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1

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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2

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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4

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.
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Lees, Jennifer Anne. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/714.

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This thesis documents the early history of the City of Sydney Eisteddfod from its beginning in 1933 until it recessed in 1941 for the duration of the Pacific War. Eisteddfods had long been commonplace in Australia, but this competition began for political rather than cultural reasons in 1932, when organisers of the Harbour Bridge celebrations decided that since the spectacular edifice had made Sydney an icon on the world map, the city needed to cultivate a more sophisticated image. In observing events that led to its establishment, the project looks at the technological revolution of the 1920s and the social upheaval of the jazz age. This thesis observes that Sydney competition was Welsh only in name and grew from the political roots of the high and lowbrow debates that had come to divide society. In examining these issues, this thesis focuses on the Sydney contest, the talent that rose from its stages and the cultural revival that exploded in its wake. Written as a narrative history, this thesis draws mostly from empirical sources. It includes a statistical analysis and a substantial amount of original material
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Du, Toit-Pearce Minette. "Eisteddfod in Suid-Afrika met spesifieke verwysing na die Paarl Vallei Eisteddfod." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2945.

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Thesis (MMus (Music))--University of Stellenbosch, 2009.
The purpose of this thesis is twofold. In the first instance, it is to document the origins and history of the eisteddfod in general, and more specifically, in South Africa. In the second instance, this thesis will attempt to describe the meaning and role of the eisteddfod in South Africa. This will be achieved with the help of a case study, which will require that a local eisteddfod be researched and discussed. As a result of involvement with eisteddfods over a period of twenty-five years (first as a participant and later as a teacher and a member of the judging panel), the writer has, over time, become increasingly fascinated with the phenomenon of the eisteddfod. Some of the questions that have arisen include: Why do eisteddfods still take palce in South Africa? What role do they play in the present-day cultural education of learners? Do they still bear relevance in current musical (specifically vocal) practice? This thesis is aimed at determining why such high value is attached to eisteddfods in certain communities. Why did this centuries-old tradition, brought from the northern hemisphere to South Africa, survive for so long? And why is it so important for some teachers, parents and children that they must participate? There is a large volume of literature concerning the international history of the eisteddfod. As this general history is already comprehensively described, it will only be presented in this thesis as a broad historical framework for the more specific history of the eisteddfod in South Africa. The local history of the eisteddfod is, however, poorly covered by published information. The literature in existence is often incomplete, and in most cases covers only up to the 1960‟s. News and magazine archives can only really help to identify the location and date of various eisteddfods, and to highlight some interesting aspects thereof. The latest academic literature was published as far back as 1994. The hypothesis of the current study relates to the suspicion that significant change has taken place in the last thirteen years (since 1994) regarding the meaning and vi function of the eisteddfod in South Africa. As the literature relating to this period is so sparse, this hypothesis will be empirically tested in a case study. To place the eisteddfod in South Africa in a historical context it is important to first investigate its origins. Its origin in Wales and subsequent development will be examined. This background study will assist in determining how eisteddfods in South Africa compare with those in other countries. To describe the development of the eisteddfod in South Africa is more complicated, due to the lack of an accurately described history. The defined scope of this thesis does not, however, include the production of an accurate history. Rather, a partial history is compiled using contemporary sources such as newspapers and magazines, as well as secondary sources. The most important and possibly the most challenging aspect of this thesis concerns an in-depth investigation of the Paarl-Valley Eisteddfod. The purpose of this investigation was an empirical study to collect information regarding a specific eisteddfod as well as the community that participate and support it. This information was used to form interpretations as to whether an institution like the eisteddfod is still relevant, and if it still adds value to the development of children, learners and musicians. It also helped to direct speculation about the meaning and function of the eisteddfod to participants, parents and teachers.
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Snowball, Jen. "The economic valuation of cultural events in developing countries: combining market and non-market valuation techniques at the South African National Arts Festival." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002703.

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The arts in many countries, but particularly in developing ones, are coming under increasing financial pressure and finding it difficult to justify the increases in government funding needed to maintain and grow the cultural sector. The trend in cultural economics, as well as in other areas, appears to be towards including qualitative valuations, as well as the more traditional quantitative ones. This thesis argues that the value of cultural events should include long term historical qualitative analysis, financial or economic impact and a valuation of the positive externalities provided by cultural events and that any one of these should only be regarded as a partial analysis. Four methods of valuing the arts using the South African National Arts Festival (NAF) as an example are demonstrated. Firstly, a qualitative historical analysis of the role of the NAF in South Africa’s transformation process from Apartheid to the democratic New South Africa is examined, using theories of cultural capital as a theoretical basis. It is argued that the value of cultural events needs to take into account long-term influences especially in countries undergoing political and social transformation. The second valuation method applied is the traditional economic impact study. Four economic impact studies conducted on the NAF are discussed and methodologies compared. It is concluded that, despite the skepticism of many cultural economists, the method can provide a useful partial valuation and may also be used for effective lobbying for government support of the arts. Chapter four discusses willingness to pay studies conducted at the NAF in 2000 and 2003 (as well as a pilot study conducted at the Klein Karoo Nationale Kunstefees). It is found that lower income and education groups do benefit from the positive externalities provided by the Festival and that this is reflected in their willingness to pay to support it. It is also argued that such contingent valuation studies can provide a reasonably reliable valuation of Festival externalities, but that they may be partly capturing current or future expected financial gains as well. Finally, the relatively new choice experiment methodology (also called conjoint analysis) is demonstrated on visitors to the NAF. The great advantage of this method in valuing cultural events is that it provides part-worths of various Festival attributes for different demographic groups. This enables organizes to structure the programme in such a way as to attract previously excluded groups and to conduct a cost-benefit analysis for each part of the Festival.
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Hooi, Mavis. "Oriental Fantasy : A postcolonial discourse analysis of Western belly dancers’ imaginations of Egypt and dance festivals in Egypt." Thesis, Linköpings universitet, Avdelningen för historie-, turism- och medievetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-125565.

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Belly dance is popularly practised in the West, and every year, thousands of enthusiasts and professionals from around the world travel to attend belly dance festivals in Egypt, which is considered the cultural centre of the dance. This bachelor’s thesis examines the discourses produced by Western or ʽwhiteʼ belly dancers from Sweden and Finland, on the topics of tourism in Egypt and belly dance festivals in Egypt. The texts are analysed using James Paul Gee's discourse analytical framework, combined with postcolonial theory, complemented with an intersectional approach. From the postcolonial and feminist perspectives, belly dance discourse in the West and tourism discourse are problematic, as they perpetuate Orientalist tropes and unequal global power structures, which build on colonial discourse. It is hoped that by identifying and questioning these aspects of discourse that are problematic in terms of equity, this study will make a small contribution towards mitigating its adverse effects, and towards social change.

