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Cocreation, the latest marketing development concept using experienced lead users, their companies, and their communities were the foundation of this study. Cocreation adds a new dimension into the marketing policy of a company, thus developing the ultimate product or service. The lead user analysis method of von Hippel, involving three steps, was followed in order to do explorative research about applying cocreation within the multiday pop festival branch. First the trends within this branch were identified. The next steps were to locate the lead users and then to analyze their experiences. Useful tools within this explorative research are communities, which are used to gain information of lead users. The experiences of lead users in the multiday pop festival branch showed the problems and needs in this branch. These findings are both scientific and practical. The scientific contribution is the question for more research of cocreation stimulating environments. The other scientific finding is the quest for research in order to make the lead user a better lead user and so more of value to a firm. The practical contribution is the delivery of a seven-step model festival managers can use to implement cocreation in their festival.

La publicación del álbum visual de Beyoncé, Lemonade (2016), marcó un cambio en la carrera de la cantante. En este álbum la artista se define a sí misma siguiendo sus propios criterios, no los impuestos por la política del decoro. Sus últimas producciones muestran un giro estético en la carrera de la cantante, en la que utiliza un paradigma espacial para centralizar la experiencia afroamericana. En Lemonade, la cantante actúa en una plantación y asume un rol de poder; en \"Apeshit\" (2018), Queen Bey y su marido Jay-Z actúan en el Louvre y ponen de manifiesto cómo este espacio ignora la presencia artística africana en las obras mostradas; por último, en el álbum grabado en directo Homecoming (2019), Beyoncé hace uso del escenario del festival de Coachella para recrear la celebración del evento universitario afroamericano que da título al vídeo. Este artículo analiza el uso que hace Beyoncé del espacio para desestabilizar la norma impuesta, la fenomenología blanca.

A King Travelsexamines the scripting and performance of festivals in Spain between 1327 and 1620, offering an unprecedented look at the different types of festivals that were held in Iberia during this crucial period of European history. Bridging the gap between the medieval and early modern eras, Teofilo Ruiz focuses on the travels and festivities of Philip II, exploring the complex relationship between power and ceremony, and offering a vibrant portrait of Spain's cultural and political life. Ruiz covers a range of festival categories: carnival, royal entries, tournaments, calendrical and noncalendrical celebrations, autos de fe, and Corpus Christi processions. He probes the ritual meanings of these events, paying special attention to the use of colors and symbols, and to the power relations articulated through these festive displays. Ruiz argues that the fluid and at times subversive character of medieval festivals gave way to highly formalized and hierarchical events reflecting a broader shift in how power was articulated in late medieval and early modern Spain. Yet Ruiz contends that these festivals, while they sought to buttress authority and instruct different social orders about hierarchies of power, also served as sites of contestation, dialogue, and resistance. A King Travelssheds new light on Iberian festive traditions and their unique role in the centralizing state in early modern Castile.

This study analyses the urban and cultural transformation of São Paulo and its Liberdade neighborhood—home to the largest Japanese diaspora—through public policies and Japan-themed events such as Tanabata Matsuri, Anime Friends, and the Festival do Japão. It introduces the concept of Nipponophilic capital, integrating Bourdieu’s forms of capital with theories of Disneyfication, tactics, and memory spaces. Drawing on literature review, fieldwork, and photographic analysis, the article examines how Japanese pop culture, tourism, and gentrification reshape Liberdade, highlighting its central role in São Paulo’s identity and economy, positioning it as the main Japanese hub in the Americas and reinforcing its global image aligned with Japan’s branding while revealing underlying tensions. Este estudio analiza la transformación urbana y cultural de São Paulo y su barrio de Liberdade —hogar de la mayor diáspora japonesa— a través de políticas públicas y eventos de temática japonesa como el Tanabata Matsuri, el Anime Friends y el Festival do Japão. Introduce el concepto de capital nipofílico, integrando las formas de capital de Bourdieu con las teorías de la disneyficación, las tácticas y los espacios de memoria. Basándose en la revisión de la literatura, el trabajo de campo y el análisis fotográfico, el artículo examina cómo la cultura pop japonesa, el turismo y la gentrificación están remodelando Liberdade, destacando su papel central en la identidad y la economía de São Paulo, posicionándolo como el principal centro japonés en América y reforzando su imagen global alineada con la marca de Japón, al tiempo que revela las tensiones subyacentes.

Using a theoretical framework that recognises the pervasive impact of the COVID-19 pandemic on global tourism and events, this study examines the unique complexities of Japanese pop culture events. These events, characterised by their ability to attract large audiences, especially enthusiastic youth, have traditionally flourished through interpersonal interactions. This discrepancy between the interactive nature of events and pandemic-induced measures has necessitated fundamental changes in event management strategies. However, pandemic responses and restrictions contrasted sharply with the nature of these events, posing significant challenges for event organisers. This study analyses qualitative data from seven semi-structured interviews with Japanese theme researchers, journalists, and representatives of the main events on the theme in four countries.  The pandemic crisis clearly affected Japanese pop culture events, which were among the most frequently suspended. The interviewees believe that it is easy to return to the normalcy of face-to-face events because the audience for these events is predominantly young and enthusiastic, but this requires adaptations and the care that each country demands. This research sheds light on both the difficulties and setbacks that Japanese pop culture events face, as well as their ability to endure and adjust in response to difficult circumstances. By shedding insight into the complex dynamics and demographic characteristics of these events, it also enables event organisers and policymakers to develop strategies to facilitate the safe and successful recovery of similar events in the future. In addition to connecting with other studies in the event sector, this research contributes to the body of knowledge needed to develop effective responses to unforeseen obstacles by shedding light on exceptional events and their potential resilience pathways.

