BUCHAREST UNIVERSITY OF ECONOMIC STUDIES [609985]

BUCHAREST UNIVERSITY OF ECONOMIC STUDIES
Faculty of Business and Tourism

BACHELOR THESIS

Scientific Coordinator s:
Professor Pădurean Mihaela, Ph.D
Lecturer Gavriș Alexandru, Ph.D

Author:
Bălan Robert Alexandru

Bucharest, 2018

BUCHAREST UNIVERSITY OF ECONOMIC STUDIES
Faculty of Business and Tourism

Festival Tourism

Scientific Coordinator s:
Professor P ădurean Mihaela , Ph.D
Lecturer Gavriș Alexandru, Ph.D

Author:
Bălan Robert Alexandru

Bucharest, 2018

TABLE OF CONTENTS

INTRODUCTION ………………………….. ………………………….. ………………………….. ……………………. 4
CHAPTER I: Literature Review ………………………….. ………………………….. ………………………….. . 6
1.1. Event Tourism – General Characteristics ………………………….. ………………………….. ….. 7
1.2. Musical Tourism ………………………….. ………………………….. ………………………….. ……….. 8
1.3. Festival T ourism – General Characteristics ………………………….. ………………………….. 10
CHAPTER II: Case study: International and national experience regarding music festivals
………………………….. ………………………….. ………………………….. ………………………….. ………………….. 16
2.1. Impact of music festivals on tourism in Western Europe ………………………….. ……….. 16
2.2. Impact of music festivals in tourism in Romania ………………………….. ………………….. 22
2.3. Untold fes tival vs. Neversea festival ………………………….. ………………………….. ……….. 25
CHAPTER III: Research methodology & data analysis ………………………….. ……………………. 33
3.1 Conducting the research study ………………………….. ………………………….. ……………….. 33
3.2 Data Collection ………………………….. ………………………….. ………………………….. ……….. 36
3.3 Choosing the samples ………………………….. ………………………….. ………………………….. . 37
3.4 Demographic findings ………………………….. ………………………….. ………………………….. . 38
3.5 Festival preferences ………………………….. ………………………….. ………………………….. ….. 39
Conclusion ………………………….. ………………………….. ………………………….. ………………………….. …. 45
REFERENCES ………………………….. ………………………….. ………………………….. ………………………. 47
ANNEXES ………………………….. ………………………….. ………………………….. ………………………….. …. 51

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INTRODUCTION
Music festivals can be associated with arts or social celebration that usually has a specific
thematic approach concurring to a specific music genre. Music festivals can be easily defined by
its specific music genre; there can be jazz, pop, rock, electronic, etc. "Unlike concerts, where
individuals are generally drawn to hear and view a live performance of a specific artist, music
festivals ofte n involve a myriad of talent and may or may not follow a particular genre " (Bowen,
2005, p. 155).
Festivals are considered instruments in promoting and in creating an image for a specific
destination. They are indispensable on the base variety of tourism a nalysis. Ray (2003)
demonstrated that, the celebrations have severe impact on the progression of social tourism to the
host communities. The celebration organizers are using the authentic and social topics to develop
the yearly events, to pull in visitors and to make social image in the host people by holding
festivities.
At first glance, the connection between geography and music seems to be non -existent, the
two areas have completely different concerns, and the axis linking the two is in the tourism
secto r. Tourism, a phenomenon arising from man’s desire to know explore and experience things
he does not have in the area where he spends his everyday life, has also gradually curbed the
activities of the music industry. Whether we are talking about world -famo us festivals or unique
concerts, more and more people are moving from one part of the globe to take part in artistic
performances, some of them even unique in life.
In most academic settings festivals can be inexactly comprehended as spots where numerous
parts of everyday life are to a great extent suspended and participants enjoy the numerous
activities introduced by the occasion. Victor Turner recommends that a celebration space can
frequently move toward becoming “ a place that is no place, and a time tha t is no time, even
where that place is a city’s main plazas, and that time can be found on an ecclesiastical calendar”
(Turner in Falassi, 1987 , p. 76). Moreover, "We are seeing society in its subjunctive mood… its
mood of feeling, willing, and desiring, i ts mood of fantasizing, its playful mood: not in its
indicative mood, where it tries to apply reason to human action and systematize the relationship
between ends and means in industry and bureaucracy " (1987 , p. 76).

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Festivals and occasions are a basic pie ce of city life. They have a component of reinforcing a
city in rivalry. Given this capacity, to an ever increasing extent urban areas hold festivals and
occasions with the point of enhancing the urban communities’ image, pulling in guests and
investments and also animating city’s advancement and boosting local economy in general.
Music festivals can be great powers for motivation, inspiration and arousing change for a
better world. They have for some time been settings for human social groups, association and
festivity. They likewise have a one of a kind capacity to rise above individual and generational
contrasts to unite individuals through regular interests. Music celebrations open people’s hearts,
animate bliss and give opportunities for being and havin g a place. At the point when celebrations
convey such extraordinary potential for improvement, it is odd that they go understudied and
underutilized to a great extent (Acordia and Whitford, 2006). One significant utilization of music
festivals is their com mitment to the change of sustainability.

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CHAPTER I: Literature Review
Tourism is the world’s fastest growing industry which made festivals evolving continuously
thus they are often studied in many sciences. They play a noteworthy part in th e development of
tourism; in this manner it is mandatory to lead a comprehensive study of festivals within the
structure of event tourism and tourism geography. Traveling especially for a festival might be
dealt with a different type of tourism called fest ival tourism. In the past years it has developed a
competition for economic development between cities from all around the world as tourist
destinations (Kolter et al., 1993). Regarding to Roche (1992) tourism industry can help enhance
foundation and ecolo gical quality and improve recreation areas for a specific destination; last but
not least, tourism generates a high number of available jobs, helping not only the locals, but the
state also. Nowadays, new touristic destinations are rising and are promoting as great places to
visit, but in order for a destination to be successful, it is not important only to have a good
promoting strategy, but they have to attract people by providing something unusual for the
consumers.
Tourism is perceived as a "mix indust ry" where private, public and non -profit sectors are
combined and works altogether creating the final product. These sectors which act like a whole
makes available their resources, knowledge and skills in order to deliver the product . Morrison
(2013) state d about destination partnership that is “a synergistic relationship between a DMO and
other organizations or individuals within or outside a desti nation” (Morrison, 2013 , p. 191).
Tourist destination commonly claimed and oversaw by public authorities such as parks and
also social, sport and entertainment resources and the events held in them. Private and non -profit
associations usually supply with the same kind of features. At any costs, attractions are the main
factor considering the demand of certain tour ist destination and the economic benefits; this
includes the festivals and other events.
Festivals are playing a main role in exploring the mix between the sectors, since these events
are requiring a well -combined collaboration between them. In this area, Getz (200 8) has
analyzed some case studies regarding Calgary and concluded that there is across the board
conviction among non -profit organizations that deliver services that should be provided by the
public sector; moreover the study ensembles private se ctor festivals are somehow impeded in

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respect to both public and non -profit events as not having the same capacity to get government
funds; they need to have an exceptional output or to be potentially highly populated.
1.1. Event Tourism – General Characteris tics
Event tourism has been viewed as one of the best income generating sources in the 21st
century. Its improvement took various stages and years to come up to this status. Tourism area,
which at the outset included hospitality, transportation, places of interest has changed radically.
The idea of setting up events in order to support has been generally acknowledged now -a-days.
This has caused an adjustment in this industry which came about to propel and bring in
individuals to travel more. Events that are leaving a noteworthy effect on a specific tourist
destination are big in terms of significance and size of the attendants and are yielding large
amounts of tourism, media coverage and financial impact for the local community (Getz, 200 8).
Event tourism is such an industry, to the point that it generally leaves a stain for the local
community regardless of the scale of the event. Categories like creating incomes, work market or
job employment opportunities are components related with t he event tourism commi tment. A
major role in the success of an event has the local community; if they show little interest or they
will not attend that specific event, they will leave a negative image for the coordinators and the
event itself. In this way, the goal characterize d for the event should suit the qualities, culture and
utilization of infrastructure that suits the community, as this unquestionably affects the help from
local people (Getz et al. , 2012 ).
Event tourism, primarily, is an expansive procedure that incorpora tes imagination, arranging
and outlining of the entire process of an event. Likewise, it additionally includes a particular
objective, goal and vision to open up entryways of conceivable outcomes for excited event
organizers. An exceptionally basic meaning of event tourism which has been adequate for quite a
while now: "the temporary movement to destinations outside their normal places of work or
residence, the activities undertaking during their stay in those destinations, and the facilities
created to cat er to their needs " (Cooper, Fletcher , Fyall, Gilbert & Wanhill , 2008 , p. 5 ).
Julius Solaris published an article entitled "10+ Fresh Ideas to Inspire a Successful Event
Concept " in which it explains how a brainstorming regarding collaboration, marketing, a udience
involvement or local community involvement is vital in order to create a successful event. In
order to understand mainly, event tourism involves event administration and is experimental

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fields of study which is committed for outlined and appropriat e administration of the planned
events that can relate social music appear, celebrations, entertainment, recreation and festivals
(Getz , 2008, p. 404).
Tourism has verifiably been cha racterized as a segment giving hospitality and accommodation
The pattern of characterizing tourism with the constrained segment has been changed nowadays.
The advancing idea of events and festivals in tourism has opened up another picture for this
industry. The consequence of which, each country is picking up notoriety for the ir indigenous
occasions and celebrations. Events and event tourism, consequently, has been characterized by
numerous creators in their own particular individual ways. Be that as it may, a definition has
been utilized for quite a while: "Events are an impor tant motivator of tourism, and figure
prominently in the development and marketing plans of most destinations " (Getz , 2008, p. 403).
Event organizing could be a broader construct that needs considering the standard of the
event, the standard of workers en gaged on it and therefore the quality of the event services. Event
tourism, all in all, draws in a major crowd of tourists and travelers to a specific goal because of
its appeal and assorted variety. Thus, organized events which divert individuals, inhabit ants
living in a multicultural group and the entire world have begun to rise exponentially (Lazanski,
2004). Event tourism is recognized in two ways thinking about the idea of the event: The
systematic designing, advancement and advertising of events as va cation destination, promotion
of alternative development and photograph developers ; a market fragment comprising of
individuals who get inspired and travel to go to events while being far from home (Getz , 1997 ).
An event requires appropriate administration instruments to get it going and succeed. The
preeminent and most imperative apparatus is the vision assurance of the event. It must be
perfectly clear why the event is sorted out, where it will occur and the principle point of it. This
entire procedure re quires checking assessment from the day the event is programmed until the
completion of it. Also, the individuals who make the event are the primary bodies that are in
charge of meeting the delineated objective of the event ( Goldblatt, 2002 ).
1.2. Musical Touri sm
Music festivals are a main component of the music tourism industry and they are present in
our lives for some hundreds of years. As Gibson & Connell attested in 2007, music tourism has
shown a significant growth over the years , their study also showed t hat in the US, festival

