Festival Tourism

This paper explores arts festivals in terms of their relationship to local economic development within the rural island region of Orkney in Scotland. Fourteen qualitative, semi-structured interviews were conducted with arts festival organisers, tourism representatives and local volunteers during the summer festival season. The findings offer new insights into the factors affecting how arts festivals impact the local economy; the areas of the local economy that are affected by arts festivals; and the implications of funding from awarding bodies on the endogenous development of arts festivals. For instance, it is concluded that supporting the cultural values of locals is vital to the economic success of rural arts festivals through a strategic design in the combined integration of minimised paid staff and maximised volunteers. Furthermore, it is revealed how in certain cases the initial retention of funding may benefit start-up arts festivals in terms of strategic development of their...

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The scope of the events industry is vast and dynamic with events a fundamental part of society affecting " culture, business and lifestyles " (Getz 2 , 2008:18). Still in its infancy, the event industry must constantly prove its validity and this is achieved through constant evaluation, which is necessary and serves to set the foundation for improvement and development (Bowdin et al, 2004). While most evaluation for events is based on financial success, the impacts the social impacts should hold the same weight, as they promote social cohesion, community integration and cultivate society (Getz 2 , 2008). The festival and event sector in Limerick City (Ireland) has been growing rapidly so it provides the ideal platform to assess the social impacts of events as there is growing significance placed on the benefits of events for the community. The focus of the research was on determining the social impacts of events by uncovering the presence of two variable groups, the social benefits and the social costs. Secondary data collection facilitates collecting, understanding and interpreting primary data. Due the nature of the research both qualitative and quantitative data was collected with questionnaires providing a large amount of quantifiable information and a more in depth research supplied by interviews. Key findings are defined as data that was both significant and relatable to the analysis of the social impacts of events and festivals in Limerick City. The questionnaire received a solid response rate and the participants' practical event industry knowledge added to the legitimacy of the research. The interviews of the key informants provided a greater understanding of the topic and a unique point of view. As Limerick City continues to develop as a host community for events the social impacts will come to the forefront for event evaluation. The positive and negative impacts of events must to understand to make informed decisions about utilising events to achieve long-term goals that extend beyond the event (Fredline et al, 2003). As social impacts come to the forefront of event evaluation and academic studies it may be prove the theory that they are events " true legacy " (Pedersen et al, 2010).

Events are becoming more complex as their range of functions grows, as meeting places, creative spaces, economic catalysts, social drivers, community builders, image makers, business forums and network nodes. Effective design can produce more successful business models that can help to sustain cultural and sporting activities even in difficult economic times. This process requires creative imagination, and a design methodology or in other words ‘imagineering’.

This book brings together a wide range of international experts in the fields of events, design and imagineering to examine the event design process. It explores the entire event experience from conception and production to consumption and co-creation. By doing so it offers insight into effective strategies for coping with the shift in value creation away from transactional economic value towards social and relational value which benefit a range of stakeholders from the community to policy makers. Mega-events, small community events, business events and festivals in eight different countries are examined providing an international view of social issues in event design.

A wide selection of current research perspectives is employed, integrating both theoretical and applied contributions. The multidisciplinary nature of the material means that it will appeal to a broad academic audience, such as art and design, cultural studies, tourism, events studies, sociology and hospitality.

Thasos Island is one of the most beautiful touristic destinations of Northern Greece (24°30′– 24°48′E, 40°33′–40°49′N). A place full of history as also filled with geological value. Its position in north Aegean Sea, gives the opportunity being affordable mostly to Balkan people and thanks to Kavala’s airport and harbor, to all global visitors.

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It is estimated that 3.17 million people attend UK summer music festivals each year. These festivals do not just entertain but also provide jobs, investment, show-case talent, create a sense of community and inspire a generation. From Glastonbury, Reading and Leeds to the Isle of Wight, amongst others, festivals provide a place where music and art can be performed as well as where new ideas are explored. Festivals support creativity and entertain a younger audience who are receptive to new ideas and who are regarded as the decision makers of tomorrow. As well as providing fun and entertainment for their audiences, these businesses have the potential to lead the way in addressing issues related to environmental impact and manage their festivals more responsibly.