Examining the press reviews, the author offers aesthetic, critical and stylistic interpretations of the annual Bratislavská lýra [Bratislava Lyre] song contest. Close attention is given to comparing the characteristics and qualities of performed pieces praised by critics with the theoretical perspectives of renowned scholars in the general and multifaceted nature of pop music. Taking into account political, social, musical, aesthetic, stylistic and technological aspects, the writer identifies twenty-eight distinct axiological attributes of pop music. Given the genre’s widespread public appeal, the study also explores whether there were any interrelations between pop music and politics, or whether the Lýra served merely as a manipulative tool during times of heightened political tension. The author interrogates the extent to which the festival’s current politicization by historians, critics and producers is an inaccurate and transient interpretation. Nonetheless, despite this framing, the pop music at the Bratislavská lýra still embodied all the axiological features of its Western counterparts. Proučavajući recenzije u tisku, autorica nudi estetičke, kritičke i stilske interpretacije godišnjeg natjecanja pjesme Bratislavská lýra [Bratislavska lira]. Velika pozornost posvećena je usporedbi karakteristika i kvaliteta izvedenih djela koje su hvalili kritičari s teorijskim perspektivama renomiranih znanstvenika o općoj i višestranoj prirodi pop glazbe. Uzimajući u obzir političke, društvene, glazbene, estetičke, stilske i tehnološke aspekte, autorica identificira dvadeset i osam različitih aksioloških svojstava pop glazbe. S obzirom na široko rasprostranjenu javnu privlačnost žanra, studija također istražuje jesu li postojali međuodnosi između pop glazbe i politike ili je Bratislavská lýra služila samo kao manipulativno oruđe u vremenima pojačanih političkih napetosti. Autorica propituje koliko je trenutna politizacija festivala od strane povjesničara, kritičara i producenata netočna i prolazna interpretacija. Ipak, usprkos ovakvom okviru, pop glazba na festivalu Bratislavská lýra i dalje je utjelovljavala sva aksiološka obilježja svojih zapadnih pandana.

A lo largo de las últimas décadas, los eventos urbanos en torno a programas efímeros se han multiplicado y consolidado. Los festivales de música constituyen un ejemplo modelo de una forma de urbanismo que dotada de presupuestos comparables a algunas morfologías más convencionales, genera urbanidad y co-construye nuestras sociedades desde un nuevo paradigma metropolitano menos dependiente de la forma que de la experiencia. Este artículo tratará de desarrollar cómo el 'evento urbano’ opera como arquitectura. Para ello se trazarán sus antecedentes históricos, identificando cómo la contracultura de los años 60 supuso un caldo de cultivo para un nuevo tipo efímero sustentado en lo que se podría denominar ‘urbanismos pop-up’. Se estudia el caso concreto de los Festivales Pop como materialización de esta morfología metropolitana y se identifican tres categorías que estudiadas a través de tres casos de estudio, definen los esquemas infraestructurales en torno a la relación del 'evento’ con el territorio y la ciudad. Glastonbury, Lollapalooza y Burning Man serán analizados para extraer las características particulares de cada categoría. Finalmente, se enunciarán las condiciones generales que definen este tipo urbano con fecha de caducidad en el que ‘forma arquitectónica’ corresponde a la ‘performace del evento’.

In recent years, K-pop idols have increasingly served as ambassadors of Korea to a world audience. One novel aspect of this ambassadorship is their role as presenters of Korean traditional culture, even though they frequently know little about the traditions in question. In this paper, I conduct a close reading of the K-Community Festival 2021 as an example of a program in which K-pop idols introduce their viewers to traditional Korean arts by presenting themselves as inexpert learners. This festival, with its contradictory positioning of the idols as spokespeople for Korea who need instruction in Korean tradition, appeals to viewers by inviting the audience to identify with the idols, emphasizing its entertainment value, and using the idols as cultural intermediaries. I argue that in doing so, it devalues cultural expertise and the essentialization of tradition. Nevertheless, this and similar programs serve an important function for fans in that they offer a cultural product that can be consumed in opposition to the hegemonic cultural flows from the United States.

This study examined the effect of four dimensions (i.e., the experience of education, entertainment, aesthetics, and escape) of the experience economy on participants’ attachment values toward tourism places in the context of the virtual Korean Wave experience during the COVID-19 pandemic. It also tested the relationship between attachment values and continuous immersion intention in virtual reality. An online survey was conducted on Asian people who experienced the Korean Wave culture, and 387 questionnaires were completed. Statistical analyses were used to establish the relationship between experiences, satisfaction, and continuous immersion intention comprising descriptive analysis, explanatory factor analyses, and multiple regression analysis. The result showed that the virtual Korean Wave (entertainment, educational, aesthetic, and escapism experience) significantly impacted participants’ attachment values. The meaningful virtual experiences would provide new insights into enhancing participants’ attachment to tourist places. There is little research examining the cultural experience and the attachment values of online users within the experience economy, despite the emergence and continuation of the novel coronavirus, which has led to many challenges in social, economic, technological, and medical systems’ lifestyles