Academic literature on the topic 'Performing arts festivals'
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Journal articles on the topic "Performing arts festivals"
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Santoso, Iwan Budi. "CITY BRANDING STRATEGY THROUGH PERFORMING ARTS (URGENCY OF CULTURAL FESTIVALS IN SOLO CITY)." International Journal of Modern Trends in Social Sciences 3, no. 13 (September 15, 2020): 58–65. http://dx.doi.org/10.35631/ijmtss.313006.
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City Branding Strategy through Performing Arts (Urgency of Cultural Festivals in Solo) reveals the phenomenon of the urgency of festival existence in Solo. Festivals dominated most of the cultural events in the Solo City of 61 calendars of events in the form of performing arts. In the spirit as a means of finding alternative resources, performing arts festivals in the City of Solo are also used as a strategy for branding the city. This city imaging strategy involves the government, universities, communities, and businessmen to make the festival in the city of Surakarta be held continuously. The events of festivals to carnivals in building the image of a city can be interpreted as an increase in the creative economy based on a symbiotic mutualism. Thus, the festival that has taken place in the city of Surakarta in the future will make the answer in facing global economic civilization.
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Amorim, Daniela. "The impact of performing arts festivals on tourism development: analysis of participants' motivation, quality, satisfaction and loyalty." Tourism & Management Studies 16, no. 4 (October 31, 2020): 45–57. http://dx.doi.org/10.18089/tms.2020.160404.
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The festivals have had a very positive impact on tourism development, and on the promotion of destinations, they are positioned as important attractive elements that boost tourism in the several regions, as well as its economic and cultural development. This study aimed to analyse the motivation, quality, satisfaction and loyalty of two performing arts festivals participants (Andanças, Portugal and La Sierra, Spain). It followed a quantitative methodology, and questionnaires were applied to the participants of the events under analysis. The results of the test-t indicate that La Sierra festival participants (n=235), compared to Andanças festival participants (n=297), perceive the festival as having more quality (catering, hotel, information and transport), and are more faithful to the festival (even if prices increase). The results obtained contribute to a better understanding of the needs and perceptions of participants who practice festival tourism, particularly in performing arts festivals, supporting the manager's strategies in organising this type of event.
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Qureshi, Bilal. "Elsewhere: The Last Circus." Film Quarterly 74, no. 1 (2020): 84–87. http://dx.doi.org/10.1525/fq.2020.74.1.84.
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FQ columnist Bilal Qureshi reports from his first visit to the documentary film festival True/False in Columbia, Missouri. Overcoming his initial trepidation—both at the prospect of traveling just as the coronavirus was gathering steam and at the festival's regional location—Qureshi finds himself falling in love with film festivals all over again. Yet the contact high of the collective experience provided by the festival, with its freedom to collide with films and audiences through impromptu gatherings and celebrations, takes on a heightened poignancy in this moment of COVID-19. While noting the uncertainties of the new cinematic and social order that will emerge post-COVID, Qureshi hopes that the opportunity to press reset might result in more small-scale, community-focused festivals like True/False.
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Van Belle, David. "“Festivalizing” Performance: Community and Aesthetics through the Lens of Three Festival Experiences." Canadian Theatre Review 138 (March 2009): 7–12. http://dx.doi.org/10.3138/ctr.138.001.
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Although the history of Canadian theatre has been greatly shaped by the existence of the long-established Stratford and Shaw Festivals, a new creative energy is coming from a crop of alternatives to them. These newer festivals are an increasingly important part of the Canadian performance landscape, in part precipitated by a renaissance in performance-creation work by independent artists and performance collectives who eschew the “season and theatre building” model of performance. Instead, these creators favour fluid creation methodologies and presentation arrangements that are well suited to the fluidity of a new festival model of presentation. Over the past decade, a whole network of festivals has been set up across the country to embrace such work, anchored by now venerable festivals such as One Yellow Rabbit’s twenty-three-year-old High Performance Rodeo. Some of these festivals are high profile; Vancouver’s PuSh Festival and the National Arts Centre’s Magnetic North Festival have provided important national stages for new work. Others, like Calgary’s Mutton Busting Festival and Toronto’s RED Festival, happen on a smaller scale and in local settings. Although these smaller festivals tend to be more temporary in nature (both the festivals just mentioned are now defunct), they provide necessary opportunities for new and adventurous work to be developed and seen.
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Van Winkle, Christine M., and Jill N. H. Bueddefeld. "Service-dominant logic and the festival experience." International Journal of Event and Festival Management 7, no. 3 (October 10, 2016): 237–54. http://dx.doi.org/10.1108/ijefm-12-2015-0046.
