Event Management

(Previously published as Festival Management & Event Tourism)

Editor-in-Chief: Mike Duignan
Volume 27, 2023

ISSN: 1525-9951; E-ISSN: 1943-4308
Softbound
8 numbers per volume

CiteScore 2021: 2.2
View CiteScore for Event Management

Go to previously published journal, Festival Management & Event Tourism

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Table of Contents: 2,652
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Aims & Scope

Aims & Scope

Event Management is the leading peer-reviewed international journal for the study and analysis of events and festivals, meeting the research and educational needs of this rapidly growing industry for more than 20 years.

We:

Publish high-quality interdisciplinary event studies work and therefore promote a broad spectrum of theoretical perspectives from management and organizational studies to sociology and social science.
Encourage the study of all kinds of physical, digital, and hybrid events from small- to large-scale cultural and sporting events, festivals, meetings, conventions, exhibitions, to expositions, across a range of geographical and cultural contexts.
Actively support authors to take a critical perspective concerning the power and potential of events as a force for social, economic, and environmental good, while challenging where events can do better and make a positive contribution to society.
Promote bold, interesting, relevant research problems and questions. Examples include why events play a key role for individual and collective transformational experiences; how social movements like #BlackLivesMatter and #Metoo can be advanced by attaching to events like the Academy Awards; through to the way large-scale events are leveraged for urban regeneration and community development.
Believe research insights are integral to high-quality learning and teaching and we encourage all authors to transform manuscript into a set of Event Management branded PowerPoint slides for colleagues to integrate into research informed and hybrid teaching approaches. Where provided by authors, slides will feature alongside each published manuscript for ease. All subscribing organizations and authors will have access to this library of learning and teaching content.

We offer authors four routes to publication, with simple submission guideline (see “Submission guidelines” tab).

Research article – a traditional submission route of up to 10,000 words focused on contributing to theory.
Research note – a short note of up to 2,000 words focused on providing novel and/or innovative insights to contribute to our body of theory and/or empirical knowledge. These can also include debates and/or commentaries.
Event case study – a new route of up to 10,000 words providing in-depth empirical insights and application of existing theoretical ideas to a specific event or series of events.
Event education – a new route of up to 10,000 words providing in-depth insights into events-related education policy and/or practice for colleagues to support high-quality international learning and teaching experiences.

Event Management is governed by a high-quality editorial board consisting of international leading experts across a range of disciplines and fields, including events, tourism, sport, hospitality, to business studies (see “Editorial board” tab).

Our double-blind peer review process is rigorous and supportive.

STEP 1: All manuscripts submitted to Event Management will go through a rigorous screening process by either the Editor-in-Chief or Deputy Editors to be desk rejected or progressed to one of 40+ Associate Editors who handle the review process.

STEP 2: An Associate Editor reviews the manuscript and decides whether to progress or rejected. If progressed, 2-3 members of the Editorial Advisory Board or those with appropriate expertise are invited to review with an average 2-3 rounds of peer review. Authors have 8 weeks to revise and resubmit for each round of peer review.

STEP 3: Toward the end of peer review the Associate Editor recommends a final decision to the Editor-in-Chief or Deputy Editor who makes the final decision and provides final constructive feedback where appropriate.

STEP 4: Manuscripts accepted are swiftly uploaded to our “Fast Track” system with a DOI while our editorial assistants work with authors to deal with author queries before final manuscripts are made available. FINAL PUBLISHED ARTICLES WILL BE MADE AVAILABLE AS FREE ACCESS (at no charge) ON INGENTA CONNECT FOR A PERIOD OF 15 DAYS and will be actively promoted by our Social Media Editor who works with authors to create a short tweet and author video alongside free links to promote colleagues’ work, across our Twitter and LinkedIn sites. (After the 15 days manuscripts will only be available to subscribers, unless the author has paid for the Open Access option.)

Editorial Board

EDITOR-IN-CHIEF

Mike Duignan
Associate Professor
Rosen College of Hospitality Management
University of Central Florida
Orlando, FL, USA
Michael.Duignan@ucf.edu

Deputy Editors
Leonie Lockstone-Binney, Griffith University, Australia
David McGillivray, University West of Scotland, UK
Milena Parent, University of Ottawa, Canada
Emma Wood, Leeds Beckett, UK

Editorial Managing Editor
Aaron Tkaczynski, The University of Queensland, Australia

Social Media Editor
Giulia Rossetti, Oxford Brookes University, UK

Special Advisors
Laurence Chalip, George Mason University, USA
Alan Fyall, University of Central Florida, USA
Leo Jago, University of Surrey, UK
Adele Ladkin, Bournemouth University, UK
Stephen Page, University of Hertfordshire, UK
Holger Preuss, University of Mainz, Germany
Richard Shipway, Bournemouth University, UK

Thought Leaders
James Bulley, OBE, CEO, Trivandi, UK
Paul Bush, OBE, Director of Events, VisitScotland, UK
Sarah de Carvalho, MBE, CEO, It’s a Penalty, UK
Genevieve Leclerc, CEO, #Meet4Impact, Canada
Shona McCarthy, CEO, Edinburgh Festival Fringe Society, UK
Nick Moran, Founder, Phantom Peak, UK
John Siner, Founder, WhySportMatters, USA
Lucy Spokes, Head of Public Engagement and former Director of the Cambridge Festival of Ideas, University of Cambridge, UK
John Tasker, Founder, Massive, UK

Co-Founding Editors
Donald Getz, University of Calgary, Canada
Bruce Wicks, University of Illinois at Urbana-Champaign, USA

Associate Editors
Tom Fletcher, Leeds Beckett University, UK (Chair of the Associate Editors Board)
Kayode Aleshinloye, University Central Florida, USA
Jane Ali-Knight, Edinburgh Napier University, UK
Charles Arcodia, Griffith University, Australia
Sandro Carnicelli, University of the West of Scotland, UK
Chris Chen, University of Canterbury, New Zealand
Willem Coetzee, University of Otago, New Zealand
Alba Colombo, Universitat Oberta de Catalunya, Spain
Simon Darcy, University Technology Sydney, Australia
Kate Dashper, Leeds Beckett University, UK
Tracey Dickson, University of Canberra, Australia
Sally Everett, Kings College London, UK
Sheranne Fairley, The University of Queensland, Australia
Kevin Filo, Griffith University, Australia
Rebecca Finkel, Queen Margaret University, UK
Chris Gaffney, New York University, USA
Sandra Goh, Auckland University of Technology, New Zealand
Kirsten Holmes, Curtin University, Australia
Xin Jin, Griffith University, Australia
Kiki Kaplanindou, University of Florida, USA
Donna Kelly, The University of Technology, Jamaica
James Kennell, University of Greenwich, UK
Zengxian (Jason) Liang, Sun Yat-sen University, China
Eleni Michopoulou, University of Derby, UK
Laura Misener, Western University, Canada
Bri Newland, New York University, USA
Ilaria Pappalepore, University of Westminster, UK
Nikolaos Pappas, University of Sunderland, UK
Luke Potwarka, University of Waterloo, Canada
Greg Richards, Breda University of Applied Sciences, Netherlands
Martin Robertson, Edinburgh Napier University, UK
Debbie Sadd, Bournemouth University, UK
Martin Schnitzer, University of Innsbruck, Austria
Louise Todd, Edinburgh Napier University, UK
Oscar Vorobjovas-Pinta, University of Tasmania, Australia
Lewis Walsh, Anglia Ruskin University, UK
Karin Weber, Hong Kong Polytechnic University, Hong Kong
Nicholas Wise, Arizona State University, USA
Jinsheng (Jason) Zhu, Guilin Tourism University and Chiang Mai University, Thailand
Vassillios Ziakas, University of Surrey, UK

