive Behaviors, 27(6), pp.1025-1035.
Bennett, A. (2004). Remembering Woodstock. Aldershot, Hampshire, England: Ashgate.
Bennett, A. and Peterson, R. (2004). Music scenes. Nashville: Vanderbilt University Press.
Bennett, A., Taylor, J. and Woodward, I. (2014). The festivalization of culture.
Billboard, (2015). Coachella Breaks Boxscore Record (Again). [online] Available at: http://www.billboard.com/biz/articles/news/touring/6150327/coachella-breaks-boxscore-record-again [Accessed 25 Apr. 2015].
Carlsen, J & Taylor, A (2002). Mega-events and Urban Renewal: The Case of the Manchester 2002 Commonwealth Games. Event Management, vol. 8, pp. 15-22.
Gibson, C. and Connell, J. (2011). Festival places. Bristol, UK: Channel View Publications.
Gibson, C. and Connell, J. (2011). Music festivals and regional development in Australia. Burlington, VT: Ashgate.
Giorgi, L., Sassatelli, M. and Delanty, G. (2011). Festivals and the cultural public sphere. Abingdon, Oxon: Routledge.
Hari, J. (2015). Chasing the scream. Bloomsbury Circus, London.
Kang, S. (2007). Disembodiment in Online Social Interaction: Impact of Online Chat on Social Support and Psychosocial Well-Being. CyberPsychology & Behavior, 10(3), pp.475-477.
Karlsen, S. and Brandstrom, S. (2008). Exploring the music festival as a music educational project. International Journal of Music Education, 26(4), pp.363-373.
Kotar, S. and Gessler, J. (2011). The rise of the American circus, 1716-1899. Jefferson, N.C.: McFarland & Co.
Mair, J. and Laing, J. (2012). The greening of music festivals: motivations, barriers and outcomes. Applying the Mair and Jago model. Journal of Sustainable Tourism, 20(5), pp.683-700.
Martinus, T., McAlaney, J., McLaughlin, L. and Smith, H. (2010). Outdoor music festivals: Cacophonous consumption or melodious moderation?. Drugs: Education, Prevention, and Policy, 17(6), pp.795-807.
Measham, F. (2006). The new policy mix: Alcohol, harm minimisation, and determined drunkenness in contemporary society. International Journal of Drug Policy, 17(4), pp.258-268.
Storey, I. and Allan, A. (2005). A guide to ancient Greek drama. Malden, MA: Blackwell Pub.
Young, J. and Lang, M. (1979). Woodstock Festival remembered. New York: Ballantine Books.