▶ The book presents the role of festivals in relation to the urban spaces
▶ Provides the overview of the origins, history, and the main factors of
festival development
▶ Presents the case study of the city of Lodz, Poland
▶ Provides a model for studying the role of festivals in the
development of the city space
▶ Multidisciplinary work, intended for a wider audience
▶ Comprehensive and multifaceted publication, which covers both
theoretical and practical issues regarding festival studies
This is a multi-disciplinary scientific monograph referring to urban geography, urban
regions management, event studies, tourism geography, cultural anthropology and
sociology. It covers issues which are typically related to the most popular type of
events: festivals. This book studies the origins, history, and the main factors of festival
development, as well as the concept of a festival in the context of various scientific
disciplines. It presents the existing festival typologies as well as the author's own
comprehensive typology. The theoretical part concerns the basic research methods and
approaches used in the analysis of these events, as well as their impacts on the urban
space in the physical (festival facilities), social (a place where people may pursue their
interests, meet with family and friends) and cultural aspect. The economic aspect of
festivals (generating jobs and income from tourism, using festivals for city branding,
etc.) is also discussed. The book presents practical examples in sub-chapters, references
to literature (further reading) and the case study of the influence of festivals on urban
space management and urban development, using the example of Łódź – a Polish postsocialist
city. It may also be treated as a supplementary course book for students of urban
geography, urban regions management, tourism, event management and, to a certain
extent, anthropology of culture and sociology. 

Chapter 3 presents empirically informed analyses of a number of new public
space projects initiated first as counter-projects and counter-spaces
by a variety of community and historic preservation society interests.
It demonstrates further that, Vancouver City Council (VCC) proved
receptive to the counter-projects and provided an overarching strategic
spatial framework within which the projects on the ground were
devised and implemented. This chapter also introduces the importance
of the social animation of public space, whether through politicised
collective action or ludic enjoyment. Changing representations of space
through time are shown to have implications for spatial practice on the ground, based on differences in the way social behaviour in public
space is understood and interpreted.

Session Ü. VALK, L. GUZY: Insecurities and uncertainties at the margins of institutionalised religions: ghosts, monsters, witchcraft and other dangerous matters

“Pagan” masks in contemporary European winter festivals, popular Frazerism, and the search for festive authenticity (and its heritagisation)

Many winter festivals and public rituals throughout Europe reveal an interesting characteristic: the usage of masks and costumes with monstrous and/or zoomorphic features. These events occur in contexts that are or were traditionally Christian (especially in Catholic areas), although they have also been undergoing significant secularisation in the last few decades. In spite of these Christian or secular frameworks, these rituals and the masked figures that characterise them are very often described as “pagan”, “Dionysian”, “pre-Christian”, “very ancient”, and the like.
This paper intends to highlight the symbolic sources of these phenomena and discuss what are or could be the historical factors that led to these rather striking and apparently incongruous forms of religious or pseudo-religious conceptualisations and practices as well as the social needs to which they seem to respond today. To achieve these heuristic goals, several concepts will be operationalised and discussed, such as “ritualisation”, “popular Frazerism”, and “heritagisation”, and others.

And now, time for some inconvenient truth. Off late (at the onset
of the global climate-crisis) various cultural practices are being reexamined
in terms of awareness, contribution, commitment and
possible change. Staggering amounts of evidence shows that
burning fossil fuels and a heat-based civilisation is the single
biggest contributor to environmental destruction and consequently
the climate crisis.

Bibimbap, a Korean traditional food, was established as a part of the single living culture, affected by the geography and climate of the Korean peninsula. With vivid colours of the Yin-Yang and Five Elements theories, Bibimbap is cited as one of the three popular dishes of the Chosun era (1392-1897) and is also a well-known dish among foreigners. The steamed rice is topped with vegetables, and its several ingredients are regarded as a wellness food, boasting the wisdom and philosophy of
ancient Korea.
------
Two concerns of Bibimbap are needed in this regard: (i) intangible cultural heritage related to UNESCO and (ii) cultural tourism as an experience of Jeonju cultural heritages, generating complex forms of culture and new cultural forms.
My paper discusses Jeonju Bibimbap as a local identity of intangible cultural heritage and the nation’s socio-economic strategy in a viewpoint of cultural tourism. It means how the city and its habitants can maximize Bibimbap through their colours.