Editorial Advisory Board
Rutendo Musikavanhu, Coventry University, UK (Chair of the Editorial Advisory Board)
Eylin Aktaş, Pamukkale University, Turkey
John Armbrecht, University of Gothenburg, Sweden
Jarrett Bachman, Fairleigh Dickinson University, Canada
Ken Backman, Clemson University, USA
Sheila Backman, Clemson University, USA
Carissa Baker, University of Central Florida, USA
Jina Hyejin Bang, Florida International University, USA
Rui Biscaia, University of Bath, UK
Charles Bladen, Anglia Ruskin University, UK
Soyoung Boo, Georgia State University, USA
Glenn Bowdin, Leeds Beckett University, UK
Ian Brittain, Coventry University, UK
Alyssa Brown, University of Sunderland, UK
Federica Burini, University of Bergamo, Italy
Krzysztof Celuch, Nicolaus Copernicus University, Poland
Jean-Loup Chappelet, University of Lausanne, Switzerland
Gyoyang Chen, Victoria University of Wellington, New Zealand
J. Andres Coca-Stefaniak, University of Greenwich, UK
Ubaldino Couto, Macao Institute for Tourism Studies, China
Juliet Davis, Cardiff University, UK
Leon Davis, Teeside University, UK
Emma Delaney, University of Surrey, UK
Anthony Dixon, Troy University, USA
Simon Down, University of Birmingham and Högskolan Kristianstad, UK
Colin Drake, Victoria University, Australia
Jason Draper, University of Houston, USA
Martin Falk, University of South-Eastern Norway, Norway
Nicole Ferdinand, Oxford Brookes University, UK
Carmel Foley, University Technology Sydney, Australia
Susanne Gellweiler, Dresden School of Management, Germany
David Gogishvili, University of Lausanne, Switzerland
John Gold, Oxford Brookes University, UK
Barbara Grabher, University of Graz, Austria
Jeannie Hahm, University of Central Florida, USA
Kirsten Hallman, German Sport University Cologne, Germany
Elizabeth Halpenny, University of Alberta, Canada
Marcus Hansen, Liverpool John Moores University, UK
Luke Harris, University of Birmingham, UK
Najmeh Hassanli, University of Technology Sydney, Australia
Burcin Hatipoglu, University New South Wales, Australia
Christopher Hautbois, University of Paris, France
Claire Haven-Tang, Cardiff Metropolitan University, UK
Ted Hayduck, New York University, USA
Freya Higgins-Desbiolles, University of South Australia, Australia
Yoshifusa Ichii, Ritsumeikan University, Japan
Jiyoung Im, Oklahoma State University, USA
Dewi Jaimangal-Jones, Cardiff Metropolitan University, UK
David Jarman, Edinburgh Napier University, UK
Allan Jepson, Herts University, UK
Eva Kassens-Noor, Michigan State University, USA
Jamie Kenyon, Loughborough University, UK
Seth Kirby, Nottingham Trent University, UK
Brendon Knott, Cape Peninsula University of Technology, South Africa
Nicole Koenig-Lewis, Cardiff University, UK
Joerg Koenigstorfer, Technical University of Munich, Germany
Maximiliano Korstanje, University of Palermo, Argentina
Niki Koutrou, Bournemouth University, UK
Jeetesh Kumar, Taylor’s University, Malaysia
Chantel Laws, University of Westminster, UK
Weng Si (Clara) Lei, Macao Institute for Tourism Studies, China
Clifford Lewis, Charles Sturt University, Australia
Jason Li, Sun Yat-sen University, China
Ying (Tracy) Lu, University of Kentucky, USA
Erik Lundberg, University of Gothenburg, Sweden
Emily Mace, Angila Ruskin University, UK
Judith Mair, University of Queensland, Australia
Matt McDowell, University of Edinburgh, UK
Majd Megheirkouni, Abertay University, UK
James Musgrave, Leeds Beckett University, UK
Barbara Neuhofer, University of Salzburg, Austria
Margarida Abreu Novais, Griffith University, Australia
Pau Obrador, Northumbria University, UK
Danny O’Brien, Bond University, Australia
Eric D. Olson, Metropolitan State University of Denver, USA
Faith Ong, University of Queensland, Australia
Emilio Fernandez Pena, Universitat Autonoma de Barcelona, Spain
Marko Perić, University of Rijeka, Croatia
Hongxia Qi, Victoria University Wellington, New Zealand
Meng Qu (Mo), Hiroshima University, Japan
Bernadette Quinn, Dublin Institute of Technology, Ireland
Vanessa Ratten, La Trobe University, Australia
Tiago Ribeiro, University of Lisbon, Portugal
Alector Ribiero, University of Surrey, UK
Katie Schlenker, University Technology Sydney, Australia
Hugues Seraphin, Winchester University, UK
Ryan Snelgrove, University of Waterloo, Canada
Sarah Snell, Edinburgh Napier University, UK
Sonny Son, University of South Australia, Australia
Nancy Stevenson, University of Westminster, UK
Ching-Hui (Joan) Su, Iowa State University, USA
Kamilla Swart-Arries, Hamad Bin Khalifa University, Qatar
Adam Talbot, Coventry University, UK
Jessica Templeton, University of Greenwich, UK
Aaron Tham, University of the Sunshine Coast, Australia
Eleni Theodoraki, University of Dublin, UK
Jill Timms, University of Surrey, UK
Danai Varveri, Metropolitan College, Greece
Christine Van Winkle, University of Manitoba, Canada
Trudie Walters, Canterbury Museum and Lincoln University, New Zealand
Xueli (Shirley) Wang, Tsinghua University, China
Stephen Wassong, German Sport University, Germany
Craig Webster, Ball State University, USA
Jon Welty Peachey, Gordon College, USA
Kim Werner, Hochschule Osnabrück, Germany
Mark Wickham, University of Tasmania, Australia
Kyle Woosnam, University of Georgia, USA
Jialin (Snow) Wu, University of Huddersfield, UK
Sakura Yamamura, Max Planck Institute for the Study of Religious and Ethnic Diversity, Germany
Pamela Zigomo, University of Greenwich, UK

PhD/ECR Editorial Board
Erik L. Lachance, University of Ottawa, Canada (Chair of the PhD/ECR Editorial Board)
Oluwaseyi Aina, University of the West of Scotland, UK
Sarah Ariai, University of Waterloo, Canada
Elizabeth Ashcroft, University of Surrey, UK
Jibin Baby, North Carolina State University, USA
Jordan T. Bakhsh, University of Ottawa, Canada
Sara Belotti, University of Bergamo, Italy
Nicola Cade, Anglia Ruskin University, UK
Libby Carter, Birmingham City University, UK
David Cook, Coventry University, UK
Karen Davies, Cardiff Metropolitan University, UK
Skyler Fleshman, University of Florida, USA
Chris Hayes, Teeside University, UK
Mu He, University of Alberta, Canada
Meg Hibbins, University of Technology Sydney, Australia
Jie Min Ho, Curtin University, Australia
Montira Intason, Naresuan University, Thailand
Denise Kamyuka, Western University, Canada
Wanwisa Khampanya, University of Surrey, UK
Jason King, Leeds Beckett University, UK
Truc Le, Griffith University, Australia
Kelly McManus, University of Waterloo, Canada
Heelye Park, Iowa State University, USA
Jihye Park, University of Central Florida, USA
Erin Pearson, Western University, Canada
Benedetta Piccio, Edinburgh Napier University, UK
Juliana Rodrigues Vieira Tkatch, University of Central Florida, USA
Claire Roe, University of Derby, UK
Briony Sharp, University of the West of Scotland, UK
Smita Singh, Metropolitan State University of Denver, USA
Supina Supina, Bunda Mulia University, Jakarta
Darina Svobodova, University of Surrey, UK
Georgia Teare, University of Ottawa, Canada
Yann Tournesac, Leeds Beckett University, UK
Katy Tse, University of Surrey, UK
Beau Wanwisa, University of Surrey, UK
Brianna Wyatt, Oxford Brookes University, UK
Ryutaro Yamakita, University of Ottawa, Canada
Emmy Yeung, University of Chester, UK
Ryuta Yoda, Coventry University, UK
Nicole Yu, The University of Queensland, Australia
Azadeh Zarei, The University of Queensland, Australia

Submission Guidelines

Submission Guidelines

Our aim is to make initial submission to Event Management as simple as possible, for all submission routes. Authors can use the following information as a checklist before submitting.

HOW TO SUBMIT: All manuscripts to be submitted via this link:

WHAT TO SUBMIT: Authors are asked to submit four documents:

Impact Statement
Title page
Manuscript
Submission Checklist (Click here for the Submission Checklist)

Please note: After you have received the first round of peer review comments and you are responding to reviewers’ comments, please ensure you attach a ‘Response to Reviewers’ document on Step 2: File Upload. This will make it easier for the reviewers to see where changes have been made in relation to peer review comments, and how and why you have attended to all peer reviewer points.

Cover letters are optional but we do encourage authors to also provide this to help detail the theoretical, empirical, and/or practical contribution of the manuscript.

WHAT TO INCLUDE IN YOUR “IMPACT STATEMENT”: up to 500 words detailing the potential or actual impact of this article on society.

WHAT TO INCLUDE IN YOUR “TITLE PAGE”: Please ensure all of the following headings are present and addressed:

Title (20 words max)
Author(s) name
Affiliation (Department, Institution, City, (State), Country)
Corresponding author and email address
Corresponding author ORCID
Declaration of interest
Part of a Special Issue? If so, state the name of the Special Issue.

WHAT TO INCLUDE AND HOW TO FORMAT MANUSCRIPTS: We provide authors with the flexibility to format and organize manuscripts in they way they prefer for initial submission. Authors will then work with our editorial assistants after acceptance to conform with journal standardized format before publication. We do however have a simple checklist of things below we do require at initial submission stage:

Sections to include:

Title (up to 20 words, in CAPITAL LETTERS and BOLD)
Highlights (3-5 highlights, max 80 characters including spaces for each bullet point)
Abstract (150 words max)
Keywords (up to 8, placed immediately after the Abstract)
A “Literature Review” and “Methodology” section must feature, unless not appropriate.

Formatting requirements

Arial font, size 10 or 12.
All manuscripts should be thoroughly checked for spelling and grammar.
All in-text citations and References must be submitted following APA Publication Manual, 7th edition (see https://owl.purdue.edu/owl/research_and_citation/apa_style/apa_formatting_and_style_guide/apa_changes_7th_edition.html and/or the 7th APA author quick guide changes).
For a sample published article choose an open access file on the online Ingenta Connect site (https://www.ingentaconnect.com/content/cog/em)
Double spaced, with line numbering and page numbers.
‘Tables’ and high quality ‘Images’ and ‘Figures’ to be uploaded as separate files.
Word counts indicated below are the maximum for all sections including tables, figure legends and appendices.
Clearly identifiable headings with no more than three levels (see example below).
1. HEADING,
1.1 Sub-heading
1.1.1 Sub-sub-heading.

