Relevant bibliographies by topics / Festivals

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Festivals'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Festivals"

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Muylaert Mager, Juliana, and Ana Maria Mauad. "EM CARTAZ: festivais de cinema de arquivo – preservação e público." Revista Observatório 3, no. 2 (April 1, 2017): 283. http://dx.doi.org/10.20873/uft.2447-4266.2017v3n2p283.

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Nas últimas décadas, observa-se o surgimento de festivais dedicados ao cinema de arquivo. No Brasil, foi criado em 2002, pelo Arquivo Nacional, o Recine – Festival Internacional de Cinema de Arquivo, evento que foi substituído pelo Arquivo em Cartaz em 2015. O fenômeno dos festivais se relaciona com o tratamento do patrimônio audiovisual ao longo do século XX e XXI, sendo inseparável da trajetória das instituições arquivísticas. Neste artigo, pretende-se, por meio da análise dos dois festivais, discutir como esses eventos trabalham a tensão entre exibir e preservar, duas das principais funções das cinematecas, colocando em diálogo questões sobre patrimônio/preservação e a relação entre os arquivos e seus públicos. PALAVRAS-CHAVE: Arquivo; Patrimônio Audiovisual; Público(s); Festivais de cinema. ABSTRACT In the last decades, we observe an increase in the number of festivals dedicated to archival films. The Brazilian National Archive, for instance, hosted Recine – Festival Internacional de Cinema de Arquivo from 2002 to 2014, and, since 2015, its sucessor festival called Arquivo em Cartaz. This “festival phenomenon” can be related to how audiovisual heritage has been viewed in the 20th and 21st centuries, being, thus, closely linked to the developement of film archives. This article aims at analysing the aforementioned festivals, in order to discuss how these events coped with the tension between exhibiting and preserving – the two foremost goals of a cinematheque –, establishing dialogues over issues such as heritage/preservation and the relationship between archives and its viewing public. KEYWORDS: Archive; Audiovisual Heritage; Public; Film festivals RESUMEN En las últimas décadas, se observa el surgimiento de festivales dedicados al cine de archivo. En Brasil, fue creado en 2002 por el Archivo Nacional, Recine – Festival Internacional de Cinema de Arquivo, evento que fue sustituido por el Arquivo em Cartaz en 2015. El fenómeno de los festivales se relaciona con el tratamiento del patrimonio audiovisual a lo largo del siglo XX y XXI, siendo inseparable de la trayectoria de las instituciones archivísticas. En este artículo, se pretende, por medio del análisis de los dos festivales, discutir cómo esos eventos trabajan la tensión entre exhibir y preservar, dos de las principales funciones de las cinetecas, colocando en diálogo cuestiones sobre patrimonio/preservación y la relación entre los archivos y sus públicos. Palabras Clave: Archivo; Patrimonio Audiovisual; Público(s); Festivales de Cine.
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Gusāns, Ingars. "DEVELOPMENT OF MUSIC FESTIVALS IN LATGALE." Via Latgalica, no. 5 (December 31, 2013): 105. http://dx.doi.org/10.17770/latg2013.5.1638.

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The topic of this article is to illustrate the contribution of festivals to Latgalian culture. The article gives an overview on the development of the festivals: Latgales Televīzijas Mūzikas festivāls, ”Osvalds”, ”Muzykys Skrytuļs” and Latgales Mūzikas festivāls. The article is based on interviews with the festival organizers, available press materials, internet resources and the author’s personal observations both as a listener and a participant of the described festivals. Festivals are mentioned in chronological order. Latgales Televīzijas Mūzikas festivāls was the festival that started advertising of regional art in Latvia. It was characterized by a variety of genres and the opportunity for artists to introduce themselves to the general public on a high professional level. “Osvalds” is an entertainment festival for people of different taste. It popularizes regional associations and most up-to-date Latvian artists; the Latgalian element does occur, but it is not the main objective. “Muzykys Skrytuļs” has promoted the creation of Latgalian songs, the foundation of music groups and has given opportunity for newcomers to perform on a bigger stage. By concert records and live broadcasts this festival makes a great contribution to the development and the popularization of Latgalian identity. Latgales Mūzikas festivāls has provided an opportunity to the most famous, up- to-date Latgalian artists to perform at the festival on the main stage, thus filling a time gap within the field of Latgalian festivals. Each festival expresses the Latgalian identity in a different manner. However it can be perceived in each of them, therefore it is possible to affirm that festivals integrate, help to maintain and console the Latgalian identity. Most prominently it demonstrates to the new generation that Latgalians are a part of the modern world just like everyone else and that in order to express their cultural identity they themselves could actively participate in various folklore and folk dance groups or even start a rock band that performs in Latgalian language.
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Szymkiewicz, Aleksy. "Identity, place and values. On construction and internalization of festival normalities on the examples of music festivals in Poland." Journal of Urban Ethnology 19 (December 20, 2021): 153–70. http://dx.doi.org/10.23858/jue19.2021.010.

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The aim of this paper is to compare of how two different festivals stimulate specific norms and perceptions, and therefore to present the way in which the visions of the festival cities are reproduced by the festival audience based on the axio-normative orders contained in the missions of the events. Based on the shared symbols and life strategies promoted by festivals, participants (re)build their identity which they manifest in chosen cultural practices. The article attempt to answer the following question: what is shared by festival-goers? Are the main motivations for participating in the vent due to shared musical tastes or also specific values and lifestyles, and consequently a common identity? It has been shown that the values promoted during festivals are declared by their organizers – they are present in the visual identification, seminars, workshops, etc. Festivals create their narratives based on symbols such as logos, attitude smartphones, or festival slogans which contain condensed axio-normative systems that create the boundaries of the community. It influencesthe behavior of festival goers: the city’s vision, ways of spending free time, and their identity. The places where the fieldwork was conducted were: “Henryk Rasiewicz National Festival of Unbreakable and Independent Songs in Kraków”, “Ostróda Reggae Festiva” in Ostróda, and the “Song of Our RootsFestival” in Jarosław.
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Reynaud, Bérénice. "‘Festival of festivals’." Afterimage 14, no. 5 (December 1, 1986): 3–4. http://dx.doi.org/10.1525/aft.1986.14.5.3.

