Cultural Event Development Model for Quality Improvement of Tourism Event: Case of the 3rd Fishing Boat Festival in Sungsang Village IV, Banyuasin Regency, South Sumatra Province
Abstract
Tourism related to events is a representation of the selling power of the location where the event is held. Festival events have an important role in increasing the selling value of destinations, but this study found that the 3rd Fishing Boat Festival event has not been packaged properly and there is no target market database targeted as tourists. This study aims to create a model for the development of cultural festivals, based on 5 basic stages, namely research, design, planning, coordination, evaluation and compiling a template for providing a database of targets and target tourists using the definable, sizeable, reachable, relevant segmentation method. This study used a combination method or mixed method with a sequential explanatory design with a sample of 100 respondents with 3 data collection techniques, namely by direct observation, document study and interview. This research resulted in 5 stages consisting of 40 steps of festival event management, as well as the targeted tourist segmentation profile. The research contributes to the achievement of the goal of improving the quality of cultural events in tourism villages.
Downloads
References
[2] C. Booth, Alison; Dale, Crispin; David, Lorain; Gelder Steve; Heitmann, SIne; Oriade, Ade; Povey, Ghislaine; Ridal, Andrew; Roberts Christine; Tassiopoulos, Dimitri; Van Wyk, Jo- Ansie; Wiscombie, Events Management. London, UK: CAB International, 2010.
[3] P. Ivanova, “Event tourism development in Bulgaria: Key factors and main goals,” Ikon. Izsled., vol. 30, no. 1, pp. 168–191, 2021.
[4] T. Gonda, K. Angler, and L. Csóka, “The Role of Local Products in Tourism,” Eur. Country., vol. 13, no. 1, pp. 91–107, 2021, doi: 10.2478/euco-2021-0006.
[5] M. H. Al-Azzam, A. E. Mohamed, and L. K. Chiu, “The Influence of Memorable Festival Experiences on Arab Visitors’ Revisit Intention To the Jerash Festival of Culture and Arts (Jfca) in Jordan,” Geoj. Tour. Geosites, vol. 44, no. 4, pp. 1359–1368, 2022, doi: 10.30892/gtg.44422-954.
[6] L. H. Chen, “Unobserved heterogeneity in music festivalgoers’ experience processing,” Tour. Manag. Perspect., vol. 44, no. October, p. 101026, 2022, doi: 10.1016/j.tmp.2022.101026.
[7] G. Richards and B. King, “The experience of cultural festivals: evidence from Hong Kong,”
J. Policy Res. Tour. Leis. Events, vol. 14, no. 3, pp. 296–309, 2022, doi: 10.1080/19407963.2022.2033249.
[8] C. N. Ibenwa and F. Uroko, “The octogenarian cultural festival (Ito-ogbo at 80) and the COVID-19 pandemic in Obosi, Anambra State,” HTS Teol. Stud. / Theol. Stud., vol. 78, no. 1, pp. 1–6, 2022, doi: 10.4102/hts.v78i1.7503.
[9] P. Thanee, “Factor contributing to the success of cultural event management: The Phanom Rung Festival, Burirum province, Thailand,” WIT Trans. Ecol. Environ., vol. 139, pp. 563– 569, 2010, doi: 10.2495/ST100481.
[10] I. Nurhadi, T. Sumarti, A. H. Dharmawan, and D. S. Damanhuri, “Multi-Attributive Social Embeddedness in Cultural Tourism Development: A Case of the Osing Community in Indonesia,” Int. J. Des. Nat. Ecodynamics, vol. 18, no. 1, pp. 141–148, 2023, doi: 10.18280/ijdne.180116.
[11] M. C. J. Koreman, “Reinventing a Rural Area: A Case Study into Cultural Festivals in Oldambt, The Netherlands,” Sustain., vol. 15, no. 8, 2023, doi: 10.3390/su15086921.