SUBMISSION TYPES:

Research article (up to 10,000 words)—traditional full-length research articles contribute to theory.
Research note (up to 2,500 words)—short pieces that are theoretically or methodologically relevant, novel and innovative that can be developed further and advanced by other scholars. Commentaries and debates can be submitted under this submission type too.
Event case study (up to 10,000 words)—full-length empirically based research articles that rigorously apply theory but do not necessarily seek to develop theory. Authors must however stress the implications of empirical work beyond the event case study context.
Event education (up to 10,000 words)—full-length pieces focusing on events-related learning and teaching innovation and impact on student education, experience, and performance.

GENERAL AND SPECIFIC QUESTIONS EDITORS AND REVIEWERS WILL CONSIDER WHEN EVALUATING MANUSCRIPTS

General questions:

Is there a clear research issue or problem statement presented at the beginning that establishes the “so what” factor?
Is the theoretical, methodological, or empirical contribution of the manuscript clearly stated? And is the significance of this contribution clearly stated?
Is the manuscript interesting, bold, and/or innovative?
Is the theoretical framework robust, providing a good conceptual grounding in relevant literature?
Is the methodology designed and executed in a reliable and valid way?
Is the manuscript written in a clear and concise way (without “academese”) and accessible to academic and nonacademic audiences?
Is the argument written in an easy to follow and logical way?
Are there clear conceptual and practical conclusions drawn on in the latter parts of the manuscript?
Which of the following submission routes do you think the manuscript is best suited for:
– Research article (strong theoretical or methodological contribution)
– Research Note (shortened version with a strong theoretical or methodological contribution)
– Event Case Study (limited theoretical or methodological contribution, but interesting empirical insights)
– Events Education

Specific events-related questions:

Does the manuscript present an analysis of contemporary events-related issues?
Does the manuscript present a balanced perspective on the power and potential of events for good or for bad?
Do you think this manuscript helps advance events research: how and why?
Are there clear and well-justified recommendations to help advance the policy and practice of events in the future?
Does the manuscript present a future academic research agenda that seeks to push the boundaries of events research?
Is it clear how either descriptive or conceptual features of the event in question impacts on the empirical phenomenon in question? (In other words, does the author position the event simply as the “background” or “context” or are distinct features of the event recognized?)

NB: We ask this last question because in Event Management journal we want continue building a more conceptual understanding as to why events and festivals are particularly interesting organizational constructs to advance theory and knowledge, over let’s say other types of organizations like businesses or government institutions.

ONLINE FAST-TRACK PUBLICATION

Accepted manuscripts will be loaded to Fast Track with DOI links online. Fast Track is an early e-pub system whereby subscribers to the journal can start reading and citing the articles prior to their inclusion in a journal issue. Please note that articles published in Fast Track are not the final print publication with proofs. Once the accepted manuscript is ready to publish in an issue of the journal, the corresponding author will receive a proof from our Production Department for approval. Once approved and published, the Fast Track version of the manuscript is deleted and replaced with the final published article. Online Fast Track publication ensures that the accepted manuscripts can be read and cited as quickly as possible.

Use of Copyright Material: Authors must attest their manuscript contains original work and provide proof of permission to reproduce any content(artwork, photographs, tables, etc.) in connection with their manuscript, also ensuring their work does not infringe on any copyright and that they have obtained permission for its use. It is important to note that any and all materials obtain via the Internet/social media (including but not limited to Facebook, Twitter, Instagram, etc.) fall under all copyright rules and regulations and permission for use must be obtained prior to publication.
Copyright: Publications are copyrighted for the protection of authors and the publisher. A Transfer of Copyright Agreement will be sent to the author whose manuscript is accepted. The form must be completed and returned with the final manuscript files(s).

AUTHOR OPTIONS

Articles appearing in Event Management are available to be open access and also contain color figures (not a condition for publication). Authors will be provided with an Author Option Form, which indicates the following options. The form must be completed and returned with the final manuscript file(s) even if the answer is “No” to the options. This form serves as confirmation of your choice for the options.

A Voluntary Submission Fee of $125.00 includes one free page of color and a 50% discount on additional color pages (color is discounted to $50.00 per color page).

Open Access is available for a fee of $200.00. Color would be discounted to $50.00 per color page.

The use of Color Figures in articles is an important feature. Your article may contain figures that should be printed in color. Color figures are available for a cost of $100.00 per color page. This amount would be discounted to $50.00 per color page if choosing to pay the voluntary submission fee or the open access option as indicated above.

If you choose any of the above options, a form will be sent with the amount due based on your selection, at proof stage. This form will need to be completed and returned with payment information and any corrections to the proof, prior to publication.

PAGE PROOFS

Page proofs will be sent electronically to the designated corresponding author prior to publication. Minor changes only are allowed at this stage. The designated corresponding author will receive a free pdf file of the final press article, which will be sent by email.

DISCLAIMER

Although every effort is made by the publisher and editorial board to see that no inaccurate or misleading data, opinion, or statement appears in this Journal, they wish to make it clear that the data and opinions appearing in the articles and advertisements herein are the sole responsibility of the contributor or advertiser concerned. Accordingly, the publisher, the editorial board, editors, and their respective employees, officers, and agents accept no responsibility or liabilitywhatsoever for the consequences of any such inaccurate or misleading data, opinion, or statement.

Peer Review Policy

Event Management (EM) Peer Review Policy

Peer review is the evaluation of scientific, academic, or professional work by others working in the same field to ensure only good scientific research is published.

In order to maintain these standards, Event Management (EM) utilizes a double-blind review process whereby the identity of the reviewers is not known to authors and the authors are not shown on the article being reviewed.

The peer review process for EM is laid out below:

STEP 1: An article is reviewed for quality, suitability and alignment to the submission formatting guidelines by the Editor-In-Chief and Deputy Editors, and authors will receive either a desk reject, or the article will be progressed to one of our Associate Editors.

STEP 2: If progressed, an Associate Editor will also review for quality and suitability. At this point they may suggest a rejection, or progress and invite reviewers to review the manuscript. We ask reviewers to submit their review within approx. 4-6 weeks (sometimes this can be quicker or slower) and decided is the paper should be an: ‘accept’, ‘minor revision’, ‘major revision’ or ‘reject’.

STEP 3: Authors will then have approx. 4-6 weeks to complete revisions and then resubmit to the journal. The peer review process will then continue until a decision is made by the Associate Editor.

STEP 4: At this point, the article will go to the Editor-In-Chief and Deputy Editors to make a final decision and suggest any final changes required before final acceptance.

STEP 5: After final acceptance, authors will then work with our editorial team to ensure that the article is correctly formatted and suitable for publication. Manuscripts will then be allocated a DOI and uploaded to our fast-track system to have a digital presence online. When the final article is uploaded, we then provide 15 DAYS FREE ACCESS to the article, which can be shared out to networks.

INTERESTED IN BECOMING A REVIEWER FOR EVENT MANAGEMENT JOURNAL?

As a reviewer for Event Management you would have the benefit of reading and evaluating current research in your area of expertise at its early state, thereby contributing to the integrity of scientific exploration.

If you are interested in becoming a reviewer for EM please contact the EIC: Mike Duignan at Michael.Duignan@ucf.edu

If you review three papers for one of the Cognizant journals (Tourism Review International, Tourism Analysis, Event Management, Tourism Culture and Communication, Tourism in Marine Environments, and Gastronomy and Tourism) within a one-year period, you will qualify for a free OPEN ACCESS article in one of the above journals.

Ethics Statement

ETHICS STATEMENT

The publishers and editorial board of Event Management have adopted the publication ethics and malpractice statements of the Committee on Publication Ethics (COPE) https://publicationethics.org/core-practices. These guidelines highlight what is expected of authors and what they can expect from the reviewers and editorial board in return. They also provide details of how problems will be handled. Briefly:

Event Management is governed by an international editorial board consisting of experts in event management, tourism, business, sport, and related fields. Information regarding the editorial board members is listed on the inside front cover of the printed copy of the journal in addition to the homepage for the journal at: https://www.cognizantcommunication.com/journal-titles/event-management under the “Editorial Board” tab.

This editorial board conducts most of the manuscript reviews and plays a large role in setting the standards for research and publication in the field. The Editor-in-Chief receives and processes all manuscripts and from time to time will modify the editorial board to ensure a continuous improvement in quality.

The reviewers uphold a peer review process without favoritism or prejudice to gender, sexual orientation, religious/political beliefs, nationality, or geographical origin. Each submission is given equal consideration for acceptance based only on the manuscript’s importance, originality, academic integrity, and clarity and whether it is suitable for the journal in accordance with the Aims and Scope of the journal. They must not have a conflict of interest with the author(s) or work described. The anonymity of the reviewers must be maintained.

All manuscripts are sent out for blind review and the editor/editorial board will maintain the confidentiality of author(s) and their submitted research and supporting documentation, figures, and tables and all aspects pertaining to each submission.

Reviewers are expected to not possess any conflicts of interest with the authors. They should review the manuscript objectively and provide recommendations for improvements where necessary. Any unpublished information read by a reviewer should be treated as confidential.

Authors

Manuscripts must contain original material and must not have been published previously. Material accepted for publication may not be published elsewhere without the consent of the publisher. All rights and permissions must be obtained by the contributor(s) and should be sent upon acceptance of manuscripts for publication.