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Reynaud, Bérénice. "‘Festival of festivals’." Afterimage 14, no. 5 (December 1, 1986): 3–4. http://dx.doi.org/10.1525/aft.1986.14.5.3.

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Karmacsi, Zoltán, and Enikő Sass. "The linguistic landscape of festival tourism in Transcarpathia." Acta Academiae Beregsasiensis, Philologica II, no. 1 (July 21, 2023): 139–60. http://dx.doi.org/10.58423/2786-6726/2023-1-139-160.

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In addition to natural, historical and cultural attractions, there are an increasing number of places in Transcarpathia where tourists can enjoy organised programmes. In the big cities and smaller towns, festivals and festival-like events take place from the second half of January until mid-December. The area inhabited by Hungarians also organises a significant number of festivals and festival-like events every year. Many of these are known throughout Ukraine and even more widely. Among the festivals in the region, folk art and folklore festivals are the most popular, while gastronomic festivals are in the second position. Gastronomic festivals (especially wine festivals) have become an increasingly important part of festival tourism in Transcarpathia, attracting a significant number of domestic visitors. In our study, we tried to investigate the linguistic landscape of gastronomic festivals, focusing on the two most famous Hungarian festivals (Mezőgecse international pig festival, Berehovo international wine festival) and the most popular festival in Mukachevo, the Mukachevo red wine festival. The research is mainly conducted through personal participant observation and photo-documentation, however, photos and information about the festivals published in the press, on the website of the organising municipality and other online community platforms were also analysed. In the linguistic landscape of the festivals in Transcarpathia, including international festivals, no other language is present apart from the state language or the mother tongue of the Hungarian minority living in the area. Even in the festivals of Hungarian settlements, bilingual signs and the slight dominance of Ukrainian in the symbolic linguistic space are typical. The proportion of languages also depends on the target audience and the needs of the festival, as well as on the area of the festival depending on the ethnicity of Transcarpathia.
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Ohiienko, Iryna. "Ethnic Festivals of the Mid to Late 20th – Early 21st Century as a Component of the Folklore Culture of Bulgaria." Materìali do ukraïnsʹkoï etnologìï, no. 20 (23) (December 20, 2021): 139–50. http://dx.doi.org/10.15407/mue2021.20.139.

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The article is dedicated to the study of folklore festival culture in Bulgaria in the mid to late 20th – early 21st century. The characteristic features of the folklore festival culture of Bulgaria are considered, the main functions of the folklore festivals are determined, a number of well-known international, national and local ethnic folklore festivals taking place in different cities and villages of Bulgaria are classified. The first ethnofestivals in Bulgaria are described, such as the Festival of Folk Art and Animal Husbandry in Rozhen, the Festival of Folk Art in Koprivshtitsa, the International Folklore Festival in Burgas, the Festivals of Folk Art Pirin Sings, Balkan Sings and Tells, which are held from the 1960s till nowadays. They have started the development of the folklore-festival movement in Bulgaria. The ethnic festivals, held in Bulgaria, are classified. According to the time of holding, there are short-term and long-term festivals. According to the venue, Bulgarian ethnofestivals are stationary or mobile. According to geographical criteria, Bulgarian ethnofestivals can be divided into local, national, international and world. According to the age criteria of the participants, among the ethno-festivals there are children’s, youth, mixed festivals. Among the ethnofestivals the holidays of folk art, festivals of calendar and ceremonial holidays, festivals of authentic folk clothing, festivals of national cuisine, festivals of folk instrument ensembles, festivals of folk dances, festivals of folk crafts and trades etc. can be distinguished.
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Ossowska, Luiza, Dorota Janiszewska, Gregory Kwiatkowski, and Dariusz Kloskowski. "The Impact of Local Food Festivals on Rural Areas’ Development." Sustainability 15, no. 2 (January 12, 2023): 1447. http://dx.doi.org/10.3390/su15021447.

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The importance of food festivals in the functioning of local rural areas is manifested in the construction of a sense of community and place. However, each stakeholder group perceives the impact of such festivals differently. The literature lacks a comprehensive approach to this issue. The main aim of this research is, thus, to identify how particular groups of stakeholders perceive the impact of a local food festival on the development of a rural area. The research was conducted at a small local food festival in Poland in July 2020. Individual groups of stakeholders (organizers, vendors and visitors) were asked to assess the impact of the festival on the development of the rural area. This research was conducted in three main stages using various research tools. In the first stage, an in-depth interview was conducted with the festival’s organizers. In the second stage, a survey, via a questionnaire, was conducted with visitors. In the third stage, semi-structured interviews were held with vendors. Surveys and interviews were carried out using the paper-and-pencil interview (PAPI) method. Our results indicate that interest in the impact of festivals on rural development decreases with distance. That is, the sooner such effects are visible, the more positive they are perceived. Moreover, visitors (on vacation) perceive a festival’s impact more positively than vendors (at work).
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Sungjin Yang, Sungjin Yang, and Seolwoo Park Seolwoo Park. "Evaluating the Economic Value of Local Culture and Arts Festival Entrance Fee to using Contingent Valuation Method." GLOBAL BUSINESS FINANCE REVIEW 29, no. 4 (May 30, 2024): 70–79. http://dx.doi.org/10.17549/gbfr.2024.29.4.70.