ORCID for Mavis Hooi : 0000-0002-0049-1095

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McIver, Sharon. "WaveShapeConversion : the land as reverent in the dance culture and music of Aotearoa : a thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Cultural Studies in the University of Canterbury /." Thesis, University of Canterbury. Culture, Literature and Society, 2007. http://hdl.handle.net/10092/1635.

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This thesis is the result of more than ten years involvement with outdoor dance events in Aotearoa, with a specific focus on Te Wai Pounamu (South Island) and Otautahi (Christchurch). Two symbiotic themes are explored here – that of the significance of the landscape in inspiring a conversion to tribal-based spirituality at the events, and the role of the music in ‘painting’ a picture of Aotearoa in sound, with an emphasis on those musicians heard in the outdoor dance zones. With no major publications or studies specific to Aotearoa to reference, a framework based on global post-rave culture has been included in each chapter so that similarities and differences to Aotearoa dance culture may be established. Using theoretical frameworks that include Hakim Bey’s TAZ (Temporary Autonomous Zone), the carnivalesque, and tribalism, the overriding theme to emerge is that of utopia, a concept that in Aotearoa is also central to the Pākehā mythology that often stands in for a hidden violent colonial history, of which te Tiriti o Waitangi (the Treaty of Waitangi) has been a source of division since it was signed in 1840. Thus, in the Introduction several well-known local songs have been discussed in relation to both the Pākehā mythology and the history of te Tiriti in order to contextualise the discussion of the importance of Māori and Pākehā integration in the dance zones in the following chapters. The thesis comprises of two main themes: the events and the music. At the events I took a participatory-observer approach that included working as rubbish crew, which provided a wealth of information about the waste created by the organisers and vendors, and the packaging brought in by the dancers. Thus the utopian visions that were felt on the dancefloor are balanced with descriptions of the dystopian reality that when the dancers and volunteers go home, becomes the responsibility of a strong core of ‘afterparty’ crew. Musically, the development of a local electronic sound that is influenced by the environmental soundscape, along with the emergence of a live roots reggae scene that promotes both positivity and political engagement, has aided spiritual conversion in the dance zones. Whereas electronic acts and DJ’s were the norm at the Gathering a decade ago, in 2008 the stages at dance events are a mixture of electronic and live acts, along with DJ’s, and most of the performers are local. Influenced by a strong reggae movement in Aotearoa, along with Jamaican/UK dance styles such as dub and drum and bass, local ‘roots’ musicians are weaving a new philosophy that is based on ancient tribal practices, environmentalism and the aroha (love) principles of outdoor dance culture. The sound of the landscape is in the music, whilst the vocals outline new utopian visions for Aotearoa that acknowledge the many cultures that make up this land. Thus, in Aotearoa dance music lies the kernel of hope that Aotearoa dance culture may yet evolve to fulfil its potential.
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Zifkos, Georgios. "Exploring notions of sustainability in the context of the performing arts festival." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/18397/.

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The backdrop of this thesis is the emerging phenomenon of the sustainable festival. Namely, an increasing number of performing arts festival organisers, worldwide, are currently claiming that they can recognise and, essentially, address some of the perceived inherently negative externalities of their events. In trying to remedy the unfavourable impacts of their events they incorporate the notion of sustainability into the strategic mission and practical management of these festivals. By calling attention to their sustainability credentials and exercising particular interpretations of the concept, they either label their festivals as sustainable or emphatically promote the events’ contribution to sustainability. In doing so, they seem to become part of a coalition of actors that are committed to confronting some of the major global challenges facing contemporary society. Nevertheless, the discourse over sustainability has been bound to the power effects and processes of establishment appropriation and institutionalisation, which have led to particular understandings and practical translations of its concept. Such processes, along with the policy tools that these convey, have reportedly been responsible for a systematic delimitation of the once plastic, diverse, and open-ended visions of sustainability, defining what counts as sustainability and what does not. As this thesis will argue, these effects have significantly restricted the possibility for alternative understandings of sustainability to emerge from the lower layers of social organisation. The conceptualisation of sustainability as a template for absolute, top-down policy action, however, may be anathema to an institution such as the festival, which is assumed to have a “transformative, transgressive and even revolutionary role” (Bianchini and Maughan, 2015, p.243) in society. Sustainable performing arts festivals have been mushrooming in number and genres, yet the topic of sustainability has rarely been discussed in a conceptual framework within the relevant bodies of literature. This thesis aims to problematise current sustainability understandings and practice, as well as offer provocations to think afresh about its concept in the particular context of the festival. It will provide conceptual coverage to a developing academic field and also add a unique, critical voice to a discipline dominated by studies that tend to rest upon largely managerialist approaches to sustainability. Rather than relying on powerful constructs of sustainability, this thesis will try to gain access to and articulate festival participants’ perceptions and experiences of processes and praxes that provide the possibilities for flourishing festival contexts. The main research question asks: What does it mean for the performing arts festival to contribute to the achievement of a desired future for the festival and its surrounding social context, that is to say, for it to be a sustainable festival?
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Middlebrooks, Justin M. Mr. "The Intersection Between Politics, Culture, and Spirituality: An Interdisciplinary Investigation of Performance Art Activism and Contemporary Societal Problems." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1333397676.

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Miklas, Monica A. "Producing on the fringe| How fringe festival structure impacts participant experience." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589632.

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This thesis, presented in partial fulfillment of the requirements for the degree of Master of Business Administration/Master of Fine Arts in Theatre Management, investigates the business models used by performing arts festivals known as "fringe festivals." In the United States, there are three basic fringe festival models: the open access or Edinburgh model, the limited access model, and the adjudicated model. Interviews with artists who participated in fringes as producers reveal that the model impacts the participant experience less than the degree of scaffolding the fringe offers and the degree to which the fringe constrains producing choices. This thesis suggests a fringe festival framework, classifying fringes by degree of scaffolding and constraint, which can be used by producers to identify festival settings that will be the best fit for their needs. The framework can also be used by fringe festival organizers as a tool for self-reflection and festival assessment.

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Attala, Jennifer. "Performing the Festival : a study of the Edinburgh International Festival in the twenty-first century." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3839/.