[12] H. Abkarian, D. Tahlyan, H. Mahmassani, and K. Smilowitz, “Characterizing visitor engagement behavior at large-scale events: Activity sequence clustering and ranking using GPS tracking data,” Tour. Manag., vol. 88, no. September 2021, p. 104421, 2022, doi: 10.1016/j.tourman.2021.104421.
[13] E. C. B. Scalabrini, P. C. Remoaldo, and P. O. Fernandes, “Sociocultural determinants of creative tourism,” Rev. Bras. Gestão e Desenvolv. Reg., vol. 19, no. 3, pp. 448–465, 2023, doi: 10.54399/rbgdr.v19i3.7298.
[14] K. B. Kim, J. Y. Park, and H. Y. Choi, “A study on satisfaction of the Busan dragon boat race using natural tourist attractions,” J. Syst. Manag. Sci., vol. 11, no. 2, pp. 106–121, 2021, doi: 10.33168/JSMS.2021.0207.
[15] J. Goldblatt, Special Events: Global Event Management in the 21st Century, vol. 54. 2002. [Online]. Available: http://www.untag-smd.ac.id/files/Perpustakaan_Digital_1/EVENT MANAGEMENT Special Events Twenty-fist century global event management.pdf
[16] C. Adcock, Dennis; Al Halborg; Ross, Marketing Principles & Practice, 4th ed. London, UK: Harlow: Financial Times/Practice Hall, 2002.
[17] L. F. Aguado, A. Arbona, L. Palma, and J. Heredia-Carroza, “How to value a cultural festival? The case of Petronio Álvarez Pacific Music Festival in Colombia,” Dev. Stud. Res., vol. 8, no. 1, pp. 309–316, 2021, doi: 10.1080/21665095.2021.1979417.
[18] G. Berridge, Events design and experience. 2007. doi: 10.4324/9780080468112.
[19] A. Corallo, A. Trono, L. Fortunato, F. Pettinato, and L. Schina, “Cultural event management and urban e-planning through bottom-up user participation,” Int. J. E-Planning Res., vol. 7, no. 1, pp. 15–33, 2018, doi: 10.4018/IJEPR.2018010102.
[20] Y. Liang, S. Illum, and S. Cole, “Benefits received and behavioral intentions of festival visitors about distance traveled and their origins,” Int. J. Event Manag. Res., vol. 4, no. 1, pp. 12–23, 2008.
[21] K. De Bres and J. Davis, “Tourism Geographies: An International Journal of Tourism Space, Place and Environment Celebrating group and place identity: A case study of a new regional festival,” Tour. Geogr. An Int. J. Tour. Space, Place Environ., vol. 3, no. (3), pp. 326–337, 2001.
[22] N. Dines, “Moroccan City Festivals, Cultural Diplomacy and Urban Political Agency,” Int.
J. Polit. Cult. Soc., vol. 34, no. 4, pp. 471–485, 2021, doi: 10.1007/s10767-020-09390-4.
[23] D. O'Sullivan and M. J. Jackson, “Festival tourism: A contributor to sustainable local economic development?” J. Sustain. Tour., vol. 10, no. 4, pp. 325–342, 2002, doi: 10.1080/09669580208667171.
Copyright (c) 2024 Muhammad Iqbal Djohan, Budi Wibowo, Peni Zulandari Suroto
This work is licensed under a Creative Commons Attribution 4.0 International License.
Author (s) should affirm that the material has not been published previously. It has not been submitted and it is not under consideration by any other journal. At the same time author (s) need to execute a publication permission agreement to assume the responsibility of the submitted content and any omissions and errors therein. After submission of revised paper in the light of suggestions of the reviewers, the editorial team edits and formats manuscripts to bring uniformity and standardization in published material.
This work will be licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) and under condition of the license, users are free to read, copy, remix, transform, redistribute, download, print, search or link to the full texts of articles and even build upon their work as long as they credit the author for the original work. Moreover, as per journal policy author (s) hold and retain copyrights without any restrictions.