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Purpose: Global cultural and arts festivals are often cited to enhance the image of a region and stimulate its economy. However, research and discussions regarding these global cultural and arts festivals have mainly focused on their outcomes and strategies for activation, with limited emphasis on evaluating the intrinsic value of the fes-tivals themselves, particularly their economic value. The aim of this study is to define global cultural and arts festivals and propose methods for estimating their economic value. Design/methodology/approach: This study employed the Contingent Valuation Method (CVM) to assess the eco-nomic value of cultural and arts festivals. A representative global cultural and arts festival was selected, and a double dichotomous choice contingent valuation method was utilized to propose a method for assessing willing-ness-to-pay (WTP) for cultural and arts festivals. Following a survey to investigate respondents' WTP and the value of 263 valid copies, data were analyzed using SPSS and STATA. Findings: In this study, we aimed to estimate the WTP per person for the admission fee of the Jeju International Wind Ensemble Festival (JIWEF) and demonstrate the versatility of this methodology through analysis using various data sources. Additionally, we estimated the economic value of the admission fee for the JIWEF, by multiplying the WTP per person for the admission fee by the average number of attendees. Research limitations/implications: Although there are limitations to generalization focusing on specific festivals, the research results suggest implications for foreign visitor arrivals and nurturing global consumers through global culture and arts festivals. Originality/value: So far, research related to culture and arts festivals has mainly focused on the festival's perform-ance or revitalization measures, and research on the evaluation of the value of the culture and arts festivals them-selves, especially their economic value, has not been actively conducted. This study is different in this regard.
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Teeuwen, Mark. "Kyoto’s Gion Festival in Late Classical and Medieval Times: Actors, Legends, and Meanings." Religions 13, no. 6 (June 14, 2022): 545. http://dx.doi.org/10.3390/rel13060545.

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Kyoto’s Gion festival has arguably the best-documented history of all festivals (sairei) in Japan, and studies of its development have heavily influenced our understanding of festivals in general. Yet we must expect that our knowledge of this history is partial at most. Extant archives on its late classical and medieval history derive from a narrow group of festival actors, and are therefore intrinsically biased. This article looks at current reconstructions of the festival’s origin and development, addressing primarily the following questions: Which groups of actors are the historical record hiding from us? Is there a world of ritual action, beliefs, and concerns that we are missing entirely? Origin legends have been used throughout history to attribute meaning to the festival procedures. Today as in the past, these legends are always accompanied by narratives of continuity: at its core, it is implied, the festival remains unchanged. Such legends reflect the interests of actors and patrons of different ages, and changes in the festival’s context have required origin tales to be updated or even replaced. What do such narrative innovations reveal about the festival’s changing place in society at different historical junctures? Do such legends contain traces of the activities of actors who have since disappeared, taking their archives with them?
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Dissertations / Theses on the topic "Festivals"

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Hamáčková, Soňa. "Kultúrny turizmus a folklórne festivaly." Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-202100.

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The thesis deals with the analysis of cultural tourism and folklore festivals. Its goal is to characterize cultural tourism and festivals and to evaluate their position in the Czech republic and Slovakia. One part of the thesis deals with the analysis of Folklore Festival Východná and International Folklore Festival Strážnice. In conclusion the SWOT analysis of folklore festivals is conducted, festivals are compared, and measures for the next development are suggested.
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Richards, Evan E. "The 33rd Alaska Folk Festival : a short documentary /." Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/RichardsEE2008.pdf.

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Sørbo, Ingelin. "Festival + sted = ? : Vinjerock - en festivals påvirkning på stedsidentitet og stedsutvikling." Thesis, Norges teknisk-naturvitenskapelige universitet, Geografisk institutt, 2011. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-17027.

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Festivaler har blitt en viktig del av opplevelsesøkonomien og stedene de er lokalisert. Denne oppgaven er et case-studie av musikkfestivalen Vinjerock i Vang kommune, og fokuserer på hva slags innvirkninger festivalen har på stedsidentitet og stedsutvikling. Oppgavens empiriske grunnlag baseres på kvalitative intervju med syv aktører fra Vang og Valdres-regionen som er involvert i Vinjerock på ulike måter. Oppgaven består av en todelt analyse: den første delen av analysen fokuserer på festival, sted og stedsidentitet, mens den andre delen av analysen i hovedsak fokuserer på stedsutvikling og entreprenørskap. Hovedfunnene viser hvordan festivalen har påvirket både Vang og Eidsbugardens identitet ved bruke av lokale tradisjoner og historie på nye og innovative måter. Funnene belyser også hvor viktig lokal støtte og integrering kan være i henhold til entreprenørskap. Funnene viser i tillegg hvor viktig lokal entusiasme har vært for Vinjerock, og at festivalen har fungert som inkubator for andre prosjekter i regionen.
Festivals are increasingly becoming an integral part of the experience economy and the places that they degenerate to. This thesis is based on a case study about the music festival Vinjerock, in the municipality Vang in Norway. The empirical basis originates from seven qualitative interviews with persons involved in Vinjerock in various ways. The main goal of this thesis is to study the impacts music festivals have on place, place identity and local development. The analysis is divided in to two parts: the first part focuses on the concept of festival, place and place identity, whilst the second part of the analysis focuses mainly on local development and entrepreneurship. The main findings from the study show how the festival has had an impact on both Eidsbugardens and Vangs place identity by using local history and traditions in new and innovative ways. The findings also show how local support and being a part of the local community affects the entrepreneurial task of succeeding with this kind of project. Finally the findings show how important local enthusiasm has been Vinjerock, and that one projects success can work as an incubator for other projects in the region.
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Petitinga, Carolina Santos. "Festival de verão de Salvador: significado para o turismo, a música independente, a economia e o marketing da cidade." Programa de Pós-Graduação em Cultura e Sociedade da UFBA, 2008. http://www.repositorio.ufba.br/ri/handle/ri/10605.

