Reframing Festivals: From Celebration and Tourism to Cornerstones of the Creative Industries

Waldemar CUDNY

doi:10.14505/jemt.v16.4(80).06

Waldemar CUDNY Faculty of Geographical Sciences, University of Lodz, Institute of Urban Geography, Tourism Studies, and Geoinformation, Poland https://orcid.org/0000-0002-3259-6086

DOI: https://doi.org/10.14505/jemt.v16.4(80).06

Abstract

Festivals have emerged as multifaceted phenomena that not only drive cultural consumption and stimulate tourism but also function as creative hubs integral to the growth of the creative industries. This conceptual study synthesizes existing literature and real-world examples to examine the interconnections between festivals, tourism, and the creative industries, positioning festivals as essential contributors to the creative economy. Rooted in the cultural and creative sectors, festivals attract travelers and serve as platforms for artistic innovation, knowledge exchange, and the formation of temporary creative clusters. They contribute to socio-economic development, urban transformation, and place branding, while strengthening the activities and networks of the creative class. The article highlights the dual role of festivals in both cultural consumption - through performative culture and tourism - and creative production, emphasizing their capacity to foster education and innovation. It further proposes a conceptual framework that captures the dynamic interplay between festivals and the creative industries, addressing existing gaps in institutional recognition and academic discourse.

References

[1] Akhundova, A. (2024). Role of festivals in stimulating the development of event tourism. Theoretical and Practical Research in Economic Fields (TPREF), 15(2 (30). DOI: https://doi.org/10.14505/tpref.v15.2(30).11
[2] Alvarez, M. D. (2010). Creative cities and cultural spaces: New perspectives for city tourism. International Journal of Culture, Tourism and Hospitality Research, 4, 171–175. DOI: 10.1108/17506181011067565
[3] Arcodia, C., Whitford, M. (2007). Festival attendance and the development of social capital. Journal of Convention & Event Tourism, 8(2), 1–18. DOI: https://doi.org/10.1300/J452v08n02_01
[4] Bagwell, S. (2008). Creative clusters and city growth. Creative Industries Journal, 1(1), 31–46.
[5] Bennett, K., Beynon, H., Hudson, R. (2000). Coalfields regeneration: Dealing with the consequences of industrial decline. Bristol: Policy Press.
[6] Bianchini, F. (1993). Remaking European cities: The role of cultural policies. In F. Bianchini & M. Parkinson (Eds.), Cultural policy and urban regeneration: The West European experience (pp. 1–20). Manchester and New York: Manchester University Press.
[7] Bird, S. E. (1983). Derbyshire well-dressing: An annual folk festival. Journal of Cultural Geography, 3(2), 61–72. DOI: https://doi.org/10.1080/08873638309478595
[8] Black, S. R., Filgueira, R., McAra, L., Miles, B., Parsons, M., Terras, M. (2024). Evaluating events data for cultural analytics: a case study on the economic and social effects of Covid-19 on the Edinburgh Festivals. Creative Industries Journal, 1-27. DOI: https://doi.org/10.1080/17510694.2024.2311883
[9] Bodin, Ö., Mancilla García, M., Robins, G. (2020). Reconciling conflict and cooperation in environmental governance: A social network perspective. Annual Review of Environment and Resources, 45(1), 471–495. DOI: https://doi.org/10.1146/annurev-environ-011020- 064352
[10] Braden, L. E. A., Teekens, T. (2019). Reputation, status networks, and the art market. Arts, 8(3), 81. DOI:https://doi.org/10.3390/arts8030081
[11] Brennan-Horley, C., Connell, J., Gibson, C. (2007). The Parkes Elvis Revival Festival: Economic development and contested place identities in rural Australia. Geographical Research, 45(1), 71–84. DOI:https://doi.org/10.1111/j.1745-5871.2007.00429.x
[12] Buch, T., Milne, S., Dickson, G. (2011). Multiple stakeholder perspectives on cultural events: Auckland's Pasifika Festival. Journal of Hospitality Marketing & Management, 20(3–4), 311–328. DOI:https://doi.org/10.1080/19368623.2011.562416
[13] Burgess, J. (1992). The cultural politics of nature conservation and economic development. In K. Anderson & F. Gale (Eds.), Inventing places: Studies in cultural geography (pp. 235–251). Melbourne: Longman Cheshire.