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Purpose The purpose of this paper is to understand the process of value co-creation by examining festival attendees’ perspectives of their festival experiences. Service-dominant logic (SDL) is used as a framework to understand the how value is co-created in the festival setting. Design/methodology/approach Using a SDL approach and personal meaning mapping methods, this research offers insight into how value is co-created by the attendee, festival, and influential others. Findings This research found that personal, social, cultural, physical, place, and arts presentation domains come together to add value to the festival experience. Research limitations/implications This research adds insight into the value co-creation process if festival settings. SDL is examined in relation to findings and re-conceptualized based on findings. This research was not intended to generalize all performing arts festivals but instead provided a detailed descriptive account of the experiences offered by performing arts festivals examined. Practical implications These findings contribute to the understanding of how co-created experiences can be developed, marketed and managed and provide insight into areas of future research to better understand the co-creation process in event contexts. Originality/value By providing a framework for understanding the festival experience, employing SDL, and using of experiential assessment methods across festivals, this research fulfils an identified need for an in-depth understanding of the co-created meanings of festival experiences.
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Simas, Richard. "Vancouver’s PuSh 2008 and the Phenomenon of Festivals." Canadian Theatre Review 138 (March 2009): 43–47. http://dx.doi.org/10.3138/ctr.138.008.
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Montreal and Toronto are arguably Canadian arts festival capitals, boasting heady and never-ending streams of performing arts, film, jazz, winter, literary, new music and ethnic festivals and cultural-tourist events. However, it may be instructive to look thousands of kilometres due west to examine the PuSh International Performing Arts Festival, located in the booming Pacific Rim and 2010 Olympic host city of Vancouver. Guided by executive director Norman Armour and co-founded with local theatre director Katrina Dunn, “the PuSh Festival engages and enriches audiences with adventurous contemporary performance … work that is visionary, genre-bending, startling, and original” (Press release). The organization’s October 2007 news release (“PuShing beyond the Borders”) and Web-site archives indicate that PuSh has grown exponentially in its six years. It now boasts a history consisting of two initial three-show seasons (2003—4) that morphed into festival formats in the last four years (2005—8), becoming an essential fixture on the Vancouver arts scene.
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Hunter, Mary Ann. "Youth Arts Festivals and the Politics of Participation." Canadian Theatre Review 106 (March 2001): 16–20. http://dx.doi.org/10.3138/ctr.106.003.
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Artrage, Next Wave, Take Over, Come Out, Loud and Fried are just some of the myriad youth arts festivals held in Australia in recent years. Usually supported by government arts funding and curated by professional producers, these festivals attract young artists, young audiences and lots of attention from those interested in new or emerging performance practices. Festival participation is increasingly popular among Australians, with over 30 per cent of eighteen-to-twenty-four-year-olds having attended a festival in the year prior to the last population census (Bureau of Statistics). Each state hosts at least one major recurrent youth arts festival, and many are vehicles for the development and presentation of new Australian theatre. Multimedia, interactive art and cross-art form performance often gain top billing in programming that privileges the innovative, highlights the social and sometimes inadvertently prescribes “the young.”
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Rastrollo-Horrillo, María-Angeles, and Lourdes Navarrete. "Evaluation Model of the Roles of Festivals in the Internationalization of Performing Arts: Evidence from Flamenco Festivals." Sustainability 12, no. 24 (December 12, 2020): 10405. http://dx.doi.org/10.3390/su122410405.
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There are hardly any studies that address the study of performing arts (PAs) festivals from the perspective of internationalization. Using the case of flamenco festivals as a case study, this paper determines the role of PAs festivals in the internationalization of the PAs. In the last three decades, a large number of flamenco festivals have proliferated and consolidated both in Spain and abroad. These two types of festivals (domestic and abroad) play different roles in the internationalization of this PA. Therefore, for the first time, and in line with the proposals for measuring results of the Socio-Economic Management Model (SEAM) approach, we propose to offer an evaluation model to guide the analysis and measurement of the role of festivals in the internationalization of the PAs that includes the tangible and intangible resources and capabilities necessary for the achievement of their role(s). This study contributes to the debate on the efficiency of cultural policy by proposing a qualimetric system of indicators that evaluate their achievement, differentiating between the immediate results achieved by the festival and the results in creating potential that will facilitate the achievement of sustainable results.
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Rachmawanti, Ranti. "Digital Kultur: Music and Cultural Festivals Platform of Performing Arts in Digital Era." Tonika: Jurnal Penelitian dan Pengkajian Seni 5, no. 2 (November 27, 2022): 166–77. http://dx.doi.org/10.37368/tonika.v5i2.448.
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This article discusses the results of research on the development of the Digital Kultur application as a platform for organizing cultural festivals. The purpose of this research is to find out the development indicators that can be used in applications. Digital Kultur is an invention in the form of an application made for organizing various cultural festivals in Indonesia. It is designed to be one of the solutions to address technological challenges in the world of music and performing arts. Digital Kultur has made it easy for participants to compete, perform and express their abilities in music not only within a small event, but also in a large-scale cultural festival, involving dance, folklore, and other art fields. By using this application, festival participants are managed online, starting from the registration process, auditions, judgment, up to the result before the final offline festival. Participants will perform live and record through the application of Digital Kultur in any city or place, respectively, with the specification of facilities and infrastructure adapted to the conditions of the local area. The selection and assessment process is carried out directly, and only selected participants as finalists will be invited to perform directly at the festival venue. The main point of using this application is the effectiveness and efficiency of the operational time of the festival.