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In the global marketplace of the twenty-first century a proliferation of festivals, or festivalisation, has produced an increasingly pressurised and politicized environment for international arts festivals. Through a case study of the Edinburgh International Festival the thesis explores what strategies the Festival is adopting to maintain its lead position in this increasingly competitive international landscape. It examines recent cultural policy development in Scotland and the UK exploring how creative industry theory promotes the argument for ‘investment’ in cultural festivals as economic drivers and city or region profile boosters. Edinburgh’s cultural policy is to brand itself the Festival City and it has supported the establishment of a number of competing festivals in the city. The case study investigates how the Edinburgh International Festival is managing a range of new initiatives at a time of rapid political change in Scotland. These include: exploiting changing technology to assist marketing and audience development; establishing partnerships and collaborations with a growing range of non-cultural public and private bodies, and cultural diplomacy – the development of international initiatives on behalf of the Scottish and UK Governments. The case study also explores a unique model of co-opetition which has developed between the Edinburgh International Festival and rival festivals, producing new strategic cultural organizations. The thesis establishes how current cultural policies in Scotland and the UK require international arts festivals to engage in non-cultural roles in order to create profile and advantage for themselves and their stakeholders in addition to fulfilling their cultural remit and in an environment of dwindling public and private sector support. In conclusion, it considers the opportunities and risks for arts organizations of an instrumental approach to cultural policy.
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Caldognetto, Samuele Francesco. "STRANGESPACES : Studies and structure for an itinerant transcultural performing art festival." Thesis, Stockholms konstnärliga högskola, Institutionen för scenkonst, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-993.

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The purpose of this study is to explain the process of designing the architecture of StrangeSpaces, an itinerant festival for transcultural performing arts groups or artists which starts from the original idea and terminates with the description of a possible structure. The process of designing StrangeSpaces is based on an investigation on the transcultural performing art’s field and on conversations with experts, which together transformed the original general idea of a festival, into the specific architecture of the StrangeSpaces festival. The investigation resulted in a personal definition of ”transcultural performing arts”, that subsequently led to the identifications of three elements of transculturalism which define the festival’s goals as ”encounter with the other” in multiples and different yet equal levels. Another result of this investigation is the contextualization of StrangeSpaces in the contemporary international cultural politics. In fact, the transcultural encounter and exchange can be viewed as a possible response to the increasing need of sustainable international performing art in local, national and European cultural communities. The conversations with experts in the field of international performing arts complemented the investigation, contributing to the ideological principles of StrangeSpaces, such as anti-racism and anti-colonialism, as well as to a model of democratic and sustainable design, in which multilingualism and cosmopolitan aspects of the society are essential cues. The result of the study is a design of the architecture of three versions of StrangeSpaces, an itinerant transcultural performing arts festival that is born to be a space, a free place where people play, exchange roles, art, experience starting from their own culture, but reaching and reflecting into the other, mirroring a society of sustainable diversity.
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Johnson, Matthew. "An Ethnography of the Bay Area Renaissance Festival: Performing Community and Reconfiguring Gender." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3509.

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This performance ethnography analyzes the means by which performers at Tampa, Florida‘s Bay Area Renaissance Festival constitute community and gender through performance. Renaissance Festivals are themed weekend events that ostensibly seek to allow visitors to experience life in an English Renaissance village. Beginning with the theoretical assumption that performance is constitutive of culture, community, and identity, and undergirded by David Boje‘s festivalism, Richard Schechner‘s restored behavior, Victor Turner‘s liminoid communitas and Judith Butler‘s performative agency, The Festival is explored as a celebratory community that engages in social change through personal transformation. Employing reflexive ethnography and narrative as inquiry, Chapter Two catalogues and analyzes a broad range of festival performances, from stage acts and handcraft production, to participatory improvisation, dance, and song. Playful and liminoid, these performances invite participants to make performance commitments and mutually to produce community through participative performance, celebratory objects, and the surrender of personal space. Chapter Three argues that performances of alternative masculinities at festival play out against the backdrop of R.W. Connell‘s heteronormative masculinities. These alternative performances break down social barriers, promote self-definition, and provide agency in the embodiment gendered experiences. Likewise, Chapter Four features Festival‘s feminine performances that reveal the community to be a ―wench‘s world‖ privileging Judith Butler‘s notion of performative agency in order to enable communities of difference. The Wench, the Queen, and the Pirate She- ing all embody feminine power and serve as archetypes of feminine narratives that privilege self-definition. This study demonstrates Festival to be a women-centered community that engages in a mythopoeia of feminist history. Acknowledging Festival as a multi-vocal community of mythopoets, this ethnography significantly extends the work of previous research on Renaissance Festivals. Rather than focusing on Festival performances as attempts at historical ―authenticity,‖ this study reveals Festival‘s mythological stance and the means by which performers embody mythology and archetype to their own purposes. Moving away from an audience centered discussion of performance, this study demonstrates how individual performers, through personal transformation, become agents of change through performance.
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Wilson, Clayton Shane. "A handbook for hosting a district-wide festival for literature and the arts." CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1932.

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DeGrasse-Johnson, Nicholeen Theresa. "Towards the Construction of a National Dance Education Policy in Jamaica:Public Education Curriculum and Ownership." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/260618.

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Dance
Ph.D.
I hear and I forget I see and I remember I do and I understand --Confucius (551 - 479 BC) Fundamentally about "doing," Dance is a strong element of Jamaican social and cultural expression. This dissertation is based on the premise that in order to fully educate Jamaica's children and to accomplish "National Outcome 2: World Class Education and Training" of the Jamaican National Development Plan for 2030 (Planning Institute of Jamaica [PIOJ], 2009, p. xvi), Dance should be an integral part of Jamaica's educational curriculum. This study draws on multiple perspectives and sources (autobiographical, critical, historical, socio-cultural, and political) to construct an advocacy platform for the establishment of Dance in Jamaican schools. For the past three decades, Dance educators in Jamaica have developed Dance curricula for public educational institutions, but there is still a need to justify the validity of Dance as part of the general school curriculum and the advantage of its institutionalization to the wider society. Assuming that the objective of our schools is to provide holistic education, then it seems a common sense proposition that every child should be given the opportunity to participate in a dance program. Dance allows children to appreciate rich and diverse cultures, beliefs, and societies. It involves the "whole child" while developing dexterity, intuition, sensitivity, reasoning, memory, and imagination. Assuming that Dance is afforded the opportunity to educate, then research should be conducted to inform curriculum development and decision makers. Five research questions guided the inquiry: (a) What are the historical underpinnings of Dance in Jamaican society that inform the role of Dance in the educational system; in what ways did Dance individuals, groups, institutions and or companies shape the Dance culture in post-colonial Jamaica (1962 - 2009)? (b) In what ways can children in early childhood, primary and secondary educational institutions in Jamaica benefit from the inclusion of Dance Education in the formal school curriculum? (c) How do education stakeholders in Jamaica view the need for a national policy for Dance Education in Jamaica? (d) What factors have prevented the development of a national policy for Dance Education in Jamaica? (e) In reviewing post-Independence Government legislature and policies for education and culture (1962 - 2009), what is needed to support the development of a national policy for Dance Education? The evolution of Jamaican dance education history since Independence in 1962 is both a point of departure and an anchor to broach other themes for discussion: shifting educational philosophies and Dance as a phenomenon of cultural and aesthetic dimensions. Findings of the study strengthen the premise that for every child to be afforded the benefits of Dance Education, Dance should be included in the formal curriculum of public schools as a matter of policy. Such a policy should address major issues like curriculum revision and teacher education, making Dance an essential part of the early childhood through secondary education core curriculum. Jamaica's children need opportunities to communicate in their own unique voice--they need to `own' the Dance. This research has generated a framework towards development of an initial concept paper for policy development in Jamaica. The study is limited to Jamaica, but findings may have implications for the Caribbean region.
Temple University--Theses
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Seffrin, Georgia Karolina. "Emerging trends in contemporary festival practice." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16440/1/Georgia_Seffrin_Thesis.pdf.