References, acknowledgments, figure legends, and tables must be properly cited and authors must attest their manuscript contains original work and provide proof of permission to reproduce any content (artwork, photographs, tables, etc.) in connection with their manuscript, also ensuring their work does not infringe on any copyright and that they have obtained permission for its use. It is important to note that any and all materials obtain via the Internet/social media (including but not limited to Face Book, Twitter, Instagram, etc.) falls under all copyright rules and regulations and permission for use must be obtained prior to publication.

Authors listed on a manuscript must have made a significant contribution to the study and/or writing of the manuscript. During revisions, authors cannot be removed without their permission and that of all other authors. All authors must also agree to the addition of new authors. It is the responsibility of the corresponding author to ensure that this occurs.

Financial support and conflicts of interest for all authors must be declared.

The reported research must be novel and authentic and the author(s) should confirm that the same data has not been and is not going to be submitted to another journal (unless already rejected). Plagiarism of the text/data will not be tolerated and could result in retraction of an accepted article.

When humans, animals, or tissue derived from them have been used, then mention of the appropriate ethical approval must be included in the manuscript.

Publisher

The publishers agree to ensure, to the best of their abilities, that the information they publish is genuine and ethically sound. If publishing ethics issues come to light, not limited to accusations of fraudulent data or plagiarism, during or after the publication process, they will be investigated by the editorial board including contact with the authors’ institutions if necessary, so that a decision on the appropriate corrections, clarifications, or retractions can be made. The publishers agree to publish this as necessary so as to maintain the integrity of the academic record.

Current Table of Contents / Abstracts

View All Abstracts

Access Current Articles (Volume 27, Number 2)

Volume 27, Number 2

SPECIAL ISSUE
REVISITING VALUE COCREATION AND CODESTRUCTION IN EVENTS
Guest Editors: Iride Azara, Nikolaos Pappas, and Eleni Michopoulou

Revisiting Value Cocreation and Codestruction in Events: An Overview – 157
https://doi.org/10.3727/152599521X16367300695672

Iride Azara,* Nikolaos Pappas,† and Eleni Michopoulou*

*Derby Business School, University of Derby, Derby, UK
†University of Sunderland, Sunderland, UK

The examination of processes of value cocreation and codestruction within events is now more pertinent than ever. Given the effects of constant sociocultural and environmental change and pandemic, and the huge challenges facing the sector, it is now more important than ever to understand what value is and how it can be created or destroyed. For instance, considering the engagement and involvement of audiences/attendees it is important to explore the relationship between attendees’ motivations and frequency of attendance with their level of engagement. At the same time, there is a clear need of investigating additional factors that contribute to value cocreation in the context of events. Research should concentrate on understanding the different audiences, actors, and stakeholders across different event contexts and settings within their respective value and distribution chains and within the wider event environment. Therefore, the proliferation of events research is valuable not just to expand this growing body of knowledge on a theoretical level, but events research has clear potential for use by event managers and producers in the events sector through the recovery process and beyond.

Key words: Value cocreation; Codestruction; Events; Engagement; Stakeholders; Event delivery

Measuring the Audience Experience at the Jazzaldia Festival, San Sebastian, Spain – 163
https://doi.org/10.3727/152599521X16367300695762

Sonja Bakić, Jaime Cuenca, and Macarena Cuenca-Amigo

Institute of Leisure Studies, University of Deusto, Bilbao, Spain

Audience research in the cultural sector has been increasingly gaining the attention of researchers and practitioners. This article explores audience experience as an interactive cocreated process between audiences and the program offer in the jazz festival context. As a result of this interaction, each such experience is unique, and the perceived value differs from one to the other. Inspired by previous research on audience experience in the field of theater performances and musicals, we applied the Art Audience Experience Index to the context of jazz festivals, in this case, a well-established and successful Basque festival: Jazzaldia Festival, San Sebastian (Spain). The Index measures four indicators: Knowledge, Risk, Authenticity, and Collective Engagement. These were utilized to identify cocreation links between festival setting features (paid vs. free admission and indoor vs. outdoor venue) and audience profiles (education level and music background). The results are obtained from 406 valid questionnaires and reveal the importance audiences give to their live music experience in general, and their satisfaction with jazz concerts in relation to festival concerts’ admission, type of venue, participants’ educational level, and music background. This study contributes to the body of knowledge on audience experience in jazz festivals by employing a tested methodological tool that has not been previously applied in the concert or festival setting. Furthermore, our work may help cultural managers acquaint themselves with their audiences to a greater extent, and incite reflection on interventions that might enhance the experience of their audiences.

Key words: Jazz; Audiences; Audience Experience Index; Cocreation; Jazzaldia Festival

Preferences and Perceived Value in Musical Events: Guitar Festival of Cordoba (Spain) – 183
https://doi.org/10.3727/152599521X16367300695681

Gema Gomez-Casero,* Jesús Claudio Pérez Gálvez,* Juan Vicente Fruet Cardozo,* and Carol Angélica Jara-Alba†

*Department of Applied Economics, Faculty of Law and Economics, University of Córdoba, Córdoba, Spain
†Research Department, Faculty of Administration and Political Science, Casa Grande University, Ecuador

The main aim of this article is to contribute to the scientific literature related to the importance of musical preferences, in the context of international Spain music festivals. The originality and relevance of the study lies in being the first investigation of a music festival where the guitar is the main instrument of the concerts. Data collection for this research was based on the completion of fieldwork with a sample of spectators who visited The Guitar Festival of Córdoba (Spain). Based on this understanding and accomplished fieldwork, this study analyzes the musical preferences linked to the different guitar genres. The results indicate that there are three typologies of spectators who are considered valid and useful in distinguishing The Guitar Festival as a cultural destination: a rocker audience, a classical audience, and a music/guitar loving audience (the most representative segment). The analysis of the festivalgoers’ musical preferences reveals that they are significantly discerning in terms of their academic level, their behavior, and the festival’s image or perceived value. The most obvious finding to emerge from this study is that knowledge on festivalgoers’ musical preferences is an essential tool for The Guitar Festival in order to make it grow as a cultural destination.

Key words: Festival; Tourism; Motivation; Guitar; Cordoba

Cocreation and Engagement: What Festivalgoers Want in the UK Rock Festival Experience – 201
https://doi.org/10.3727/152599521X16367300695690

Alyssa Eve Brown

Department of Hospitality, Events, Aviation and Tourism, University of Sunderland, Sunderland, Tyne and Wear, UK

This article seeks to better understand the festivalgoers’ experience by determining what festivalgoers want at UK rock music festivals. Examining the experience journey, important attributes were identified in pre-, peri-, and postfestival phases. Qualitative data were collected from 124 festivalgoers through semistructured group interviews that were conducted on site at three different UK rock festivals. Thematic analysis revealed the importance of cocreation and engagement through each phase of the festivalgoer experience. The practical implications of this study provide festival organizers with the opportunity to direct their management efforts on the strategic optimization of experiences that may promote preferred consumer behavior through positive word of mouth and future reattendance. Moreover, this article offers a conceptual model of the festivalgoer experience.

Key words: Event experience; Festivalgoer; Music festival; Rock music; UK

On the Verge Between Cocreation and Codestruction: The Interesting Case of a Greek Traditional Cultural Event – 217
https://doi.org/10.3727/152599521X16367300695753

Kyriaki Glyptou

International Tourism Management, School of Events, Tourism and Hospitality Management, Leeds Beckett University, Leeds, UK

Traditional cultural events provide unique opportunities for resident-attendee destination experience and image cocreation, yet the cognitive, perceptual, and behavioral disparities between these key actor groups remain rather sparse. Focusing on the process rather than the outcome of cocreation, this article adopts a Service-Dominant Logic (SDL) to explore the underlying dynamics of social and economic actor encounters and their role in service value and image cocreation and destination resource management. More specifically, the study applies a mixed-method approach to study the interface of social and psychological carrying capacity during the Easter Rocket War in Chios (Greece). Building on the particularities of this traditional event, the research identifies variables that trigger cognitive and perceptual conflicts of interests that may jeopardize an event’s and a destination’s image cocreation process, resulting in its codestruction. Research findings contribute to the broader event image cocreation and destination branding body of literature, though the exploration of the underlying dynamics of multistakeholder and multiattribute event dimensions (cultural, spiritual, historical, recreational). From a managerial perspective, research findings aim to inform destination planning and decision-making processes that dictate event viability, publicity, and multistakeholder satisfaction.

Key words: Event cocreation; Event codestruction; Destination carrying capacity; Cultural event; Chios Easter Rocket War

The Cocreation of the Songkran Festival in Thailand and the Codestruction of its Cultural Significance – 237
https://doi.org/10.3727/152599521X16367300695708

Montira Intason, Willem Coetzee, and Craig Lee

Department of Tourism, University of Otago, Dunedin, New Zealand

This article investigated the codestruction of cultural significance through the cocreation and evolution of a hallmark cultural event, using the Songkran Festival, Thailand, as a case study. The Songkran Festival began within an agricultural society rooted in Buddhist cultural inheritance. Traditionally, Thai people cocreated the celebration by offering food to monks (Punna), and releasing fish or birds on Maha Songkran (i.e., the last day of the previous year) in April. They built sand pagodas or Chedi Sai at Buddhist temples to compensate for sand that was removed under their feet over the previous year. They also reunited with family by traveling back to their hometowns to pay respects to family elders and ancestors. After that, they would pour water from a silver bowl onto each other’s shoulders as a sign of blessing, and the water represented wishes for good rainfall for the New Year’s harvest. The cocreation between tourism sectors, local businesses, and the festival stakeholders transformed festivities into foam parties, special events, and leisure activities to stimulate tourism demand and to generate economic benefit. Consequently, these new celebrating practices codestructed the cultural significance and core values of the Songkran Festival. Therefore, this study sought to understand the evolution and cocreation phenomena in the festival that leads to codestruction of its cultural significance and core values through document analysis and semistructured interviews. The findings were thematically reported into four crucial themes that present key characteristics of codestructed cultural significance in the Songkran Festival: social change, public participation, the proliferation of leisure activities for economic gain, and commercialization of the Songkran Festival. The implications of this study contribute to expanding the understanding of the coexistence between cocreation and codestruction phenomena in cultural events.