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Os festivais de música têm dado visibilidade às cidades e movimentado a economia local, através da geração de emprego e renda. Eles atraem investidores, empresas, visitantes e profissionais qualificados. Funcionam também como alternativas para a distribuição da música e servem de vitrine para novos talentos musicais. Muitas cidades tornam-se conhecidas e são incluídas no roteiro de férias de muitos turistas por conta dos festivais que realizam, alguns deles mundialmente famosos. Esta dissertação examina o significado desses festivais para o turismo, geração de emprego e renda, produção de música independente e marketing da cidade, através do estudo de caso do Festival de Verão Salvador. A partir da revisão da literatura especializada, de entrevistas qualificadas e de uma pesquisa amostral aleatória e estratificada realizada in loco, aplicou-se a metodologia padrão de estudos de impacto econômico de eventos.
Salvador
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Simmons-Carroll, Kathryn B. "French Quarter Festivals, Inc.: A Year of Festivals (Internship Report)." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/aa_rpts/169.

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This report accounts my time spent as an intern with French Quarter Festivals, Inc. from March 2013 through August 2014. FQFI, a nonprofit 501(c)(3) organization in New Orleans, Louisiana, began with French Quarter Festival in 1984 and now produces three festivals each year. This paper seeks to discuss how the organization has changed over time, examine the structure of FQFI in its current state, and make recommendations for FQFI as they continue to “promote the Vieux Carré and the City of New Orleans through high quality special events and activities that showcase the culture and heritage of this unique city, contribute to the economic well being of the community, and instill increased pride in the people of New Orleans.”
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Osterholt, Emily. "French Quarter Festivals, Inc.: An Analysis of Festival Operations (Internship Academic Report)." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/195.

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French Quarter Festivals, Inc. is a nonprofit organization that annually produces three festivals in the New Orleans area with the intention of promoting the Vieux Carré and the culture of the city. My internship began near the beginning of preparations for the 2015French Quarter Festival and concluded just after the event had passed. While the organization is very successful and French Quarter Festival has grown to be the largest free music festival in the United States, there remains room for improvement and growth within the organization. The following report serves as a case study of the organization and addresses issues that were revealed during both analysis and personal observations. The conclusion of the report includes recommendations intended to aide in the continual success and growth of the organization.
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Kahuno, Maryanne Njeri. "Constructing identity through festivals: The case of Lamu Cultural Festival in Kenya." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62642.

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Cultural festivals have become a prominent topic of research because of their socio-economic value. However, thus far, limited research has been conducted on the more profound issue of the possible contribution of festivals towards constructing a cultural identity. The aim of this study was therefore to determine the role that one particular festival, the Lamu Cultural Festival, plays in constructing cultural identity, particularly when people from different cultural backgrounds are involved. Lamu in Kenya was chosen as the study area, due to its rich and unique cultural heritage, with the main aim of investigating whether the Lamu Cultural Festival is helping to preserve the cultural heritage of this area and/or to create a new Lamu identity. An anthropological approach was used to conduct the study on cultural identity. The research was conducted on the 14th annual Cultural Festival in Lamu, where the festival has taken place since 2001, after the Island was declared a UNESCO World Heritage Site. The best way to understand another culture is to experience it first-hand by travelling to the destination, hence the use of participant observation for data collection. The dissertation looks at various debates regarding identity construction through cultural festivals. It also investigates the development of festival literature, festival tourism and the history of festivals. Cultural practices among the Aweer, the Bajuni, the Sanye and the Orma in Lamu, and these people's sense of cultural identity before the introduction of the Lamu Cultural Festival are also assessed, in order to understand the respective senses of cultural identity of these four indigenous groups involved in the festival. The Lamu Cultural Festival itself is also discussed in detail: the planning process, stakeholders and organisers, people's motivations for participating in the festival, festival items and their composition. The research findings may assist festival organisers in achieving a better understanding of the importance of involving indigenous communities in the planning process and possibly in achieving a Lamu identity over time.
Dissertation (MHCS)--University of Pretoria, 2017.
Historical and Heritage Studies
MHCS
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Ludvigsson, Josefine. "Festivalernas Intåg : Korröfestivalen – en bordunstämmas resa genom festivaliseringen." Thesis, Växjö University, School of Education, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2382.

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Title: Festivalernas Intåg – Korröfestivalen- en bordunstämmas resa genom festivaliseringen

The Korrö festival- The establishment of a Swedish Folk Music Festival.

This thesis describes how folk music festivals have been escalating during the past few and how they have influenced Swedish folk music. To reach my results I have been studying one festival in particular which is the Korrö Folk Music Festival. This event started in the mid-eighties as a small happening that attracted almost exclusively musicians that were a part of the bordooon movement. The bordoon movement gathered a couple of days in the summer at what they called the “Korrö bordunstämma” to build instruments and play folk music. Later on the event started to attract other people through public live concerts. These concerts became more and more popular and they soon took over the original purpose of the event. This became a turning point for “Korrö bordunstämma” who now decided to change name to the Korrö Folk Music Festival. I have been studying the history of this event to see if I could find any particular circumstances that may have contributed to the popularity this event have reached over the years. I will illustrate how certain factors such as organisation, economy and alteration of visitors have affected the festival. This text will give the reader a presentation of a festival in constant change. I believe that The Korrö Folk Music Festival has been an important part of the development of modern Swedish folk music and still is.