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The Festival is a form that transcends cultures, histories and regimes. It is a construct that has been utilised in a variety of ways, for a variety of purposes, but its raison d'etre is always community, sometimes as celebrated from a popularist level, at other points manipulated by the wielders of power. In its modern context, the festival has similarly been deployed as either a means of celebrating a sense of local community, or embraced by governments as a symbol of sophisticated cosmopolitanism. This research aims to contextualise a particular kind of festival practice within both an historical and contemporary context. This is structured through three key areas: at the heart of the thesis is a study of a particular kind of contemporary festival model, the boutique festival, as produced by the Programming Unit of the Queensland Performing Arts Centre. This festival construct is significant in its positioning of the audience as both producer and consumer in a playful and intelligent manner. This kind of model is different from the more conventional high arts or community arts festival models. Secondly, the research explores how current renderings of the festival can be contextualised within historical functions, so as to highlight points of connection and departure. Thirdly, the study positions the boutique festival as but one example of a range of current local festival practices that highlight the manner in which the festival construct engages with contemporary life. This portion of the study places these local renderings within Creative Industries discourse, focussing on the notion of the Creative City. The thread that ties the areas of focus together is the role of the audience in the festival. The trope of community remains central to contemporary festival practice, but it is a term that is becoming increasingly problematic and opaque, especially within an urban context. Through a variety of constructs, contemporary festivals encourage a cultural discussion about what community means in a current context, and in so doing, invite explorations of space, identity and authenticity as well.
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Seffrin, Georgia Karolina. "Emerging trends in contemporary festival practice." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16440/.

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The Festival is a form that transcends cultures, histories and regimes. It is a construct that has been utilised in a variety of ways, for a variety of purposes, but its raison d'etre is always community, sometimes as celebrated from a popularist level, at other points manipulated by the wielders of power. In its modern context, the festival has similarly been deployed as either a means of celebrating a sense of local community, or embraced by governments as a symbol of sophisticated cosmopolitanism. This research aims to contextualise a particular kind of festival practice within both an historical and contemporary context. This is structured through three key areas: at the heart of the thesis is a study of a particular kind of contemporary festival model, the boutique festival, as produced by the Programming Unit of the Queensland Performing Arts Centre. This festival construct is significant in its positioning of the audience as both producer and consumer in a playful and intelligent manner. This kind of model is different from the more conventional high arts or community arts festival models. Secondly, the research explores how current renderings of the festival can be contextualised within historical functions, so as to highlight points of connection and departure. Thirdly, the study positions the boutique festival as but one example of a range of current local festival practices that highlight the manner in which the festival construct engages with contemporary life. This portion of the study places these local renderings within Creative Industries discourse, focussing on the notion of the Creative City. The thread that ties the areas of focus together is the role of the audience in the festival. The trope of community remains central to contemporary festival practice, but it is a term that is becoming increasingly problematic and opaque, especially within an urban context. Through a variety of constructs, contemporary festivals encourage a cultural discussion about what community means in a current context, and in so doing, invite explorations of space, identity and authenticity as well.
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26

Bachir-Loopuyt, Talia. "Une musique du monde faite en Allemagne ? : les compétitions Creole et l'idéal d'une société plurielle dans l'Allemagne d'aujourd'hui." Phd thesis, Ecole des Hautes Etudes en Sciences Sociales (EHESS), 2013. http://tel.archives-ouvertes.fr/tel-00927409.

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Ce travail vise à rendre compte des relations entre création musicale, politiques de la diversité et mondialisation dans l'Allemagne d'aujourd'hui en partant d'un cas : creole, un cycle de compétitions organisé selon un principe fédéral, qui donne lieu à des festivals dans différentes villes et débouche tous les deux ans sur un prix récompensant trois ensembles de " musiques du monde d'Allemagne ". Selon les textes des programmes, cette manifestation est censée illustrer la créolisation du monde et les connexions émergeant entre différentes cultures et genres musicaux présents en Allemagne. Lorsque l'on se penche sur le processus d'émergence de ce projet et les dynamiques de mobilisation des participants, il s'avère cependant que le spectre des attentes est plus complexe et que ces événements, plutôt qu'illustrer une réalité univoque, fabriquent en des versions plurielles tout un monde de musiques d'Allemagne. L'étude de ce cas n'est pas une fin en soi mais un moyen pour appréhender divers aspects de l'Allemagne contemporaine. Les débats qui ont cours dans l'intimité du secteur des " musiques du monde " (" die Nische Weltmusik ") manifestent plus largement des tensions traversant la société allemande d'aujourd'hui : en tant que terre d'immigration partagée entre l'idéalisation du métissage et la mise en avant de cultures distinctes, en tant que " pays de musique " connu pour la richesse de son patrimoine savant et en même temps désireux de promouvoir des artistes " populaires " ou " modernes ", en tant que système politique fédéral devant composer avec les diverses instances locales et les cadres mondialisés du marché et de la politique culturelle. Autant l'arrière-plan considéré dans ce travail est large, autant l'attention portée aux situations d'interaction se veut précise : pour rendre compte du processus de fabrique des festivals et des environnements différenciés dans lesquels ils s'inscrivent, des logiques de sélection et des dynamiques de délibérations des jurys, des cadres organisant chaque épreuve ainsi que des débats qui surgissent parmi les spectateurs sur " l'esprit " des festivals creole.
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Hunsaker, Carrie Elizabeth. "Deconstructing the Fourth Wall: Immediacy in Performative Architecture." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212100640.

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Thesis (Master of Architecture)--University of Cincinnati, 2008.
Advisors: Michael McInturf (Committee Chair), Tom Bible (Committee Co-Chair). Title from electronic theses title page (viewed Sept. 7, 2008.). Includes abstract. Keywords: Chatauqua; Boulder; Colorado; performative architecture; immediacy; event; performing arts; festival grounds; mountain architecture; fourth wall; theatre. Includes bibliographical references.
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Welthagen, Lisa Charmaine. "A service quality gap analysis of Innibos National Arts Festival." 2013. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001128.