Key words: Songkran festival; Cultural practices; Cultural significance; Commercialization; Cocreation; Codestruction

Event Cocreation in Street Events: Evidence From Athens Pride – 253
https://doi.org/10.3727/152599521X16367300695717

Christina Karadimitriou

Department of Tourism Management, University of Patras, Patra, Greece

Despite the significant contribution of events in tourism and development of urban areas, the cocreation aspects of street events appear to be underresearched in the literature. Athens Pride is one of the largest street events in Athens and it aims to promote and support lesbian, gay, bisexual, transgender, and queer issues (LGBTQ+) in the greater Athens area, Greece. Using a sample of 312 Athens Pride adult attendees and employing linear analysis, this study focuses on the aspects that form this street event’s cocreation. The findings reveal that participation incentives and emotional closeness are the main factors in order to formulate and strengthen event cocreation, followed by the community commitment and the brand image of the event. In addition, the study showcases the importance of three sociodemographics (age, level of education, sexual orientation) upon event cocreation. The research also provides managerial suggestions for event organizers in order to further strengthen street event cocreation and the experience of their attendees.

Key words: Street events; Athens Pride; Attendees’ interaction; Event cocreation; Greece

Rethinking Cocreation: New Conceptual Tools for Event Studies – 269
https://doi.org/10.3727/152599521X16367300695771

Tomas Pernecky

Auckland University of Technology, Auckland, New Zealand

The concept of value cocreation occupies an important space in the landscape of event studies. It captures the changing dynamics in event making, with customers and attendees increasingly seen as vital collaborators and coproducers of value. However, events phenomena are qualitatively different in comparison to the goods and services in other industries, and therefore, it is necessary to develop tailored conceptual tools to fully appreciate the cocreational limits and possibilities. By proposing a spectrum from weak to strong cocreation, it is shown that cocreation is best conceived on a continuum, and that, in its strongest form, can lead to partnerships that no longer resemble the conventional models and vocabularies commonly used in the field. The conceptual contributions of this article lie in capturing the various gradations of cocreation and opening up new research avenues.

Key words: Value creation; Strong cocreation; Partnership; Nomadic ethics; Postdisciplinary

Stakeholder Requirements And Value Cocreation In Events – 281
https://doi.org/10.3727/152599521X16367300695744

Kevin Wallace* and Eleni Michopoulou†

*University of Technology Business School, Sydney, Australia
†University of Derby, Derby, UK

The festival and events sector comprises a wide range of stakeholders across the private, public, and not-for-profit sectors. In order to achieve stakeholder satisfaction, it is necessary to understand what is important to stakeholders, what they consider constitutes project success, and what the factors and measures of that success may be. Once identified and effectively managed, meaningful evaluation can then be undertaken to assess success on stakeholder’s terms. This approach also provides an opportunity to consider value creation for stakeholders in relation to their measures of success. The purpose of this research is to develop a robust framework that enables success factors and measures to be identified and effectively measured as part of a holistic evaluation process that contributes to the identification of stakeholder value. Although research is regularly undertaken to assess impacts of festivals and their benefits to stakeholders, there can be competing agendas, project success can be interpreted in different ways with tensions and disagreements in relation to expected outcomes. Therefore, it is necessary to clearly understand stakeholder expectations, community dynamics, and visitors and residents’ perceptions of impacts of festivals. A multimethod inductive approach was used to capture the motivations and influences of the stakeholders as social actors during the Tour de Yorkshire (TdY) event. Using this event as a longitudinal case study over an 18-month period, the methodology comprised of qualitative questionnaires and interviews to engage a wide range of stakeholders and used the conceptual Stakeholder Sandwich as the core model to produce a framework and methodology to generate richer data. Results indicated that this model, framework, and methodology proved to be effective for the understanding of stakeholder success factors and contributes towards the understanding of value cocreation for stakeholders in events and festivals. With the immense challenges currently facing the sector, such a framework could prove to be of significant value for practitioners and researchers alike.

Key words: Stakeholder; Project success; Evaluation; Value creation; Events

Internal Branding: Role of a Cocreated Corporate Event Message – 301
https://doi.org/10.3727/152599521X16367300695663

Lenna V. Shulga,* James A. Busser,† Esra Topcuoglu,‡ and Denise H. R. Molintas†

*School of Travel Industry Management, Shidler College of Business, University of Hawaii at Mānoa, Honolulu, HI, USA
†William F. Harrah College of Hospitality, University of Nevada, Las Vegas, NV, USA
‡School of Business, Indiana University, Kokomo, IN, USA

To improve the effectiveness of corporate events, organizational leaders and meeting planners are increasingly looking for new approaches to involve attendees in active participation and cocreation of desired outcomes. The aim of this study was to examine how a cocreated message delivered during the corporate event served the role of effective internal brand communication. Signaling theory and service-dominant logic were the foundation for the research framework, supporting the argument that if value was cocreated during the corporate event, it positively influences the goals established by event organizers. Research was conducted using online self-administered questionnaires collected from 235 employees of a US-based hotel chain, attendees of the annual corporate event. Results revealed that when a strong corporate message was evaluated as cocreation it positively affected attendees’ internal word-of-mouth (iWOM) intention and perceptions of the brand’s competitive service advantage. Message strength was influenced by attendees’ views of leadership authenticity. Repeat event attendees’ message evaluation was affected by leadership authenticity continuity, while first-time attendees’ evaluation was influenced by leadership authenticity uniqueness. The study introduced and tested a novel framework focused on the effectiveness of event messaging based on cocreated value appraisal. It is one of the first studies to focus on annual corporate events as an effective tool for cocreated corporate communication. Managers should strategically utilize corporate event messaging delivered by authentic leaders to empower employees as ambassadors of the brand and focus on the importance of message strength to cocreate value between the organization and employees.

Key words: Business meeting; Conference; Corporate event; Cocreated value; Internal branding

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Special Issue - Festivals and Storytelling

Event Management – Special Issue:
Festivals and Storytelling: Creating experiences through stories, places & spaces

Guest Editors:

Dr Brianna Wyatt (Oxford Brookes University)
Dr Giulia Rossetti (Oxford Brookes University)

Special Issue Timeline

15 September 2022 – Deadline for authors to submit abstract proposals
15 October 2022 – Acceptance of abstract proposals and notification
15 March 2023 – Authors to submit full manuscripts for initial screening
15 June 2023 – Return of manuscripts with comments by Guest Editors
20 August 2023 – Authors to submit revised and final manuscript
Publication of manuscript – Online as soon as papers are accepted and as part of the special issue in 2024.

People populate the darkness; with ghosts, with gods, with electrons, with tales. People imagine, and people believe; and it is that rock solid belief that makes things happen.

– Neil Gaiman, American Gods

Neil Gaiman’s storytelling helps us to see that people are not necessarily separate, because we all influence each other in some way, and because of that, people are connected across both time and space (Boyer, 2019). Such connectedness can be seen through storytelling in festival experiences, as cultures across the world share commonalities through the storytelling of myths, legends, lore, and forms of heritage and cultural practice. While storytelling may be traditionally understood as imaginary constructions, it is reliant on narratives that weave together social time and human actions (Bory, 2020). Although in practice storytelling may vary across cultures and time, it is commonly used as a way to create connections, a way to build community, celebrate cultural diversity, and preserve cultural identity, thereby fulfilling critical social and individual needs (Del Negro & Kimball, 2021; McCullum Baldasaro et al., 2014).

Storytelling is particularly important for creating tourism and event experiences (Moscardo, 2020). As prisms of shared meaning and experiences that incorporate experience design, social interactions, traditions, symbolic values, and affective benefits (Morgan, 2008; Richards, 2019), festivals use storytelling to stage unique and memorable experiences. Specifically, festival storytelling exists as an ongoing narrative delivered through the festival space, people, performances, material culture and artefacts, spirituality, and general design aesthetics, including branding and promotional materials (Dębicka-Borek, 2022; Dal Falco & Vassos, 2017).

Blending the older vernacular with the newly invented, festival storytelling draws on global traditions, cultural beliefs, myths and legends, and historical and current events to communicate, through artistry and expression, shared meanings and values that underpin a festival’s purpose, brand identity, and influence (Cox, 2019; Evans, 2016; Sobol, 2018). Storytelling is used to attract and maintain an audiences’ attention and help them to identify and connect with something or someone within the festival story or message (Mei, Hagensen, Kristiansen, 2018). Because storytelling can affect how festival audiences think of, view, remember, and experience one’s own culture and that of others (Ryan, 2008), it can help to create a sense of identity and space, impact individual and public memory, and enable audiences to experience and learn more deeply about different people and places (Dal Falco & Vassos, 2017; Ngoepe et al, 2021). Although storytelling can be influenced by physical, social or cultural environments and circumstances (Ryan, 2008), the purpose of storytelling is not simply to convey information or narratives, but to enrich, enhance and infuse these communications with meanings, values and symbolism (Mei et al, 2018).

