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Entre palcos e páginas: a comunicação dialógica nos websites de dez festivais de verão em Portugal
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No atual contexto digital, os websites assumem um papel central na criação de ligações entre marcas e públicos, sobretudo em setores onde a experiência e a emoção se fundem, como é o caso dos festivais de verão. Assim, tendo por base o modelo da comunicação dialógica de Kent e Taylor (1998, 2002) a pergunta de investigação que orienta o estudo é: Qual o grau de adoção da comunicação dialógica, com foco no princípio do Ciclo Dialógico, nos websites de dez festivais de verão em Portugal em 2025?
A investigação tem como objetivo geral entender o grau de adoção da comunicação dialógica, com foco no princípio do Ciclo Dialógico, nos websites de dez festivais de verão em Portugal e objetivos específicos (1) Identificar a presença ou ausência dos indicadores do ciclo dialógico nos websites dos festivais de verão portugueses e aferir quais se destacam pela sua maior ou menor adoção; (2) analisar o grau de adoção de cada indicador do ciclo dialógico nos websites analisados; e (3) avaliar comparativamente o grau de adoção do ciclo dialógico por festival
A investigação adota uma abordagem quantitativa, baseada na análise de conteúdo dos websites mediante uma grelha de observação construída com base nos indicadores do ciclo dialógico de Kent e Taylor (1998). A recolha dos dados foi realizada em três momentos distintos, sendo os indicadores registados com base na sua presença ou ausência (1/0), permitindo a produção de estatísticas descritivas relativas ao grau de adoção. A amostra é constituída por dez festivais de relevância nacional: Primavera Sound Porto, MEO Kalorama, Sumol Summer Fest, NOS Alive, MEO Marés Vivas, Nisa em Festa, Summer Opening, MEO Monte Verde, Sol da Caparica e Vodafone Paredes de Coura. A seleção baseou-se em critérios de notoriedade, visibilidade mediática, diversidade geográfica e representatividade nacional, incluindo festivais realizados no continente e nas ilhas
Os resultados evidenciam um nível reduzido de adoção de práticas dialógicas. Funcionalidades informativas e transacionais, como links para redes sociais, navegação intuitiva e bilheteira online, são amplamente adotadas, enquanto recursos interativos e participativos — chats, fóruns, questionários e mecanismos de feedback visível — estão ausentes na maioria dos casos. Conclui-se que os websites funcionam predominantemente como plataformas de apoio logístico e informativo, com fraca exploração do potencial relacional. O estudo reforça a necessidade de integrar práticas dialógicas que promovam relações mais duradouras e envolventes entre festivais e públicos, e aponta caminhos para futuras investigações neste domínio.
In today’s digital context, websites play a central role in creating connections between brands and audiences, particularly in sectors where experience and emotion converge, such as summer music festivals. Based on Kent and Taylor’s (1998, 2002) dialogic communication model, this study seeks to answer the following research question: What is the degree of adoption of dialogic communication, focusing on the principle of the Dialogic Loop, on the websites of ten summer festivals in Portugal in 2025? The general objective of this research is to understand the degree of adoption of dialogic communication, focusing on the principle of the Dialogic Loop, on the websites of ten summer festivals in Portugal. The specific objectives are: (1) to identify the presence or absence of the Dialogic Loop indicators on the websites of Portuguese summer festivals and determine which are most and least adopted; (2) to analyse the degree of adoption of each indicator of the Dialogic Loop on the websites studied; and (3) to comparatively assess the degree of adoption of the Dialogic Loop by festival. The study adopts a quantitative approach, based on content analysis of the websites through an observation grid built upon Kent and Taylor’s (1998) Dialogic Loop indicators. Data collection was carried out at three distinct moments, recording the presence or absence (1/0) of each indicator, which enabled the production of descriptive statistics on the degree of adoption. The sample consists of ten nationally relevant festivals — Primavera Sound Porto, MEO Kalorama, Sumol Summer Fest, NOS Alive, MEO Marés Vivas, Nisa em Festa, Summer Opening, MEO Monte Verde, Sol da Caparica, and Vodafone Paredes de Coura — selected according to criteria of notoriety, media visibility, geographical diversity, and national representativeness, including festivals held both on the mainland and on the islands. The results reveal a low level of adoption of dialogic practices. Informative and transactional features, such as links to social networks, intuitive navigation, and online ticketing, are widely adopted, while interactive and participatory resources — chats, forums, surveys, and visible feedback mechanisms — are absent in most cases. It is concluded that the websites function predominantly as logistical and informational support platforms, with limited exploration of their relational potential. This study reinforces the need to integrate dialogic practices that foster more lasting and engaging relationships between festivals and their audiences, and highlights directions for future research in this field.
In today’s digital context, websites play a central role in creating connections between brands and audiences, particularly in sectors where experience and emotion converge, such as summer music festivals. Based on Kent and Taylor’s (1998, 2002) dialogic communication model, this study seeks to answer the following research question: What is the degree of adoption of dialogic communication, focusing on the principle of the Dialogic Loop, on the websites of ten summer festivals in Portugal in 2025? The general objective of this research is to understand the degree of adoption of dialogic communication, focusing on the principle of the Dialogic Loop, on the websites of ten summer festivals in Portugal. The specific objectives are: (1) to identify the presence or absence of the Dialogic Loop indicators on the websites of Portuguese summer festivals and determine which are most and least adopted; (2) to analyse the degree of adoption of each indicator of the Dialogic Loop on the websites studied; and (3) to comparatively assess the degree of adoption of the Dialogic Loop by festival. The study adopts a quantitative approach, based on content analysis of the websites through an observation grid built upon Kent and Taylor’s (1998) Dialogic Loop indicators. Data collection was carried out at three distinct moments, recording the presence or absence (1/0) of each indicator, which enabled the production of descriptive statistics on the degree of adoption. The sample consists of ten nationally relevant festivals — Primavera Sound Porto, MEO Kalorama, Sumol Summer Fest, NOS Alive, MEO Marés Vivas, Nisa em Festa, Summer Opening, MEO Monte Verde, Sol da Caparica, and Vodafone Paredes de Coura — selected according to criteria of notoriety, media visibility, geographical diversity, and national representativeness, including festivals held both on the mainland and on the islands. The results reveal a low level of adoption of dialogic practices. Informative and transactional features, such as links to social networks, intuitive navigation, and online ticketing, are widely adopted, while interactive and participatory resources — chats, forums, surveys, and visible feedback mechanisms — are absent in most cases. It is concluded that the websites function predominantly as logistical and informational support platforms, with limited exploration of their relational potential. This study reinforces the need to integrate dialogic practices that foster more lasting and engaging relationships between festivals and their audiences, and highlights directions for future research in this field.
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Palavras-chave
Comunicação dialógica Websites Festivais de verão Ciclo dialógico Comunicação digital Dialogic communication Summer festivals Dialogic loop Digital communication