[14] Butz, D., Besio, K. (2009). Autoethnography. Geography Compass, 3(5), 1660-1674. DOI:https://doi.org/10.1111/j.1749-8198.2009.00279.x
[15] Chapain, C., Sagot-Duvauroux, D. (2020). Cultural and creative clusters: A systematic literature review and a renewed research agenda. Urban Research & Practice, 13(3), 300–329. DOI:https://doi.org/10.1080/17535069.2018.1545141
[16] Childs, K. (2017). Integrating multiculturalism in education for the 2020 classroom: Moving beyond the ‘melting pot’ of festivals and recognition months. Journal for Multicultural Education, 11(1), 31–36. DOI:https://doi.org/10.1108/JME-06-2016-0041
[17] Cohendet, P., Grandadam, D., Simon, L. (2010). The anatomy of the creative city. Industry and Innovation, 17(1), 91–111. DOI: https://doi.org/10.1080/13662710903573869
[18] Comunian, R. (2011). Rethinking the creative city: The role of complexity, networks and interactions in the urban creative economy. Urban Studies, 48(6), 1157–1179. DOI: https://doi.org/10.1177/0042098010370626
[19] Comunian, R. (2017a). Networks and intermediaries in community filmmaking: A short introduction. In S. Malik, C. Chapain, & R. Comunian (Eds.), Community filmmaking: Diversity, practices and places (pp. 77–82). London and New York: Routledge.
[20] Comunian, R. (2017b). Temporary clusters and communities of practice in the creative economy: Festivals as temporary knowledge networks. Space and Culture, 20(3), 329–343. DOI:https://doi.org/10.1177/1206331216660318
[21] Comunian, R., Faggian, A., Li, Q. C. (2010). Unrewarded careers in the creative class: The strange case of bohemian graduates. Papers in Regional Science, 89(2), 389–410. DOI: https://doi.org/10.1111/j.1435-5957.2010.00281.x
[22] Cudny, W. (2013). Festival tourism: The concept, key functions and dysfunctions in the context of tourism geography studies. Geografický časopis, 65(2), 105–118.
[23] Cudny, W. (2014). Festivals as a subject for geographical research. Geografisk Tidsskrift-Danish Journal of Geography, 114(2), 132–142. DOI: https://doi.org/10.1080/00167223.2014.895673
[24] Cudny, W. (2016). Festivalisation of urban spaces: Factors, processes and effects. Cham: Springer. DOI:https://doi.org/10.1007/978-3-319-31997-1
[25] Cudny, W. (2022). The impact of events on place branding. In N. Wise & K. Maguire (Eds.), A research agenda for event impacts (pp. 169–180). Cheltenham, UK: Edward Elgar Publishing. DOI:https://doi.org/10.4337/9781839109256.00021
[26] Cudny, W., Comunian, R., & Wolaniuk, A. (2020). Arts and creativity: A business and branding strategy for Lodz as a neoliberal city. Cities, 100, 102659. DOI: https://doi.org/10.1016/j.cities.2020.102659
[27] Cudny, W., Jolliffe, L., Guz, A. (2022). Heritage event as tourist attraction: The case of Dymarki Swietokrzyskie, Poland. GeoJournal, 87(4), 2975-2992. DOI: https://doi.org/10.1007/s10708-021-10407-4
[28] Cudny, W., Maiava, O. (2016). Pasifika Festival w Auckland i Festiwal Łódź Czterech Kultur jako czynniki zachowania i promowania wielokulturowego dziedzictwa w miastach. Annales Universitatis Mariae Curie-Sklodowska, Sectio B–Geographia, Geologia, Mineralogia et Petrographia, 71(2), 61–77.
[29] Cudny, W., Ogórek, P. (2014). Segmentation and motivations of the attendees of the Mediaschool Festival in Łódź, Poland. Bulletin of Geography, Socio-Economic Series, 24(24), 41–56. DOI:http://dx.doi.org/10.2478/bog-2014-0013
[30] Cudny, W., Rouba, R. (2012). Lodz Fashion Week as an example of a business event. Acta Geographica Universitatis Comenianae, 56(1), 45–58.