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Winkelhorn, Kathrine. "Københavns Internationale Teater – en banebryder for scenekunst." Peripeti 19 (October 11, 2022): 128–39. http://dx.doi.org/10.7146/peri.v19isaernummer2.134031.
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Copenhagen Interanational Theatre – breaking new grounds in performing artsMetropolis is organized by Copenhagen International Theater (KIT), which has been the primary driving force behind international, cross-disciplinary performing arts in Denmark since 1980 with festivals, seminars, workshops, and residencies. KIT has organized the legendary Fools Festivals, Dancin’ City, Images of Africa, Sommerscene, Dancin’ World, New Circus Festival, etc. as a major international platform in the Nordic countries. Presently KIT is working as an art-based metropolitan laboratory for the performative, site-specific and international art.
Dissertations / Theses on the topic "Performing arts festivals"
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Batchelder, Xela Ann Pollock. "The world's largest arts festival, The Edinburgh Festival Fringe mechanics, myth and management /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149104422.
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Zabrovskaya, Yulia, and Monika Pavilonyte. "Revenue determinants of music festivals : A case of pop/rock, jazz and classical music festivals in Scandinavia." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13771.
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We have chosen several types of festival (rock/pop, classic and jazz) in Scandinavian region (Sweden, Denmark and Finland), selected the biggest music events in each of the regions and marked the main factors affecting the revenue of the festival, why some of festivals occurring every year and some just have lack of visitors, as we suppose. Purpose is to define the main factors which influence revenues of festivals of classic, rock/pop and jazz genre. Methodology is to determine these factors. Quantitative analysis was used in order to collect necessary data. Organizers of festivals in Sweden, Finland and Denmark took part in the survey; they answered and gave information to main research questions, primary data. Secondary data was sourced from music events web-pages and articles. The collected data was analyzed by means of the statistical programs. We conclude that the research showed that the share of international artists, number of sponsors, the number of volunteers, the length of the music event, the music genre of a festival and government grants for the classic festivals affect festival revenues.
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Meekison, Lisa. "Playing the games : indigenous performance in Australia's Festival of the Dreaming." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670221.
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Pretorius, Susanna Cornelia. "Visitors' perceived contribution of South African arts festivals to the arts / Susanna Cornelia Pretorius." Thesis, North-West University, 2013. http://hdl.handle.net/10394/9824.
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The primary goal of the study was to determine the contribution of three distinct South African arts festivals to the arts, namely Klein Karoo National Arts Festival (KKNK), Innibos and Vryfees arts festivals as perceived by visitors to the festivals. To achieve this goal, five objectives were formulated. Firstly, to provide a literature overview of the arts phenomena, by exploring the relationship between arts and culture, the arts context, the arts-related tourism product and then the perceived contributions of arts festivals to the arts; secondly, to determine the perceptions that the visitors to Klein Karoo National Arts Festival (KKNK) have regarding the festival’s contribution to the arts and whether the perceived contributions differs according to the sociodemographic characteristics of the visitors to KKNK; thirdly, to determine the perceived contribution of Innibos Low Veld National Arts Festival (Innibos) and Vryfees Arts Festival (Vryfees) to the arts and, here, to analyse possible differences regarding festival visitors’ involvement in the arts according to their arts preferences; fourthly, to determine the perceived contribution of arts festivals in South Africa to the arts at three arts festivals, namely the KKNK, Innibos and Vryfees festivals, and then to analyse whether or not the festivals differ in terms of their contribution to the arts; and lastly, to draw conclusions from the research and to make recommendations regarding the contributions that these selected South African arts festivals make to the arts.
The first objective was achieved by conducting a literature study. Literature was analysed to dentify the relationship between arts and culture when defining the arts. The arts were then placed in the arts festival context; explaining and identifying different art forms that can be present at these events, where after the arts related tourism products were explored with a particular focus on arts festivals. Six contributing factors that arts festivals have for the arts were identified from the literature and each was discussed separately. The contributing factors discovered include the emotional contribution, educational contribution, economic contribution, quality contribution, marketing contribution and the growth and development contribution.
Achieving the second objective entailed using a destination-based survey administered at KKNK in Oudtshoorn, Western Cape. An exploratory factor analysis was subsequently conducted and five factors revealed themselves, being Visual arts enhancement, Performing arts enhancement, Emotional inspiration, Visual arts involvement and Performing arts exposure. The factor analysis indicated that KKNK is perceived to contribute to the arts. ANOVAs and ttests were undertaken for further statistical analysis to determine differences in perception between socio-demographic characteristics, such as age, previous arts exposure, arts preference and geographic location of the visitors to KKNK. As the festival is perceived to contribute to the arts, implications were structured for the festival to ensure its continuing contribution to all forms of the arts equally.