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Marchini, Ben. "Festivals and sustainability : reducing energy related greenhouse gas emissions at music festivals." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/8840.

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This thesis investigates the potential to reduce greenhouse gas emissions relating to electrical power provision at UK music festivals. It has been carried out in partnership with a number of UK festival organisers and power providers. The thesis provides a literature review of sustainable event management and the associated electrical power provision, before then investigating the existing methodologies for quantifying greenhouse gas emissions at festivals. This review identified a lack of data regarding energy demand at events other than total fuel demand. While energy data does not improve the accuracy of GHG accounting, it provides more detail which can identify opportunities to reduce these emissions. Data was gathered from 73 power systems at 18 music festivals from 2009-2012. This produced typical festival power load profiles for different system types including stages, traders and site infrastructure. These load profiles were characterised using a series of indicators that can create performance benchmarks, in addition to increasing the detail of carbon auditing. Analysis of the load profiles identifies opportunities for emission reduction. These address either the supply or demand for power in order to reduce on site fuel consumption. These opportunities include changes in operating procedure to reduce demand during non-operational periods, utilising low energy equipment on stages, and using a power provision system capable of adjusting power plant supply to meet demand. The work has documented power demand at festivals, and highlighted opportunities for change that can reduce costs and emissions, as well as informing festivals on their practices.
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Manasa, Kallyarath Madhooj, and Sunil Anagha. "Cultural festivals of India." Thesis, Sumy State University, 2019. https://essuir.sumdu.edu.ua/handle/123456789/77250.

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India, also known as the Republic of India, is a country in South Asia. It is the seventh-largest country by area and with more than 1.3 billion people. It is the second-most populous country and the most populous democracy in the world. There are 29 states and 7 union territories in this country.
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Books on the topic "Festivals"

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Valkonen, Kaija. Festival fever: Finland festivals. Helsinki: Otava Pub. Co., 1994.

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Biri︠u︡kova, Dasha. Festivalʹ Videofocus: Videofocus Festival. Moskva: Gosudarstvennyĭ t︠s︡entr sovremennogo iskusstva, 2013.

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Birch, Beverley. Festivals. Morristown, N.J: Silver Burdett Co., 1986.

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Gilbert, Jean. Festivals. Oxford: Oxford University Press, 1988.

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Monaghan, Heather. Festivals. Huthwaite: Technology Teaching Systems Ltd., 1995.

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1934-, Bennett Jill, ed. Festivals. Leamington Spa: Scholastic, 1994.

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McNinch, Marjorie G. Festivals. Wilmington, Del: Cedar Tree Press, 1996.

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Huggins-Cooper, Lynn. Festivals. London: Wayland, 2007.

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Limbu, Para. Festivals. NewDelhi: Rupa & Co., 1996.

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Ashworth, Julie. Festivals. London: CollinsELT, 1992.

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Book chapters on the topic "Festivals"

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de Valck, Marijke, and Ger Zielinski. "Greening Film Festivals." In Rethinking Film Festivals in the Pandemic Era and After, 307–28. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_16.

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AbstractIn this chapter we seize the momentum of the pandemic crisis and its disruption of the film festival world to consider festivals’ stake in the climate and ecological crisis. We will delineate three layers of concern that need to be considered holistically when taking on the challenge of greening film festivals. The first layer tackles the context of festival operations, namely, all arrangements and preparations required to organize festival events. The second layer addresses the emergent discourse of environmentalist media studies, which urges festival scholars to consider critically the consequences of the virtualization of film festivals. The third layer puts the “eco” back into “ecosystem.” The phrase “festival ecosystem” itself is becoming popular in the discourse on film festivals. We think that the time is right to bring what we are calling the festival ecosystem back into a more literal relationship with “environmental media,” media infrastructure and its material relations to the biological environment. This will entail a rethinking of how that ecosystem can be made to work in balance with our planetary needs regarding its natural resources and include acknowledging there are the limits to widespread festival mechanisms that are rooted in logics of growth and abundance.
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Burgess, Diane, and Kirsten Stevens. "Locating Buzz and Liveness: The Role of Geoblocking and Co-presence in Virtual Film Festivals." In Rethinking Film Festivals in the Pandemic Era and After, 59–80. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_4.

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AbstractThe sudden and near-complete move of festivals into the online space in 2020 complicated our understanding of the “there” and “then” involved in film festival participation. Experiencing festivals in lockdown (often from domestic spaces), “taking part” in these virtual events had the potential to dramatically expand the points of access. Although this approach was taken early with the YouTube-based We Are One global film festival, for the vast majority of single-festival-run online events access was limited to specific geographic areas through geoblocking technology. This chapter examines the function of geofenced access in virtual and hybrid virtual/real-world film festivals. It poses the question: what are the benefits for festivals in enforcing territoriality and place-boundedness in the de-territorialized world of online media? Looking to the importance of embodied co-presence and networked publics in existing understandings of liveness, buzz, and value creation at festivals, we interrogate the role of “place” in defining festival prestige and influence. We ask, if the mechanisms of value creation linked to the physical spectacle and viral spread of buzz at festivals are disrupted, will the film festival experience still be seen as valuable? And what might that mean for the future of festivals and their study?
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Scullion, Scott. "Festivals." In A Companion to Greek Religion, 190–203. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996911.ch13.

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Trump, Maxine. "Festivals." In The Documentary Filmmaker's Roadmap, 169–83. New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315114873-14.

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Frey, Bruno S. "Festivals." In Economics of Art and Culture, 63–70. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15748-7_8.