[31] Cunningham, S. (2002). From cultural to creative industries: Theory, industry and policy implications. Media International Australia, 102(1), 54–65. DOI: https://doi.org/10.1177/1329878X0210200107
[32] Davies, W. K. D. (2015). Festive cities: Multi-dimensional perspectives. In W. K. D. Davies (Ed.), Theme cities: Solutions for urban problems (pp. 533–561). Springer. DOI: 10.1007/978-94-017-9655-2_14
[33] de Valck, M. (2007). Film festivals: From European geopolitics to global cinephilia. Amsterdam: Amsterdam University Press.
[34] Degen, M., García, M. (2012). The transformation of the ‘Barcelona model’: An analysis of culture, urban regeneration and governance. International Journal of Urban and Regional Research, 36(5), 1022–1038. DOI: https://doi.org/10.1111/j.1468-2427.2012.01152.x
[35] Díez-Pisonero, R. (2025). Events and Festivals as Strategic Tools for Understanding and Assessing the Symbolic Reconfiguration of the World Urban System. Urban Science, 9(6), 223.). DOI:https://doi.org/10.3390/urbansci9060223
[36] Du Cros, H., McKercher, B. (2020). Cultural tourism. London: Routledge. DOI:https://doi.org/10.4324/9780429277498
[37] Duffy, M. (2005). Performing identity within a multicultural framework. Social & Cultural Geography, 6(5), 677–692. DOI: https://doi.org/10.1080/14649360500258153
[38] Duignan, M. B., Kirby, S. I., O’Brien, D., Everett, S. (2018). From ‘clone towns’ to ‘slow towns’: Examining festival legacies. Journal of Place Management and Development, 11(3), 350–366. DOI:https://doi.org/10.1108/JPMD-07-2017-0071
[39] Ellis, C., Adams, T. E., Bochner, A. P. (2011). Autoethnography: an overview. Historical social research, 36(4), 273-290. DOI: https://doi.org/10.12759/hsr.36.2011.4.273-290
[40] Evans, G. (2009). From cultural quarters to creative clusters: Creative spaces in the new city economy. In M. Legner (Ed.), The sustainability and development of cultural quarters: International perspectives (pp. 32–59). Stockholm: Institute of Urban History.
[41] Falassi, A. (1987). Festival: Definition and morphology. In A. Falassi (Ed.), Time out of time (pp. 1–10). Albuquerque: University of New Mexico Press.
[42] Fernandes, J. V., Krolikowska, E. (2023). The festival customer experience: a conceptual framework. International Journal of Event and Festival Management, 14(1), 23-40. DOI: 10.1108/IJEFM-11-2021-0083
[43] Finkel, R., Platt, L. (2020). Cultural festivals and the city. Geography Compass, 14(9), e12498. DOI:https://doi.org/10.1111/gec3.12498
[44] Florida, R. (2002). The rise of the creative class: And how it's transforming work, leisure, community, and everyday life. New York: Basic Books.
[45] Florida, R. (2005). Cities and the creative class. New York: Routledge. DOI:https://doi.org/10.4324/9780203997673
[46] Florida, R., Mellander, C., Stolarick, K. (2008). Inside the black box of regional development: Human capital, the creative class, and tolerance. Journal of Economic Geography, 8, 615–649. DOI:https://doi.org/10.1093/jeg/lbn023
[47] Galaskiewicz, J., Wasserman, S. (1994). Introduction: Advances in the social and behavioural sciences from social network analysis. In J. Galaskiewicz, S. Wasserman (Eds.), Advances in social network analysis: Research in the social and behavioral sciences (pp. xi–xvii). London: Sage.
[48] García, B. (2004). Urban regeneration, arts programming, and major events: Glasgow 1990, Sydney 2000, and Barcelona 2004. International Journal of Cultural Policy, 10(1), 103–118. DOI:https://doi.org/10.1080/1028663042000212355
[49] Getz, D. (2010). The nature and scope of festival studies. International Journal of Event Management Research, 5(1), 1–47.
[50] Gibson, C., Connell, J., Waitt, G., Walmsley, J. (2011). The extent and significance of rural festivals. In C. Gibson, J. Connell (Eds.), Festival places: Revitalising rural Australia (pp. 3–24). Bristol: Channel View Publications. DOI: https://doi.org/10.21832/9781845411688-004
[51] Gibson, C., Kong, L. (2005). Cultural economy: A critical review. Progress in Human Geography, 29(5), 541–561. DOI: https://doi.org/10.1191/0309132505ph567oa
[52] Gibson, C., Luckman, S., Willoughby-Smith, J. (2010). Creativity without borders? Rethinking remoteness and proximity. Australian Geographer, 41(1), 25–38. DOI: https://doi.org/10.1080/00049180903535543
[53] Gibson, C., Stewart, A. (2009). Reinventing rural places: The extent and impact of festivals in rural and regional Australia. Wollongong: University of Wollongong.