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tourism has reached over 17 percent over the whole tourism industry . In the UK, it generates
about £2 billion as revenue, providing about 20 ,000 full time jobs. The industry is expected to
rise by 42% by 2020. Festival tourism inclu des not only the performers such as live bands or
DJs, but it includes workers from food and beverage area to entertainment and security areas.
The idea of event tourism, which goes with festivals, carnivals, arts and exhibitions and
religious events, pla ns to characterize different parts including place advertising, urban
improvement and advancing nearby and national tourism economy Be that as it may, as of late is
has been inspected to draw out some social changes among the population. The events that
report a contemporary music show pull in individuals from various districts into a typical place.
The essential point of such events is to disperse the assortments that exist in culturally diverse
music. Music is such a language, to the point that unites ev erybody, regardless of what culture
the music has a place with, despite everything it talks a similar language (Picard and Robinson ,
2005) .
Music brings an extraordinary commitment for tourism. At whatever point there has been call
for multiculturalism, m usic has dependably been a fruitful mode to bind together individuals and
offer a typical ordeal among them. Music and music celebrations frame a base for enhancing
tourism item and also including an esteemed quality throughout everyday life. The effect th at
music leaves on tourism is plainly characterized by the way a musical show is orchestrated. As a
rule, musical demonstrates are neither political nor contestable. That is the reason a colossal mass
assembles to appreciate the music as opposed to going t o a government official's declaration.
Along these lines, music shows drag individuals of various societies as well as help pick up
ubiquity for the host group (Abel 2014).
Socialization has turned into a broadly acknowledged idea now -a-days. It rouses ind ividuals
to visit better places where they can interface with such a large number of others. An event could
be a decent go between for this situation to pull in individuals into a typical place. Customers that
are general public and their association among each other have essentially been expanded. It
helps in telling individuals about something new which they don't know about. For example, a
social show could enable them to expand their entryways important to think about an alternate
culture. On a down to earth premise, such sort of social cooperation among the occasion guests is
likewise a vital piece of the general occasion involvement and the level of fulfillment
accomplished by the guests (Pettersson, Brown, and Steve , 2014) .

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Performing arts and other f estivals are a worldwide tourist phenomenon (Chacko and
Schaffer , 1993; Getz , 1991; Grant and Paliwoda , 1998). There are many factors that involves into
a festivals such as the supply factors which can be cultural planning and tourism development
and deman d factors as leisure, lifestyle sampling or socialization needs, but it can be the desire
for unique experiences as well. When referring to "festival tourism ", we imply the activity of
travelling outside the place of resident in another city, region and ev en country in order to
participate in a festival.
1.3. Festival Tourism – General Characteristics
Festivals are celebrations of something the local communities wishes to share and which
includes the general p ublic as members in the experience. Festivals must ha ve as a prime goal a
high amount of people present , which must be a unique experience and should be distinctive in
relation to daily activities .
Falassi (1987) keeps up that the social capacity of a festival is firmly identified with values
that a group vi ews as fundamental to its ideology , for example, social personality, chronicled
progression, and physical survival. Moreover, according to Arcodia and Robb (2000), a festival
rotates around the stamping of exceptional events and the celebration of importan t occasions.
Moreover, festivals are festivities of something a specific community wishes to share and which
includes general public as members in the experience.
As many important historic figures attests, music festivals have their origins back in 4500 BC
from religious ceremonies or political fests including music and dancing from Ancient Egypt
(Mintel, 2013). First ever music festival was hosted by the ancient Greeks and was known as the
Pythian Games and was held six centuries BC, as well as they held different contests regarding
music and poetry. Speaking about modern society , the Monterey Pop Festival was held from 16
to 18 June 1967 , with over 50 ,000 participants and was one of the events which left a footprint in
the music festival industry (Waxman , 2017) .
Regarding the marketing aspect of festivals, there are few researches about it, but Rivero
(2009) found that the majority of the music festivals from Spain adopted other strategy than most
of the festivals, they are trying to build the audience on positive word of mouth, rather than
promoting the specific festival from a touristic point of view. Since the majority of the
participants of the music festivals are young adults, the most relying source of promoting

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remains the social media because of the high amount of information such as the line -up and the
schedule which can be shared to large public through the social media platforms (Mintel, 2013).
Regarding the Bonaroo festival a study by Hudson and Hudson (201 5), identified that the festival
used geo-location technology to reward fans with unique experience. The study has shown that a
positive experience combined with the involvement of social media platforms could help the
artists that performed at a specific festival to strengthen their relation ship with their fans (Mintel,
2013).
Social influence, as Park (2007) relates, matches the positive or negative changes in social and
cultural conditions which results from an activity, venture or the program facilitated by a group.
On a positive note, fe stivals can produce an increase in incomes and provide jobs for the local
community (Dwyer et al., 2000), also festivals are b ringing life to a specific city.
Festivals are an example of relaxation and are used by people to achieve a diversity of specific
social differences (McNay, 2010). A resolution to design a festival is in this way not only based
on participation at the event, as well as a method for the person to fortify their individual self –
image, socialize with others and flag faithfulness to a spe cific social gathering (Grappi &
Montinari, 2011) .
Communication stimulant through personality characterizing messages, that is sent from the
event planner to customer which absolutely broadcasts the desired identity (Bhattacharjee et al. ,
2014); related myths concerning pre -consumption wish, delusion, foresight and readiness are
animated (Lugosi, 2014). Giving personality meaning, myths urge people to combine around an
aggregate center of comparable qualities causing an in -gathering to form (Tajfel & Turn er,
1979). Embracing these qualities bears the individual participation into the in -group (Wenger,
1998), and the more notable and unmistakable in -attributes and out -attributes turn into, the more
a man draws in as a component of the gathering (Stryker and Burke, 2000) and takes place in
group -related activities (Grappi & Montinari, 2011).
Social function of a festival is heavily connected to values such as social identity and
historical continuity (Falassi, 1987). While talking about social identity, the re are two categories:
interpersonal identity and collective identity. In order to recognize those two levels based on
recurrence of contact and level of intimacy inside the group, while the relational characters are
high, group identities have a tendency to be more depersonalized as Jaeger and Mykletun (2013)
attested using a festival point of view. Usually groups are organized in a hierarchical order

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against other groups; this classification is based on standards (Barnhard & Penaloza, 2013).
When at an ev ent many different groups are attending helps advancing and strengthens the bond
within groups while dissing towards other groups (Bhaba, 1996) .
The capacity to refine emblematic information is essential when entering another physical of
mental setting. He lped by structure, the new societal setting gives the reflective criticism
mandatory to confirm progress toward a perfect portrayal of identity making people to better
understand their significance of self (Reed et al., 2012). Building relevant instability into the
meaning of the model makes the level of apparent portrayal not only a component of
characteristics ( Jenkins, 2008), but rather it constructs with respect to the social context in which
the properties are characterized. Therefore, the individual t urns out to be better prepared to
establish from a collection of identities, a personality that is situational prepared . In order to
comprehend identity related with the festival, it is important to first see how customers see
symbolic stimuli and general prompts related with the prototypical festival culture and way of
life.
The focus on the organization of festivals is on the potential customers. Getz investigated the
segmentation of special events and suggested that segment variables can be grouped acco rding to
six questions of segmentation. Schematic structure in order to present this segmentation with
questions and variables are reproduced in Figure 1. This scheme is absolutely necessary when
organizing an event because one of the most important indica tors to measure success will be the
number of participants and the distance traveled by them to participate at the festival.

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Figure 1 .1: Segmentation variables for events – Source: Jago et al. , p. 310 (1997 )
We should mention that the participants of fes tival tourism have medium standards regarding
accommodation, transport and food and bev erage structures. Sometimes, the se requirements
develops into serious problems to which the organizers have to bring a wide variety of solutions.
Mainly these problems a re related to: accommodation structures and their capacity, the location
of accommodation structures which should be near the event , the presence of food courts, the
number and the quality of the serving personnel, the presence of the security staff, and t he
presence of toilets.
The accommodation issue is often solved by setting up camping sites that become small
villages where the tourist’s home on the time of the event is a tent. Another issue is to provide
visitors with food. Usually in the big cities th e public food structures are sufficient, but
sometimes too expensive. In this case and in the case of a festival that takes place outside of
urban area the solution is the catering service or calling in the food truck services. Visitor’s
security is largel y left to the Local Public Administration which is increasing the number of
security forces and precautions around and during the festival. Lately, due to frequent terrorist
attacks this is attracting more and more attention (Mihailuc O. et al. , 2013) .

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Customer’s loyalty is essential to the festival and event industry sector. Past investigations
have affirmed that participant’s acceptable experience predicts their dedicated attitude and
behavior, for example the spread of positive critique and rehash appea rance (Cole and Illum,
2006). Regarding the script theory, the script is an information structure which is put away in the
memory and this content which has been stored is utilized to coordinate behavior when activated
(Bozinoff and Roth, 1983; Delamere an d Hinch, 1994). Without understanding the cognitive
procedure connecting the message information and reaction yield, discussions of the connection
between past experience and faithful state of mind and behavior can be tendentious (Cole and
Illum, 2006).
One of the main strong points regarding any kind of festival is their capability to offer a
particular environment and experience regarding the participants (Richards & Wilson, 2006).
The involvement in this kind of environment makes the person -environment relationship possible
to establish. Moreover, this relationship creates a situation, history, tradition and reputation
sustained by brand, originality, responsibility and sustainability (Aitken & Campelo, 2011). In
order to understand more this fact, we sh ould analyze different theoretical approaches, such as
sense of place, place bonding and place attachment. Place bonding or place identity it is used
often to show the relationship of the individual with the specific place and this will be the first
step o f exploring environmental behavior.
Place attachment assigns the emotional relationship that people shape with particular location
(Kyle et al, 2005). This kind of relationship combines locations with emotional meaning and
individuals experiences (Johnsto ne, 2012) and it is more likely to preserve these close bonds to
specific places (Kleine & Menzel -Baker, 2004). These connections are stronger as more time
passes while the individual is spending time in the specific place (Lewicka, 2011). Establishing a
strong connection with a location it is useful for both individual and group characteristics and is
related to place characteristics and activities, customer loyalty, willingness to revisit the
destination and the total satisfaction (Gross & Brown, 2008).
The consumers play a significant role while determine the image of a tourist destination. The
anticipated image that the tourists have regarding a specific place has a critical impact in the
overall selection of the location as a touristic destination. The image that is generated by the
travelers is the main factor of the final choice of behavioral intention (Chen and Tsai, 2007). As
Lawson and Baud Bovy (1977) stated, the destination image is the transposition of the
impressions, preconceptions and feelings a person or a group had about a specific location.