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M. Tech. Tourism and Hospitality Management
Events, specifically festivals, have experienced significant growth in South Africa over the past ten years in size, numbers, diversity and popularity. There is a growing need in the broader social circles to embrace various forms of art and to create the opportunity to celebrate culture. For this reason Arts festivals have become a feature in the South African cultural landscape. The long term success and sustainability of these events rely on aggressive marketing and emphasis on service quality, thereby highlighting sustainability of festivals and events through service quality. The questionnaire, based on the SERVQUAL model and an adaption of Grönroos was used to identify service perceptions and expectations of service quality at Innibos National Arts Festival in Mbombela, South Africa. This study aimed at quantifying the gap between attendee's expectations and perceptions of service quality and overall customer satisfaction. This study aims to assist the Management of Innibos and other arts festivals to improve the service quality and meet the expectations of their customers.
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Harrison, Klisala. "Victoria's First Peoples Festival embodying Kwakwaka'wakw history in presentation of music and dance in public spaces /." 2000. http://wwwlib.umi.com/cr/yorku/fullcit?pMQ56180.

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Thesis (M.A.)--York University, 2000. Graduate Programme in Musicolgy and Ethnomusicology.
Typescript. Includes bibliographical references (leaves 143-157). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ56180.
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Snowball, Jeanette Dalziel. "The economic valuation of cultural events in developing countries : combining market and non-market valuation techniques at the South African National Arts Festival /." 2005. http://eprints.ru.ac.za/896/.

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31

Pretorius, Susanna Cornelia. "The standardisation and validation of a scale to measure the arts' contribution of arts festivals / Susanna Cornelia Pretorius." Thesis, 2015. http://hdl.handle.net/10394/15510.

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The primary goal of the study was to standardise and validate a scale to measure the arts’ contribution of arts festivals. To achieve this goal, four objectives were formulated. First, to study arts’ contribution of arts festivals by defining, analysing and exploring related concepts through the provision of a detailed background and discussion on the topic by means of a literature review. Second, to study and select applicable explanatory theory that can be used to develop a standardised scale that measures the arts’ contribution of arts festivals by means of a second literature review. Third to determine the validity and reliability of the scale measuring the arts festival’s contribution to the performing arts and to the visual arts through an exploratory factor analysis and a confirmatory factor analysis. Lastly, to draw conclusions based on the research and make recommendations with regard to the standardisation and validation of the scale to measure the arts’ contribution of arts festivals. The first objective was achieved by conducting a literature study. The literature study on arts festivals and their contribution to the arts was explored by defining the term festival tourism; discussing aspects related to a festival (by defining a festival, explaining the festival’s relationship with culture and events, identifying the characteristics, types, benefits and potential problems associated with a festival, and identifying visitor motives for attending a festival); discussing aspects related to the term arts festival (by providing an overview of arts tourism, defining an arts festival, listing reasons for the establishment of an arts festival and discussing the arts present at arts festivals – through defining and classifying the arts); and identifying the contributions of an arts festival to the arts (by listing the types of contribution – educational, emotional, economic, quality, marketing, and growth and development – , discussing the purpose of contributing to the arts, listing perceptual differences of festival visitors regarding the contributions of an arts festival to the arts and discussing limitations of an arts festival to contribute to the arts). Achieving the second objective, the second literature study discussed the term survey (by defining a survey, identifying the types, characteristics, advantages, disadvantages and merits of a survey and discussing the survey process); discussed the term standardisation (by defining standardisation and stating the purpose for the standardisation of a measurement scale); discussed the standardisation process (by outlining the different stages in the standardisation process – the planning phase, where the aim of the measure is specified, the content is defined and the test plan is developed; the item writing phase, includes the writing and review of items; assembling and pre-testing the experimental version of the measure, which includes the arrangements of the items, finalisation of the length, protocols for answering, development of administration instructions and pre-test of the experimental version of the measure; the item and data analysis phase consists of the determination of discriminating power, preliminary investigation into item bias and the establishment of validity and reliability; and revising the final version of the measure, which encompasses the revision of the items and test, the selection of items for the final version of the test, the refinement of administration instructions and score procedures and the administration of the final version of the test); and identified and discussed ethical considerations, foreseen problems, limitations and recommendations associated with conducting a survey and the standardisation of a measurement scale. The third objective was to determine the validity and reliability of the measurement scale. This objective was achieved by discussing the implementation phase of the measurement scale where attention was given to the survey design and sampling. A stratified random sampling method was used at three selected arts festivals in South Africa, the KKNK, Innibos and Vryfees, where a descriptive survey design was administered in the form of a measurement scale, such as a questionnaire. Research assistants were trained and the scale was administered in a consistent fashion which supports internal reliability. The same survey procedures were undertaken at all three arts festivals, supporting face validity and internal validity. Representative samples were collected at the three arts festivals, also supporting external validity. Attention was also given to the measurement scale design (where respondents could give their perceptions concerning the contributions made by the arts festival to the arts through the completion of the questionnaire – which was based on literature and contained the relevant information to collect problem specific information, supporting content validity and construct validity. The scale had also undergone the delphi-technique for expert advice, supporting face validity. Providing a summary of the data analysis procedure contributed to the achievement of this objective. The data collected from the measurement scale have been captured in Microsoft™ Excel™ and analysed using the statistical software program, SPSS. The data of the arts festivals contributing to the performing arts were analysed separately from the data of the festivals where they contribute to the visual arts. This was done to get a detailed data analysis for the standardisation of the measurement scale. The split of the data also contributed to the measurement scale being divided in two separate standardised scales in determining the arts festival’s contribution to a specific form of the arts; both the data of the performing arts and the data of the visual arts had undergone the same statistical procedure for data analysis in determining the validity and reliability thereof. The results indicated that the measurement scale is a valid and reliable measure in determining the arts festival’s contribution to both the arts forms. To determine the validity of the measurement scale pertaining to the performing arts and to the visual arts, an exploratory principal axis factor analysis with Oblimin rotation was conducted on the combined data of Innibos and Vryfees (n = 982). Bartlett's Test of Sphericity was p < 0.001 and the Kaiser-Meyer- Olkin test of sample adequacy rendered a value between 0 and 1, indicating that the sample sizes were adequate to conduct an exploratory factor analysis on the data of the performing arts (KMO = 0.958) and on the data of the visual arts (KMO = 0.972); all items of the performing arts (22 items) and of the visual arts (22 items) loaded on a factor with loadings greater than 0.2. The factor analysis on the performing arts data extracted five factors. Factor 1 (Quality and Education Contribution) was defined by 5 items with a Cronbach’s α-value of 0.867 and an interitem correlation mean of 0.568. Factor 2 (Growth and Development Contribution) was defined by 6 items (Cronbach’s α = 0.896; inter-item correlation = 0.594). Factor 3 (Emotional Contribution) was defined by 3 items (Cronbach’s α = 0.706; inter-item correlation = 0.440). Factor 4 (Economic Contribution) was defined by 4 items (Cronbach’s α = 0.824; inter-item correlation = 0.540). Factor 5 (Marketing Contribution) was defined by 4 items (Cronbach’s α = 0.866; inter-item correlation = 0.617). The factor analysis on the visual arts data extracted four factors. Factor 1 (Education and Growth and Development Contribution) was defined by 8 items (Cronbach’s α = 0.947; inter-item correlation = 0.690). Factor 2 (Economic and Quality Contribution) was defined by 7 items (Cronbach’s α = 0.920; inter-item correlation = 0.622). Factor 3 (Emotional Contribution) was defined by 3 items (Cronbach’s α = 0.828; inter-item correlation = 0.616). Factor 4 (Marketing Contribution) was defined by 4 items (Cronbach’s α = 0.905; inter-item correlation of 0.704). There were correlations between factors of the performing arts and between the factors of the visual arts, where all correlations were 0.3 and larger, supporting construct validity. Further validity of the measurement scale was determined by a confirmatory factor analysis (CFA) on the performing arts data and on the visual arts data of KKNK (n = 602), where the path diagram confirmed the factor structures of both the performing arts and visual arts exploratory factor analyses, supporting criterion validity. CFA goodness-of-fit indexes were also used to determine whether the models fit with the data. The performing arts model and the visual arts model were found to have an adequate to good fit with the data of KKNK. The chi-square test of Independence (X2) for the performing arts rendered a value of p < 0.001 and for the visual arts was p < 0.001. The chi-square divided by the degrees of freedom (X2 / df) for the performing arts was 4.284 and for the visual arts was 4.9, the Comparative Fit Index (CFI) for the performing arts was 0.914 and for the visual arts was 0.931, and the Root Mean Square Error of Approximation (RMSEA) for the performing arts was 0.074 and for the visual arts was 0.079. To determine the reliability of the measurement scale, the Cronbach’s Alpha values and inter-item correlations between the factors were determined. All the factors of the performing arts rendered a high Cronbach’s Alpha value (greater than 0.7) and for the visual arts a value of 0.8. All the factors of the performing arts rendered a high interitem correlation value (greater than 0.4) and for the visual arts a value greater than 0.6. The final objective, to draw conclusions and make recommendations based on the results of the study, indicated that this study made a significant contribution to the literature and methodology of standardising a measurement scale and to the planning of arts festivals as it would lead to the development of arts festivals contributing to the arts more effectively and more efficiently. Future research on this topic should be conducted at other arts festivals, including Englishlanguage arts festivals, to enable comparative studies to be made and supporting the test-retest reliability theory on the standardised measurement scale. It is also recommended that the study should measure contribution to the arts by other arts-related organisations, for example, at museums, theatres, and galleries, by administering the standardised scale to measure the contribution they make to their specific arts form. It is important to standardise a measurement scale for arts contribution to better understand the contributing factors of the arts festival to the arts which will assist festival managers in implementing strategies that ensure the livelihood and ongoing contribution of arts festivals to the arts.
PhD (Tourism Management), North-West University, Potchefstroom Campus, 2015
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Soares, Carla Isabel Freire de Oliveira. "Música experimental em Portugal : análise de produção de festivais." Master's thesis, 2015. http://hdl.handle.net/10400.14/21452.