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Reynolds, Andy. "Festivals." In The Live Music Business, 160–84. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003019503-13.

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Ravitz, Jeff, and James L. Moody. "Festivals." In Lighting for Televised Live Events, 107–14. First edition. | New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429288982-18.

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Connock, Alex. "Festivals." In Media Management and Live Experience, 251–71. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003435167-16.

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Rademacher, Wiebke. "Festivals." In Forum Musikvermittlung - Perspektiven aus Forschung und Praxis, 131–34. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839462614-021.

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Falconer, Karl. "Festivals." In Starting a Theatre Company, 191–207. New York: Focal Press, 2023. http://dx.doi.org/10.4324/9781003281726-11.

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Conference papers on the topic "Festivals"

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Thongrom, Pimpika. "The effect of Music Festivals on Perceived Destination Images." In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10179.

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Music festival is one of the special event. It is a unique cultural event which continuously held on a particular place and time. It has been confirmed that music festivals can attract people to visit the destinations for instance Glastonbury, and the Fuji Rock. Various researches have explored the potential of festivals in forming destination image. It has not been yet explored a link between the music festivals and image formation of thedestination. The research aim is to examine the effect of music festivals on the perceived images of destinations. The objectives are to explore music festival in Thailand and to examine the perception of tourists towards destination image influenced by music festival.Music festivals in Thailand have been studied and 5 music festivals were chosen as the research settings. The documentary study was used to examine the 5 music festivals. Then the semi-structured interviews were conducted with tourists who have visited at least one of the five selected music festivals. The qualitative data are analysed using thematic analysis.The findings show that the destination images are influenced by the music festivals. The perceived images of the destination may similar to the existing images, while some may differ and transferable. The findings also show that the participants perceiveimages of the place differently during the music festival. The results can be applied to destination marketer in order to create or shape the destination images.
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COMAN, Ecaterina, Vlad BATRANU-PINTEA, Radu TUDORICA, Ovidiu TODERICI, and Alexandra GIRBEA. "PROMOTING CITIES THROUGH FESTIVALS." In 10th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscss.2023/s09.41.

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Promoting cities only through historical heritage is no longer topical, especially for the new generations. The differentiation and promotion of a city can be achieved by organizing festivals, which could attract a constant number of tourists annually. The article wants to examine the characteristics of a festival that gives it the power to be popular and to evolve each year to attract more and more tourists. We needed to see what people cherish the most about these festivals and what values a festival needs to have to have the same success. A content analysis of internet posts and comments left by attendees at three very known festivals was conducted. We analyzed the information on Google, Facebook, Instagram, YouTube, and News sites. Based on the results of our study, we came up with some recommendations on how the festivals should be organized in order to increase the notoriety of a city, as well as the number of tourists.
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Mitrović, Srđan, Suzana Marković, and Josipa Mijoč. "Segmenting Wine Festival Visitors Based on Their Visit Experience." In 6th International Scientific Conference – EMAN 2022 – Economics and Management: How to Cope With Disrupted Times. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2022. http://dx.doi.org/10.31410/eman.s.p.2022.145.

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Wine tourism experiences can be offered in many ways, such as visiting wine festivals. They can provide a wide range of experiences that differ from day-to-day living and could be viewed as lifestyle tourism expe­riences. The goal of the research was to segment wine festival visitors and describe them within the experience economy context. Data was collected using a structured questionnaire at wine festivals in Croatia. Research hy­potheses were tested using cluster analysis and ANOVA. Segmentation re­sults show four significantly different groups of wine festival visitors (busi­ness visitors, explorers, devotees and companions). The identified segments significantly differ in their motivation and experience at the wine festival. Based on the results of this research, recommendations for specific market­ing strategies can be given to festival organizers, wineries and destination management organizations. Research expands previous knowledge about customer segments in wine tourism. To the authors’ knowledge, this is the first empirical study that has developed a wine festival visitor profile based on the experience economy framework.
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Fischer, Andre. "New transmedia design for traditional film festivals." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.121.

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The disruptive transformations process in the audiovisual sector were unexpectedly accelerated after the covid-19 pandemic. This caused a rearrangement in the chain of the distribution, exhibition and circulation, thus restructuring the whole design of film festivals, once considered the launching point of this entire industry and strongly based on specific physical locations. Streaming has become the main way in which image and sound content are distributed. Entertainment became multiplatform and interactive, changing the way in which narratives are structured, and these contents are produced and consumed. The convergence of media made porous the boundaries between what are conventionally called video, cinema, theater and performance. The platformization process permanently changed the traditional model of audiovisual distribution, staffing and curation of festivals - which undergo a hybridization operation that allows the potential use of interactive resources and online delivery of movies, plays and performances to audiences all around the globe. To understand the potential of transformations, the study investigates in depth the experience of MixBrasil Festival, largest LGBTQIA+ cultural event in Latin America, created in 1993, showcasing multiple formats and techniques (cinema, theater, music, literature). With digital content being programmed since 2018, in 2020 it expanded its online exhibition to four different digital platforms. The study is carried out concurrently with the monitoring of MixBrasil and other film festivals held in Brazil, considering what strategies are being adopted and how they will stand out as innovative - or just replications of the traditional movie theater model. It also aims to identify processes, paths and perspectives for the sector considering that the old template for launching films used since the 1950´s might no longer be applicable to the current state of the industry. Facts and trends that are forcing these events to face a crisis of identity and questioning the viability of a (still) prestigious circuit. Platformization implies the adoption of online functionalities integrated at economic and infrastructure levels which fully affects the organization strategies of festivals. Therefore, a change in the way of thinking the place of film festivals in the industry chain is in progress: as a possible space for capturing data from the public to support future curatorships and permanent actions which would make them more dynamic and relevant. Associated with this process is the notion of attention economy and the reorientation of users as active producers of culture, in the way they can affect the hybrid future of festivals. Metrics recurrently used like engagement, geolocation, retention and abandon rates are necessary to identify obstacles and potentialities that the new scenario presents. The research is raising additional questions about the behavior and expectations of different age groups, the motivations of audiences for attending festivals. It also investigates why although movie theaters are closing, distributors keep restrictions on festival theatrical screenings. This is a unique opportunity to reflect on perspectives for audiovisual festivals in order to capture viewers' attention, reposition their relevance to society, get the (re)cognition of different audiences and forge new experiences.
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Shea, Brendan Sullivan, and Neal Lucas Hitch. "School’s Out: Exploring Learning By Doing Methods In On-Site Design Build Architecture Workshops." In 2022 AIA/ACSA Intersections Research Conference. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.aia.inter.22.18.