The third objective was to determine the contributing factors to the arts of two arts festivals, the Innibos and Vryfees festivals, and to determine whether or not preference for a particular type of art might influence personal arts involvement at the festivals. Surveys were conducted at both Innibos in Mbombela, Mpumalanga and at Vryfees in Bloemfontein, Free State. Separate exploratory factor analyses and two-way frequency tables were subsequently conducted to determine the contributing factors of the festivals. This process was followed by independent ttests that were used to investigate any statistically significant differences between visitors who preferred the performing arts and those who leaned towards the visual arts and to their personal involvement to the arts. The results show some moderate differences between arts preference and personal arts involvement concerning the purchase of performing and visual arts products and activities. The results are relevant when the marketing and planning of arts festivals is considered in order to achieve both better arts contribution and personal arts involvement.
The fourth objective sought to determine the perceived contribution of three Afrikaans arts festivals, the KKNK, Innibos and Vryfees festivals, to the arts. Differences in contributions amongst the festivals were analysed and those areas that seemed to lack contribution were identified. Questionnaire surveys were conducted, whereafter an exploratory factor analysis was performed to determine by means of factors the perceived contribution at these arts festivals. ANOVAs were done to determine any statistically significant differences in the contributions of the three festivals to the performing arts and to the visual arts in terms of each contribution as identified in literature. The results of this study indicated that the extent of their contribution varied in terms of both the type and the level of their contribution to the arts they presented. The results confirm that the visitors to Afrikaans arts festivals in South Africa perceive them as contributing to the arts. Marketing, programming and planning proposals to effectively increase the arts contribution at these three festivals were also made.
The final objective, to draw conclusions and make recommendations founded on the results of the study, indicated that this study made a significant contribution to arts festival planning as it would lead to the development of arts festivals contributing to the arts more effectively and more efficiently.
This research made a significant contribution to arts festival research and the contribution that arts festivals have to the arts, since this is the first of its kind. It was recommended that the actual contribution of arts festivals to the arts be measured and not merely the contributions these festivals may appear to have according to the perceptions of festival visitors. It was also evident that the personal involvement of visitors to the arts festivals must be considered when evaluating the contribution of the festivals to the arts. Future research on this topic should be conducted at other arts festivals in order to enable comparative studies. A better understanding of the contributing factors of the arts festival to the arts will assist festival managers in implementing strategies that ensures the livelihood and on-going contribution of arts festivals to the arts. Examining arts festivals based on their perceived contributions has, therefore, proved useful to comprehensively evaluate the festivals under review and particularly as they seek to increase their contribution to all types of arts.Thesis (MCom (Tourism Management))--North-West University, Potchefstroom Campus, 2013.
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Reeve, Zoë Rose Louise Patricia. "Staged authenticities an exploration of the representations of AmaXhosa culture within the main programme of the National Arts Festival, 2009." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002378.
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This thesis investigates the presentation of AmaXhosa traditional dancing and music on the stages of the National Arts Festival (NAF), Main Programme, of South Africa in 2009. Four productions featuring AmaXhosa traditional dancing and music, as well as a fine art exhibition, are analysed to determine how the AmaXhosa culture is being portrayed, what is considered authentic and how these productions may affect the memory of the AmaXhosa nation. In an attempt to understand the position of these productions within the NAF the South African cultural context as well as the NAF is examined. The post-apartheid, post-rainbow nation, South African cultural context is discussed and how the NAF could contribute towards creating a more unified South African identity. Incorporated and inscribed memory categories are related to how one could determine authenticity in traditional indigenous productions. A cautionary note on incorporated memory is linked to efficacy, while a loss of incorporated memory within the AmaXhosa society may result in ritual acts being orientated towards entertainment. If the private culture is consistently displayed in the public realm then it is inevitable that the ways in which the AmaXhosa recollect their history will be altered. The contribution of the transitional spaces of theatres and proscenium arch stages to the choreography and incorporated memory of the performers relates to the collective recollection of the AmaXhosa. Bearing this in mind, this thesis suggests that the NAF is playing a dual role in the evolution of the AmaXhosa. It is both positively contributing to the economic upliftment of a sector of the population and exposing people to this rich and multilayered culture. However, it is also impacting the efficacy of the private culture and fracturing the traditional knowledge of the AmaXhosa by assisting in the inscription of their performance forms.This thesis consists of three parts (1 pdf document and two video mp4 files)
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Antrobus, Richard Roy. "The advent of the 'Festivore' an exploration of South African audience attendance in the performing arts at the National Arts Festival." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002362.