Aging, depopulation and stagnation are serious problems for the island communities of the Seto Inland Sea in Japan. The Setouchi International Art Festival (SIAF), engages with revitalizing twelve remote islands and their rural communities through art festival and tourism. The Triennale’s Director has claimed that the art festival has become a model for government policies for community revitalization and tourism. Issues however still persist, first in the ambiguity definition of the term “revitalization” itself, some critics have emphasized that art festivals use “borrowed art” exhibited on “borrowed land”. This research is author's notes during three years’ on-site fieldwork, in which he tries to examine the positive influences and negative impacts of art interventions and art festival tourism on SIAF's rural communities.

Events and festivals have become increasingly important policy tools for cities and regions. They are able to produce a wide range of externalities, including economic impacts, image change, social capital and cultural regeneration. All of these event-related externalities have impacts and effects on the places in which they are staged. In many cases, these event-related impacts are analysed separately, but in fact the most powerful effects of events are more holistic, able to impact not just on individual economic sectors or social groups, but on places as a whole. Over time, the use of events by cities and regions has grown more sophisticated and complex. The range of policy goals for which events are utilised has expanded, and the range and type of events staged has increased as well. Increasingly, public administrations seek to coordinate the events in their jurisdiction to create synergies between events and to maximise the benefits generated. Event policies make frequent references to the development of programmes or " portfolios " of events (Antchak, 2016). The ability of events to effect a broad range of changes in different places has added to their attractiveness as a placemaking tool, and has led to more cities developing " events units " and other forms of event-based

Öz Film festivalleri filmleri, sanatçıyı, sinema emekçilerini ve izleyici kitlelerini buluşturan önemli organizasyon-lardır. Festivallerde film seyretmeye gitmek, gündelik yaşamda sinemaya gitmekten farklıdır. Film festivalleri sadece sinema seyircisini bir araya getirmekle kalmaz, film sanatı ile ilgilenenlere de yeni kapılar aralar. Ben-zer şekilde yönetmen, oyuncu, senaryo yazarı gibi film üretiminde yer alan kişilerle ya da gösterim olanağı bulamamış filmlerin seyirci ile buluşmasına aracılık eder. Aynı içeriği seyredenlerin, filmlerin ardından ko-nuşabilmesi için zemin hazırlar. Sinema tarihinin öne çıkan filmlerini sinema salonu atmosferinde seyredile-bilmesine fırsat verir. Elbette bir film festivalinin kişiye, topluma ve gerçekleştirildiği kente katkıları bu sayılan-larla sınırlı değildir. Bu araştırma ile 18 yıllık bir geçmişe sahip Uluslararası Eskişehir Film Festivali'nin izleyici profilini tanımlan-ma çalışmaktadır. Bu amaçla 06-14 Mayıs 2016 tarih-leri arasında rastlantısal örneklem alma tekniği ile bir anket çalışması gerçekleştirilmiştir. Geçerli 250 anket, SPSS programı ile değerlendirilmiş ve araştırmacıların festival organizasyonu deneyimleri ile harmanlanarak yorumlanmıştır. Ayrıca 2016 yılında Türkiye' deki film festivallerinin bir panoraması ortaya konulmuş ve film festivallerinin sinema sektörüne ve topluma olan etki-lerini ortaya koymak amacıyla yapılan yayınların ge-nel bir taraması da yapılmıştır. Abstract Film festivals are highly important events and organizations that unite films, artists, cinema workers and the viewing audience. Attending a screening at a festival is different than going to the local cinema throughout our daily lives. Film festivals not only unite moviegoers, it also opens new doors for everyone interested in the art of film. Similarly, it facilitates the opportunity for the audience to meet directors, actors, screenwriters and everyone else participating in the production of films as well as the screening of films that previously had not been screened. It provides a platform of discussion for the viewers of common content. It allows prominent films in cinema history to be experienced within the atmosphere of a movie theatre. The contributions of film festivals to individuals, society, and the hosting city are not limited to these influences. This study attempts to determine the audience profile of the Eskisehir International Film Festival, which has been a recurring event for 18 years. In this regard, a survey was conducted between 6-14 May 2016 using random sampling. The 250 valid questionnaires obtained were analysed with the SPSS statistical software and the results were combined with the researchers' festival organisation experiences for interpretation. Additionally , a portrayal of the film festivals in Turkey in the year 2016 was established along with a meta-analysis of the publications regarding the influence of film festivals on the film industry and on society.

