Festival Images: brand image and stakeholders' brand relationship types at the Edinburgh Festival Fringe.

The Edinburgh Festival Fringe (The Fringe) is the largest arts festival in the world and it has inspired the creation of similar festivals world-wide. Since its conception in 1947, the Fringe has demonstrated significant growth in visitor numbers; ticket sales; and its economic contribution. Despite this, the sustainable future of Edinburgh’s festivals is debated as Edinburgh, ‘the Festival City’, faces threats from other festival destinations. Festivals position Edinburgh creatively in contrast to the city’s traditionally perceived image as a cultural-historic centre. Despite this, little research has been undertaken into the creative and cultural significance of Edinburgh’s festivals, including the Fringe. This interdisciplinary research grounded in marketing, tourism, and festival and event management; and underpinned by constructivism, presents an understanding of types of brand relationships that exist between the Fringe and its primary stakeholders. This is achieved through defining both the Fringe brand image and its primary stakeholders; and applying these definitions to the development of a typology of Fringe-stakeholders’ brand relationships. The significance of this study is evident within its topic of inquiry and the research methods applied. In the little-considered arena of arts festivals and their stakeholders, this is the first in-depth study into the Fringe as a festival and festival brand. Within this, the definition of a Fringe brand image contributes to understanding the cultural and creative significance of the Fringe. Furthermore, this research contributes a unique understanding of the types of stakeholders that are engaged with the Fringe. The types of brand relationships that exist between these stakeholders and the Fringe are another significant contribution to knowledge and understanding. While specific to the present context, these findings may prove transferable to further festivals or events, and related areas and industries. The contribution made by this research to the methodological developments in festival and event studies is of additional significance. The application of visual research methods, including semiotic analysis and photo-elicitation within phenomenological interviews, has previously been applied in marketing, consumer, and tourism research, but not to the understanding of festival brands and stakeholders’ brand relationship types. Findings of this research illustrate that existing marketing and consumer brand frameworks and stakeholder theories are applicable to festivals. Further, it is possible to define ‘a’ Fringe brand image which is subjective and contradictory. The unique open-access and organic, operational model of the Fringe facilitates its many contributors, and consumers. Fringe stakeholders may be categorised according to their level of engagement with the Fringe (as primary or secondary) and their particular stakeholder role(s), which are varied and multiple. Fringe-stakeholder brand relationship types are overwhelmingly positive; and are based upon interpersonal relationship dimensions (including friendships, marriages, kinships and partnerships). Fringe-stakeholder brand relationship types can be classified therefore as having similar dimensions to those brand relationship types previously described for consumer products and brands.

Tacit knowledge sharing: the determination of a methodological approach to explore the intangible.

Introduction. Research design should take into account both (a) the specific nature of the object under scrutiny, and (b) approaches to its study in the past. This is to ensure that informed decisions are made regarding research design in future empirical studies. Here these factors are taken into account with reference to methodological choice for a doctoral study on tacit knowledge sharing, and the extent to tacit knowledge sharing may be facilitated by online tools. The larger study responds to calls for the two domains of knowledge management and human information behaviour to be considered together in terms of their research approaches and theory development. Method. Relevant literature – both domain-specific (knowledge management) and general (research methods in social science) - was identified and analysed to identify the most appropriate approaches for an empirical study of tacit knowledge sharing. Analysis. The analysis shows that there are a number of challenges associated with studying an intangible entity such as tacit knowledge. Quantitative, qualitative and mixed methods have been adopted in prior work on this theme, each with their own strengths and weaknesses. Results. The analysis has informed a decision to adopt a research approach that deploys mixed methods for an inductive case study to extend knowledge of the influence of online tools on tacit knowledge sharing. Conclusion. This work intends to open the debate on methodological choice and routes to implementation for studies that are subject to practical constraints imposed by the context in which they are situated.