Festival storytelling is made possible through thematic integration, in which the festival location and space, topic or genre (folklore, ghost stories, war stories, animal tales, etc.), and tropes or conceptual framings (home, blessing, curse, tradition, etc.) are interwoven between literal and figurative levels to create harmony between these varying elements for a complete story (Sobol, 2018). Embedded in this interwoven harmony are multi-frame narratives that unify an outer-frame story of meaning and value (Sobol, 2018). Festival storytelling is thus brought to life through the reimagination of spaces and creation of enchanting atmospheres that support interwoven narratives to create effective storyscapes – consumption spaces with narratives as the focal point (Lovell & Griffin, 2022). Some festivals may utilise tangible heritage or cultural resources to enhance the storyscape, such as the festival’s landscape and/or architecture, buildings of historical or cultural significance; or they may promote their intangible riches, such as being the place of a particular people, artistry and/or creativity, song, dance, stories, and/or culture (Hayes & MacLeod, 2007; Jung, 2021). In some capacities, festivals may also utilise activities and entertainment, food and drink, and even the language used by both festival organisers and attendees to enhance the overall storyscape (Hayes & MacLeod, 2007). More recently, festivals have become more reliant on technology, such as augmented and virtual reality, gesture control and embedded computing to engage audiences with others and the festival spaces for a more co-creative storytelling experience (Dal Falco & Vassos, 2017). If designed effectively, festivals, as storyscapes, can be affective and transport audiences temporarily to unattainable places of different cultures, myths, legends, heritage, or secular themes (Lovell & Thurgill, 2021).

Festival storytelling thus brings people together through common themes of art, culture, and entertainment (Richards, 2019) and impacts on audience understanding of different phenomena, as well as on their psychological wellbeing and future behavioural intentions (Kitchen & Filep, 2019). Within this scope, festival storytelling can not only educate and entertain audiences (Rossetti & Quinn, 2019, 2021), but also contribute to the enhancement and quality of local life, as well as the revival of local pride, an increased sense of social cohesion, and facilitate learning about different cultures, heritage, and customs (Akhoondnejad, 2016).

What we are looking for:

The aim of this special journal issue is to focus on how storytelling can be used within festivals to create unique and memorable experiences. We are looking for papers that address the importance of storytelling for festivals and audience experiences, both conceptually and practically.

This special journal issue welcomes abstract proposals from a range of interdisciplinary studies, including (but not limited to) festivals and events, tourism and hospitality, heritage and cultural studies, public history and sociology, experience design. It also welcomes proposals from varying methodological perspectives and encourages both empirical and case study submissions, as well as theoretical and conceptual studies.

Each abstract proposal and subsequent accepted article must integrate the main themes of storytelling and festivals equally. Each abstract and subsequent accepted article must also address the practical and theoretical importance of the article (i.e. how the article would benefit both industry and existing discourse and/or future research).

Example topics include, but are not limited to:

Storytelling and historical / cultural representations
Storytelling and authenticity
Festivals as storyscapes
Storytelling and place-making / identity-making
Storytelling and popular culture
Supernatural storytelling
Faith based storytelling
Indigenous storytelling
Storytelling & festival spaces/places (venues, landscapes, historic sites, monuments)
Commodification through storytelling
Digital / virtual storytelling
Co-created storytelling
Storytelling techniques at festivals
Contested and uncomfortable storytelling
Storytelling to promote UN SDGs
Inclusion and storytelling
Methodological discussions on storytelling at festivals
Storytelling and repeat visitation
Storytelling and festival tourism
Storytelling and festivals in a post-Covid environment

Example themes / talking points include, but are not limited to:

The impact of storytelling on community development
How storytelling influences audience engagement
How festival storytelling can educate and influence citizenship (local, national, global)
How storytelling enables relationships between locals and audiences
The relationship between authenticity and commercialism in festival storytelling
How to manage tensions or issues relating to in/authenticity in festival storytelling
Experience design techniques to enhance storytelling in festivals
How to design storytelling for all ages within a single festival experience
How to manage co-created storytelling experiences
How storytelling has endured within a festival experience over time
How storytelling can be used within festivals to improve future generations
Links between physical and virtual/digital festival storytelling
How festivals tell stories across geographical levels (local, regional, national, international)
How festivals can tell stories via music, sport, food, dance, art…

Special Issue Timeline

15 September 2022 – Deadline for authors to submit abstract proposals
15 October 2022 – Acceptance of abstract proposals and notification
15 March 2023 – Authors to submit full manuscripts for initial screening
15 June 2023 – Return of manuscripts with comments by Guest Editors
20 August 2023 – Authors to submit revised and final manuscript
Publication of manuscript – Online as soon as papers are accepted and as part of the special issue in 2024.

Author Instructions

If interested in contributing, please email an abstract not exceeding 500 words (including references) with the paper title, name of author/s, affiliation & corresponding email address to the guest editors: Dr Brianna Wyatt at bwyatt@brookes.ac.uk & Dr Giulia Rossetti at grossetti@brookes.ac.uk. Any questions can be directed to the guest editors of the special journal issue.

References

Akhoondnejad, A. (2016) Tourist loyalty to a local cultural event: The case of Turkmen handicrafts festival. Tourism Management 52, 468-477. http://dx.doi.org/10.1016/j.tourman.2015.06.027

Bory, P. (2020) The internet myth: From the internet imaginary to network ideologies. University of Westminster Press.

Boyer, T. (2019) Losing your religion in American Gods. In G. R. Overing & U. Wiethaus (Eds.) American/Medieval goes North: Earth and Water in Transit. (pp. 189-210). V&R Uni Press

Cox, J. K. (2019). From stage to page: Adaptation as survival in Neil Gaimon’s Mr. Punch. Journal of the Fantastic in the Arts, 30(2), 176-197.

Dal Falco, F. & Vassos, S. (2017) Museum experience design: A modern storytelling methodology, The Design Journal, 20:(1), S3975-S3983, https://doi.org/10.1080/14606925.2017.1352900

Del Nergo, J. & Kimball, M. (2021) The why of storytelling. In J. M. Del Negro (Ed) Storytelling: Art and Technique (5th ed) (pp. 3-17). Libraries Unlimited.

Dębicka-Borek, E. (2022). Hunt without hunting: The reflexivity of all the stories behind Paruveta (Hunting Festival/Procession) in Ahobilam. The Journal of Hindu Studies, 15(1), 26-62. https://doi.org/10.1093/jhs/hiab024

Evans, T. H. (2016) Folklore, intertextuality, and the folkloresque in the works of Neil Gaiman. In M. D. Foster & J. A. Tolbert (Eds.) The folkloresque: Reframing folklore in a popular culture world (pp. 64-80). University Press of Colorado.

Hayes, D. & MacLeod, N. (2007). Packaging places: Designing heritage trails using an experience economy perspective to maximise visitor engagement. Journal of Vacation Marketing, 13(1), 45-58. https://doi.org/10.1177%2F1356766706071205

Jung, C. K. (2021). A research on setting up cultural tourism festival concepts to revitalize local tourism in the post-Corona era. Journal of the Korea Convergence Society, 12(10), 151-160. https://doi.org/10.15207/JKCS.2021.12.10.151

Kitchen, E. & Filep, S. (2019) Rethinking the value of events for event attendees: Emerging themes from psychology. In J. Armbrecht, E. Lundberg & T. D. Anderson, A research agenda for event management (pp. 67-78). Edward Elgar Publishing.

Lovell, J. & Griffin, H. (2022). Unfamiliar light: The production of enchantment. Annals of Tourism Research, 92, 103328. https://doi.org/10.1016/j.annals.2021.103328

Lovell, J. & Thurgill, J. (2021) Extending hot authentication: Imagining fantasy space. Annals of Tourism Research, 87,103138. https://doi.org/10.1016/j.annals.2020.103138

McCullum Baldasaro, M., Maldonado, N. & Baltes, B. (2014) Storytelling to teach cultural awareness: The right story at the right time. Learning Landscapes, 7(2), 219-232. https://doi.org/10.36510/learnland.v7i2.661

Mei, X. Y., Hagensen, A-M. S., & Kristiansen, H. S. (2018) Storytelling through experiencescape: Creating unique stories and extraordinary experiences in farm tourism. Tourism and Hospitality Research, 20(1), 93-104. http://dx.doi.org/10.1177/1467358418813410

Morgan, M. (2008). What makes a good festival? Understanding the event experience. Event Management, 12(2), 81-93, https://doi.10.3727/152599509787992562

Moscardo, G. (2020). Stories and design in tourism. Annals of Tourism Research, 83, 102950. https://doi.org/10.1016/j.annals.2020.102950

Ngoepe, M., Maluleka, J. & Shekgola, M. (2021). My story, your story, our story: Storytelling, learning & cultural heritage. Bulletin of the National Library of South Africa, 75(1), 15-28

Richards, G. (2019) Event experience research directions. In J. Armbrecht, E. Lundberg & T. D. Anderson, A research agenda for event management (pp. 79-93). Edward Elgar Publishing.

Rossetti, G., & Quinn, B. (2019). Learning at literary festivals. In I. Jenkins & L. A. Lund (Eds.) Literary Tourism: Theories, Practice and Case Studies, (pp. 93-105). Wallingford: CABI.