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The paper details current endeavors by the authors to explore and expand notions of sustainable design through two design-build festivals hosted during the summer of 2022 that each re-engaged historical architectural sites in ecologically diverse contexts. The paper first outlines the history of design-build pedagogies in the United States, from the founding of some of the country’s first colleges of design to contemporary manifestations of festival architecture as seen in pop-culture contexts. Next, the authors detail how this history impacts the site, structure, and organization of the two research projects presented in the paper: one in a temperate forest ecoregion of North America located on the historic site of the 1969 Woodstock festival, appropriating research into laminate wood construction previously conducted by the authors; and the other in the Błędowska Desert of Poland, an area of anthropogenic desertification in Central Europe, which aims to expand research in silt-casting conducted in labs at Arcosanti, Arizona, onto rapidly transforming sites across the Atlantic. The following projects and observations provide a lens into the participatory research methods and engagement strategies unique to the design-build festival model and argue for the festival model’s capacity to adapt to site conditions, transform contemporary forms of architectural production, and engender a framework of community resilience; all the while amplifying contact and collaboration among groups of interdisciplinary experts through hands-on exploration at a construction site. As an illustration of how festivals allow designers to rethink the materials that are used to build, the paper examines the development of generative material processes and robust construction systems (in particular, laminated wood and silt-cast composites) as both a pre-festival site of research and a means of hands-on, on-site design exploration, invention, and evolution. The paper specifically addresses the relationship between structure and infrastructure in the context of the design-build festival, describing the application of the aforementioned principles and prototypes as implemented in two pavilion-scaled structures—in each case, a site-specific and environmentally-sensitive design—conceived as part of a larger communal infrastructure intended to galvanize resilient, even if temporary, communities of artists, architects, writers, researchers, and musicians during the festivals.
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Ricci, Nicolas, and Marine Agogué. "Drivers for Resilience in Cultural Organizations: lessons from the Montreal festivals in the face of the COVID-19 pandemic." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-24-short-ricci-et-al-drivers-for-resilience.

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SHORT PAPER. Crises such as the COVID-19 pandemic represent appropriate moments to innovate. Many organizations in the cultural sector have thus proposed numerous changes in their activities trying to develop new forms of symbiosis, bringing back the notion of resilience. Beyond its buzz word aspect, resilience has essentially been associated with a set of organizational capacities to adapt and innovate in the face of a disruption in the cultural environment, leaving little consideration to question the main drivers of resilience in cultural organizations. We propose then to study the adaptation of the Montreal festivals offer, building on primary data from 8 interviews with festival directors or managers and secondary data from internal and external documentation. We therefore mobilize the concept of the business model to identify and discuss the drivers for resilience in cultural organizations. We show a trend for festivals to come back to their formal business model despite the deployment of different innovations and identify role and purpose as the two main drivers for the resilience of festivals. Finally, we call for a comparison with other cultural organizations to discuss the preserving and reconfiguring aspects of their resilience.
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Urbans, Mihails, Jelena Malahova, and Vladimirs Jemeļjanovs. "Compliance of fire safety measures for accommodation of people in Riga schools." In 21st International Scientific Conference "Economic Science for Rural Development 2020". Latvia University of Life Sciences and Technologies. Faculty of Economics and Social Development, 2020. http://dx.doi.org/10.22616/esrd.2020.53.027.

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This article describes the situation with fire safety at Riga schools regarding their compliance with the fire safety requirements set in Latvia for accommodation of people in schools. The objective of the current paper was to research and evaluate the compliance with the requirements of regulatory enactments regarding the accommodation in Riga schools and analyse the actual fire safety situation during accommodation of participants of the Dance and Song Festivals in Riga schools. The research was conducted in spring of 2018, prior to the Dance and Song Festival, assessing the compliance of 60 accommodation sites with the Latvian regulatory enactments on fire safety. During the Dance and Song Festival, it was planned to organise accommodation places in schools for 24 000 persons – participants of the festival events in the city of Riga. Ensuring fire safety at public facilities is a topical issue for any country, since the fulfilment of fire safety requirements is important not only in cases, when school premises are intended to be used for temporary accommodation of participants of the Dance and Song Festivals for a period not exceeding a week, but also in cases when children have to stay in school premises every day to receive the knowledge they will need in their future lives and the fulfilment of fire safety regulations is an important condition for providing the overall safety.
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Khalil-Butucioc, Dorina. "Stimulating dramaturgy in the Republic of Moldova: from art education to theater festivals." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.22.