[54] Grau Pérez, G. (2025). Cultural and creative networks as enabling contexts for artistic research. European Journal of Cultural Management and Policy, 14, 13061. DOI: https://doi.org/10.3389/ejcmp.2024.13061
[55] Gutierrez-Posada, D., Kitsos, T., Nathan, M., Nuccio, M. (2023). Creative clusters and creative multipliers: Evidence from UK cities. Economic Geography, 99(1). DOI: https://doi.org/10.1080/00130095.2022.2094237
[56] Hassanli, N., Walters, T., Williamson, J. (2021). ‘You feel you’re not alone’: how multicultural festivals foster social sustainability through multiple psychological sense of community. Journal of Sustainable Tourism, 29(11-12), 1792-1809.
[57] Hjalager, A. M., Kwiatkowski, G. (2018). Entrepreneurial implications, prospects and dilemmas in rural festivals. Journal of Rural Studies, 63, 217–228. DOI: https://doi.org/10.1016/j.jrurstud.2017.02.019
[58] Hospers, G. J. (2003). Creative cities: Breeding places in the knowledge economy. Knowledge, Technology & Policy, 16(3), 143–162. DOI: https://doi.org/10.1007/s12130-003-1037-1
[59] Islam, N., Sadhukhan, S. (2025). Relationship among creative tourism development strategies, creative industries, and activities: A case study of Lucknow, India. Journal of Destination Marketing & Management, 36, 100988. DOI: https://doi.org/10.1016/j.jdmm.2024.100988
[60] Jaakkola, E. (2020). Designing conceptual articles: four approaches. AMS review, 10(1), 18-26. DOI:https://doi.org/10.1007/s13162-020-00161-0
[61] Jarman, D., Theodoraki, E., Hall, H., Ali-Knight, J. (2014). Social network analysis and festival cities: An exploration of concepts, literature and methods. International Journal of Event and Festival Management, 5(3), 311–322. DOI: https://doi.org/10.1108/IJEFM-11-2013-0034
[62] Jayne, M., Gibson, C., Waitt, G., Bell, D. (2010). The cultural economy of small cities. Geography Compass, 4(9), 1408–1417. DOI: https://doi.org/10.1111/j.1749-8198.2010.00380.x
[63] Johannson, M., Kociatkiewicz, J. (2011) City festivals: creativity and control in staged urban experiences. European Urban and Regional Studies, 18(4), 392–405. DOI: https://doi.org/10.1177/0969776411407810
[64] Johansson, M., Toraldo, M. L. (2017). 'From mosh pit to posh pit': Festival imagery in the context of the boutique festival. Culture and Organization, 23(3). DOI: https://doi.org/10.1080/14759551.2015.1032287
[65] Johnson, L. (2016). Cultural capitals: Revaluing the arts, remaking urban spaces. London and New York: Routledge. DOI: https://doi.org/10.4324/9781315575230
[66] Johnston, L., Waitt, G. (2015). The spatial politics of gay pride parades and festivals: Emotional activism. In M. Tremblay, D. Paternotte (Eds.), Ashgate research companion on lesbian and gay activism (pp. 105–119). Aldershot: Ashgate.
[67] Jordan, J. (2016). Festivalisation of cultural production: experimentation, spectacularisation and immersion. Journal of cultural management and policy, 6(1), 44-55.
[68] Kalfas, D., Kalogiannidis, S., Ambas, V., Chatzitheodoridis, F. (2024). Contribution of the cultural and creative industries to regional development and revitalization: A European perspective. Urban science, 8(2), 39. DOI: https://doi.org/10.3390/urbansci8020039
[69] Kang, S., Kim, K., Ryan, C., Park, S. (2014). What makes people travel to cultural heritage festivals? International Journal of Tourism Sciences, 14(3). DOI: https://doi.org/10.1080/15980634.2014.11434700
[70] Kinnunen, M., Wood, E. H., Moss, J. (2025). Capturing tourist experiences through time: an extended adaptation of the descriptive experience sampling method. Current Issues in Tourism, 1-5. DOI:https://doi.org/10.1080/13683500.2025.2456073
[71] Kowalczyk, A. (2008). Współczesna turystyka kulturowa – między tradycją a nowoczesnością. In Kowalczyk, A. (Ed.), Turystyka kulturowa. Spojrzenie geograficzne (pp. 9-58). Warszawa: Uniwersytet Warszawski, Wydział Geografii i Studiów Regionalnych.