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In South Africa, the performing arts have contributed to enhancing national identity and distinctiveness despite coming up against weak legislation, policy and infrastructure to support their growth and proliferation (Fredericks, 2005: 9). Coupled with a decline in both government and consumer support and the contradictory disparity between valuing the arts and the funding of the arts, theatre companies can no longer rely on the comfort of external subsidies and financial support. In order to be economically viable and sustainable to ensure their survival, there is an increasing demand for theatre companies to look to novel ways of increasing audience demand for theatre and improving audience attendance. However, instead of risking artistic integrity and the performance product to satisfy the market, this research suggests that promotion and development of theatre at arts festivals provides a platform to access a wider theatre-going public, which therefore facilitates a change in the market focus toward appreciation of the product (production). It explores leading arguments pertaining to the attendance of arts and cultural events, namely, Peterson and Simkus (1992), later updated by Peterson‟s (2005)„omnivore-univore‟ argument. The argument purports cultural consumption as binary in nature: either significant and diverse or limited, if not absent altogether. Supported by a number of case-studies, including Chan and Goldthorpe (2005) and Montgomery and Robinson (2008) and Snowball et al. (2009), the investigation challenges Bourdieu‟s (1984) theory on cultural distinction as well as the homology and individualisation argument. In determining the factors that influence cultural taste and consumer behaviour, including motivators and inhibitors of attendance and a predominant emphasis on audience risk and information asymmetry, the research was placed in a local context, providing an overview of the socio-economic theatre environment in South Africa. It investigated the nature, structure and impact of local festivals (as events) in changing audience demand and theatre attendance. With specific reference to the South African National Arts Festival (NAF) the research notes the effects of Hauptfleisch‟s „eventification‟ phenomenon on univore attenders and therefore expands the omnivore-univore theory to include a new breed of attender: the “Festivore”. A case study explored the “Festivore” hypothesis through empirical research, surveys and face-to-face qualitative interviews and on-seat questionnaire responses by festival attenders. Personal interviews and communication was also carried out with leading experts in the field. The data was then analysed using SPSS 13 electronic statistical analysis programme to determine the socio-demographics and the factors that affect theatre attendance of existing, as well as potential target, theatre audiences at the National Arts Festival The study concluded that South African theatre attenders are generally omnivorous consumers and that, more importantly, there seems to be a shift towards „festivorous‟ consumption. Furthermore, evidence supports the development and proliferation of festivals as a means not only to support and promote the arts in South Africa but, more importantly, to generate new theatre audiences and entrench theatre attendance into South African culture.
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Snowball, Jen. "Towards more accurate measurement of the value of the arts to society: economic impact and willingness to pay studies at the Standard Bank National Arts Festival." Thesis, Rhodes University, 2001. http://hdl.handle.net/10962/d1002672.
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The accurate measurement of the value of the arts to society is becoming increasingly important in developing countries, like South Africa, where the arts must compete with housing, health, education and the like for public funds. Motivation for the public funding of arts events, like the Standard Bank National Arts Festival in Grahamstown, is usually based on the economic impact, that is, the financial benefits to the region, of such events. The argument is problematic, however, because the primary recipients of such economic benefits are often middle to upper income groups who also attend more arts performances. Furthermore, the studies have not taken into account the positive externalities which, it is argued, are generated by the arts and are enjoyed by attenders and non attenders alike. This thesis argues that it is the social benefits which the arts provide, those external to the market, which should be the basis of public funding. In order to quantify these positive externalities, a willingness to pay (WTP) study was conducted in the Grahamstown region. It is generally, but erroneously, believed that the Festival does not benefit the poorer, largely black, Grahamstown East residents. The study found that, in addition to the economic value (R23 - 25 million a year), the non-market benefits which the festival provides are worth between R2.3 and R3 million a year and form a very important part of its value, particularly to low income groups. The study also found that there are methodological adjustments which can be made to WTP studies to successfully control for the many forms of bias it is prone to. By using a combination of closed and open ended and liable and non-liable questions, the motivation of respondents' answers to WTP questions was determined, making it possible to adjust for bias caused by, for example, "free rider" and "warm glow" responses. It is argued that by identifying and excluding such responses from WTP surveys, it is possible to reduce bias to an acceptable level.
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Lees, Jennifer Anne. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051109.114852/index.html.
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Thesis (Ph.D.) (Communication & Media) -- University of Western Sydney, 2003.A thesis submitted in requirement for the degree of Doctor of Philosophy - Communication & Media, University of Western Sydney, 2003. Bibliography : leaves 350-372.
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Ka'ai-Oldman, Rachael Te Awhina, and n/a. "Takina ko au, Takina ko koe! Te ahuatanga o te whakataetae kapa haka." University of Otago. Te Tumu - School of Maori, Pacific and Indigenous Studies, 2005. http://adt.otago.ac.nz./public/adt-NZDU20070430.123401.
