Usually, the organisation of festivals involves three layers of society: there is a patronising "core" of practitioners, who are often professionally affirmed people, usually belonging to the intellectual class; then there is the population of committed adherents; and then there is a loose "periphery" constituted by sympathisers, generally relatives and friends of the committed followers. Aitmurto notes that festivals are usually set in the evenings, the weekends and on public holidays, in order to allow everyone's participation. Shizhenskii and Aitamurto described one Kupala festival, held over the course of three days outside Maloyaroslavets in Russia; at this event, weddings, purification rituals, and name-giving ceremonies took place, accompanied by musical performances, martial arts, and folkloric plays, while a market sold traditional handicrafts. The interplay with the gods and the cycle of nature which they represent is displayed through large-scale ceremonies which Aitamurto defines as "aesthetically lavish", vectors of a great deal of creativity. For instance, the end of winter is marked by burning straw images of Marzanna, the goddess of winter, while celebrating the victory of Yarilo, the god of the full swing of natural forces; the end of summer, instead, is marked by the burial of an image of Yarilo.