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O presente trabalho pretende analisar a criação, produção e promoção de festivais no âmbito restrito da música experimental, analisando em particular os diversos modelos financeiros e as interações produzidas. Procurando implementar a promoção e divulgação da música experimental em Portugal (das vertentes mais acústicas às mais eletrónicas) alguns agentes nacionais, têm produzido ou ajudado a produzir ao longo dos anos, diversos eventos sob a forma de festivais ou de acontecimentos pontuais, que por razões pouco compreendidas têm colapsado, ou entrado em “hibernação”. Apesar do esforço efectuado ao longo dos anos, encontrámos apenas onze festivais dedicados a este género de música, sendo que apenas sete se encontram ativos e apenas dois (MadeiraDig e Out.Fest ) contam com mais de 10 edições. Tendo em conta esta descontinuidade na produção deste género de festivais em Portugal, quisemos compreender, primeiramente, a evolução da música experimental ao longo do último século, observando os modelos de criação e produção concebidos durante este tempo, proporcionando uma rutura com os modelos tradicionais de composição musical (Cascone, Cage). Em segundo, procuramos compreender a proliferação destes novos modelos de produção e criação de obras sonoras, e saber de que forma os festivais podem resultar como meio de escoamento destas criações. Começamos por observar e analisar os festivais, artistas e editoras no contexto internacional, que ao longo dos anos surgem como referências à difusão e promoção da música experimental. Por outro lado, iniciamos um processo de inquirição dirigido a (1) programadores/produtores de festivais, (2) programadores de espaços/entidades e (3) editoras nacionais que se relacionam profissionalmente com a música/arte experimental. Este processo é constituído por três inquéritos moldados em função das suas atividades profissionais adoptando um processo evolutivo em relação às questões de forma a obter dados correspondentes ao objeto de estudo. Os resultados obtidos nesta pesquisa mostram que os modelos de produção dos festivais de arte experimental com incidência na música, em Portugal, não se regem ou seguem qualquer norma de produção em especial. Relativamente à sua descontinuidade, podemos apontar como fatores prováveis, a forte dependência dos apoios estatais, sendo que a receita obtida durante os eventos, tendencialmente, não cobre os custos de produção pois o núcleo de espetadores é muito restrito e não contribui grandemente para uma valorização destes eventos.
The present work aims to analyse the creation, production and promotion of festivals in the restricted scope of experimental music, taking into account particularly the various financial models and the produced interactions. Trying to implement the promotion and publicity of experimental music in Portugal (from the accoustic music till the more electronic one), some national agents have produced or helped to produce along the years several events under the form of festivals or one-off events, that for unknown reasons have collapsed or entered into "hibernation". Despite the efforts made over the years, we found only eleven festivals dedicated to this type of music, but only seven are active and only two (MadeiraDig and Out.Fest) have more than 10 editions. Given this discontinuity in the production of this kind of festivals in Portugal, we wanted to understand firstly the evolution of the experimental music over the past century, observing the creative and productive models generated during this time, providing a disruption from the traditional models of musical composition (Cascone, Cage). In second place, we want to comprehend the proliferation of these new models of production and creation of sound pieces and understand how the festivals may result of the produced information flow. We begin to observe and analyze the festivals, artists and publishers in the international context, which over the years, references emerge to the diffusion and promotion of experimental music. On the other side we started a inquiry process directed to the developers / producers of festivals, programmers of spaces / entities and labels in the national context whitch is professionally related to the music / experimental art. This process is constituted by three surveys molded according to their professional activities adopting a process evolutionary in relation to the questions to obtain data corresponding to the object of study. The obtained results in this research show that prodution models of experimental music festivals with impact on music in Portugal, are not governed by a basic pattern of prodution in special. We can point as factors to the discontinuity of these festivals a strong dependence on State and private supports, as the revenue obtained during the event is not superior to the costs of production. The restricted core on the number of spectators also contributes to the devaluation in performing these events, since the financial return of those is non-existent.
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33

Tseng, Mei-hua, and 曾美華. "The position of the performing arts in festival—a study on the "2012 Taichung Mazu Cultural Festival"." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/12494950968075372969.