" Holi " is one of the most important festivals in India, the special features attracted lots of tourists. But how is such a religious event spread all over the world? Perhaps it's attributed to the advertisement campaign: " Incredible India ". The promotion of festival contributes to creating the Nation Image and to building the Nation Brand, which appeals to more and more governments and scholars. The first part is a brief introduction of " Holi ". Secondly, it's the discussions about Nation Image and Nation Brand. This part includes the influence of globalization; the soft power; the Nation Branding's practice; and the Nation Brand Index. In the practice part, an example of " Cool Britannia " is brought in. The third part " Festival Marketing " is followed by the last " Holi " & " Incredible India ". This part describes the details of how the campaign developed and some added examples are included. In the end, it's a conclusion of this essay.

This chapter looks at the origins of pop festival culture in Britain, the relatively under-researched phenomenon of the early jazz festivals in the New Forest during the 1950s. It explores subcultural contestation and negotiation, with particular attention to the 1960 festival, at which traditional (‘trad’) jazz fans and modernists confronted each other during the (mediated) so-called Battle of Beaulieu. It introduces issues relevant to the later festival movement, and to Woodstock: the significance of the deep green pastoral location, links (strong or weak) with the burgeoning peace movement of the Campaign for Nuclear Disarmament, the suggestion from a London beatnik of a free festival in the forest, the question of atavism and the revival of the past. It considers the problematic issue of Americanisation in the imitation of the recently founded Newport Jazz Festival as well as some of the innovations of Beaulieu.

Festivals are at the heart of British music and at the heart of the British music industry. They form an essential part of the worlds of rock, classical, folk and jazz, forming regularly occurring pivot points around which musicians, audiences, and festival organisers plan their lives.
Funded by the Arts and Humanities Research Council, the purpose of this report is to chart and critically examine available writing about the impact of British music festivals, drawing on both academic and ‘grey’/cultural policy literature in the  eld. The review presents research  ndings under the headings of:
•economy and charity;
•politics and power; •temporality and transformation; •creativity: music and musicians; •place-making and tourism; •mediation and discourse; •health and well-being; and •environment: local and global.
It concludes with observations on the impact of academic research on festivals as well as a set of recommendations for future research. To accompany the review, a 170-entry, 63,000-word annotated bibliography has been produced.

This paper aims to contribute to the debate on community engagement and participation in local community festivals and events by analysing the factors which either inhibit or facilitate engagement within local community events. The paper is conceptual in nature and sets the foundations for research collaboration between the University of Hertfordshire and Loughborough University in the UK, and the University of Pannonia, in Hungary. The central theme and rationale of the research is to determine how sustainability can be defined and achieved within local community festivals and events, by developing sustainable community networks. Currently there is limited understanding, agreement and research within this increasingly important area of academic enquiry. This particular paper explores the central concepts of inclusivity and engagement which can be considered as the foundation to the creation of successful community festivals and events.
The paper begins by exploring the literature surrounding definitions of community festivals and events; it builds on concepts discussed by Jepson and Clarke (2012) with a view to creating inclusive community festivals and events through inclusive participation within the planning and decision making process. Secondly the paper explores literature surrounding engaging and empowering local communities to participate within their community festivals and events. Community participation is often located within literature quite simply as a way of involving local people in community planning and development (Hung et al, 2011). However within the realm of community festivals and events the reality reveals a multitude of stakeholder webs and interconnected decision making processes within a multi-faceted phenomenon.
Tosun (2000) terms active participation as individuals voluntarily taking on the responsibilities and opportunities of citizenship within a community. However, the difficulties in applying this definition broadly as a result of differing local goals, economic, sociocultural, and political conditions, are acknowledged. This research will be adapting the Motivation-Opportunity-Ability (MOA) Model to investigate community engagement in a local community event and festival setting. The paper closes by reflecting on the value of the MOA to guide such a study and considers the methodological challenges that the study brings.