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Furthermore, Valls (1992) defined the image from the customer’s perspective as a whole of
perceptions. The worst part of the image is the subjectivity of it because is based on everyone’s
perceptions abou t the destination whether or not they visited or they heard about the destination
(San Martin and Rodriguez, 2008). The image of the destination is a combination of cognitive
and affective elements (Mazursky and Jacoby, 1986) and the real experience of vis iting the place
is distorted by a psychological and sentimental perspective (Beerli and Martin, 2004).

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CHAPTER II: Case study: International and national experience
regarding music festivals
Festivals are events of large dimensions usuall y held outdoors, during which many artists,
musicians or bands perform their artistic actions over a period of several days. Many of the big
festivals feature several scenes, some of which feature a certain kind of artistic act, while others
are an alterna tive scene. Many festivals have a specific genre of associated music, while others
are characterized by other factors such as nationality or ethnicity. Many of the outdoor festivals
offer participants the opportunity to camp, as well as a wide range of foo d, beverage, games and
other attractions. The musicians participate in both the desire t o offer live shows to f ans and to
increase their number of fans.
2.1. Impact of music festivals on tourism in Western Europe
Since Western Europe is the most developed regio n of this continent and it also put its
footprint on the tourism as a whole. This is due both to the well -developed tourism and transport
infrastructure as well as to the geo -historical elements that resulted in different communities of
common interest. Al though through our area at that time (the Middle Ages) music was not such a
well-developed subject, or at least not found in many historical writings other than ballads and
poems, in the west of the continent, musical instruments were progressively improve d or there
were marked the beginning of the writing of works that were to remain in history.
Music was generally used for relaxation, not may were those who were traveling from one
side to the other for this purpose. Due to the different settlements, cultu res and interest according
to the population, music has acquired different forms, while remaining a common area. A good
example is the differentiation of musical inclinations in the United Kingdom. There were
significant musical differences, both through t he sound and the purpose and usefulness of the
music. England, although a country with a vast musical history, starting with the Baroque that
gave birth to the work at the beginning of the 16th century and ending with the great artists of the
post-war peri od, did not give rise to great classical artists.
An interesting thing happened in Belgium where music has acquired a multicolored image due
to the cultural intersection between the French -Flemish School of Music, small German

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communities and immigrants f rom the Democratic Republic of Congo. The Franco -Flemish
school played an important role in the history of European music.
England is rightly called the European capital of the music industry. Whether we refer here to
the rich history of this field, the gr eat world -famous band that have emerged in this country or
the impressive number of traditional music festivals, the English musical industry offers over
24,000 stable jobs. In the following lines I will be discussing a study from October 2013 by the
Unite d Kingdom National Association, UK music in direct collaboration with the National
Tourism Authority Visit Britain.
UK Music is an umbrella organization founded in 2008 that tries to promote the common
interests of artists, composers, record labels, artis tic managers, etc. UK Music tries to highlight
the following: the interest of Britain’s music industry; the value of music in society, culture and
economy; the value of intellectual property and how it promotes creativity; opportunities and
challenges of m usic creators in the digital era.
Their study, entitled "Wish you were here ", reveals surprising facts. Visit Britain said that
44% of all tourists arriving in the UK claimed that music is the key cultural activity of the
Kingdom. What is clear is that mus ical tourism should not be neglected at all, as British Prime
Minister David Cameron says in the following statement: "Music is an industry and an
international success story and should be seen as such. It’s not just the export it generates for this
countr y. It is not just the number of jobs offered in this country. It’s about massive growing
musical tourism, about people coming to the United Kingdom to take part in unique live
performances ".
Therefore, from "Wish you were here " we find the following things :
 The total revenue from the tourist’ pocket (tickets, transportation, accommodation) is
orbiting around £ 1.3 billion;
 Subsequent spending by the music industry (CDs, merchandise, etc.) completes the
proceeds with a further £ 914 million, making the total tourists' spending to £ 2.2 billion;
 Of the total number of festival and concerts participants, 41% are music tourists;
 Music tourists from other countries spend an average of £ 910 at festivals and £ 602 at
concerts;

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 Local music tourists from England spe nd an average of £ 396 at festivals and £ 87 at
concerts ;
 Foreign music tourists account for 6% of all music tourists, but the money spent by them
represents 20% of the total money spent by music tourists.
The goal of Great Britain is to attract 40 m illion visitors by 2040, with 9 million more than at
present. Music tourism is already contributing to this, but musical industry could play a more
important role in helping –VisitBritain – to do this objective. Until the same year, the country's
revenue target f rom tourism is £ 31.5 billion. This means an extra 8.7 billion plus. Musical
tourists are already spending over 1 billion and the development of this sector could have
significant effects on the economy United Kingdom .
By following the data of this unique national study we can come to the conclusion that
England is sitting on a gold mine coming from two major areas that characterize it: music and
tourism. And this country does not attract music tourists just because of history but also cause of
high quality music still occurs here. At the same time we can talk about prestigious musical
monuments: museums (Beatles Museum in Liverpool, Rock'n' Roll Museum), concert and opera
rooms, statues representative.
There is no doubt that music festivals in England such a s Glastonbury or prolonged tourneys
of artists like The Rolling Stones or Beyoncé attract the interest of music lovers from outside the
country and motivates them to visit the country for this. England is one of the three countries in
the world which expor ts more music than imports and English artists are responsible for 12% of
the total album sales worldwide. It is impressive that the top 10 best -selling art ists globally come
from England. Although it is a country with world -famous festivals such as Glasto nbury or Isle
of Wight, the percentage of music tourists participating in festivals is only 17%. This can be
caused by the large number of participating artists in accordance with the varied tastes of tourists
as well as the high cost of tickets, distance and other factors.
In the following section I will be speaking about Glastonbury festival which is the biggest in
the United Kingdom and one of the largest worldwide. Although it bears the name of the city
Glastonbury, it takes place in the village of Pilt on, 10 km away from Glastonbury. Every year
attracts over 150 ,000 participants to Michael Eavis’ farm which is the main organizer of this
event. The festival has a very rich history, being held since 1970 under the name of "Pilton Pop,

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Blues & Folk Festiva l". Although initially the first Glastonbury festival prototypes were born in
1914 -1919 through a series of theater events organized by socialists activists, the present idea
belonged to the owner of the Worthy Farm after participating at a Led Zeppelin co ncert in 1970
at "Bath Festival of Blues and Progressive Music ", forty people investing everything they needed
to build the scene which had to support the first edition of the festival. It is also the biggest
festival in the world held on green space.
It began as a free festival, under the auspices of the hippie movement of the `70s. The first
edition took place on September 19, 1970 where 1500 people participated, the price of a ticket
being £ 1. A recurring in 1970 with the name of "Glastonbury Fayre ". The festival was
completely filmed and a movie of the same name was released in the same year.
There followed a time when the festival was eclipsed by the Stonehenge Free Festival, held at
summer solstice, in June, an independent festival organized by the sam e hippies pariah at
Glastonbury until that year. The festival was back in 1978 with two consecutive editions. The
event was accomplished thanks to the English police who turned a motorcade toward Stonehenge
and redirected it to Eavis’ farm.
Since the `80s the festival started to have a high frequency; in 1981 building the pyramid
scene from telegraph poles and steel scraps offered by the Ministry of Defense in England,
creating a permanent structure that is used in the winter as a barn. Also, in the `80s, c o-founder
Arabella Churchill set up a place especially for the children in the festival, thus setting the
foundation of a charitable organization called Children’s World.
As the first edition of which came with a profit, the one in 1981 (11 years after the first
edition), Eavis donated 20 ,000 pounds to children, and after the Cold War ended he redirected
considerable sums to environmental organizations, charities, etc. Since 1983 the festival has
received license from local authorities, which has had severa l negative consequences, such as
restricting the number of participants initially to 30 ,000, up to 100 ,000 per year. Since 1985 the
capacity of the festival has increased, the neighboring farm was bought and in 1989 it was
produced the first failure due to unfavorable weather, the festival being flooded as a result of
soaked water and ocean -island precipitation specific to the British area. But this did not stop the
participants to dance in mud and rain, without their mood being affected.

20
The 1990s began wi th success, with the first year being the best one ever. However, there
have been some conflicts between law enforcement officials and participants, making it the 1991
edition was canceled, and then coming back in 1992 with great success. The 1994 edition was a
crucial point for the history of modern music, bands known only in underground climbing for the
first time on a large stage, a place where there was no way back, despite the pressures made by
police and town hall. In 1995 it is expected that the numb er of those who illegally entered the
festival, skipping the fence, rivaled the regular participants which bought the ticket. This made
the 1996 edition be postponed to rethink the festival and the organizers’ rest. Since then the
festival has taken a brea k one at 5 years.
In 1997 the festival returns higher than ever, this tie being sponsored by The Guardian and
BBC, which made the festival being televised for the first time. It was again a muddy year, but
those who have chosen to stay took part in unforge ttable performances , and 1998 was the year
when the festival reached the record number of 100 ,000 participants. At the 1999 edition,
100,000 people left outside the festival due to the limited number of participants required by the
festival authorities bro ke the fences ant the gate, overcrowding the festival. Some sources say
that the total number of those who have paid up with those who have entered by the force
exceeded the record number of 250 ,000 participants. The same thing happened in 2000, the
number of the two participating camps being approximately equal.
The festival returns in 2002 after a hiatus, with a double fence and orderly forces. There have
been critics from those who came especially to the festival site to jump the fence, mentioning
that t he atmosphere was not the same as in the past few years due to the small number of
participants. It was the first year the tickets were sold before the line -up was finalized, and in
2003 the 150 ,000 tickets put up for sale were sold in less than one day; s ales from tickets, CDs,
T-shirts and other merchandise items were evaluated at over a million pounds, and more than
half to the money was donated to Greenpeace, Water Aid or Oxfam (activist organizations,
militant for the environment).
Tickets put on sale for the 2004 edition were sold in less than 24 hours, fact what made
potential participants block the official website and phone lines of the festival. The site has
received 2 ,000,000 connection attempts within the first 5 minutes since it the ticket sale were
placed, and on the phone, the number of those who were trying to get in touch with the
organizers was 2500 per minute. For the 2005 edition, 112 ,500 tickets were sold in 3 hours and
20 minutes, the total number reaching 150 ,000 and the number of live performances at 385.