[72] Kridel, C. (1980). The play element in culture and the use of festivals in the general education curriculum. The Journal of General Education, 32(3), 229–238.
[73] Kwiatkowski, G., Hjalager, A. M., Ossowska, L., Janiszewska, D., Kurdyś-Kujawska, A. (2024). The entrepreneurial orientation of exhibitors and vendors at food festivals. Journal of Policy Research in Tourism, Leisure and Events, 16(2), 207–226. DOI: https://doi.org/10.1080/19407963.2021.1999967
[74] Laing, J. (2018). Festival and event tourism research: Current and future perspectives. Tourism management perspectives, 25, 165-168. DOI: https://doi.org/10.1016/j.tmp.2017.11.024
[75] Landry, C. (2012). The creative city: A toolkit for urban innovators. London: Earthscan. DOI:https://doi.org/10.4324/9781849772945
[76] Larson, M. (2009). Festival innovation: Complex and dynamic network interaction. Scandinavian Journal of Hospitality and Tourism, 9(2–3), 288–307. DOI: https://doi.org/10.1080/15022250903175506
[77] Larson, M. (2011). Innovation and creativity in festival organizations. Journal of Hospitality Marketing & Management, 20(3–4), 287–310. DOI: https://doi.org/10.1080/19368623.2011.562414
[78] Lupu, R., Komorowski, M., Lewis, J., & Fodor, M.M. (2025). Research, Development and Innovation in the Creative Industries: Reframing Our Understanding of the Creative Economy (1st ed.). Routledge. DOI:https://doi.org/10.4324/9781003481805
[79] Maskell, P., Bathelt, H., Malmberg, A. (2006). Building global knowledge pipelines: The role of temporary clusters. European Planning Studies, 14(8), 997–1013. DOI: https://doi.org/10.1080/09654310600852332
[80] Mitchell, J. C. (1974). Social networks. Annual review of anthropology, 3, 279-299.
[81] O'Connor, J. (2007). The cultural and creative industries: A review of the literature. London, UK: Arts Council England.
[82] Park, H., Kim, Y., Jeong, S. (2019). The effect of a science festival for special education students on communicating science. Asia-Pacific Science Education, 5(1), 1–21. DOI: 10.1186/s41029-018-0029-0
[83] Peck, J. (2005). Struggling with the creative class. International Journal of Urban and Regional Research, 29(4), 740–770. DOI: https://doi.org/10.1111/j.1468-2427.2005.00620.x
[84] Pine, B. J., Gilmore, J. H. (2011). The experience economy. Boston: Harvard Business Press.
[85] Porter, M. E. (1990). The Competitive Advantage of Nations. New York: Free Press.
[86] Prentice, R., Andersen, V. (2003). Festival as creative destination. Annals of Tourism Research, 30(1), 7–30. DOI: https://doi.org/10.1016/S0160-7383(02)00034-8
[87] Qu, M., Zollet, S. (2023). Rural art festivals and creative social entrepreneurship. Event Management, 27(8), 1219-1235. DOI: https://doi.org/10.3727/152599523X16830662072107
[88] Quinn, B. (2005). Arts festivals and the city. Urban Studies, 42(5–6), 927–943. DOI:https://doi.org/10.1080/00420980500107250
[89] Quinn, B. (2006). Problematising ‘festival tourism’: Arts festivals and sustainable development in Ireland. Journal of sustainable tourism, 14(3), 288-306. DOI: https://doi.org/10.1080/09669580608669060
[90] Quinn, B. (2019). A comment on: arts festivals, urban tourism and cultural policy. Journal of Policy Research in Tourism, Leisure and Events, 111, s8-s12. DOI: https://doi.org/10.1080/19407963.2018.1556855
[91] Quinn, B. (2025). Understanding Urban Cultural Festivals as Social Infrastructure. Geography Compass, 19(7), e70042. DOI: https://doi.org/10.1111/gec3.70042
[92] Ratkowska, P. (2010). O festiwalu w kontekście turystyki kulturowej, czyli turystyka eventową raz jeszcze. Turystyka Kulturowa, 6, 26-46.
