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Journal articles on the topic 'Performing arts festivals'

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1

Santoso, Iwan Budi. "CITY BRANDING STRATEGY THROUGH PERFORMING ARTS (URGENCY OF CULTURAL FESTIVALS IN SOLO CITY)." International Journal of Modern Trends in Social Sciences 3, no. 13 (September 15, 2020): 58–65. http://dx.doi.org/10.35631/ijmtss.313006.

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City Branding Strategy through Performing Arts (Urgency of Cultural Festivals in Solo) reveals the phenomenon of the urgency of festival existence in Solo. Festivals dominated most of the cultural events in the Solo City of 61 calendars of events in the form of performing arts. In the spirit as a means of finding alternative resources, performing arts festivals in the City of Solo are also used as a strategy for branding the city. This city imaging strategy involves the government, universities, communities, and businessmen to make the festival in the city of Surakarta be held continuously. The events of festivals to carnivals in building the image of a city can be interpreted as an increase in the creative economy based on a symbiotic mutualism. Thus, the festival that has taken place in the city of Surakarta in the future will make the answer in facing global economic civilization.
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2

Amorim, Daniela. "The impact of performing arts festivals on tourism development: analysis of participants' motivation, quality, satisfaction and loyalty." Tourism & Management Studies 16, no. 4 (October 31, 2020): 45–57. http://dx.doi.org/10.18089/tms.2020.160404.

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The festivals have had a very positive impact on tourism development, and on the promotion of destinations, they are positioned as important attractive elements that boost tourism in the several regions, as well as its economic and cultural development. This study aimed to analyse the motivation, quality, satisfaction and loyalty of two performing arts festivals participants (Andanças, Portugal and La Sierra, Spain). It followed a quantitative methodology, and questionnaires were applied to the participants of the events under analysis. The results of the test-t indicate that La Sierra festival participants (n=235), compared to Andanças festival participants (n=297), perceive the festival as having more quality (catering, hotel, information and transport), and are more faithful to the festival (even if prices increase). The results obtained contribute to a better understanding of the needs and perceptions of participants who practice festival tourism, particularly in performing arts festivals, supporting the manager's strategies in organising this type of event.
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3

Qureshi, Bilal. "Elsewhere: The Last Circus." Film Quarterly 74, no. 1 (2020): 84–87. http://dx.doi.org/10.1525/fq.2020.74.1.84.

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FQ columnist Bilal Qureshi reports from his first visit to the documentary film festival True/False in Columbia, Missouri. Overcoming his initial trepidation—both at the prospect of traveling just as the coronavirus was gathering steam and at the festival's regional location—Qureshi finds himself falling in love with film festivals all over again. Yet the contact high of the collective experience provided by the festival, with its freedom to collide with films and audiences through impromptu gatherings and celebrations, takes on a heightened poignancy in this moment of COVID-19. While noting the uncertainties of the new cinematic and social order that will emerge post-COVID, Qureshi hopes that the opportunity to press reset might result in more small-scale, community-focused festivals like True/False.
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4

Van Belle, David. "“Festivalizing” Performance: Community and Aesthetics through the Lens of Three Festival Experiences." Canadian Theatre Review 138 (March 2009): 7–12. http://dx.doi.org/10.3138/ctr.138.001.

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Although the history of Canadian theatre has been greatly shaped by the existence of the long-established Stratford and Shaw Festivals, a new creative energy is coming from a crop of alternatives to them. These newer festivals are an increasingly important part of the Canadian performance landscape, in part precipitated by a renaissance in performance-creation work by independent artists and performance collectives who eschew the “season and theatre building” model of performance. Instead, these creators favour fluid creation methodologies and presentation arrangements that are well suited to the fluidity of a new festival model of presentation. Over the past decade, a whole network of festivals has been set up across the country to embrace such work, anchored by now venerable festivals such as One Yellow Rabbit’s twenty-three-year-old High Performance Rodeo. Some of these festivals are high profile; Vancouver’s PuSh Festival and the National Arts Centre’s Magnetic North Festival have provided important national stages for new work. Others, like Calgary’s Mutton Busting Festival and Toronto’s RED Festival, happen on a smaller scale and in local settings. Although these smaller festivals tend to be more temporary in nature (both the festivals just mentioned are now defunct), they provide necessary opportunities for new and adventurous work to be developed and seen.
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Van Winkle, Christine M., and Jill N. H. Bueddefeld. "Service-dominant logic and the festival experience." International Journal of Event and Festival Management 7, no. 3 (October 10, 2016): 237–54. http://dx.doi.org/10.1108/ijefm-12-2015-0046.