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Starting with the 90s, realizing the need to support and promote the new national drama, at the Writers’ Union was set up a Drama Section, AMTAP introduced the Dramaturgy and Screenwriting specialty, the Ministry of Cultures and UNITEM initiated a National Drama Competition. In this context, Dramaturgy Workshops were created at the „Luceafărul” and „M. Eminescu” Theaters, at the Center for Contemporary Dramaturgy (CDC) (2012—2013), at the School of Contemporary Dramaturgy of the Center for Cultural Projects „Arta Azi” (2017, 2018, 2020); Dramaturgy camps were organized at the „Codru” Sanatorium, near Calarasi, (1997), in Vadul lui Vodă (2001),and Râbniţa (2020); some national and international festivals were held in the country: the Festival of Contemporary Dramaturgy in the Republic of Moldova, (May 2-8, 1998), the International Theater Festival „Satiricus I.L. Caragiale” (2008, 2011, 2018, 2020), the „Verbarium” International Festival of Contemporary Dramaturgy(2013, 2014). The results of these actiivities were reflected in specialzed collections, many pieces were written, necessary translations were made depending on the specifics of the linguistic event etc.
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Garro Vidal, Jimena. "Los eventos culturales en el territorio: una geografía de la fiesta folclórica en el corredor de la ruta 9 del centro y noroeste argentino." In Seminario Internacional de Investigación en Urbanismo. Barcelona: Facultad de Arquitectura. Universidad de la República, 2015. http://dx.doi.org/10.5821/siiu.6187.

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Las localizaciones y los desplazamientos que provocan los festivales forman parte de una dinámica temporal y espacial que contribuye a la construcción y transformación de territorios y de sus procesos culturales. La investigación se propone contribuir a la caracterización de una "geografía de la fiesta folclórica" mediante un primer análisis del conjunto de celebraciones que se realizan en el sector de la ruta 9 del centro y noroeste argentino. Se intenta interpretar su organización a través de su caracterización en mapas, redes e itinerarios en diferentes escalas (local, regional y nacional), implícitos en la construcción social de fiestas y su convocatoria, permitiendo reconocer a estas festividades no como hechos aislados en sí, sino como parte de procesos culturales vinculados tanto en el tiempo como en el espacio, a los que son capaces de transformar. Esto aportará a ofrecer conocimiento sobre estas transformaciones, y proponer herramientas que favorezcan su mejor desenvolvimiento. The locations and movements provoked by the festivals are part of a temporal and spatial dynamic that contributes to the construction and transformation of territories and their cultural processes. The research proposes to contribute to the characterization of a "folk festival geography" a group of celebrations in the corridor area in 9 route of the centre and northwestern of Argentina, and try to interpret its the local organization through its characterization in maps, networks and routes in various local, regional and national levels, implicit in the social construction of the festivals and the gathering, allowing recognize these festivities not as isolated events, but as events that belong to concatenated cultural processes in both time and space being able to transform them. This will contribute to providing knowledge about these transformations and tools for their organization in order to improve their performance.
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Wang, Mao. "The Influence of People’s Views on Chinese and Western Festivals on Festival Marketing." In 2021 International Conference on Culture, Design and Social Development (CDSD 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220109.038.

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Reports on the topic "Festivals"

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Montero, Eduardo, and Dean Yang. Religious Festivals and Economic Development: Evidence from Catholic Saint Day Festivals in Mexico. Cambridge, MA: National Bureau of Economic Research, May 2021. http://dx.doi.org/10.3386/w28821.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Green, Ben, and Catherine Strong. The climate crisis is crushing Australian festivals. Edited by Reece Hooker. Monash University, March 2024. http://dx.doi.org/10.54377/45fe-19ae.

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Duffy, Michelle, and Judith Mair. Changing the climate of festivals starts small. Edited by Reece Hooker. Monash University, March 2024. http://dx.doi.org/10.54377/c7e6-737e.

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Padania, Sameer Padania. The role of media festivals in strengthening independent media. International Media Support (IMS), August 2023. http://dx.doi.org/10.15868/socialsector.42479.

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Turner, Tom, and Nancy Hodges. Americana Music Festivals: An Ethnographic Exploration of the Experiential Consumptionscape. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-25.

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Stettler, Stephanie. Sustainable Event Management of Music Festivals: An Event Organizer Perspective. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.257.

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Ruff, Morgen. Instant Canons: Film Festivals, Film Criticism, and the Internet in the Early Twenty-First Century. Portland State University Library, January 2012. http://dx.doi.org/10.15760/honors.13.

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Caleb, Jaylin. Small But Mighty: Navigating the Future of Chocolate Festivals Through Strategic Planning and Digital Marketing Innovation. Ames (Iowa): Iowa State University, May 2023. http://dx.doi.org/10.31274/cc-20240624-1295.

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Chaitoo, Ramesh. The Entertainment Sector in CARICOM: Key challenges and Proposals for Action. Inter-American Development Bank, April 2013. http://dx.doi.org/10.18235/0009113.

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Although small in terms of population, the Caribbean is renowned for its creativity. Its cultural diversity is manifested in a variety of artistic expressions including folklore, crafts, performances, music festivals, and carnivals. Despite the Caribbean's great potential in the entertainment sector, important domestic challenges - emanating from both public and private sectors - have long impeded the successful growth of creative industries. The paper explains how the implementation of the Economic Partnership Agreement with the European Union should serve as an impetus for stakeholders in the region to address these barriers thereby creating favorable conditions for the production and export of Caribbean entertainment services. This Study presents an overview of policies in the creative sector in terms of the promotion of services exports in selected CARICOM states: Barbados, Jamaica, and Trinidad and Tobago. This Technical Note highlights bottlenecks to implementation of recommendations proposed in existing analyses and diagnostics and suggests specific ways in which these can be overcome. It formulates concrete recommendations for relevant actors, including donors and domestic governments, to promote the development of the creative industries.
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