[93] Ray, S. (2022). Goddess in digital space: A study on dynamics of digitalization in autumn festival of India. In E. Dhariwal, S. Arora, A. Sharma, & A. Hassan (Eds.), Event tourism and sustainable community development: Advances, effects, and implications (pp. 49–59). Routledge, London.
[94] Reese, S. D. (2023). Writing the conceptual article: A practical guide. Digital Journalism, 11(7), 1195-1210. DOI: https://doi.org/10.1080/21670811.2021.2009353
[95] Richards, G., & Leal Londoño, M. P. (2022). Festival cities and tourism: Challenges and prospects. Journal of Policy Research in Tourism, Leisure and Events, 14(3), 219–228. DOI:https://doi.org/10.1080/19407963.2022.2087664
[96] Richards, G., Wilson, J. (2004). The impact of cultural events on city image: Rotterdam, cultural capital of Europe 2001. Urban Studies, 41(10), 1931–1951. DOI: https://doi.org/10.1080/0042098042000256323
[97] Richards, S. (2016). Proud in the middleground: How the creative industries allow the Melbourne Queer Film Festival to bring queer content to audiences. Studies in Australasian Cinema, 10(1), 129–142. DOI:https://doi.org/10.1080/17503175.2016.1140467
[98] Rivetti, F., Rossi, C., Lucadamo, A. (2024). The formation of attendee loyalty at cultural festivals. What role for knowledge and authenticity? Socio-Economic Planning Sciences, 95. DOI: 10.1016/j.seps.2024.102002
[99] Roberts, L., Lowe, J. (2024). The spatial imaginaries of creative clusters: Examining the role of R&D programmes in creative placemaking. Geoforum, 154. DOI: https://doi.org/10.1016/j.geoforum.2024.104066
[100] Rofe, M. W., Woosnam, C. L. (2016). Festivals as a vehicle for place promotion: Cars, contestation and the creative city ethos. Landscape Research, 41(3), 344–359. DOI: 10.1080/01426397.2015.1078457
[101] Rossetti, G. (2024). Conceptualising participant observations in festival tourism. Current Issues in Tourism, 27(12), 1884-1897. DOI: https://doi.org/10.1080/13683500.2023.2214850
[102] 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.
[103] Saayman, M., Rossouw, R. (2011). The significance of festivals to regional economies: Measuring the economic value of the Grahamstown National Arts Festival in South Africa. Tourism Economics, 17(3), 603–624. DOI: https://doi.org/10.5367/te.2011.0049
[104] Schulze, G. (2008). The experience society. London: Sage.
[105] Sendra, E. (2024). Embracing collaborations between festivals and higher education: A case study of the ‘Decolonising film festivals and curating African cinemas’ networking event at King’s College London. Industry and Higher Education, 38(1), 97-103. DOI: https://doi.org/10.1177/09504222231222257
[106] Shaheen, R. (2010). Creativity and education. Creative Education, 1(3). DOI: 10.4236/ce.2010.13026
[107] Sharpley, R., Stone, P. R. (2020). Socio-cultural impacts of events: Meanings, authorized transgression, and social capital. In S. Page & J. Connell (Eds.), The Routledge handbook of events (pp. 155–170). London: Routledge.
[108] Small, K., Edwards, D., Sheridan, L. (2005). A flexible framework for evaluating the socio-cultural impacts of a (small) festival. International Journal of Event Management Research, 1(1), 66–75.
[109] Snell, K. (2005). Music education through popular music festivals: A study of the OM Music Festival in Ontario, Canada. Action, Criticism, and Theory for Music Education, 4(2), 1–35.