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Purpose The purpose of this paper is to understand the process of value co-creation by examining festival attendees’ perspectives of their festival experiences. Service-dominant logic (SDL) is used as a framework to understand the how value is co-created in the festival setting. Design/methodology/approach Using a SDL approach and personal meaning mapping methods, this research offers insight into how value is co-created by the attendee, festival, and influential others. Findings This research found that personal, social, cultural, physical, place, and arts presentation domains come together to add value to the festival experience. Research limitations/implications This research adds insight into the value co-creation process if festival settings. SDL is examined in relation to findings and re-conceptualized based on findings. This research was not intended to generalize all performing arts festivals but instead provided a detailed descriptive account of the experiences offered by performing arts festivals examined. Practical implications These findings contribute to the understanding of how co-created experiences can be developed, marketed and managed and provide insight into areas of future research to better understand the co-creation process in event contexts. Originality/value By providing a framework for understanding the festival experience, employing SDL, and using of experiential assessment methods across festivals, this research fulfils an identified need for an in-depth understanding of the co-created meanings of festival experiences.
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Simas, Richard. "Vancouver’s PuSh 2008 and the Phenomenon of Festivals." Canadian Theatre Review 138 (March 2009): 43–47. http://dx.doi.org/10.3138/ctr.138.008.

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Montreal and Toronto are arguably Canadian arts festival capitals, boasting heady and never-ending streams of performing arts, film, jazz, winter, literary, new music and ethnic festivals and cultural-tourist events. However, it may be instructive to look thousands of kilometres due west to examine the PuSh International Performing Arts Festival, located in the booming Pacific Rim and 2010 Olympic host city of Vancouver. Guided by executive director Norman Armour and co-founded with local theatre director Katrina Dunn, “the PuSh Festival engages and enriches audiences with adventurous contemporary performance … work that is visionary, genre-bending, startling, and original” (Press release). The organization’s October 2007 news release (“PuShing beyond the Borders”) and Web-site archives indicate that PuSh has grown exponentially in its six years. It now boasts a history consisting of two initial three-show seasons (2003—4) that morphed into festival formats in the last four years (2005—8), becoming an essential fixture on the Vancouver arts scene.
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7

Hunter, Mary Ann. "Youth Arts Festivals and the Politics of Participation." Canadian Theatre Review 106 (March 2001): 16–20. http://dx.doi.org/10.3138/ctr.106.003.

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Artrage, Next Wave, Take Over, Come Out, Loud and Fried are just some of the myriad youth arts festivals held in Australia in recent years. Usually supported by government arts funding and curated by professional producers, these festivals attract young artists, young audiences and lots of attention from those interested in new or emerging performance practices. Festival participation is increasingly popular among Australians, with over 30 per cent of eighteen-to-twenty-four-year-olds having attended a festival in the year prior to the last population census (Bureau of Statistics). Each state hosts at least one major recurrent youth arts festival, and many are vehicles for the development and presentation of new Australian theatre. Multimedia, interactive art and cross-art form performance often gain top billing in programming that privileges the innovative, highlights the social and sometimes inadvertently prescribes “the young.”
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8

Rastrollo-Horrillo, María-Angeles, and Lourdes Navarrete. "Evaluation Model of the Roles of Festivals in the Internationalization of Performing Arts: Evidence from Flamenco Festivals." Sustainability 12, no. 24 (December 12, 2020): 10405. http://dx.doi.org/10.3390/su122410405.

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There are hardly any studies that address the study of performing arts (PAs) festivals from the perspective of internationalization. Using the case of flamenco festivals as a case study, this paper determines the role of PAs festivals in the internationalization of the PAs. In the last three decades, a large number of flamenco festivals have proliferated and consolidated both in Spain and abroad. These two types of festivals (domestic and abroad) play different roles in the internationalization of this PA. Therefore, for the first time, and in line with the proposals for measuring results of the Socio-Economic Management Model (SEAM) approach, we propose to offer an evaluation model to guide the analysis and measurement of the role of festivals in the internationalization of the PAs that includes the tangible and intangible resources and capabilities necessary for the achievement of their role(s). This study contributes to the debate on the efficiency of cultural policy by proposing a qualimetric system of indicators that evaluate their achievement, differentiating between the immediate results achieved by the festival and the results in creating potential that will facilitate the achievement of sustainable results.
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Rachmawanti, Ranti. "Digital Kultur: Music and Cultural Festivals Platform of Performing Arts in Digital Era." Tonika: Jurnal Penelitian dan Pengkajian Seni 5, no. 2 (November 27, 2022): 166–77. http://dx.doi.org/10.37368/tonika.v5i2.448.