Rossetti, G., & Quinn, B. (2021). Understanding the cultural potential of rural festivals: a conceptual framework of cultural capital development. Journal of Rural Studies, 86, 46-53. https://doi.org/10.1016/j.jrurstud.2021.05.009

Ryan, P. (2008). The storyteller in context: Storyteller identity and storytelling experience. Storytelling, Self, Society, 4(2), 64–87. http://www.jstor.org/stable/41949003

Sobol, J. (2018) Storytelling, self, society. A long-form Storytelling Performance, 14(1), 1-8. https://www.jstor.org/stable/10.13110/storselfsoci.14.1.0001

Special Issue - Events and Social Entrepreneurship

Event Management

Guest Editor: Vanessa Ratten
Email: v.ratten@latrobe.edu.au

Special Issue: Events and Social Entrepreneurship

Extended abstract due: 30 October 2022
Final full paper due: 30 January 2023

Events can be used as a way to achieve social objectives at the community, national and international level (Duignan, 2021). Increasingly social entrepreneurs are utilising events as a platform to communicate a non-profit or societal initiative (Mackellar, 2006). Social entrepreneurs have always coalesced around the production and delivery of events, but the linkage between events and social entrepreneurship has been recently highlighted by Gurlek (2022) who stressed the need for more research in this area. Social entrepreneurship is useful at events as it involves any form of business activity that has a non-profit or altruistic goal (Al-Qudah, Al-Okaily and Alqudah, 2022). The focus of social entrepreneurship is normally on trying to help society by combining societal needs through business practices (Dacin, Dacin and Tracey, 2011). This comes at a time when event owners and organisers are increasingly and explicitly placing the United Nations Sustainable Development Goals (UNSDGs) at the heart of social sustainability objectives.

As a concept social entrepreneurship is well developed due to its usefulness in terms of engaging with entrepreneurial activity via public and private partnerships (Klarin and Suseno, 2022). This means it can involve private entities as well as government bodies engaging in social events that provide a sense of collaborative governance that have a commercial purpose (Krane, Ebdon and Franklin, 2020). Initially social entrepreneurship focused on non-profit activity that small and community enterprises engaged in but more recently it has been studied to understand more larger scale projects that enable a particular issue or cause to gain attention. This has led to more diversity in the way it is studied and practiced as researchers, practitioners and policy makers acknowledge that it can be done in a small-scale context such as through local markets and community fairs or farmers markets but also in large scale context in terms of international sporting events.

Social entrepreneurship events are a distinct form of events that enable the combination of not-for profit or social objectives within an event setting (Mauksch, 2017). There are many ways social entrepreneurship can be utilised in an event context in terms of how an event incorporates a social and innovative goal in terms of how, when and why the event is conducted (Duignan and Pappalepore, 2021). For example, Miragaia, Ferreira and Pombo (2017) discuss how the sponsorship of sport events can be a form of social entrepreneurship. This provides a way for corporations to highlight their social responsibility obligations through sport event sponsorship (Miragaia, Ferreira and Raten, 2017). An example of this is Reebok sponsoring women’s running events with proceeds going to the Cancer Council and McDonalds sponsoring local community sports. However, some events have been sponsored by companies as a way to divert attention from less savoury business activity. In the past this was evident with Benson & Hedges a cigarette company sponsoring many cricket events. Generally most sport sponsorship events are considered positive as they enable a way for business to link social entrepreneurship to sport programs through social capital development at the community level (Miragaia, Martins, Kluka and Havens, 2015).

Events that incorporate a social entrepreneurship element can do this in a direct or indirect way. For example, a direct social entrepreneurship activity at an event might be the selling of merchandise such as clothing that supports a charity or a percentage of the ticket sales being used to fund Ukrainians in need due to the Russia/Ukraine crisis. Indirect social entrepreneurship can take on a variety of different forms such as the profits of an event being then given to a homeless shelter or religious organisation. This means when considering how social entrepreneurship occurs in an event context, a holistic understanding and acknowledgement of its complexity needs to be taken. This includes focusing on when the social entrepreneurship at an even happens. Mostly it is conjunction with an event such as fun run events being tied to a social enterprise such as one that helps migrants find employment or alternatively a farmers market taking the entry proceeds to be used in a social enterprise that such as Habitat for Humanity that builds houses for those in need. The why part of the social entrepreneurship and event concerns the reason considered as being important to highlighting the non-profit or social aspect of an event. This can include events that are liked to certain crises such as bushfires and the COVID-19 pandemic that seek to help social enterprises fund their ventures. Every year the Mallacoota Fundraising Group organises events such as the production of their calendar that is produced with the proceeds going to fund emergency services and wildlife welfare (https://www.mallacootafundraisinggroup.com.au). During the COVID-19 pandemic Keith Urban organised a drive in music event where health care workers could drive in their cars to the Stardust Drive-In in Watertown, Tennessee to listen to him perform his concert (https://www.rollingstone.com/music/music-country/keith-urban-drive-in-concert-social-distancing-1000791/).

There are innovative ways events are being conducted particularly in terms of technology utilised and strategies adopted (Colombo and Richards, 2017). Moreover, some events are utilising entrepreneurial leveraging in order to increase participation rates (Duignan, Down and O’Brien, 2020). Events might be held in person whilst others in a hybrid or online form (Hall, 2006; Larson, 2009). Therefore, there can also be engagement activities between the event organizers, participants, sponsors and government entities (Schubler, Grabher and Muller-Seitz, 2015). This can occur through crowdfunding activities or innovative financial platforms that enable people to participate in events in a face-to-face or online format. Technology entrepreneurship in the form of financial technology has changed the way people pay for and consume services. This has led to social entrepreneurs developing online platforms that utilise technology to advertise events. An example of this is the platform (gigsemcasa.com), which started during the COVID-19 pandemic in order to enable a online concert to take place without an audience (https://www.macaubusiness.com/portugal-platform-for-live-music-shows-at-home-launches-with-free-gig-on-friday/).

Due to the COVID-19 pandemic events have had to be more entrepreneurial in the way they are managed (Ratten, 2021). This brings in interesting new ideas about the reason and motives for holding an event. Whilst most events are profit-orientated increasing numbers of events also have a social objective in terms of fulfilling some form of community need. This means events such as koala conservation day to raise funds to plant trees for koalas and girls night in pajama party that raises funds for women’s cancers combine social entrepreneurial activities. Other social enterprises such as the Surfrider Foundation are making facemasks and other merchandise to be sold at surf contests (see https://shop.surfrider.org/collections/face-masks)

The United Nations Sustainable Development goals can be linked to the use of social entrepreneurship at events. This includes goal 3 about good health and wellbeing being a focus of events such as Keep Australia Clean day in which people walk around and pick up rubbish. Goal 13 about climate action and goal 14 about life below water relate to events that are organised by The Marine Mammal Center and Sea Life Trust that often take the form of entertainment events such as concerts. Goal 11 about industry, innovation and infrastructure is emphasised through the sponsorship of events by businesses for a particular cause. This includes the Auskick events sponsored by banks that aim to encourage children to be involved in football. Other goals such as 11 about sustainable cities and communities and goal 12 about responsible consumption and production are evident in other social enterprise events such as those focusing on energy consumption such as dark night events in which areas of the city turn off their lights for a night to conserve energy and focus attention on climate change (https://www.earthhour.org.au/).

The aim of this special journal issue is to focus on how events can be used as a source for social good. This means achieving social objectives through staging different kinds of events related to culture, sports and other topics. This special journal issue welcomes articles from a range of methodological perspectives including case study and empirical as well as theoretical and conceptual articles. Each article submitted should integrate the social entrepreneurship and events management literature and if possible incorporate a discussion on the United Nations sustainable development goals. The practical and theoretical importance of the research should be evident in each article submitted to the special journal issue. Examples of potential topics include but are not limited to:

Community fairs and social event initiatives
Online event management and philanthropy
Social entrepreneurship at regional events
Sport events and the role of social-based endeavours
Entrepreneurial responses to COVID-19 related events
Entrepreneurial social marketing at events
The usage of sustainable development goals at events

Initial extended abstract should be submitted to the guest editor then full papers via the journal’s online platform with a note on the title page saying that this is part of the special journal issue.

Any questions can be directed to the guest special journal issue editor.

References

Al-Qudah, A. A., Al-Okaily, M., & Alqudah, H. (2022). The relationship between social entrepreneurship and sustainable development from economic growth perspective: 15 ‘RCEP’ countries. Journal of Sustainable Finance & Investment, 12(1), 44-61.

Colombo, A., and Richards, G. (2017). Eventful cities as global innovation catalysts: The Sónar Festival network. Event Management, 21(5), 621-634.

Dacin, M. T., Dacin, P. A., & Tracey, P. (2011). Social entrepreneurship: A critique and future directions. Organization science, 22(5), 1203-1213.

Duignan, M.B. (2021). Leveraging Tokyo 2020 to re-image Japan and the Olympic city, post-Fukushima. Journal of Destination Marketing and Management, In Press.

Duignan, M.B., and Pappalepore. I. (2021). How do Olympic cities strategically leverage New Urban Tourism? Evidence from Tokyo. Tourism Geographies, In Press.

Duignan, M.B., Down, S., and O’Brien, D. (2020). Entrepreneurial leveraging in liminoidal Olympic transit zones. Annals of Tourism Research, In Press.