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碩士
國立臺灣師範大學
表演藝術研究所
100
Performing arts have become the innovated economy/new economy policy of the 21st centuries, as known as the core project of the cultural creative industries. Performing arts are the vital sources of the creation and innovation in many related industries, also the important development project of the world-advanced countries nowadays such as U.S.A, Japan and Europe; in Taiwan, have been included in the field and academy of national education and major economic policies. Art festivals in Taiwan, springing up all over the place like mushrooms after spring rain, at the meantime, more and more cities regard festivals as the important tourism activities to promote the popularity and to rebuild the imagine of the culture. Performing arts and festivals both are the important projects in the cultural creative industries, but the former are usually included in the latter ones. "Taichung Mazu International Festival" is based on religious activities, but how to arouse the attention of the audience to the festival by adding performances in the activity? Does it increase the participation of the audience as it planed? How to accomplish the expectations of the cultural festival from the original religious activities? This research is selected performing arts activities: "2012 Taichung Mazu Cultural Festival" as the observed case. In addition to analyze the secondary data in each performance in different venue over the years, the author also conducted a questionnaire survey on the participants of the activities from the governmental festival by convenience samples. The results are showed as follows: The social background of the performing arts participants in the festival are mostly students, it shows that toll-free activities which organized by the government, draw considerable participation from the student groups, helps to promote intercity culture and establishes the foundation of performing arts. Second, the results say that the facts made audiences to participate activities are based on the interests to the performance itself, it’s obvious that audiences get to know more about the connotation of the festivals trough the performances. However, the government seems unable to attract audiences in operating promotion marketing activities. Third, the event analysis results show that participants of different demographic are variable, the motivations and behaviors of participants are wildly different, "posters and DM" and " introduction by friends" are more common for the audiences to notice the relevant information of the performances in the festival. Forth, the analysis demonstrates that participants of different demographic variables, pay more attention to the "folk art " of the performance from the government events in the future, then followed by “modern music ”. The conclusion of the study is divided into four parts. First, the audiences agree with the government to promote the performing arts and cultural policies, but it caused the plight of the performances position. Second, performing arts integrate and include in the tourism festivals from the government, it’s hard to create a win-win due to the uncertainty of activities. Third, although the diversity of the performances gain participations form the community, but it can’t improve the effectiveness of tourism. Fourth, although performing arts promote festivals in the traditional way from the government, but it couldn’t reach the marketing city. In response to these findings, researchers have proposed several recommendations: First, the combination of performing arts and the local culture have to get the recognition from the residents, performing activities need to be arranged into the cultural events. Second, to hold the performances regularly to provide innovative performing arts and to preserve the traditional culture. Third, to provide finer performing arts. Fourth, to expand the activities of performing arts for marketing the city itself, making Taichung City as the city of art and beauty in order to achieve the ultimate goal of cultural activities.
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34

Wei, Bo-Xuan, and 魏伯軒. "Research of Dynamic-Advertising Effectiveness of Performing Arts—A Case Study of 2011 Taiwan International Festival of Arts." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/89474525669052588452.

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碩士
國立臺北教育大學
文化創意產業經營學系
99
For performing arts groups, exploring new audience is the ultimate responsibility of arts marketing. The reason why movies increase their popularity by broadcasting trailers is that the audience has already been aware of the content before watching the movies. Therefore, performing arts groups try to use a new tool to promote their performance-the dynamic-advertising, which is based on the concept of movie trailers, editing part of the performance content with messages and the main visual, and broadcasting through the media to attract more audience. The main purpose of the study is to analyze and define the dynamic-advertising of performing arts, and furthermore to evaluate its effect. The author started with expert interviews of the end of production of dynamic-advertising, and collected secondary data. Then the study developed its framework and survey according to the attitude toward advertising model developed by Ducoffe and Brackett & Carr, using the dynamic-advertising of “2011 Taiwan International Festival of Arts” as a case, and a sampling survey proceeded to evaluate whether the dynamic-advertising effectively raises the audience’s motivation to watch a performance. The findings show the insignificant relationship between “irritation” and “advertising value” or “attitude toward advertising”. Moreover, the dynamic-advertising does effectively raise the audience’s willingness to consume.
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35

Tsai, Pei-Ying, and 蔡佩穎. "The Development of Taiwanese Performing Arts Groups After Participating in the Avignon Off Festival." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/723a9r.

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碩士
國立臺灣師範大學
表演藝術研究所
105
To deal with the pressure of the international competition and communication, how to raise the competitiveness of the industry to become a rising star in the world has become the priority of management. In the Taiwanese performing arts industry, only few groups are invited to perform at the international stage owing to their capability and their long-term managed foreign relationships with other groups. In Recent years, Ministry of Culture, Taiwan holds auditions of Fringe Festival for performing arts groups to bring them onto international stages as well as broaden the foreign market. However, after gaining the experience in the Fringe Festival, does it bring the solid benefits to the performing arts groups? Do they have more opportunities to perform and cooperate at both national and international levels? Does the audition policy truly bring the high value benefit to the performing arts groups for future development? Other than financial support, whether the government provides other supports to the groups for gaining the worldwide publicity is also a worth-discussed topic. Through interviewing the performing arts groups which were selected by Ministry of Culture to perform at the Avignon Off Festival, this study focused on exploring their international performance experiences, obstacles and development after participation. In addition, this study also investigated and analyzed governments’ policies and practices which assists performing arts groups at the present stage. The study findings may serve as a guide for the performing arts groups to develop the international performing arts market and gain the worldwide publicity. Furthermore, the author hopes that the result may popularize all kinds of Taiwanese culture to the world.
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36

Lan, Hung-Ling, and 藍鴻苓. "The Constructing of Process Management on Performing Arts Festival in Taiwan: An Implementer Perspective." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/f8t9jb.