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Nga mahi a Tane-rore me Te Rehia (traditional Maori performing arts) is one of the most visible aspects of Maori culture. Traditional Maori performing arts is one of the key elements seen on the marae and it marked the first experiences between the Maori and European explorers. However, since the arrival of tauiwi (foreigners) the art has evolved, largely as a result of outside influences. Many of the changes that have been introduced to the art have been a product of the struggle of Maori to maintain their language and customs, despite the onslaught of cultural domination. An example of one such change is the introduction of a Western style competition, that is, a formal style of competition that includes judges, assessment criteria and/or competition rules, and prizes. This thesis will explore the evolution of traditional Maori performing arts with particular reference to how this traditional art form has been affected by the 'Western' notion of competition.
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Bragge, Brent Reuben. "Economic impact studies and methodological bias : the case of the National Arts Festival in South Africa." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002702.
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Over the course of the last three decades, it has become popular practice to evaluate tourism events like cultural festivals in financial terms, through the use of economic impact studies. This can be attributed at least in part to the notable growth in the number of festivals being held globally and, as such, a higher level of competition between festivals for the limited funding which is available. Economic impact studies, and the resultant findings, have thus become powerful tools for the lobbying of sponsorship, and it has become increasingly important that the impact calculations be as accurate as possible, so as to effectively allocate both government and private resources to projects which will be of the greatest benefit to the host region. The allocation of funding is especially vital in an area like the Eastern Cape Province of South Africa, which is faced with many financial difficulties. The allocation of public funds to an event like the National Arts Festival, which is hosted in a relatively wealthy part of the province, might be weighed against initiatives which directly benefit the poorer parts of the region. Although it is acknowledged that the benefits which are felt by the host community of a cultural event go beyond that of the financial, it is often on this basis that festivals are most easily compared. The primary goal of the thesis was to analyse the various forms of methodological bias which can exist in the economic impact analyses (EIA) associated with cultural events. Theoretical considerations were discussed, specifically regarding economic impact as a method of measuring value. Various forms of bias (including data collection, the calculation of visitor numbers, multipliers, defining the area of interest, inclusion of visitor spending, and accounting for benefits only, not costs) are put into a real-life context, through the investigation of economic impact studies conducted on three selected South African festivals (the Volksblad, the Klein Karoo Nasionale Kunstfees, and the National Arts Festival), and one international festival (the Edinburgh Festival). An in-depth comparison of two separate studies conducted at the National Arts Festival (NAF) in 2004 (by Antrobus and Snowball) and 2005 (by Saayman et al.) was made, focussing on the manner in which the economic impact was calculated. Having considered the common forms of bias, and assessing several possible reasons for the difference of approximately twenty million Rand in the advertised economic impacts, it was concluded that, most likely, the miscalculation of visitor numbers was the cause. This was confirmed when the Antrobus and Saayman methods were applied to the 2006 NAF data, and noting that the economic impact figures arrived at were strikingly similar. As such, it is advisable that extreme caution be taken when calculating visitor numbers, as they can significantly influence the outcome of an economic impact study. It is recommended that each study should also have transparent checks in place, regarding the key calculation figures, to ensure that less scrupulous researchers are not as easily able to succumb to the pressure event sponsors might impose to produce inflated impact values.
Books on the topic "Performing arts festivals"
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festivals, France, and Réseau en scène Languedoc-Roussillon, eds. Les publics des festivals. Paris: Michel de Maule, 2010.
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Claire, David, and Mezamat Pascale de, eds. Avignon 50 festivals. [France]: Editions locales de France, 1996.
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Tagle, Maria Rosaria. Spettacoli a Paestum: Dalle rappresentazioni classiche degli anni trenta a oggi. Napoli: Arte tipografica, 1995.
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Jim, Lark, ed. Fringe: Seeing it, doing it, surviving it-- a complete guide to the Edinburgh Fringe. London: Friday, 2006.
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Claire, David, ed. Avignon 98: Les clés du festival. Arles: Acte Sud-Papiers, 1998.
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Clément, Catherine. La pègre, la peste et les dieux. Paris: Editions Theatrales, 1991.
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Bruno, Tackles, ed. Le cas Avignon 2005: Regards critiques. Vic-la-Gardiole: L'Entretemps éditions, 2005.
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Joxe, François. Festival de Gavarnie, 1985-2004: Vingt ans d'épopée théâtrale. Paris: Amandier, 2007.
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Yamamoto, Matori. Art and identity in the Pacific: Festival of Pacific arts. Osaka: Japan Center for Area Studies, National Museum of Ethnology, 2006.
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Tan, Sooi Beng. The multicultural performing arts, crafts, festivals, and food of Penang. Minden], Pulau Pinang: School of the Arts, USM, 2011.
Find full textBook chapters on the topic "Performing arts festivals"
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Campbell, Regina. "Development of a Multidisciplinary Approach to Wellness and Injury Management at an Intensive Youth Orchestra Summer Festival." In Perspectives in Performing Arts Medicine Practice, 385–93. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37480-8_24.