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This article discusses the results of research on the development of the Digital Kultur application as a platform for organizing cultural festivals. The purpose of this research is to find out the development indicators that can be used in applications. Digital Kultur is an invention in the form of an application made for organizing various cultural festivals in Indonesia. It is designed to be one of the solutions to address technological challenges in the world of music and performing arts. Digital Kultur has made it easy for participants to compete, perform and express their abilities in music not only within a small event, but also in a large-scale cultural festival, involving dance, folklore, and other art fields. By using this application, festival participants are managed online, starting from the registration process, auditions, judgment, up to the result before the final offline festival. Participants will perform live and record through the application of Digital Kultur in any city or place, respectively, with the specification of facilities and infrastructure adapted to the conditions of the local area. The selection and assessment process is carried out directly, and only selected participants as finalists will be invited to perform directly at the festival venue. The main point of using this application is the effectiveness and efficiency of the operational time of the festival.
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Winkelhorn, Kathrine. "Københavns Internationale Teater – en banebryder for scenekunst." Peripeti 19 (October 11, 2022): 128–39. http://dx.doi.org/10.7146/peri.v19isaernummer2.134031.

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Copenhagen Interanational Theatre – breaking new grounds in performing artsMetropolis is organized by Copenhagen International Theater (KIT), which has been the primary driving force behind international, cross-disciplinary performing arts in Denmark since 1980 with festivals, seminars, workshops, and residencies. KIT has organized the legendary Fools Festivals, Dancin’ City, Images of Africa, Sommerscene, Dancin’ World, New Circus Festival, etc. as a major international platform in the Nordic countries. Presently KIT is working as an art-based metropolitan laboratory for the performative, site-specific and international art.
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., Jaeni. "The Festival of Kromong Mountain as a Glorification of the Value of the Natural, Social, Economic, and Cultural Arts in Cirebon, West Java, Indonesia." International Journal of Innovative Science and Research Technology 5, no. 6 (December 17, 2019): 17–24. http://dx.doi.org/10.38124/ijisrt19dec182.

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The Mountain Kromong Festival was conceived by researchers as an annual activity aimed at communicating art in realizing cultural engineering in a society that was contaminated with industrial culture. This festival is held right in the Gempol District of Cirebon , West Java, Indonesia to reassemble the cultural traditions of the mountain/huma community, which so far have covered the lives of industrial communities. Maintaining this form of festival is tantamount to maintaining value, so the value of the Mountain Kromong festival is always directed at the value of environmental glorification, both natural, social, economic, and cultural arts. The method used by researchers through participatory research stages, focus group discussions, revitalizing cultural arts, packaging festivals, and festival performances. The results of a series of research work on the Cirebon mountain kromong festival became a model of a mountain festival different from other mountain-themed festivals. The cultural closeness of all Mount Kromong festival materials is sourced from the local community, both artistic and aesthetic related matters. The entire series of festivals that have been running for two years, resulting in a cultural movement that is contained in Mountain Kromon performing art. Mountain Festival kromong increasingly in development right in the economic empowerment through the development of arts and culture-based tourism.
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12

Czarnecki, Mark. "To Serve the Art." Canadian Theatre Review 45 (December 1985): 6–11. http://dx.doi.org/10.3138/ctr.45.001.

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1 / What is the “quintessential” theatre festival? To find the answer we must first eliminate operations that call themselves “festivals” but which clearly are not. In Canada, the three largest “festivals” – Stratford, Shaw, and Charlottetown – are not festivals but summer theatres operating on a repertory basis. Their self-imposed programming mandates, high ticket prices, and locations define them as tourist industries. Nor is the Blyth Festival a true festival; although its mandate Is populist and its roots are communal, it mounts a summer season using resources from a national talent pool and rarely presents touring productions.
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kaneko, Nana. "Reconstituting Communities: Localized Folk Performing Arts and Matsuri Festivals in Post-3.11 Japan." International Journal of Sustainable Future for Human Security 7, no. 3 (February 2021): 2–11. http://dx.doi.org/10.24910/jsustain/7.3/211.