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碩士
國立臺灣師範大學
表演藝術研究所
105
In 2006, China times published a series of report to describe the circumstance in Taiwan, although there are lots of different types of Art festivals, it is still difficult to name which is representative and iconic; Ten years later, The Magazine Art Plus raise this question again, unbelievable, the festivals in Taiwan is too much, may people wondering that do we really need so many festivals? Performing arts festival is considering as a lifestyle in an area, it contains the area's atmosphere, culture, customs. It combines politic orientation, economic orientation, social orientation and environment orientation. A successful festival could bring help a city shape their image, encourage the economic and tourism, brought out the reputation tourism, then it could finally form an industry in an area, but it takes the process to reach all the needs. To develop a sustainable festival is not easy, from the planning stage to implementing stage, every stage has a great impact to the festival, especially to the performing arts festivals, the beauty of the performing arts festival is the nature of unpredictable and its variable. There is a lot of research and studies about whether the event should be held or not, but only a few of them were focused on the implementer ‘s perspective and the process of planning a festival. Therefore, this study aims to understand the process of planning and the process of implementing, to see if there is still a certain pattern and process, and what are the factors that an implementer should consider when holding an event. This study would take a closer look at the implementer's perspective, interview implementers such as scholars, executives, event planners, and organizers to learn from their experiences, then combine them to reference about event planning. And hoping that the result of this study could provide for using in relevant fields. Keywords: Performing Arts Festival, Process Management, Implementer.
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37

Mansilha, Tiago Martins Costa. "Públicos e não-públicos das artes performativas em contexto não-urbano: um estudo sobre o festival materiais diversos." Master's thesis, 2015. http://hdl.handle.net/10071/10641.

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A presente dissertação tem como principais objetivos o estudo de públicos e não-públicos em contexto não-urbano, tendo como foco a 6.ª edição do Festival Materiais Diversos, com sede em Minde e ramificações em Alcanena, Torres Novas e Cartaxo. A observação, o inquérito por questionário e as entrevistas foram métodos utilizados para traçar perfis de públicos e não-públicos, numa abordagem que suscita o diálogo entre conceitos e teorias do campo temático da sociologia de públicos e, mais especificamente, sobre a fruição cultural na área da dança e o teatro contemporâneos, numa relação com o fenómeno da descentralização
The main goal of the present thesis is to study the audiences and non-audiences in a non-urban context and it focuses on Festival Materiais Diversos’ 6th edition which is based in Minde and is spread throw Alcanena, Torres Novas and Cartaxo. Observation, a survey and interviews were the methods used to define a profile of publics and non-publics. This approach raises the dialogue between concepts and theories in the field of public sociology, and more specifically on cultural enjoyment in the area of contemporary dance and theater, in relation to the phenomenon of decentralization
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38

Cruz, Ana Laura Pinheiro. "Impactos das políticas culturais em tempos de crise: um olhar sobre o Festival Alkantara." Master's thesis, 2015. http://hdl.handle.net/10071/11023.

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A crise financeira vivida por Portugal tem gerado alterações profundas nas perspectivas estruturais-financeiras e sociais nos mais diferentes aspectos da vida da população. A área cultural foi particularmente atingida. Além da redução drástica do poder económico do público, diversas mudanças nas políticas culturais como, por exemplo, o desinvestimento do Estado no setor, os cortes dos subsídios e o redirecionamento de verbas para outros setores, tiveram um impacto muito expressivo nas atividades culturais e na criação artística em geral. Neste cenário, projetos como o Alkantara Festival mantêm-se com dificuldades. Esta dissertação tem como principal objetivo estudar os impactos sofridos pelo setor cultural português diante de tais mudanças, tendo como objeto de estudo o campo das artes performativas e, em particular, o Alkantara Festival. Para tal, foi utilizada uma metodologia de recolha e análise de dados que combina uma estratégia qualitativa e quantitativa, assente na observação participante, em entrevistas semiestruturadas a profissionais do setor e questionários aplicados aos públicos do Alkantara Festival 2014.
The financial crisis experienced by Portugal generated deep changes in financial structure and social perspectives in many different aspects of people's lives. The cultural sector got particularly affected. In addition to reducing drastically the audience's economic power, several changes in cultural policies, for example, the state disinvestment in the sector, cuts in subsidies and redirect funding to other sectors, had a very significant impact on cultural activities and artistic creation in general. In this scenario, projects like Alkantara Festival remain active with difficulties. This research aims to study the impacts suffered by the Portuguese cultural sector facing such changes, with the object of study the field of performing arts and, in particular, the Alkantara Festival. This requires a methodology for collecting and analyzing data combining qualitative and quantitative strategy based on participant observation, semi-structured interviews with professionals from the sector and questionnaires answered by the public of Alkantara Festival in 2014.
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39

Graça, Rafael Correia de Oliveira. "Os públicos do Festival de Teatro Deniz-Jacinto." Master's thesis, 2019. http://hdl.handle.net/10071/19386.

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A presente dissertação consiste num estudo sobre os públicos do Festival de Teatro Deniz-Jacinto, tendo como foco a IV edição em que o objetivo central foi compreender quem são e que hábitos culturais têm os públicos que frequentam o festival. A observação e o inquérito por questionário foram os métodos utilizados para traçar os perfis dos públicos com 18 e mais anos, numa abordagem direcionada à fruição cultural na área do teatro. Como principais resultados, a análise da amostra dos públicos inquiridos demonstra um interesse por parte dos públicos pertencentes ao espetro de 31 a 50 anos, com níveis de escolaridade elevados e com práticas culturais frequentes. Numa perspetiva longitudinal, o número de participantes no festival tem aumentado ao longo das edições e nesta IV edição aumentou a sua participação e relação com o festival.
This dissertation is a study about the audience of the IV edition of the Festival de Teatro Deniz-Jacinto, in which the main objective was to understand what cultural habits the audiences attending the festival have and who they are. Observation and survey by questionnaire were the methods used to profile the audiences aged 18 and over, in an approach directed to cultural enjoyment in the area of theater. As main results, the analysis of the sample of the interviewed publics shows an interest from the 31 to 50 years old spectrum publics, with high levels of education and frequent cultural practices. From a longitudinal perspective, the number of participants in the festival has increased throughout the editions and in this IV edition has increased its participation and relationship with the festival.
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40

Ho, Jia-Rong, and 何佳嶸. "A Preliminary Study on Development of Interdisciplinary New Media Art in Taiwan: Taking Examples from Digital Performing Arts Festival and Digital Art Performance Award." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/339k2d.

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碩士
國立彰化師範大學
美術學系
103
From the late 1970s, Taiwan’s contemporary artistic development has gradually utilized with mechanical devices, video images, computer technologies and other new media facilities to create a new mode. The emergence of new media has changed the creation of traditional art making the artwork look diversity, and art exhibitions also represent its significance based on the new media technology. Compared with the traditional arts, new media art includes new complexity, highly professional, and other characteristics, and therefore needs in terms of interdisciplinary collaboration to establish the brand new creativities. Digital performing arts significantly develop under the mode of multi-media theatrical tradition, using digital technologies often play a more important role in stage settings, mechanical installations, video art, sound art, and other art fields. To the extend, this research attempts to examine the selective artworks from Digital Art Performance Award and Digital Performing Arts Festival by applying interdisciplinary collaboration between digital art and the performing arts in order to explore the essence, subjectivity, and aesthetics of interdisciplinary performing art. Additionally, this research will summarize the characteristics of development of interdisciplinary performing art in Taiwan.
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