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There was no 2006 edition, following the tradition of the year break, but the edition of 2007
came with over 700 performances which took place on more than 80 scenes , being the festival
with the highest number of tickets sold in record time. The initial number was supplemented by
another 27 ,500 tickets reaching 137 ,500, priced at £ 145 and were sold in an hour and 45 minutes.
Such a large number of participants combined with an organization that leaves it undesirable
many times, can lead to unpleasant events. The first day after the end of the festival in 2007,
when the vast majority of participants wanted to leave due to lack of traffic guidance, rural
infrastructure, rainy weather and muddy roads. They waited around 9 hours so they can leave the
festival. No knowledge of delays, no water or food (usually at big festivals, drink and food stalls
close at short time after the end of the program of the last artist), nor those who came with the
train did not escaped easily, wagons being crowd ed, having to wait for hours in the rain for the
next train. The Red Cross intervened, helping them with blankets.
The number of crimes reported for the 2007 edition was lower than the 2005 edition, but the
number of arrests was higher due to a significant development within the organization and
security. There were 236 crimes reported, compared to 267 in 2005, of which 158 were drug –
related. 1200 people were injured of whom 32 were hospitalized. Most accidents occurred to
sludge. This information is useful to any musical tourist, especially those who participate for the
first time at such a great event.
Because of unfavorable weather and artistic controversies, Glastonbury 2008 has been the first
edition after 15 years when the tickets were not sold fully b efore the beginning of the festival. In
the same year, the festival received the title for the most green festival after the campaign carried
out by organizers in which they asked the participants to love the farm and leave no trace, that
after one of the Eavis’ cows swallowed a piece of tent. The festival of that year cost £22 million.
The tickets for 2009 were to be sold very quickly as well as those for 2010 edition, which
marked the 40th anniversary of the festival. Although 2011 should have been the ye ar for the rest
for the organizers, they let this year be 2012 due to the Olympic Games. It turned out to be a very
good decision given the weather that would surely have been ruined festival. So the registration
for 2013 festival tickets have begun since October 2011, and on October 7, 2012, 135 ,000 tickets
were sold in less than two hours.
Until 1981 the festival was organized by the farm owner, Michael Eavis and his wife who
died in 1999. Since then, he is helped by his daughter, and since 2002 he is hel ped by Festival

22
Republic, a local British company. Many scenes are brought individually just like some areas are
organized independent by radio stations or Greenpeace. The festival holds a power of sound of
650,000 watts, the main stage having 250 speakers . There are over 4 ,000 toilets and two tanks
containing two tons of water. Apart from security and technicians, the festival is taken back by
volunteers. The bars are collaborating with official beer sponsors who recruit volunteers. Food is
offered mostly by independent vendors with personal trucks, offering varied dishes.
Most festival participants choose to stay in the tent. There are numerous camp sites each with
its own atmosphere. From quiet areas placed at a remarkable distance to scenes, to camps tha t
never sleep. There are also several permanent tents, called "guys ", that lookalike the Indian tents.
Camping is free, tourists should bring their own tent . Caravans are forbidden in the festival space
and sleeping in your own car is also prohibited. Part icipants can choose the bed and breakfast
option, but the closest places that offer this possibility are quite distant. There were built,
however around the festival many independent accommodation such as private camps, caravans,
geo-domes, barns, etc. Som e participants choose to be transported from the festival to their
accommodation with ATVs or even personal helicopters.
The Glastonbury Festival annually contributes to the economy of England with over
£100 ,000,000 and attracting an impressive number of tourists coming from all over the world.
According to the study Wish you were here, a large number of international music tourists come
from South Africa, Poland and China.
2.2. Impact of music festivals in tourism in Romania
Undoubtedly, Romania is a country with a high tourist potential. Whether we are talking
about relaxation, spa, seaside or mountain tourism, Romania can fulfill the wishes of many
tourists from around the world. Surely our country can offer pleasant experiences for musical
tourists, but can not do this without a responsible advertise from the authorities. Although many
of us do not know, many festivals are organized annually in Romania with World -renowned
artists. Old or new festivals are attracting tourists from the European countries and be yond
without much advertisement and in the following we will try to list the most important
international festivals that take place or took place in Romania. Very important are the national
ones, but without a headliner known worldwide, they cannot attract international music tourists.

23
International Festival "Cerbul de Aur " debuted at the Dramatic Theater in Bra șov, in March
1968, the edition of which Romanian Television printed the festival magazine in 5 different
languages, and the next year's edition was televised by 25 televisions from all over the world.
They followed only two editions, `70 and `71, after wh ich the festival a went into hiatus until the
Romanian Television managed to revive it in 1992, being the first edition organized in the
Council Square. The festival was then held annually until 2008. Along its history has attracted
many foreign artists an d tourists, and after the 1992 edition they came in to much more number
because of the occasi on of the transition to the democratic regime. The last edition of "Cerbul de
Aur" was organized in 2009, the reason for the inter ruption so far being attributed to the lack of
funds.
The Romanian festivals from the seaside have had a considerable impact on tourism in our
country. The greatest festival was also a contest, but it only aimed to promote Romanian artists.
It’s about The National Festival from Mamaia. If we are going south, we find a festival
internationally renowned in our country, the Callatis Festival. The festival started in 1999 and is
the only festival organized on a floating scene. The scene is shell -shaped and it hosted artists
such as Al Bano and Vaya Con Dios in its 10 years as an international festival. Also due to the
lack of funds, the edition of 2011 would not be held, but it was saved by Romanians from
everywhere, especially by the Romanian diaspora from Italy, the festival taking place in Ro me,
under the name "Grazie Rome, Callatis greets you! ". Further south, at Vama Veche, between
2003 -2012 was held the Stufstock festival, initiated by the "Salva ți Vama Veche " movement. I n
the first year the festival has gathered 15 ,000 visitors from all over the country and beyond, and
every year their number would rise; the goal of the festival was stopping the invasion with
commercial projects. The festival had become one of the most famous rock festivals from
Southeastern Europe, bringing big names of this genre of music, and the edition with most
audience was in 2006, 30 ,000 participants which was the last year when the entrance was free
(Leo Trăilă , n.d.) .
The oldest post -communist rock music festival in Romania was the legendary Rock `91. This
festival, although not an international one, has become known by its large number of
participants, over 10 ,000 young people from all over the country who had been waiti ng for such
an event almost impossible in the communist era of Romania. It held in the summer of 1991, in
the Tineretului Park in Bucharest and gathered all the good rock artists from Romania of that
time: Pheonix, Iris, Kripton, Survolaj, Voltaj, etc.

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B’Estfest is one of the largest festivals organized in our country. It was held for the first time
under the name of B’Estival but that was changed because there were two festivals with the same
name in the United Kingdom and Spain. At the first edition of th e 2007, the festival gathered
over 50 ,000 spectators from all over Europe. In the same category enters the Peninsula Festival,
organized in Transylvania since 2003. Until the year 2012 it was held in Târgu Mureș and then
moved to Cluj -Napoca . Because of the low audience this was scheduled to be redeemed in Cluj –
Napoca . If at the beginning the festival consisted only in promoting the artists of Romanian and
Hungarian origin, the festival quickly became an international one with over 60 ,000 participants
from all over the world coming to the 2009 edition. Thanks to the ignorance of local authorities,
poor promotion and poor communication between the organizers and artists and the disinterest of
sponsors, b oth Peninsula and B’Estfest were canceled for 2014, the artists that already have
concluded contracts with the organizers either being compensated or organizing individual
concerts in different places in the country (Leo Trăilă , n.d.) .
An event of ecological and cultural nature takes place annually in the controversial Romanian
locality Ro șia Montana. Here, in 2004, the F ân Fest Festival was organized for the first time. It
takes place for 3 days and apart from the artisti c performances the festival also has workshops or
activist film screenings. The festival is primarily a reaction to the exploitation that would take
place in Roșia Montana. All artists and festival organizers submit a pro -bono effort.
At this time, one of the most known and promoted festival from our country is Electric Castle
festival organized at Banffy Castle in Bonțida . Since the second edition of the festival, in 2014 it
begun to be well known internationally because of their marketing campaigns. This festival is
included in the travel packages offered by international travel agencies such as Festicket. At the
first edition, back in 2013, there were over 32 ,000 participants in the 3 days of the festival. He
has received many awards, being among the firs t 10 European electronic music festivals and the
best music festival in Cluj -Napoca and received the title of Emblem of Cluj -Napoca . In its
second edition, the organizers raised the number of scenes from 4 to 6 and the number of festival
days from 3 to 4. Electric Castle brings a considerable economic contribution to Bonțida , which
has only 4 ,856 inhabitants. Due to their location in a historic province, tourists are also interested
in traditions of the local people ; the locals are taking advantage of this opportunity to sell
different souvenirs or offer different services (Leo Trăilă , n.d.) .
Among the greatest musical events that had place in Romania there are two big concerts of the
most beloved singer at the time, Michael Jackson. It was the first world s uperstar who has