Gürlek, M. (2022). Social Entrepreneurship in Tourism, Hospitality and Events: A State of the Art. Planning and Managing Sustainability in Tourism, 59-78.

Hall, C. M. (2006). Urban entrepreneurship, corporate interests and sports mega-events: the thin policies of competitiveness within the hard outcomes of neoliberalism. The Sociological Review, 54(2_suppl), 59-70.

Klarin, A., & Suseno, Y. (2022). An Integrative Literature Review of Social Entrepreneurship Research: Mapping the Literature and Future Research Directions. Business & Society, 00076503221101611.

Krane, D., Ebdon, C., & Franklin, A. L. (2020). Social entrepreneurship and the challenge of collaborative governance of civic events: Brazil, Korea, and the United States. In Urban studies and entrepreneurship (pp. 119-142). Springer, Cham.

Larson, M. (2009). Festival innovation: Complex and dynamic network interaction. Scandinavian Journal of Hospitality and Tourism, 9(2-3), 288-307.

Mackellar, J. (2006). An integrated view of innovation emerging from a regional festival. International Journal of Event Management Research, 2(1), 37-48.

Mauksch, S. (2017). Managing the dance of enchantment: An ethnography of social entrepreneurship events. Organization, 24(2), 133-153.

Miragaia, D., Ferreira, J., & Pombo, I. (2017). Sponsorship of sports Events: A tool to develop social entrepreneurship and the corporate social responsibility. In Social Entrepreneurship in Non-Profit and Profit Sectors (pp. 107-121). Springer, Cham.

Miragaia, D. A., Ferreira, J., & Ratten, V. (2017). Corporate social responsibility and social entrepreneurship: Drivers of sports sponsorship policy. International Journal of Sport Policy and Politics, 9(4), 613-623.

Miragaia, D. A. M., Martins, C. I. N., Kluka, D. A., & Havens, A. (2015). Corporate social responsibility, social entrepreneurship and sport programs to develop social capital at community level. International Review on Public and Nonprofit Marketing, 12(2), 141-154.

Ratten, V. (2021). Sport entrepreneurial ecosystems and knowledge spillovers. Knowledge Management Research & Practice, 19(1), 43-52.

Schüßler, E., Grabher, G. and Müller-Seitz, G. (2015). Field-configuring events: arenas for innovation and learning?. Industry and Innovation, 22(3), 165-172.

https://www.earthhour.org.au/, last visited 7^th July 2022.

https://www.macaubusiness.com/portugal-platform-for-live-music-shows-at-home-launches-with-free-gig-on-friday/, last visited 7^th July 2022.

https://www.mallacootafundraisinggroup.com.au, last visited 7^th July 2022.

https://www.rollingstone.com/music/music-country/keith-urban-drive-in-concert-social-distancing-1000791/, last visited 7^th July 2022.

https://shop.surfrider.org/collections/face-masks, last visited 7^th July 2022.

Special Issue - Human Rights and the Olympics

HUMAN RIGHTS AND THE OLYMPICS, MEGA- AND MAJOR- EVENTS

EVENT MANAGEMENT JOURNAL SPECIAL ISSUE CALL

PUBLISH DATE: 2021-2022

GUEST EDITORS:

Dr Michael B. Duignan, Head of Department and Reader in Events, School of Hospitality and Tourism Management, University of Surrey, UK.

Dr Mike Duignan – Video overview of special issue:
https://youtu.be/IPKHEir_dA4

Prof Laurence Chalip, Head of Department and Professor in Sports Management, School of Sport, Recreation, and Tourism Management, George Mason University, USA.

Prof Laurence Chalip – Thoughts on human rights and the Olympics, mega- and major-events:
https://youtu.be/A1LBPz4VnyI

BACKGROUND

The Olympics, mega- and major- events have a long history of human rights abuse (Amnesty International, 2021a). An increasing body of work over the last two decades have advanced a rights-based agenda in the context of large-scale events (e.g. Caudwell and McGee’s (2017) Special Issue on ‘Human Rights and Events, Leisure and Sport’ and more recently the European Funded ‘Event Rights’ (2020) project). Specific case study works have too sought to frame stakeholder exclusion as a human rights issue, as numerous social groups find have been identified to be exploited in one way or another in the melee of planning, delivery, and in the post-event legacy periods (e.g. Talbot and Carter, 2018; Duignan, Pappalepore and Everett, 2019). Indeed, large scale events too act as a platform for amplifying human rights abuses already existing in the host city and/or country context, as well as those produced as a direct and indirect result of hosting. For example, the Qatar 2022 FIFA World Cup not only exposed limited national legislation protecting labour rights in Qatar, but this was also evidenced by poor working and living conditions, as well as delayed salaries for those working on the Khalifa Stadium (Amnesty International, 2021b). Occurring over protracted time-periods and geographical boundaries, the host country and city provides a useful incubator to examine human rights issues.

Owners and organisers of large-scale events acutely recognise human rights abuses as a problem that warrants new policy interventions and closer practical relations with host cities and countries, whether that be the Commonwealth Games Foundation’s (2017): ‘Transformation 2022 Strategy – A Human Rights Commitment’, through to the “International Olympic Committee’s (IOC) human rights strategy and policy commitment” (…) looking at “further embedding human rights in the good governance principles, and the establishment of the previously announced Human Rights Advisory Committee.” (IOC, 2020). This is part of a wider movement of large events pressuring hosts to consider embedding principles and objectives aligned to the United Nations Sustainable Development Goals (2021). Furthermore, local organisingcommittees increasingly work with human rights organisations to tackle specific types of abuses. For example, ‘It’s a Penalty’: an international charity dedicated to raising awareness of human trafficking in host cities, works directly with Olympic venues to screen campaign videos to warn fans of the signs and how to report potential abuses (https://itsapenalty.org/)

This CFP on Human Rights and the Olympics, Mega- and Major-Events hopes to 1) expose significant human rights abuses that have not been adequately amplified to date; 2) bring together a disparate body of work looking at human rights; 3) publish existing and on-going work evaluating the legacy of previous events or looking forward to events in the year of 2021 and beyond; 4) identify good practice, like It’s a Penalty’s work, that illustrates the power of large-scale events for exposing and tackling human rights abuses too; 5) encourage scholars to act as a critical friend and work with policy makers and/or industry to help stimulate positive change.

We are looking for:

Multidisciplinary research papers that draw on a range of different ideas, concepts, theories and traditions appropriate to explain the human rights issue under investigation.
Scholars may wish to take a global perspective (i.e. by drawing on a range of event examples and cases to illustrate the ubiquity of the human rights abuse), or for example may present a specific human right issue in a specific event case study.
All papers must provide a set of policy and/or industry recommendations centred around the following themes:
EDUCATE– educating stakeholders and raising awareness of the chosen human rights issue.
EQUIP– equipping stakeholders and those affected to help tackle chosen human rights issue.
ENCOURAGE– how to encourage stakeholders and those affected to come forward to report chosen human rights issue.

N.B. Clarify how educate, equip, and encourage recommendations have transferability beyond the context you are speaking about to have more universal and/or value across numerous events.

Though this list in not exhaustive, below are examples of human rights issues found across major events:

Human trafficking
Freedom of speech
Labour rights and worker exploitation
Lack of personal safety
Poverty and socio-economic deprivation
Athlete abuse
LGBTQ+ rights
Torture and execution
Police brutality
Black Lives Matter
Forced evictions and displacement
Host community disruption
Gentrification and indirect displacement
Racism
Sexism

For those looking for a deeper understanding regarding the types of human rights issues and the ways these can be analysed and tackled across the entire lifecycle of major events, we have provided two documents below.

The United Nations Human Rights: Office of the High Commissioner (https://www.ohchr.org/en/issues/pages/listofissues.aspx) has a comprehensive list of human rights issues and related resources; and
The Institute for Business and Human Rights provides a useful overview of the ways human rights issues can be analysed and tackled across the entire lifecycle of major events too (https://www.sporthumanrights.org/uploads/resources/The_MSE_Lifecycle_-_Embedding_Human_Rights_from_Vision_to_Legacy.pdf)

References

Amnesty International UK. (2021a). Sports and Human Rights. Available at: https://www.amnesty.org.uk/issues/sport-and-human-rights

Amnesty International UK. (2021b). Qatar World Cup: The ugly side to the beautiful game. Available at: https://www.amnesty.org.uk/qatar-world-cup-ugly-side-beautiful-game

Commonwealth Games Foundation. (2017). Transformation 2022 Strategy – A Human Rights Commitment. Available at: https://thecgf.com/content/cgf-human-rights-statement

Duignan, M.B., Pappalepore, I., & Everett, S. (2019). The ‘summer of discontent’: Exclusion and communal resistance at the London 2012 Olympic Games. Tourism Management, 70, 355-367.

EventRights. (2021). Introduction. Available at: http://eventrights.net/

IOC. (2020). IOC moves forward with its human rights approach. Available at: https://www.olympic.org/news/ioc-moves-forward-with-its-human-rights-approach

It’s a Penalty. (2021). Introduction. Available at: https://itsapenalty.org/

Raco, M., & Tunney, E. (2010). Visibilities and invisibilities in urban development: Small business communities and the London Olympics 2012. Urban Studies, 47(2), 2069–2091.

Talbot, A., & Carter, T. (2018). Human rights abuses at the Rio 2016 Olympics. Leisure Studies, 37(1), 77–88.

Deadlines