Introdução de 'Arte na Cidade', uma edição Temas e Debates/Círculo de Leitores. Disponível em: http://www.temasedebates.pt/livros/ficha/arte-na-cidade?id=15918526

Texto de contracapa: Tendo como objetivo elucidar o público acerca das possibilidades que a arte oferece à cidade contemporânea, este livro destina-se a um público vasto, composto por estudantes, artistas, arquitetos, designers, urbanistas, engenheiros e todos os interessados nas ciências sociais e na cidade como tecido social.
Do registo de pequenos e grandes acontecimentos da arte contemporânea às possibilidades que esta arte oferece às cidades de hoje, passando pelos segredos da linguagem da arte pública e pelas perspetivas da arte do futuro, este livro é como um caleidoscópio em que sucessivas lentes, disciplinas, saberes, e seus jargões, experiências e seus momentos, se aproximam no âmbito de uma mesma realidade fluida e em mutação.

With festivals more attuned to consumer/production typologies, and festival audiences now overwhelmed by choice, competition for funding amongst festival organisers is high and the need to prove worth for funding higher still. This paper provides an overview of the key response to this situation, notably: event evaluation. In particular, it looks at the shifts that have occurred in festival and event evaluation and argues that even though the socio-cultural importance of festivals and events is becoming more recognised, economic measures remain the dominant paradigm for determining the worth or value of a festival to funding authorities. Furthermore, the paper argues that development of socio-cultural impact evaluation model (SCIE) is complex and requires a suitably flexible and critical approach.

ABSTRACT
"The true role of a festival is to help artists to dare, to engage in new projects.”
Statement of Bernard Faivre d’Arcier (former Director Avignon Festival)
- motto of The Festival Academy.
The aim of this qualitative heuristic study is two-fold: The central research
question is: What are the experiences of the teachers who act as professional trainers for
school children participating in different dance categories in the Bonok-Bonok Maradjaw
Karadjaw Festival?
First aim of this study is to learn from the lived experiences of the teacher -
trainers to inform my actions, considered myself also as teacher- trainer, so that I could
help the schools develop policies beneficial to teachers which have these extra loads as
teacher- trainers. Specifically, this part of the study will address these questions: (a) What
are the teacher- trainers‘ personal and professional histories, qualities, and dispositions?
(b) What is the nature and purpose of the work of these teacher professional trainers? (c)
What are the contextual elements of the school district that either support or create
challenges for the work of these teacher professional trainers? (d) What is the impact of
the work of these teacher- trainers? (e) What lessons can be drawn from the work of the 5
teacher - trainers to inform the actions of the school board and improve the structures and
processes within the district of Surigao City in support of teacher -trainers?
The second aim of this study is to learn from the learning experiences of
professional trainers the relationship of the BBMK festival‘s activities/dance
competitions to local identity and history. Specifically, this part will address these
questions: (a) How does the dance rituals portray native Surigaonons‘ culture? (b) What
elements of this festival promote social cohesion, local pride, and the preservation of the
tradition? and (c) How can we impart a better educational program to elementary students
pertaining the relevance and values of the cultural heritage of the BBMK festival? (D)
How can we address social discrimination against mamanwas who originally created
bonok-bonok steps.
I have chosen to employ the qualitative heuristic methodology of Moustakas
(1990) as it is ―more in keeping with the focus of my research, to my own world-view‖
(Kirk, 2011) and to my philosophy as an educator who regularly is engaged as mentor for
school-based extra-curricular activities such as street dance competition in a local festival
event.
As cited by Kirk (2011) heuristic methodology derived from phenomenology, is a
process which enables the researcher by inclusion to make a personal connection,
relationship and exploration of a phenomenon (Moustakas, 1990). As with other forms of
qualitative research it involves the ―search for discovery of meaning and essence in 6
significant human experience‖ (Douglas & Moustakas, 1985). Moustakas (1990) goes on
to add that heuristic inquiry is an ―intentional readiness and determination to discover a
fundamental truth regarding the meaning and essence of one‘s own experience and that of
others‖.
The sample consists of elementary school teachers who acted as professional
trainers for the school-based category dance competition in the Bonok-Bonok Maradjaw
Karadjaw Festival. I have chosen the criterion sampling technique in the recruitment of
participants since according to Welman and Kruger (1999) and as cited in Gronewald
(2004) ―as the most important kind of non-probability sampling, to identify the primary
participants to be used to select the participants for this study,‖ and looking for those
who ―have experiences relating to the phenomenon to be researched” (Kruger, 1988).
The selection criteria for inclusion will be professional trainers who are the leaders in the
field of dance choreography and training for school students participating in the festival‘s
dance event competition. I have already initially identified five professional trainers who
can articulate well with their experiences in the Bonok-Bonok Maradjaw Karadjaw
Festival. The specific criterion for participation in the study will include at least three or
more years of experience acting as dance choreographer and/or professional trainer. The
members of the sample have met the above criteria.
The highlight of this study is to recommend especially to teachers handling Sibika
at Kultura, Hekasi, Araling Panlipunan and Physical Education in the development of 7
BBMKF for strengthening the curriculum integration. Such integration, mamanwas‘
special needs, history, language, culture, as well as their social and economic aspirations
and priorities are attended to. Thus, marginalization will be put to an end