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"Festivals, Companies, and Productions." In Derek Walcott, The Journeyman Years, Volume 2: Performing Arts, 109–209. Brill | Rodopi, 2013. http://dx.doi.org/10.1163/9789401210072_004.
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Carnelli, Luisella. "Operaestate Festival Veneto, A socio cultural and economic analysis." In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2622.
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Bassano Operaestate Festival Veneto has presented more than four hundred shows in castles, parks, palaces, villas, squares and museums in thirty municipalities of the region of Veneto in the North East of Italy. The festival hosts artists and productions from all over the world, ranging from contemporary theatre to the most innovative international dance, music, opera, classical, jazz and art films. The diversity, breadth and quality of its programmes are its greatest strengths. The primary objective of the festival is to enable large audiences to experience the performing arts in its many different forms, and to do so through a programme of cultural animation across the entire region. This case study of Bassano Operaestate aims to provide a picture of the effects produced by the festival with over three decades of activity, in an area that has experienced vibrant and dynamic growth in the industrial, creative, artistic and cultural sectors, especially in recent years. The research study was commissioned by the festival and carried out by Fondazione Fitzcarraldo (FF). FF is an independent centre, based in Turin, for planning, research, training and documentation on cultural, arts and media management, eco- nomics and policies, at the service of those who create, practice, take part in, produce, promote and support arts and cultural activities.
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Ruperti, Bonaventura. "Food Culture and Traditional Performing Arts in Japan." In Ca’ Foscari Japanese Studies. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-559-9/010.
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Food and cuisine in Japan as well as in Italy – and certainly not only in France – are culture. The importance of food is naturally vital and is therefore the foundation of the rites, in which offerings to the deities also take place. In Japan, gods are presented offerings of rice, foods from the seas and the mountains, drinks (sake), as well as flowers, in rituals. At the same time the performing arts (poetry, music and dance) are also important in the rituals, dedicated to the divinities and to the audience on the occasion of rites and festivals. The paper will discuss food and drink, which are the basis of civilisation and nutrition in Japan, in connection with traditional theatres: from nō, to kyōgen.
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Autissier, Anne-Marie. "Transnational Festivals, a European Alternative, Les Boréales and Reims Scènes d’Europe." In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2635.
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At a time when concepts of European identity and integration are receiving increased critical comment, something to which Dragan Klaić devoted much of his attention, it is appropriate that research on festivals should examine and discuss the extent to which they are able to provide special opportunities for promoting knowledge, understanding and experience of Europe across borders and beyond. For those festivals that possess such qualities of ‘Europeanness’, such focused research should analyse those qualities and what can be learnt from studying the festivals that possess them. This chapter proposes to explore these important questions and themes through an examination of Les Boréales and the Reims Scènes d’Europe festivals. Analysis of the latter was undertaken in the context of the European Festival Research Project 1 , and of the former for a research project piloted by the Observatory for Cultural Policies in Grenoble for the Ministry for Culture and Communication of France 2 (Autissier and Deniau, 2013). This chapter is also the continuation of an investigation published in The Europe of Festivals (Autissier, 2008) 4 . This analysed the role of cross-border festivals and cross-border festival ‘twinning’ schemes. It highlighted in particular the pioneering role played by events such as Perspectives, a live performing arts festival based in Sarrebrück (Germany), which operates in close collaboration with cultural organisations in Forbach and Sarreguemines (France), and of the Mira! Festival, which takes place in the south of France and which introduces its audience to contemporary work from Spain and Portugal. Also analysed were the blossoming cross-border initiatives between France and Belgium. From reconciliation to a culture of cross-border sharing, I believe such initiatives aim to promote borders as meeting sites, as well as places for mutual discovery 5 (Autissier, 2008, pp73-87). For the purposes of this chapter, I will examine two festivals that take place in regional French capitals, and which aim to straddle European borders, criss-crossing the continent from north to south and east to west.
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Catra, I. Nyoman. "The Evolution of Performing Arts Patronage in Bali, Indonesia." In Sounding Out the State of Indonesian Music, edited by Andrew McGraw and Christopher J. Miller, 40–49. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501765216.003.0003.
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This chapter outlines a general history of performing arts patronage in Bali. It contextualizes a detailed analysis of the role of contemporary arts clubs—sanggar—that have flourished on the island since Reformasi. To get a broader picture of the current state of sanggar in Bali today, the chapter considers how arts activities were managed and recognized in previous generations. While prior forms of patronage were overwhelmingly hierarchical (via the courts) or communal (through village, temple, or neighborhood support), the chapter stresses that modern sanggar are often organized and controlled by charismatic individuals with independent means. It emphasizes that sanggar also afford forms of sociality independent of traditional social networks, aligned instead along aesthetic affinity. The chapter concludes by noting that their emergence represents a major new node in the Balinese art ecology, interfacing with the traditional scenes of educational institutions, festivals, and religious ceremonies.