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Based on two years of ethnographic fieldwork primarily in Sendai, Japan, this paper focuses on matsuri festivals and folk performing arts, which have been documented as one of the earliest musical activities to reemerge in coastal areas of Tohoku, Japan following 3.11 because of their deep rooted history and regional distinctions. This paper presents the ways in which these cultural properties are being supported by government organizations such as the Agency for Cultural Affairs, as well as individual scholars and researchers of Tohoku’s folk performing arts. While localized folk performing arts practices have helped to rebuild local identity and given dispersed communities a reason to regularly reconvene, some post-3.11 festivals such as the Tohoku Rokkonsai (Six-Soul Festival) have developed to also showcase Tohoku’s folk performing arts as a means of demonstrating tenacity to a global audience and to try to boost post-disaster tourism and economic redevelopment. This paper considers how music making can contribute towards relief and recovery in the continuing crisis of disaster and advocates for further consideration of cultural heritage as integral to, rather than, separate from social and environmental contexts that foster human resiliency following catastrophic events. Keywords: ethnomusicology; folk performing arts; disaster relief; Japan
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Carter-Long, Lawrence. "Sundance 2020: Inclusion, Diversity, and Disability beyond Diagnosis." Film Quarterly 73, no. 4 (2020): 75–81. http://dx.doi.org/10.1525/fq.2020.73.4.75.

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Thirty years after the passage of the Americans with Disabilities Act, are festivals like Sundance ready to move beyond basic access to embrace a new disability aesthetic? In search of an answer, Lawrence Carter-Long attends his first Sundance Film Festival, with a goal of assessing Sundance's commitment to disability access and inclusion beyond the branding and rhetoric. He reviews the Festival's disability-focused programming, participation, panels, and planning, much of which was supported by the Festival's new partnership with the Ruderman Family Foundation, whose philanthropy focuses on disability rights. Carter-Long discusses audience favorites Crip Camp and The Reason I Jump, both of which received audience awards, as well as the Festival's efforts to provide closed-captioning (CC) via individual CaptiView devices and Feature Film Captioning Service, concluding that the Festival set a new standard for disability inclusion and access.
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Lane, Harry. "Editorial." Canadian Theatre Review 138 (March 2009): 4–6. http://dx.doi.org/10.3138/ctr.138.fm.

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To borrow a term from David van Belle’s contribution to this issue, Canadian theatre has been pervasively “festivalized” in recent decades. To most readers, Robertson Davies’s 1980 reminiscence would now sound quaint. We are offered festivals almost all year long and almost everywhere. True, not everyone would agree that this is an improvement on the remoteness (both geographic and cultural) of Davies’s enchantments. When Patrice Pavis came to revise his 1980 Dictionnaire du théâtre in 1996, he added an entry on “Festival,” in which he draws a rather damning distinction between “such traditional events” as the Athenian festivals of the fifth-century BCE and the proliferating festivals of today, lamenting that the ancient “solemnity of celebration” is too often “rendered meaningless by the proliferation and trivialization of modern festivals” (148). This issue of CTR presents a group of articles that collectively argue for a more flexible model of what a festival can be than that of Pavis, highlighting the varying functions of festivals in twenty-first-century theatre culture. While most aim emphatically at celebration, their “solemnity” may not be so obvious, if only because festivals tend to thrive on what is new and unexpected. A more important issue is one clearly articulated by van Belle in relation to festivals of performance work, but which applies to all: “[W]hile we are gathering information on what festivals are, we need to ask the question of what it is that festivals, as performance entities in and of themselves, do.”
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Rodin, Ian, and Richard Braithwaite. "Festival psychiatry." BJPsych Advances 24, no. 2 (March 2018): 123–31. http://dx.doi.org/10.1192/bja.2017.17.

