The public's attention on festivals has been highly increased in recent days, and a number of festivals are being held without distinction of its genre variety, such as popular music festivals. Most of them, however, in fact are being neglected by the...
The public's attention on festivals has been highly increased in recent days, and a number of festivals are being held without distinction of its genre variety, such as popular music festivals. Most of them, however, in fact are being neglected by the public, for that they are much similar with each other in their formats and sources. Such phenomenon is due to the fact that a number of on-going festivals are in an imitated format of a few successful precedent cases. Accordingly, it is never too hard to find a case facing the shortfall of the audience participation.
Despite of such situation, there is one newly rising type of festival of recent days, which is defined as a 'story-telling type' festival. The whole flow of such festival forms a story, and the story is concretely organized as forming a narrative structure. Additionally, the festival's new format—a 'chat show' format—through which the story can be clearly delivered, has been attractive enough to draw the public's interest. The Youth Festival, which is of this 'chat-show type', is a case which has reached a box office success, captivating 30,000 of charged audience.
This study, thus, has defined a festival of chat-show and lecture form as 'story-telling type festival', and put is purpose on providing the direction guide on how to adopt the story-telling features when planning festivals, in order for their competence and discrimination in current 'festival-flood' environment. In the pursuit of this, storytelling, fascination, and loyalty have been derived as the variables through the process combining literature research with positive research. Furthermore, the verification of the hypothesis and appropriacy of the research model, which demonstrates the relationship among the variables, has been conducted.
Through the literature research, the variable 'storytelling' has been set up with three features—story, scenery, interactivity, and the variable 'fascination' has been set up with four features—interest, intimacy, similarity, and educationality. No features have been set up for the 'loyalty' variable. Additionally, a survey was conducted targeting 400 visitors with participating experience in Youth Festival of 2014 and 2015, helping the establishment of the causal relationship between the research model and the hypothesis.
The result of the examination on the thorough relationship between the hypothesis and variables analyzed that a story-telling feature in festivals affects the festival fascination and loyalty and that the festival fascination affects the festival loyalty. A comprehensive implications derived from the study analysis can be stated as follows:
First, story-telling features must be significantly considered in order for a festival to be competent and autonomous in such a 'festival-flood' environment.
Second, the 'story', which becomes the foundation of the storytelling, must be concerned for a long time and in depth. Each component of the festivals is decided with regard to 'what the festival wants to tell the audience', and the audience judges the festival's attractiveness and fascination depending on the story.
Third, the 'interactivity' feature of the storytelling must be 'well' utilized. Unlike other general concerts in which the seats and the stage are separated, festivals contain numerous experiential factors. The festival fascination ascends when the audience is able to participate and feels to be part of the festival.
Fourth, in order for the festival fascination to be raised, the features of interest, intimacy, and educationality must be enhanced. These features are connected to the audience loyalty and play significant roles in the formation of the long-term relationship with the audience.
Fifth, all of the contents must be developed participant-centered. According to the survey research targeted the participants of Youth Festival, most of the audience's recognition path was 'through friends' and 'return visits'. Likewise, the festival participation will increase when the contents are developed participant-centered, raising the audience's satisfaction degree.
The academic value of this study is on that it has established the concept of 'story-telling type festival', which is currently on its beginning step, and on that it has synthetically conducted a relevance research by integrating the study on storytelling into festivals. Further studies on storytelling and festivals in earnest is required, so that the active use of the story-telling features can be applied to diverse genres of festivals—such as popular music festivals and local art festivals. By extension, it is expected for this study to be a contributing reference for further developments and advances of various festival cultures.
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