25
concerted in our country, the first concert taking place on October 1st 1992 when the stadium Lia
Manoliu hosted an impressive number of 70 ,000 people. It was a worldwide event, being
transmitted live by the HBO television. In 1996, when t he artist came back to Romania, the
numbers were almost the same. The only concert that could compare in numbers with Michael
Jackson’s concert was the AC/DC concert held in Consti tuției Square in 2012 with over 60 ,000
attendants.
2.3. Untold festival vs. Neversea festival
Untold
Cluj-Napoca, Transylvania’s greatest city, regularly gets short shrift from voyagers dashing
around to better -known local sights. While it is valid that Cluj -Napoca does not have the
sensational setting of Brașov or Sighișoara or the building congruity of Sibiu, it compensates for
this with an enthusiastic, understudy situated bistro and arts culture. It is likewise home to the
nation’s most sizzling scene for c ontemporary art, housed fittingly – in a previous paintbrush
production line.
Cluj-Napoca dates back to at least 106 BC., when it was a Roman settlement called Napoca –
consequently the twofold barreled current name; however the "Napoca " part is typically dropped
in discussion. It vanished after the fall of Rome, and just began returning on maps a thousand
years after as Kolozsvár , a vital city inside the quickly extending Hungarian kingdom. In the 18th
and early 19th centuries under the Austro -Hungarian Em pire, Cluj ( Kolozsvár , or even
Klausenburg, its german name) had a long reign as the capital of the Transylvanian realm, title
which is hold until the present.
Zoltán Jakab , co-owner of one of the many restaurants in Cluj -Napoca , said in the Vogue
magazine (Akkam, 201 8): "It’s a city that constantly vibrates, evolves, and interacts with its
inhabitants ". Cluj -Napoca it is home to the summer music festivals Untold and Electric Castle,
and additionally, the Transylvania International Film Festival, Cluj -Napoc a is a social focus and
additionally a scholar center including 11 universities. The city’s emphatically young air is
maybe best experienced on Strada Piezisa, which is populated with lots of bars that are to a great
extent crossed by students.

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The Un told festival is an international festival which takes place in Cluj -Napoca. Is one of the
biggest festivals in Europe, winning the "Europe best major festival " award in 2015. At the third
edition of the festival there were over 330 ,000 attendants from Rom ania and beyond. During the
period of the festival Transylvania would become the heart of the electronic music in Europe;
there are over 150 artists scheduled to play there (Dan Fin țescu, 2017) .
The creative concept of Untold starts from the stories of Tra nsylvania. For example, in 2016
they wanted to exploit the mythology of the night, where Transylvania is successful with
hundreds of legends. Transylvania can be considered among the most successful brand of
Romania, and by associating with the one of the greatest festivals in Europe, the organizers want
to create "The Untold universe " which is the perfect blend of the night mythology and the magic
of the Transylvanian realm. The strength of the festival comes precisely from the history of the
region, Cluj -Napoca being in the past and it is nowadays the pole of interest of Transylvania. The
main character who makes the connection between the two worlds possible is "The Magician ",
the only one who can travel in time and can bring the magic of the past to the present. It has
specific Transylvanian symbols. The mirror is the portal that traces the boundary between the
worlds, the Moon is the one that illuminates everything that is unseen, the Lira Constellation,
being Orpheus’s harp can awaken to life through it s music, the Inspired trees, the fairies and the
other elements come to complement the atmosphere of magic and the story. All these symbols
will be found in the festival decorations.
At the 2017 edition, over 200 artists were schedule to play on over 10 sc enes. The main stage
was called "Dragon Nest " and it had 100 meters in height and over 35 meters in length; this was
the biggest stage ever made in Romania, also to complete the theme, over the whole stadium will
fly one big dragon.
The festival is involve d in a lot of campaigns. For example the "Adopt an Untolder " campaign
started with the initiative of a local citizen which wanted to prove that the city of Cluj -Napoca is
really the friendliest city in Europe. The project appeared as a reaction to the rela tively low
number of accommodation places compared to the extremely high demand during the festival. At
the end of the campaign, the goal was to provide over 10 ,000 more accommodation places
(Untold, 2018) .
Another campaign was "Pay with Blood " had a treme ndous impact in the community since
2015. The goal of the project was to encourage blood donations, but also to alert the fact that in

27
Romania are small number of blood donors. The campaign extended from year to year since its
first appearance.
The organiz ers wanted also to encourage the performance in education, and they started the
"Bac de 10 " campaign. The organizers reward all of the students in Romania which obtain a 10
grade at the Baccalaureate exam. The reward consists of a 4 day pass for Untold fes tival.
Moreover, all the graduates will have substantial discounts from the initial price of the tickets.
Moreover, the campaign is supported by several Romanian artists, such as Tudor Chirilă and his
colleagues from Vama Veche. They are promoting the camp aign by videos, vlogs and posts on
several social media platforms. In 2016 the campaign motivated 65 students to obtain a 10 at
Baccalaureate exam.
Transylvania was ranked first in a top tourist regions in the world worth visiting in 2016 by
the famous tou rist guide, Lonely Planet. The festival organizers wanted to promote Transylvania
and they gave tourists the chance to discover more than a festival. In cooperation with a local
travel agency there will be several tourist circuits in Transylvania with a sp ecialized guide. In
order to facilitate access to major tourist attraction, they proposed that the festival bracelet should
offer discounts, or in some cases free of charge in the areas of tourist interest.
Untold festival has its downsides too, for exampl e the festival has seriously raised prices in
hotels, hostels, motels, but also for rental apartments during the event. The prices requested by
the accommodation are several times higher than in the usual times. However, with those
circumstances it is very difficult to find an apartment or a hotel room for rent in the festival
period. The Untold festival has turned into a true social phenomenon.
In Cluj -Napoca there are tens of thousands of young people from all over the world, Generally
speaking, it is ab out young people willing to spend enough money to see the best electronic
music artists. The people who own accommodation facilities took advantage of this and raised
the price of the places. An average price of a two -room apartment is about 5 -600 euros du ring the
festival. Not everyone is happy that this festival is organized in the center of Cluj -Napoca .
Several thousand people have signed an online petition asking for the Untold festival to be
moved outside of Cluj -Napoca. The petitioners argue that the event hinders the inhabitants’ right
to their own city by abusing public spaces. The public petition says essentially that, as other Cluj –
Napoca’s festivals, such as Electric Castle or MOX, can operate outside the city, citizens from
Cluj-Napoca and neighb oring communes support the Untold move from the city center. The

28
petitioners complain that parks and car parks are blocked for public access, road traffic is
affected for several days, and noise pollution does not allow residents to sleep. The main reasons
mentioned by the petitioners include blocking access to the Central Park of the city. Moreover,
petitioners complain that the festival is organized 50 meters from the Children’s Hospita l.
Back in 2015, I saw a commercial about Untold festival and I decid ed to go after I saw that
the organizers reunited some of the big names of electronic music as David Guetta, Avicii or
Armin van Buuren on the same stage, in Romania, which was a premiere for our country. In this
very first edition of the festival, over 25 0,000 people were expected to join in its four days.
After a long road trip by bus of about nine hours, me and my friend checked in at a hotel in
Cluj-Napoca and went directly to the festival venue. It was late, we queued in order to receive
the bracelets which surprisingly went fast; in about 25 -30 minutes we could enter the festival and
we did not have enough time to walk around the festival so we went straight to the main stage.
The festival was held in the Central Park in Cluj -Napoca. The area of the fe stival was well
designed, with hammocks and colored pillows were you could chill by the day while walking
around the festival stands.
The food area was good enough, though there was room for improvement since you could
choose from a narrow range of food s uch as pizza, pasta and burgers, and just a few from the
Romanian cuisine; the fact that there were so few choices of traditional cuisine made me think
that the organizers did not wanted to promote our food.
Regarding the artists , Avicii was the first tim e in Romania and I cannot explain in words the
atmosphere he created. Armin van Buuren showed us one more time that he loves the audience
from Romania and he simply did not wanted to leave the stage. Last but not least, David Guetta
closed the festival; th e stadium was full of people in the last day and it was hard to move towards
the bathrooms or the bars, but the artist did a great job entertaining the audience.
Speaking about the organization, it was good all around. The people were involved in
maintaini ng the well -being at the festival, the volunteers were doing their job well, both the
security guards and the authorities were patrolling and you would not feel unsafe at any time. For
a first edition of a festival it was great and the organizers treated a ll the problems with
professionalism.

29
The currency inside the festival was held on a special card that you could acquire after your
first charge from the special credit points. The system was good, since it reduced the queue time
from bars and food trucks by a lot because you would not receive your change in hand, but on
card.
There were many activities a tourist could do inside the festival. From escape rooms hosted by
one of the sponsors, to different kind of workshops or jumping with a parachute with VR
technology. Also, there were many stands from almost all of their sponsors where you could take
lots of pictures, edited by the staff in funny ways.
The mobile application of the festival was also good, it showed us the stages, the schedule and
other tool s to help you have a great experience such as choosing your favorite artists and the app
notified you short time before they would start their act. The application needed some
improvement too, since the map of the festival with the exit and emergency gates usually
crashed.
To sum this up, Untold festival was a great experience, the organizers treated the festival with
professionalism since its first edition. The festival attracts tourists from all around the world and
included Romania into the desired loc ation for the music tourists because of the diminished costs
for food, beverage and accommodation in comparison to other music destinations.
Neversea
Under the Roman occupation, which started around 2000 years prior, Emperor Constantine
invigorated and bui lt up the city and later renamed it after his sister. Constanța ’s most imperative
inhabitant, without a doubt, was the Roman writer Ovid (43BC – AD 17), who was banished
here in AD 8 by Emperor Augustus. Ovid was one miserable camper, obviously. He is said to
have missed his cherished Rome enormously and died not as much as after 10 years.
Constanța is Romania’s biggest and most vital port city on the Black Sea; in summer it’s
additionally the door to the nation’s shoreline resorts. Accommodation places he re are less
expensive than in Mamaia and the local transportation cover the rout in around 15 -20 minutes, so
it may be beneficial to consider checking in here regardless of whether you want Mamaia’s
shorelines and clubs. The city is striving to clean up th e disregarded region around the port, and