[110] Snowball, J. D., Jamal, M., Willis, K. G. (2010). Cultural consumption patterns in South Africa: An investigation of the theory of cultural omnivores. Social Indicators Research, 97(3), 467–483. DOI:https://doi.org/10.1007/s11205-009-9513-y
[111] Son, I. S., Krolikowski, C. (2025). Developing a sense of place through attendance and involvement in local events: the social sustainability perspective. Tourism recreation research, 50(4), 715-726. DOI:https://doi.org/10.1080/02508281.2024.2335749
[112] Środa-Murawska, S., Szymańska, D. (2013). The concentration of the creative sector firms as a potential basis for the formation of creative clusters in Poland. Bulletin of Geography. Socio-Economic Series, 20, 85–93. DOI: https://doi.org/10.2478/bog-2013-0013
[113] Stryjakiewicz, T., Kaczmarek, T., Męczyński, M., Parysek, J.J., Stachowiak, K. (2010). Polityka wspierania rozwoju sektora kreatywnego w poznańskim obszarze metropolitalnym na tle doświadczeń zagranicznych. Poznań: Bogucki Wydawnictwo Naukowe.
[114] Stryjakiewicz, T., Męczyński, M., Stachowiak, K. (2014). Role of creative industries in the post-socialist urban transformation. Quaestiones Geographicae, 33(2). DOI: https://doi.org/10.2478/quageo-2014-0013
[115] The European Union document Unlocking the Potential of Cultural and Creative Industries. Available at: https://eur-lex.europa.eu/legal-content/EN/TXT/PDF/?uri=CELEX:52010DC0183&from=BG
[116] Camerimage Festival. Available at: https://camerimage.pl/en/energacamerimage
[117] Soundedit Festival. Available at: https://soundedit.pl/en/
[118] Edinburgh Festivals. Available at: https://www.visitscotland.com/things-to-do/events/edinburgh-festivals
[119] Thomasson, S. (2022). The festival cities of Edinburgh and Adelaide. Cham: Palgrave Macmillan. DOI: https://doi.org/10.1007/978-3-031-09094-3
[120] Tohmo, T. (2005). Economic impacts of cultural events on local economies: An input–output analysis of the Kaustinen Folk Music Festival. Tourism Economics, 11(3), 431–451. DOI: https://doi.org/10.5367/000000005774352980
[121] Turok, I. (2003). Cities, clusters and creative industries: The case of film and television in Scotland. European Planning Studies, 11(5), 549–565. DOI: https://doi.org/10.1080/09654310303652
[122] UNCTAD’s classification of creative industries. Available at: http://unctad.org/es/Docs/ditc20082cer_en.pdf
[123] Van der Hoeven, A., Hitters, E. (2023). Live music and the New Urban Agenda: Social, economic, environmental and spatial sustainability in live music ecologies. City, Culture and Society, 32, 100490. DOI:https://doi.org/10.1016/j.ccs.2022.100490
[124] Visser, G. (2005). Let’s be festive: Exploratory notes on festival tourism in South Africa. Urban Forum, 16(2–3), 155–175. DOI: https://doi.org/10.1007/s12132-005-1003-y
[125] Waitt, G. (2008). Urban festivals: Geographies of hype, helplessness and hope. Geography Compass, 2(2), 513–537. DOI: https://doi.org/10.1111/j.1749-8198.2007.00089.x
[126] Walters, T., Stadler, R., Jepson, A. S. (2021). Positive power: Events as temporary sites of power which ‘empower’ marginalised groups. International Journal of Contemporary Hospitality Management, 33(7), 2391–2409. DOI: https://doi.org/10.1108/IJCHM-08-2020-0935
[127] Wang, H., Kao, S. Y. (2023). Cultural events and the city: The migration of FIRST International Film Festival from Beijing to Xining, China. City, Culture and Society, 32. DOI: 10.1016/j.ccs.2023.100506
[128] Waterman, S. (1998). Carnivals for elites? The cultural politics of arts festivals. Progress in Human Geography, 22(1), 54–74. DOI: https://doi.org/10.1191/030913298672233886
[129] West, T. (2022). Liverpool’s European Capital of Culture legacy narrative: A selective heritage? European Planning Studies, 30(3), 534–553. DOI: https://doi.org/10.1080/09654313.2021.1959725
[130] Wróbel, A. (2017). Geografia ekonomiczna. Warszawa: Scholar.
[131] Wyatt, B., Rossetti, G. (2024). The Current State of Festival Storytelling Research (1980‐2024): Introduction to the Special Issue, Festivals and Storytelling. Event Management, 28(4), 493-509. DOI: https://doi.org/10.3727/152599524X17077053867845
[132] Zherdev, N. (2014). Festivalization as a creative city strategy. [Online Working Paper]. Doctoral Working Paper Series; DWP14-002, IN3 Working Paper Series. IN3.