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SUMMARYThis article is based on our experience of volunteering for the charity Festival Medical Services, to provide mental healthcare at the Glastonbury Festival of Contemporary Performing Arts and the Reading Festival. It describes the history of these annual events and the development of medical and psychiatric services offered. Principles of assessment and management of mental disorder in festival settings are outlined and common psychiatric presentations are described. Legal aspects of care are discussed. The article is intended primarily to inform others of this interesting and unusual form of mental healthcare and we hope that aspects of our experience will prompt reflection on psychiatric practice in other settings.LEARNING OBJECTIVES•Understand how psychiatric care is provided at the Glastonbury and Reading Festivals•Recognise the symptoms and signs of organic and functional conditions likely to present to psychiatrists at festivals•Identify the principles of psychiatric management in festival settingsDECLARATION OF INTERESTI.R. and R.B. gain free entry to the Glastonbury and Reading Festivals through their voluntary work with Festival Medical Services.
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Ayuni, Astari, and Agusti Efi. "MANAJEMEN FESTIVAL SENI PERTUNJUKAN PEKAN NAN TUMPAH DI PROVINSI SUMATERA BARAT." Gorga : Jurnal Seni Rupa 9, no. 1 (May 19, 2020): 100. http://dx.doi.org/10.24114/gr.v9i1.18100.

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AbstrakPenelitian ini dilatarbelakangi oleh minimnya festival seni di Provinsi Sumatera Barat yang bertahan hingga beberapa kali pelaksaan dalam satu dekade terakhir. Hal ini disebabkan oleh beberapa faktor, diantaranya; tidak adanya manajemen dalam pengelolaan festival, sehingga terkesan terburu-buru dan tidak maksimal dalam pelaksanaanya. Diantara banyak festival seni yang pernah ada, terdapat satu festival seni yang berhasil bertahan hingga saat ini, ialah festival seni Pekan Nan Tumpah. Festival seni Pekan Nan Tumpah adalah festival seni yang diselenggarakan setiap dua tahun sekali oleh Komunitas Seni Nan Tumpah sejak tahun 2011. Festival ini menghadirkan berbagai macam seni, seperti seni pertunjukan teater, tari dan musik, pameran seni rupa, lomba baca puisi kreatif, workshop dan lain sebagainya. Namun, pada penelitian ini hanya difokuskan pada festival seni pertunjukan Pekan Nan Tumpah saja. Festival seni pertunjukan Pekan Nan Tumpah menampilkan beberapa karya seni pertunjukan dengan mengundang komunitas/group dan sanggar seni lain baik dari Sumatera Barat maupun luar Sumatera Barat setelah melewati sistem kurasi. Komunitas Seni Nan Tumpah menerapkan prinsip manajemen dalam setiap pengelolaan kegiatannya, termasuk dalam penyelenggaraan festival seni pertunjukan Pekan Nan Tumpah. Penerapan sistem manajemen dimulai dari perencanaan, pelaksanaan hingga evaluasi. Festival seni pertunjukan Pekan Nan Tumpah juga merupakan satu-satunya festival seni di Sumatera Barat yang berani menerapkan pertunjukan berbayar dengan menjual tiket kepada penonton. Penelitian ini bertujuan untuk mendeskripsikan manajemen serta menganalisis faktor pendukung dan penghambat pada festival seni pertunjukan Pekan Nan Tumpah. Kata Kunci: manajemen, festival seni pertunjukan, tumpah.AbstractThis research is motivated by the lack of art festivals in the province of West Sumatra, which lasted several times in the last decade. This is caused by several factors, including; the absence of management in the management of the festival, so that it seems rushed and not optimal in its implementation. Among the many arts festivals that have ever existed, there is one art festival that has survived to this day, the Pekan Nan Tumpah art festival. Pekan Nan Tumpah arts festival is an arts festival held every two years by the Komunitas Seni Nan Tumpah since 2011. The festival presents a variety of arts, such as theater performance, dance and music, fine art exhibitions, creative poetry reading competitions, workshops and etcetera. However, this research is only focused on the Pekan Nan Tumpah performing arts festival. The Pekan Nan Tumpah performing arts festival features a number of performance art works by inviting other community / groups and art studios both from West Sumatra and outside West Sumatra after passing through the curation system. The Komunitas Seni Nan Tumpah applies management principles in every management of its activities, including the holding of the Pekan Nan Tumpah performing arts festival. The implementation of a management system starts from planning, implementation to evaluation. The Pekan Nan Tumpah performing arts festival is also the only art festival in West Sumatra that dares to implement paid performances by selling tickets to the audience. This study aims to describe management and analyze the supporting and inhibiting factors at the Pekan Nan Tumpah performing arts festival. Keywords: management, performance art festival, tumpah.
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YEGANEH, FARAH. "Iranian Theatre Festivalized." Theatre Research International 30, no. 3 (October 2005): 274–83. http://dx.doi.org/10.1017/s0307883305001525.