What does the proliferation of food festival tell us about rural areas? How can these celebrations pave the way to a better future for the local communities? This book is addressing these questions contributing to the ongoing debate about the future of rural peripheries in Europe.

The volume is based on the ethnographic research conducted in Italy, a country internationally known for its food tradition and one of the European countries where the gap between rural and urban space is most pronounced. It offers an anthropological analysis of food festivals, exploring the transformational role they have to change and develop rural communities. Although the festivals aim mostly at tourism, they contribute in a wider way to the life of the rural communities, acting as devices through which a community redefines itself, reinforces its sociality, reshapes the perception and use of the surrounding environment. In so doing, thus, the books suggests to read the festivals not just as celebrations driven by food fashion, but rather  fundamental grassroots instruments to contrast the effects of rural marginalization and pave the way to a possible better future for the community.

Northern Europe is marked by some of the slowest and most recent urbanizations in Europe. In Norway, one of the most recent nations to experience urbanization processes, the majority of people lived in non-urbanized areas as recently as 1945. Denmark and Sweden had been prosperous empires for centuries, while Finland, Norway and Iceland, by contrast, were to start the process of state formation from the 19 th century onwards. This article aims to demonstrate that the topic of festival culture, festival houses and the creation of the nation state became influenced by new growing cities in Scandinavia. In addition, it focuses on the role of cultural activities in urbanization and the creation of new modern nation states. This article will try to sweep over the Scandinavian countries, but it is impossible to give a comprehensive overview over the topic. However, by focusing on some of the aspects in some specific cases, it tends to give an understanding of the subject and how the development of festivals and festival houses was, as well as the development of cultural practices in urban areas in connection with cultural activities. Even though the urban culture and the nation states of Scandinavia developed individually , there are significant similarities which are emphasized in this article. There was a pronounced growing awareness of cultural activities during the 19 th and especially the 20 th century in most Nordic countries. This awareness was significantly urban, and it was closely related to the development of the modern postwar welfare state. This examination and discussion of the topic of festival houses in Scandinavia is an attempt to contextualize the development of both culture-especially music and concert halls-in Scandinavia, as well as trying to see them as a means of providing festivals a safe haven-a festival house.