30
there are some great historical centers and a lovely portside walk. The bistros are the best in this
part of the country.
Since the second edition of Untold festival it was rumored that the Transylvanian festival w ill
be moved to the seaside. The organizers found a more profitable alternative and expended their
business with a beach festival, Neversea. Even though it was not as advertised as Untold a lot of
tourists and locals came by.
The festival had a total area of over 100 ,000 square meters and took place over two beaches in
Constanța , Modern beach and Trei Papuci beach. There were seven stages and were expected
over 150 artists to perform at the Romanian seaside. Regarding the number of attendants, at the
first edition of the festival, there were over 150 ,000 persons . Regardl ess the stages, the festival
had many areas which could entertain the attendants: from lounges to VR flight simulators,
photo -corners, temporary tattoos and many more. The food court of the festival was well rounded
with choices for everyone (Remus Floresc u, 2017) .
The number of attendants rose progressively from one day to another. In the first day of
festival, they reunited 47 ,000 persons ready to listen to their favorite artists, in the second day of
festival, over 52 ,000 people attended and in the last day there were present around 55 ,000
tourists. The announcement of the festival embraced a legend about a charmed island, lost in the
limitlessness of the Black Sea, a land that numerous courageous ones have endeavored to find
since the beginning of humani ty. A prophecy is bound to this place, voicing that it must reached
while cruising a Great Ark, a radiant vessel that lone those kind can board. Those will be few,
however satisfied an old vision, while the Ark will lead them closer to eternity.
As all le gends go to a purpose, the story tells that just before a full moon, amidst the mid-year,
a gathering of desirable ones ventured to every part of the ocean and arrived on the charmed
shoreline, assembling around its lavish sanctuary, to play out an antiqua ted ritual.
While endeavoring to revive a mystical passage, Yana, the eternal watcher of the oceans,
ascended from the moon’s reflection on the water. Said to have been the first being to ever go
through the Neversea gateway, ages back, Yana is the single one strong enough to enable
mankind to achieve its maximum capacity, actuate the captivated gateway and accomplish
everlasting status. Also, accordingly, a delightful excursion to time everlasting has quite recently
started.

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In addition to questionnaire re search, I choose to experience myself the festival vibes and to
talk about them. I had in plan to go to Neversea since I have seen the announcement, about one
month before the event. I have decided together with my girlfriend to attend this festival becaus e
we liked the line -up and the idea of seaside festival sounds nice. Lately we won two tickets and
between 7 to 9 July we attended the beach festival from Constanța . There were three days full of
music due to seven stages and over 150 artists that joined t he event, moreover there were many
things to do besides the artistic program. Overall it was a great experience with its good parts and
bad parts.
We were there since the 5th of July since she is from Constanța and we stayed at her place.
The first contact with the festival was on 6th when we stayed into a queue in order to exchange
the tickets for the bracelets. The queue was enormous formed about 2 -300 people willing to
obtain the entrance pass for the festival; we stayed about 30 minutes in queue. T he or ganizers
experiment a new system this year when the bracelet had a double role, first offering the entrance
pass, and second it was used as a credit card to buy food, beverage and other things inside the
festival. This system where you could load your brac elet with money to pay for the food and the
drinks inside the festival was a real success. After the festival ended, you could transfer the
remaining money from the bracelet in cash. The prices were suitable , the only problem was the
queue time when buying food after 21:00.
The first thing I ever did in the festival perimeter was to get in touch with the place. I liked
that this suggestion was also advertised on screen on the main stage when we were reminded to
familiarize ourselves with the area, to know w here the exit points, medical tents and toilets are,
and to know the minimum procedures to follow if a serious unforeseen situation occurs. Both the
personal interest in these issues and the constant reminder of them by the organizers made me
feel safe all the time; regarding security, there were many security guards, both from authorities
and from private firms and there were also dog patrols that were covering all the area of the
festival.
It was hard for me to realize where the small stages were placed, where were the scenes
belonging to the sponsors were because the place was quite crowded with all kinds of brands that
invested in the festival. Although I understand and support their financial participation because
without their money these festivals wou ld not exist, the pile of tents and branding seemed tiring,
I felt like I was in a mall where, wherever you go, you hit commercials. From this point of view,
Untold benefits from a much wider and more airy space.

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However, Neversea still wins the battle of the location s because of its unbeatable location, on
the beach at the seaside. You were feeling well, in the holiday atmosphere where during the day
you could sit at the beach and swim while a DJ at the Daydreaming scene kept you in the rhythm
and in the e vening, when the program started at all the stages, you had a lot of music options.
Regarding the artists and their acts, for me, the line -up was just perfect. Starting with the live
bands, I can say that they perfectly blended all the genres with artists like Years & Years which
covered the indie genre and in the beginning of their act they had some problems with the sound
system, but overall they had a good performance, to artists like Dua Lipa, Rita Ora and Jason
Derulo which delighted the pop fans. Rega rding DJs the best act from my point of view was
Afrojack where I could not stop dancing and on the second place fell Fedde le Grand which
closed the festival in a wonderful manner. Honorable mentions are Sam Feldt which enchanted
us with summer vibes, Los t Frequencies whom also had a very good act and Kriss Kross
Amsterdam which are a group of three young talented producers from Netherlands.
We stayed at the festival on average between 12 to 15 hours every day and in that period we
engaged in the following activities: there were different stands with diverse possible activities
that you could engage to. From all the possibilities we chose to take lots of pictures, we spin the
fortune wheel and we play jenga to win different goodies.
All in all, Neversea was an awesome festival where you could have lots of fun. This festival
among with Untold and Electric Castle are the best organized festivals in Romania at the
moment. Those festivals made Romania a choice for both national and international music
tourists b ecause of the big international artists which came here to perform.

33
CHAPTER III: Research methodology & data analysis
3.1 Conducting the research study
The essential purpose of this part is to give a depiction of the exploration plan and procedure
utilized for this investigation. In addition, the main objective of this examination was to
determine what impact has Untold and Neversea festivals over the image of their host cities and
its inhabitants and over the satisfaction of the ir tourists. Therefore, for this research to achieve
the beforehand expressed goal, the researcher begins an investigative observational research. As
indicated by Kerlinger (1986 ) a research configuration is an arrangement , structure and technique
of exami nation so imagined as to acquire answers to look into inquiries or issues. The
arrangement is the complete plan or program of the research. It incorporates a blueprint of what
the researcher will do from composing the speculations and their operational sug gestions to the
last examination of data.
As Thyler (1993) said, a conventional research architecture is an outline or a comprehensive
plan for how a research analysis i s to be finished – operational factors so they can be estimated,
choosing a suitable sa mple, gathering information to be utilized as a reason for testing
speculations, and breaking down the outcomes.
According to Selltiz et al. (1962, p. 50): "A research design is the arrangement of conditions
for collection and analysis of data in a manner that aims to combine relevance to the research
purpose with economy in procedure ".
In this paper, a mix of subjective technique and quantitative technique is utilized to address
the research questions. This part gives an outline of the techniques for this examination. To begin
with, the reason for this analysis and research questions are investigated. At that point the
research configuration is introduced. This area gives an outline of the research attendants,
information gathering and information exa mination. The section closes with a concise talk of the
legitimacy and impediments of the research.
Research methods may be utilized for assortments of reasons. To start with, it is helpful to
have the capacity to comprehend and assess look into reports an d articles which one may run
over in a scholastic or expert setting. Also, numerous understudies may take part in inquire about

34
in a scholarly situation, where look into is led for its own particular purpose, in light of a
legitimate concert for the pursui t of knowledge. Analysis is also involved into creating policy,
planning and management processes (V eal, 2006) .
Case study method includes an inside and out examination of a sole case. As have presented
in the first place some portion of this paper, the examination is essentially in light of a contextual
investigation, Neversea and Untold festivals are picked, which are utilized to explore the inward
attributes of these festivals in order to determine their impact on local communities and its
economy.
Questionnaire method is an examination instrument comprising of a progression of inquiries
and other prompts to gather data from respondents. After the case has been investigated, a poll is
conduced to pick up a far reaching picture of the tourists’ satisfaction from Untold and Neversea
festivals.
A questionnaire configuration is a formalized arrangement of inquiries for gathering
information. They may differ in the measure of flexibility which they permit the respondents in
replying questions. Very organized polls with unbending answer groups are typically less
demanding to regulate, reply and break down while unstructured surveys are harder to control,
and require more contemplation on the respondents’ part and require extensive interpretative
aptitudes in their examination ( Kember et al., 2000 ).
On a premise of the contextual analysis, the capacity of outlining the questionnaire is to
separate the feelings and experience from general society to perceive how well Untold and
Neversea festivals are or ganized and how the public want to improve the overall experience at
those festivals.
Keeping in mind that the end goal is to show the survey in a more comprehensive way for the
examination, both the inhabitants and non -inhabitants guests were asked with t he point of giving
an all -around image of the festivals including inward and outer image from the insider’s point of
view , together with the outsiders.
The methodology for the inspecting and information gathering of this examination are spread
out in thi s area. The examination directed is graphic in nature and in this way quantitative
measures were utilized to make halfway characterized and organized methods for gathering data.

35
This information originated from an auxiliary source as it was external in nat ure. As the data to
be gathered was quantitative, a review will be utilized for data collection. The questionnaire was
chosen for a few reasons. Initially, past research set up connection had been performed with
respect to normal settings.
I picked up info rmation on tourism and the music industry in Europe and Romania, and I
decided to start a study to highlight the close link between music and tourism . For gathering
more information, I used, in addition to questionnaire, the field observation, moving to th e
biggest international music festival from Romania, Untold and Neversea.
After I had consulted the literature regarding my thesis subject and after I thought out the
existing knowledge regarding festivals, I analyzed from the point of view of the musical tourist
the positive and negative aspects of the festivals observed directly from the spot but also of those
whose data were collected from sources presented in the bibliography.
A questionnaire design is a formalized plan of inquiries for obtaining inform ation. They may
vary in the measure of adaptability which they allow the respondents in noting questions.
Exceedingly composed questionnaires with steady answer designs are for the most part less
complex to manage, answer and inspect, while unstructured su rveys are harder to control and
require more contemplations on respondents’ part and require huge interpretative capacities in
their examination ( Kember et al., 2000 ).
As a premise of the relevant examination, the limit of sketching out the poll is to high light the
suppositions and experience from general society to see how well does Untold and Neversea
festivals are sorted out and what are the improvements that the people want to see.
The survey consists of 4 open questions and 12 closed questions. The sur vey was made with a
particular end objective to examine how music festivals in Romania are seen by the tourists and
what was their overall satisfaction during their stay. Since the questionnaire was designed for
both Romanian and international tourists it was made in English language since is the most
utilized language in the world. The questionnaire was available for the respondents from 5th of
May until 20th of June.