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This article explores contemporary Iranian theatre festivals and their relation to the whole structure of theatrical playing in the country. It examines in particular the role of the most important decision-making centre for theatre and theatre festivals: the Dramatic Arts Centre (DAC), the theatrical branch of the Ministry of Culture. The main framework of the article is based on Willmar Sauter's model of the theatrical event. Two of his four elements have been selected to develop the concept of festivals as theatrical events. The section titled ‘Organization and cultural context’ will discuss the organizational structure of festivals; and the section ‘Contextual theatricality’ will analyse the framework of the festival culture. Some fifty festivals and mini-festivals are held annually throughout the whole country. They are categorized in the article according to their genre: international, national, regional and community.
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Edmond, Murray. "A Saturated Time: Three Festivals in Poland, 2007." New Theatre Quarterly 24, no. 4 (November 2008): 307–21. http://dx.doi.org/10.1017/s0266464x08000468.

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What different kinds of festival are to be found on the ever-expanding international circuit? What companies are invited or gatecrash the events? What is the role of festivals and festival-going in a global theatrical economy? In this article Murray Edmond describes three festivals which he attended in Poland in the summer of 2007 – the exemplary Malta Festival, held in Poznan; the Warsaw Festival of Street Performance; and the Brave Festival (‘Against Cultural Exile’) in Wroclaw – and through an analysis of specific events and productions suggests ways of distinguishing and assessing their aims, success, and role in what Barthes called the ‘special time’ which festivals have occupied since the Ancient Greeks dedicated such an occasion to Dionysus. Murray Edmond is Associate Professor of Drama at the University of Auckland, New Zealand. His recent publications include Noh Business (Berkeley: Atelos Press, 2005), a study, via essay, diary, and five short plays, of the influence of Noh theatre on the Western avant-garde, and articles in Contemporary Theatre Review (2006), Australasian Drama Studies (April 2007), and Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition (2007). He works professionally as a dramaturge, notably for Indian Ink Theatre Company, and has also published ten volumes of poetry, of which the most recent is Fool Moon (Auckland: Auckland University Press, 2004).
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Zaiontz, Keren. "Human Rights (and Their Appearances) in Performing Arts Festivals." Canadian Theatre Review 161 (January 2015): 48–54. http://dx.doi.org/10.3138/ctr.161.010.

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Morrow, Martin. "Calgary’s Wild Ride: How the High Performance Rodeo Inspired and Transformed a Theatre Community." Canadian Theatre Review 124 (September 2005): 35–38. http://dx.doi.org/10.3138/ctr.124.004.

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Looking back, 1987 was a momentous year for theatre in Calgary. Two years before, the city had opened its impressive, multi-venue Centre for Performing Arts; in a year to come, it would host the XV Olympic Winter Games and Arts Festival. Now, in a general mood of optimism and anticipation, three major theatre-based festivals were launched: playRites, a showcase for new Canadian plays produced by Alberta Theatre Projects, the Calgary International Children’s Festival and the High Performance Rodeo. However, had you referred to the last one as “major” in 1987, people would have just laughed. And I would have been among them.
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Rich, B. Ruby. "Geoblocking Fall 2020." Film Quarterly 74, no. 3 (2021): 76–82. http://dx.doi.org/10.1525/fq.2021.74.3.76.

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FQ editor-in-chief B. Ruby Rich presents her take on festival-going in the time of COVID. While noting the challenges posed by geoblocking and navigating festival schedules across multiple time zones, along with the absence of the excitement and comradeship that provide live festivals with their momentum, she observes that virtual festivals—liberated from geography—offer advantages in terms of access. Surveying the offerings at the Toronto Film Festival, New York Film Festival, and DOK Leipzig, Rich highlights feature films and documentaries that offered a welcome escape from her COVID-demarcated existence, from critical favorites such as Nomadland (dir. Chloe Zhao, 2020 ) and Steve McQueen’s “Small Axe” anthology series, to discoveries such as Hong Sang-soo’s Domangchin yeoja (The Woman Who Ran, 2020) and En route pour le milliard (Downstream to Kinshasa, 2020), by the young Congolese documentarian Dieudo Hamadi.
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Jin, Jae-Hong, and Jin-Kyung Lee. "Research on the Development Direction of Local Performing Arts Festivals - Analysis of GAF Festival -." Journal of acting studies 33 (February 28, 2024): 189–202. http://dx.doi.org/10.26764/jaa.2024.33.10.