The prevalent focus on hard-nosed economic impacts within the ‘event tourism discourse’ in festival research has meant that, until recently, the development of an understanding of the social and cultural benefits of festivals in regional contexts has been somewhat neglected. This is the main rationale upon which the book ‘Music Festivals and Regional Development in Australia’ builds. While the number of studies that consider the triple-bottom line of events is slowly increasing, authors tend to put the spotlight on benefits brought to urban areas by major events. This book therefore fills an important thematic and contextual gap by offering in-depth holistic insights into the contribution of smaller-scale events to rural communities and economies.

17 Nisan 2014 tarihinde, değerli hocalarım Doç. Dr. Candan Ölçer ve Gökhan Çetinkaya'nın daveti ve OPRA (Okan Public Relations & Advertising) Topluluğu ev sahipliğinde düzenlenen konferansımda; geleceğin profesyonellerine A'dan Z'ye festival organizasyonu ve etkinliklerin planlanması konularını anlattım.

Undoubtedly, during last decade festivals and events consist a growing industry globally. Various researches argue the festivals and events can affect positively the economy, society and culture of a destination. As a result, destinations around the world have developed events and festivals to improve local economy but also to increase social cohesiveness. Regarding the latter, it has been argued that festivals can be approached as small communities. This concept is part of the broader sense of communitas sentiment or as referred to in the international literature, the sense of community (SOC) and is directly linked to the development and building of resilient social ties or describe the perception of belonging that makes the participants feel positive and safe. Current research paper aims to present relative literature regarding SOC and its significance to the festival tourism experience. Specifically, it seeks to explore the theoretical background based on the thorough exploration of international literature on issues such as: a) the factors that influence the sense of inclusion in the festivals society (SOFC) and b) the importance of SOFC to the festival success and visitor loyalty. It can be considered as the first part of an ongoing research on the SOC and SOFC issues that can expand the relative knowledge of festival managers and organizers in order to support actions and policies that strengthen community building through festivals and events.

This article examines the growth of Community-Based Tourism within the broader discipline of tourism. New topics in the field have emerged such as responsible tourism, pro-poor tourism, sports tourism and moral impacts of tourism. This phenomenon also reflects the multi-disciplinarity of tourism. In this article, using the Title, Abstract and Keywords (TAK) for instances in which the words (Community-based Tourism, Community Tourism and Community-Based Eco-Tourism) to subsume Community-Based Tourism (CBT), a search was made in various databases and found that CBT as a sub-specialty of tourism started to emerge in the late 1970s and early 1980s. The number of articles published specifically on CBT has been growing phenomenally. The major contribution of this article is that we now know the evolution of CBT and we also now know its trajectory of growth which has been upward. While the number of articles on CBT is growing, there is no journal dedicated solely to CBT.

Native festivals are considered as important tourism attractions. This concept has gained commercial importance. The promotion of these festivals offers excellent economic benefits for local communities. It presents challenges, especially in terms of maintaining the integrity of the celebration and rituals associated with the festival of indigenous communities. This paper explores emerging issues related to the planning and management of these Native festivals, concerns about authenticity and considerations related to cross-cultural relationships between the hosts and the guests are critically analyzed.

Global economy contexts of intense competition and recessionary tribulations reinforce the need for small developing countries to harness avenues of industrial diversification that can lead to sustainable economic development. In the predominantly small developing country region of the Caribbean, the burgeoning growth of festivals has given impetus to the pursuance of tourism-led strategies that utilise festivals as drivers for bolstering the region's economic development. The Grenada Spice Mas, the national carnival celebration of Grenada, has been positioned to generate such returns, having been moved to the month of August to stave off competition from other regional carnivals and to maximize on opportunities to significantly impact on the national economy. This paper offers a preliminary analysis of Grenada's Spice Mas' economic impact based on the findings of a visitor exit survey, a festival management audit and a sponsorship survey conducted during the 2011 celebrations. The paper seeks to identify lessons to be gained from the Spice Mas experience in harnessing festivals as viable contributors to small developing economies such as Grenada's.