36
3.2 Data Collection
For this research, information was gathered with the utilization of two essential instruments, a
cross -sectional survey and field observation. Cross -sectional questionnaire are standalone
overviews that assemble far reaching information from a sample at a single point in time (Gay et
al., 2009). The researcher utilized a cross -sectional questionnaire since it is a viable method to
assemble a wide and general comprehension of the present states of mind, convictions and
assessments of a population rapidly (Gay et al. , 2009).
Using an outline questionnaire is a predominant strate gy for accomplishing different social
groups and to widen the parameters of the respondents . Innovation for online questionnaires is
unendingly creating. As Sue and Ritter (2012, p. 1) said: "Like all research methods, online
surveys research has benefits and drawbacks; the method works for some research projects but is
by no means appropriate for all research objectives ". For this researched was used Isondaje.ro
platform. This online study platform has a straightforward and brisk ease of use. The upsides o f
driving an online examination are prevailing the big distance between areas, favorable position of
having automated information, diminished time and effort from the analyst. The internet gives
the upside of diminishing the costs.
Sue and Ritter (2012) ha ve recognized various conditions in which online questionnaires are
appealing to coordinate. Online questionnaires are to a considerable degree profitable at the point
when an analyst has an expanded and geographically different illustration. They are acce lerated
and more affordable. In any case, there are different limitations on their usage.
In particular, not every person has internet or cell phone access, so online studies cannot be
used for all groups. Additionally, the population with internet and cel l phone may have by any
large unique properties when differentiated with the comprehensive network so may not by any
means symbolize the general public. It is similarly hard to pick a subjective example as there is
no testing layout for Web customers. Use of the internet moreover requires the analyst to have
acceptable particular data and aptitudes in the progression of a modernized ponder. At the point
when the analyst has the basic particular abilities and there are no distinctive restrictions, the
usage of the internet for social examination could be fast, compelling and ease.
As indicated by Kumar (2014) the explanation behind inspecting in quantitative research is to
make conclusions, as for the examination, about the gathering of individuals from which the

37
researcher has picked the example, while in subjective research it is planned to get inside and out
learning either about a situation, event or scene or about different parts of a man on the
supposition that the individual is common of the group and t herefore will give data about the
group. Examining along these lines is the methodology of choosing a couple of individuals who
are examples from a more prominent group of individuals. These are the alleged examining
population. The examples will be the re ason for surveying or determining the prevalence of a n
abstract piece of information, situation or result regarding the testing population. Testing along
these lines, is the strategy of choosing a couple, alleged example from a more prominent
gathering, wh o are the examining population, as the reason for surveying or foreseeing the power
of an abstract piece of information, situation or result regarding the more prominent population.
An example is a subgroup of the people that the researcher is involved in. The focal point of an
investigation is to find answers to look into inquiries as they identify with the total examination
people and not the sample. Regardless, through the method of inspecting, the researcher tries to
appraise what is reliable to be the condition in the total study population.
3.3 Choosing the samples
The sample comprised of individuals, who make every day commitments to discourses, in
comparison who take part irregularly. Self -determination is exceptionally vital for the situation
of onli ne studies, and it can likewise be the significant impediment for the review. There are
more individuals who will probably fill surveys than others.
The level of answers can be expanded by appropriate marketing. The researcher needed to
confront the issue of the estimation of the parameters of the example, and subsequent to halting
the population of the study swung to be quite various. The respondents can without much of a
stretch figure their parameters like age, training level, occupation and so forth ke eping in mind
the end goal to show up to be all the more socially desirable. The researcher does not have the
position to control the precision of the appropriate responses.
The targeted individuals where the individuals who went to Untold and/or Neversea festival,
or on the other hand have a general knowledge about these festivals. "A sample is a limited
number taken from a large group for testing and analysis, on the assumption that the sample can
be taken as representative of the whole group " (Crouch and Housden, 1996). With a particular
ultimate objective to ensure the quality and productivity of the data, samples were chosen from
the population carefully, instead of unsystematic determination; a few factors were considered,

38
for instance, age, occupation and the training level. There were two fundamental classes, for
example urban and rural inhabitants and residents or non -residents guests of both Cluj -Napoca
and Constanța . The data in this examination proposed to accumulate as composed beneath.
1. General i mpression of the (non) residents for both Untold and Neverse a festivals.
2. General assessment of Untold and Neversea festival .
3. What improvements would visitors want to see for the festivals mentioned?
4. What are the main criteria of determining the final decisi on of choosing a festival?
In th e following section, the disclosures of this examination are showed with a diagram from
tables, furthermore, graphs for the data gathered from a sample size of 100 substantial
respondents. The result of the poll were shared to both Romanian and international tourists who
went at the desired festivals or not.
3.4 Demographic findings
In this section, the researcher means to examine the results of the poll. The questionnaire was
shared from 5th of May to 20th of June. In total, 100 respondents were recorded. The demographic
parameters are the following:
Speaking about the age of interviewed people, the greater part of them w as the age between
16 and 24 (62%) . The very high number of respondents from the lower age may be cleared up b y
the sampling method, as the questionnaire was accessible through the writer’s Facebook account
and several groups of people related to the investigated festivals, where the users are mostly
teenagers between 20 and 25 years. The like lihood that people of the same age as the writer may
be extended, as in the present investigation a noteworthy number of respondents represented a
similar age group.
Considering the gender of the respondents, 60 were female participants and 40 were male.
This could be explain ed by the fact that the percentage of women is higher than the percentage of
men. Gender contrasts are not all that relevant for the point, since the writer could not found
contrasts on the visit conduit of music festivals between genders.

39
The next questio n was focused on the area of the inhabitants. 100% of the respondents
answered this question. 91 out of 100 participants responded that they were from urban area,
while 9 were from rural area.
The following question was concentrated on the data regarding t he level of education finished
by the respondents. The writer planned to assess if the level of education has an effect on the
visits to the Untold and Neversea festivals. In which, it demonstrates that most of the participants
had accomplished high school or equivalent (49%) and 27% of them accomplished a bachelor’s
degree diploma as highest level of education, 21% of the interviewed persons had a master’s
degree and 3% of them had a doctor’s degree.
The next question investigated the employment status of the respondents, the majority of the
respondents (51%) were students, while 24% of them were employed, and 20% were self –
employed , 4% of them were retired and only 1% of them were unemployed. This is exceedingly
pertinent for the research, since the target market for Untold and Neversea festivals is mostly
from this gathering. The question was answered by all the 100 respondents.
3.5 Festival preferences
In the sixth question, the participants were asked if they have any desire to participate at
music festivals . 91% of them offered a positive answer, while 9% of them offered a negative one.
Therefore, the people whom their response was negative were asked why they do not want to
take part at music festivals. Five of them affirmed that the music genre is not thei r type, while
three of them answered that it is too crowded for them and one of the respondents affirmed that
he is too old for this kind of music festivals. After this question, the participants who had no
desire to attend music festivals were asked to st op the questionnaire.
The eighth question explored the main purpose of choosing a festival destination. Out of 91
remaining respondents, 46 of them (50.5%) answered that the festival is the main reason for
traveling into the desired festival city, while 45 people (49.5%) stated that they take into
consideration other activities too beside the festival. For the 46 respondents, the main cause of
their choice was their age interval, mostly teenagers that are still unemployed, living under their
parents’ roofto p. The rest of the respondents preferred to have a combined vacation, mostly due
to the fact that some tourists came to visit the cities, or in case of Neversea festival, most of the
tourists came at seaside to also spend some days at the beach.

40
In the cas e of transportation, showed in the figure below, 38.1% of the respondents came by
car, those travelers preferred a faster and a more confortable way to reach the festivals, since our
country lacks developed infrastructure 23.8% traveled by train , the respo ndents who chose this
way of transportation are mostly students, 18.1% by bus and 18.1% by plane , this group of
tourists consists of international tourists and are mostly with higher levels of education and 1.9%
of them walked to festival since was close t o their home.

Figure 4.1: Means of transportation
In the tenth question, the researcher wanted to acquire information regarding the ticket choice
of the respondents, since he could correlate the data gathered from both the tenth and the eight
question. 8 0.9% of the respondents bought a full pass at the festival, while only 19.1% of them
bought a daily pass. As I mentioned before, since the majority of the respondents were
youngsters, the fact that 80% of them chose to buy a full stay ticket is proved by t he age
distribution. Another reason the majority chose to buy a full stay was the price off deal when you
buy the full stay tickets early bid.
In the next figure it is showed the accommodation facilities, there were 4 choices. 44% chose
the hotel as an acc ommodation unit, mostly because of the comfort level, 27% had other options,
such as friends and relatives’ home because of the financial constrains or hostels, 20% of them
chose bed and breakfast services since those are offering good comfort and favorabl e prices and
9% stayed in camping , this unit was fully chosen by teenagers, which preferred this because of
the shorter distance to the festival area, they prefer a cheaper choice since they seem to care more
about spending as much time as possible in the festival venue. 0% 10% 20% 30% 40% 50%CarTrainBusPlaneOtherMeans of transportation

41

Figure 4. 2: Type of accommodation
In the twelfth question, the respondents were asked if they would still buy tickets to festival
prior to the announcement of the line -up, since this is the way the organizers of both Untold and
Neversea festivals are operating. 68.9% of the interviewed people had an affirmative answer,
which is due to the fact that the tickets that are sold prior to the announcement are way cheaper .
On the other hand, 31.1% of the people stated that they do not buy ticket s if the line -up is not
announced, the reasons may vary, some tourists are expecting a specific artist to join the festival,
while others are just occasional music tourists which included the festival on their holyday list
because it was nearby or they cho se to combine some days of festival with other touristic
activities too.
Speaking about the sources from which the respondents obtained data about the festivals, the
results are shown in the figure 4.3. The majority (29.3%) are acquiring information about the
festivals from social media since we are in the technological era and social media has offered
several advantages for the event organizers; mostly they are able to keep in touch and
communicate with the audience or open polls regarding the line -up, whi le 13% of them were
informed about the festivals from their official websites fact which is due to the level of
technology nowadays and age distribution. Furthermore, 18.1% of the participants heard about
the festivals by word of mouth and 14.4% procured i nformation about the festival from both
adverts and radio, mostly, the older respondents chose these since they are likely to listen to radio
or watch TV. 0% 10% 20% 30% 40% 50%CampingAir B&BHotelOtherAccommodation

42

Figure 4.3: Sources of information
In the fourteenth question the researcher wanted to exploit i ndividuals’ will regarding the
price of a four day festival ticket. The results, as shown in the figure 4.4 can be easily correlated
to both employment status and highest level of education achieved by each of the respondents.
Since 44.9% could spend from 80 to 120 Euros for a single ticket, and 24.7% could spend more
than 120 Euros, highlights the fact that the majority of the interviewed people had an education
equivalent or higher with bachelor’s degree.