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MacDonald, Raymond A. R., and Graeme B. Wilson. "Improvisation and new frontiers in creative practice." In The Art of Becoming, 1–24. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190840914.003.0001.
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This chapter draws together recent advances across musical fields to frame improvising as an innovative and vibrant way of doing creative practice at a professional level and in everyday life. It presents examples of cross-disciplinary improvised work and festivals at the cutting edge of the performing arts. Improvised music is discussed in relation to broader social and cultural change and transformations within the media and music industry. The possibilities of new digital technologies for expanding improvising are reviewed and help set the context for the proceeding chapters. It shows how group improvisation involves the spontaneous generation of novel music, dance, or art by two or more people. It describes the groundswell of interest across the arts in improvisation with artists, festivals, and venues dedicated to pushing this creative approach beyond genre boundaries.
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Henry, Rosita. "Chapter 4 Engaging with History by Performing Tradition: The Poetic Politics of Indigenous Australian Festivals." In The State and the Arts, 52–69. Berghahn Books, 2022. http://dx.doi.org/10.1515/9780857450722-006.
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May, Will. "Music and Contemporary Poetry: Audience, Apology and Silence." In The Edinburgh Companion to Literature and Music, 616–23. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0064.
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This chapter considers the relationship between music and contemporary poetry in the UK. It explores works by Paul Muldoon and Kate Tempest, considers the increasing importance of poetry in performing arts festivals, and notes the musical scepticism of Geoffrey Hill. It considers the musical reading and listening relationship outlined in Fiona Sampson’s work, and offers a close listening of Lavinia Greenlaw’s poem ‘Silent Disco’.
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"Claude-François Ménestrier’s Theories on Festivals and Performing Arts Encompassed by an Overarching Image Philosophy: An Introduction." In "Images d’action", 11–26. Wilhelm Fink Verlag, 2018. http://dx.doi.org/10.30965/9783846762257_002.
Full textConference papers on the topic "Performing arts festivals"
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Elsden, Chris, Vikki Jones, Ingi Helgason, Lizzie Abernethy, and Will Brown. "FestForward: Participatory Design Futuring and World-Building for Equitable Digital Futures in Performing Arts Festivals." In DIS '23: Designing Interactive Systems Conference. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3563657.3596033.
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Masunah, Juju, Trianti Nugraheni, and Yudi Sukamayadi. "Building Performing Arts Community through Bandung Isola Performing Arts Festival (BIPAF) in Indonesia." In Proceedings of the International Conference on Arts and Design Education (ICADE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icade-18.2019.39.
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Sukmayadi, Yudi, Juju Masunah, Ayo Sunaryo, and Martinus Miroto. "Creation of Intercultural Performing Arts for Virtual Stage of Bandung Isola Performing Arts Festival." In 4th International Conference on Arts and Design Education (ICADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220601.070.
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Tume Koshima, Tosin. "Cultural Integraton for State Identity in Nasarawa State's Choreographic Approach to Nafest "Danceturgey"." In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35912.
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This paper discusses the concept of “danceturgy” and its role in the National Festival of Arts and Culture (NAFEST) in Nigeria. NAFEST aims to promote national unity and identity through the performance of Nigerian cultural heritage. The guidelines for participation in the festival emphasize the reflection of cultural peculiarities and the use of authentic dance stories. The danceturgy at NAFEST involves stage and DVD presentations, with specific criteria for judging. The text highlights the creative process of the Nasarawa State Performing Troupe (NSPT) in developing their dance entry for NAFEST 2009, including the study of the festival syllabus, conception of the story idea, assembling choreographic devices, rehearsals, and the final performance. It is suggested that the NSPT choreographic approach be adopted and modified to suit NAFEST danceturgy.
Reports on the topic "Performing arts festivals"
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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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Rogers, Amanda. The Seven Colours Festival: Young People and Civic Participation in the Arts. Swansea University, July 2024. http://dx.doi.org/10.23889/sureport.66346.
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Based on our previous research (Rogers et al 2021) we noticed a difference between how artists think the arts relate to society, and how young people imagine this relationship. Young people wanted to see (and connected most strongly to) art works that more immediately engaged with the pressing social issues of Cambodia, many of which are political – including climate change, the expression of identity and human rights (e.g. LGBTQ identity), corruption and scams, and democracy. However, artists, particularly in the performing arts and music sectors, must walk a tightrope in making works that address this kind of content, with incidents of censorship most likely to occur in music (Brennert and Yean 2023). This raises the question of how the arts can connect to society, and the possibilities and limitations of this relationship. This project follows on from our initial findings, focusing on young people who may not have much experience of the arts. It considers how the arts may work for young people as a form of civic participation and what that might look like in Cambodia. To do this it traced the journey of four young interns in producing a youth festival (the 7 Colours Festival) during the course of 2023 for Cambodian Living Arts (CLA). We examined their participation in creating the event, how they connected the festival to the social concerns of young people, and evaluated how young people participated in the festival. Translation report available.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.
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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.