Figure 4.4: Favorable price for a four day t icket 0% 5% 10% 15% 20% 25% 30% 35%Official festival websitesAdvertsMagazinesRadioWord of mouthSocial mediaOtherSources of information
0% 10% 20% 30% 40% 50%30-50 Euro50-80 Euro80-120 Euro120 Euro+Ticket price

43
When asked about how far will they travel to a music festival, 71.1% of the respondents
answered that they would travel over 200 Km, 15.6% of them stated that would travel between
100 to 200 Km, 10% of the interviewed would travel between 60 to 100 Km, while just 3.3% of
the people would travel under 60 Km.
As shown in the figure below, the respondents were asked to grade from one to five the
importance of each criterion while they choose a specific festival as their tourist destination. By
no doubt, the headliners was the main reason an individual choose the desired festival; 71.4% of
them rated this criteria with 5, with an average rating of all the respondents of 4.56. On the
second place falls the meeting of new people and making new friends which was rated with 5 by
40% of the respondents, with an overall rating of 4.21. The genre range of artists is placed
thirdly, considered a very important criterion by 41.1% of them, with a median value of 4.09 and
with an average value of 4.02 are ranked the activities inside the festival and with an overall of
3.90 stands the reputation of festival. Furthermore, the following criteria were chose as medium
in terms of importance with average values from 3.86 to 3.19: the ticket price, the food court, the
dista nce and the games inside the festival. The least important criterion was the stalls with an
indicated rating of 2.5 and the kids’ field with a rating of 1.61.

Figure 4.5: Decision criteria for choosing a festival
The following question wanted to explore the preferred choice of the tourists regarding Untold
and Neversea festivals, and in the next inquiry the respondents were asked to write at least two
reasons why did they prefer the specific festival. 57.8% of the respondents would rather attend
Untold festival than Neversea; the main reasons they chose Untold were: better lineup than
Neversea and the people who went from the first edition got used to the place and to the festival 012345Decision criteria

44
format, also they formed groups of new friends which visit each oth er since this festival is older
than Neversea and Untold is a reason to have fun together. Regarding Neversea, the majority of
participants stated that being at the seaside is the main advantage over Untold. Other strong
points of choosing Neversea were th e atmosphere inside the festival and the fact that is less
crowded. As a conclusion, they were asked to rate their experience at each festival , Untold had
an overall rating of 4.44 which is slightly better than Neversea which scored an average of 4.41.
After asking them about the level of satisfaction within the festival offerings for future
improvements I asked them what improvements they would want to see in the future. For the
average monthly wage of a Romanian citizen the yearly raise of food and bevera ge prices inside
the festival is a big issue that should be solved with a more stable price policy. In addition,
another highly discussed problem was the fact that the festival venue does not have a high
capacity, organizers applying critical measures such as closing the gates towards the main stage
for safety reasons because of the massive crowd of tourists inside; my proposal for this scenario
is to either limit the number of tickets, or to move the festival somewhere near Cluj -Napoca.
Another problem not iced by the respondents was the narrow range of food courts; since there
were mostly fast -food trucks and courts, my solution to this issue is to add more places which
serve traditional food, thus solving the problem and promoting the Romanian cuisine too. Some
people talked about the long queue time while waiting at the toilets; the resolution for this
manner could be the disposal of more ecological toilets inside the venue. Regarding Neversea, as
an attendee myself, I can guarantee that the most mentioned drawback of this festival was the
entrance gate. There was just only one entrance gate which could be accessed only by
circumventing the beach which was time consuming and also exhausting, my idea in order to
deal with this problem is opening the other ac cess gates to the beach. Another impediment sensed
by the audience was the poorly designed line -up with low amount of headliners and a narrow
genre of artists. A faced pitfall during this festival was also the mobile application which lacked
consistency an d was giving little information, the difficulty was easily solved by updating the
application for this year’s edition.
After analyzing the results, I can conclude that both festivals lift up the national economy,
developing in the same time the tourism se ctor. I have discovered that the participants of this
kind of events are mostly teenagers; the overall satisfaction of the tourists was almost the same in
case of both festivals. If the proposals I have made after this study will be taken into
consideratio n, I strongly believe that both festivals will improve, arriving to the same level as
renowned international festivals.

45
CONCLUSION
Music festivals are ones that help individuals restore their requirements for having a place. At
the point when the nega tive effects of music festivals are alleviated and their positive effects
developed, they can be profitable commitments to improvement. On the off chance that
sustainable event administration can move toward becoming a basic practice, music festivals
could possibly instruct and enable the capacities of individuals to add to sustainability.
The overview of this study conclude d that festival tourism is one of the challenging and
requesting segments of holistic tourism that assumes a key part in building up a city’s image,
marking the city and rolling out huge social and cultural improvements inside a city.
Tourism nowadays is an e specially vital and rivalry industry for the nations. All things
considered if a country assets to rise up out of the gathering of goals and make competitive
advantage, it needs to put broad effort in taking a shot at its picture, since the impression of the
general populace is basically made from the method through which a country publicizes itself.
There is no clear advertising tho ught, which could roll out or improve the perspective of a
country among the generally speaking populace. Making low quality things and administrations,
lacking advancement, no cleared up image or brand, uneven government procedures and non –
appropriate infrastructure will not make a decent impression of a nation.
Marketing differs from country to country , festival to festival though, no festival has intense
global promotion just for its target groups and we can say the results are impressive. With a little
help from the officials and the media, the festivals in Romania could compete evenly with the
international festivals.
In our case, the potential of tourism could be more exploited . If you could bring support from
local communities and authorities, events like the festivals mentioned in this paper would help
changing tourism industry. These types of events are also helping the development of the city
image and with the raised funds after the expenses made by the tourists a lot of city
improvements could be made.
During the study I have encountered plenty of problems. The validity of some of the results
were corrupted since it was an online survey and everyone could answer it and it was also posted

46
on my Facebook account and inside some groups regarding music tourists from both Romania
and outside. Additionally, due to the fact that this subject is relatively new, the materials for the
literature review were hard to find. Last but not least, the filtering and the analysis of the open
questions about the improv ements the tourists want to see w ere tough because many answers
were formulated ambiguous.
After analyzing the literature and the research I have done, I learned that music tourism in
Romania is at the beginning of its journey and it can be used at fully potential taking into
consideration the changes the crowd wants to see. Festivals evolved in a way I could not think
about it in the past years, since Romania was mostly bypassed by the big names in the music
industry, just because of lack of promotion co nsidering many of them did not even knew the
existence of our country and the poorly designed music tourism industry.
Both Untold and Neversea festivals had emerged rapidly, thus gaining considerable popularity
ever since their first edition. The success was guaranteed because those brands were the first ones
which brought to us so many big names on the same spot; moreover a wave of international
tourists has started to visit our country, not only for those celebrations, but they are interested in
our trad itions and touristic attractions too.
My advice for the local authorities is not just for those in charge of the cities that host these
particular festivals , but for all the cities from Romania, to support initiatives like creating
different type of events whereas they can promote their cities and can bring benefits of both
economic and improving the image.

47
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51
ANNEXES
1. Which area are you from?
 Urban  Rural

2. What i s your gender?
 Male  Female

3. Which of the following age groups you are in?
 16-24
 25-34
 35-44  45-54
 55-64
 65+

4. What is your employment status?
 Employed
 Self-Employed
 Unemployed  Retired
 Student
 Other

5. What is the highest level o f education you have completed?
 High School
 Bachelor's degree  Master's degree
 Doctor's degree

6. Do you have any desire to participate at music festivals?
 Yes  No

7. If the answer from the previous question is no, specify the main reasons why you haven't
attended and end the questionnaire.

8. W hen deciding the purpose of your vacation, festivals could be the only reason you are
traveling or can be the main reason while deciding to go on a combined vacation (eg.: festivals &
shopping). Which is more representative for you?
 Festival is the only reason for traveling in a festival area
 Usually when I travel for festivals I think about a combined vacation (eg.: shopping
tourism, sightseeing etc.)

52
9. How did you travel to the last attended festiva l?
 Car
 Train
 Bus  Plane
 Other

10. Do you usually stay at the festival or just buy a daily ticket?
 Full stay  Daily -ticket

11. If you stayed overnight where did you stay?
 Camping
 Air B&B  Hotel
 Other

12. To be able to attend either Untold or Neversea you have to buy tickets before the line -up is
announced. Would you still consider buying tickets ?
 Yes  No

13. How do you find information about the Untold and Neversea music festivals?
 Official festival websites
 Adverts
 Magazines
 Radio  Word of mouth
 Social media
 Other

14. How much are you willing to pay for a four day festival ticket?
 30-50 Euro
 50-80 Euro  80-120 Euro
 120 Euro+

15. How far are you willing to travel to music festivals ?
 Under 60 Km
 60-100 Km  100-200 Km
 200 Km+

16. How important are the following criteria in your decision of which festival you want to
attend ?

53
1 2 3 4 5
Headline Act/Artist
Artist's genre range
Food
Kids field
Stalls
Distance
Ticket price
Reputation of Festival
Meeting with people
Games
Activities inside the festival

17. Would you rather attend Untold or Neversea festival? (Întrebare opționale)
 Untold  Neversea

18. Why did you choose this festival? Write 2 -3 reasons why did you choose the desired festival.

19. How would you rate your experience at Untold Festival? ( complete just where you attended,
if you attended both, then complete both)
 Excellent
 Good
 Average  Poor
 Very Poor

20. How would you rate your experience at Neversea Festival? (complete just where you
attended, if you attended both, then complete both)
 Excellent
 Good
 Average  Poor
 Very Poor

21. What improvements would you bring to Untold Festival in order for your overall satisfaction
to be higher? (complete just where you attended, if you attended both, then complete both)
22. What improvements would you bring to Neversea Festival in order for your overall
satisfaction to be higher? (complete just where you attended, if you attended both, then complete
both)