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Johnston, Kirsty. "Building Communities: Disability Arts Festivals in Canada." Canadian Theatre Review 122 (March 2005): 50–54. http://dx.doi.org/10.3138/ctr.122.012.

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Disability arts festivals showcase and celebrate the voices of a distinct and talented community of artists. Several such festivals have been held in Canada since 2001, and theatre has played a prominent role in each. Together, the festivals have built connections with, and contributed to, a growing international disability arts culture. The term “disability arts” is drawn from the work of several artists, artistic facilitators and leaders in the movement. They use it to describe and connect art work created by people who determine a strong link between disability experience and their art. Many are careful to explain that such work is not the mere by-product of art therapy. Rather, it is intentional artistic work. Disability arts festivals provide a forum for community building by allowing artists who work in different locations and operate in different artistic media to connect their works around the concept of disability. Although the range of ways in which artists interpret, involve and experience disability and disability arts is vast, festivals create venues in which artists and audiences can express and connect their ideas. In short, they organize time and space in which communities can form and gather momentum.
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Paterson, Erika. "Exploring the Fringe / 1: The Self-Determined Audience." Canadian Theatre Review 67 (June 1991): 49–53. http://dx.doi.org/10.3138/ctr.67.009.

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The Canadian Fringe Festivals are a uniquely new form of theatre within the realms of “fringe” theatre, other Fringe Festivals, and Canadian theatre in general. As a theatre event the Fringes are unique in terms of their actual and ideological relationship to institutionalized theatre; their economical and philosophical relationship with artists and audience, and most significantly, their neglect or rejections of “normally” imposed artistic value / criteria. As a festival event the Fringes are uniquely situated somewhere between official celebration and popular celebration. And the audience, whether it is understood as a theatre audience, or Festival participants, is unusual by its ever-increasing size, its modes of participation, and its influence on the artists and the work they produce for the Fringes.
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Ingle, Hrishikesh. "Film festivals and the mediations of locality." Studies in South Asian Film & Media 10, no. 1 (October 1, 2019): 59–71. http://dx.doi.org/10.1386/safm_00005_1.

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Abstract This article elaborates on the discursive role and mediations of local contexts in non-fiction film festivals that are organised in small-town settings in India. It argues that apart from the ideological imperative of forging an alternative discourse, local film festivals that are focused on non-fiction films and documentary cinema are also instrumental in producing an exuberant spatiality for re-articulating resistance as a function of filmmaking. Although this corresponds with the practices of Third Cinema of the 1970s, the temporality of the 2000s has provided a newfound relevance for locality, and its social spatial dimensions. The article develops this argument by undertaking a detailed case analysis of the Ankur Film Festival, conducted in Nashik since 2012. Identifying the numerous negotiations embedded in the trajectory of the film festival, the article also conceptualises a festival mode of cinema for contemporary social conditions.
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Alvarez, Natalie. "Roots, Routes, RUTAS." Theatre Research in Canada 40, no. 1-2 (March 20, 2020): 27–41. http://dx.doi.org/10.7202/1068256ar.

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In this article, author Natalie Alvarez examines how the Caminos and RUTAS festivals of Toronto’s Aluna Theatre harness the interactional, mass gathering of the festival and its high visibility to form a theatrical commons grounded in a heterogeneous and intercultural Americas, one that includes Latin American, Latinx, Indigenous, and Afro-Caribbean artists that have historically been excluded both from the Eurocentric vision of “Latin America” and Canadian performance histories. With a producing mandate to foster Canadian-hemispheric cultural exchanges, Beatriz Pizano’s and Trevor Schwellnus’s curatorial practices aim to generate alternate genealogical routes of Canadian performance history for a new generation of artists to travel. The performance routes of these festivals speak to the critical role festivals can play in directing—and redirecting—transnational flows of knowledge and artistic production. But Pizano and Schwellnus’s curatorial aims are also driven by an interest in how festivals like RUTAS and Caminos can generate a structural shift in the kinds of artistic traditions that are sustained on Toronto’s stages and the ways in which they are sustained by fostering hemispheric collaborations and co-productions. The RUTAS and Caminos festivals demonstrate very powerfully the work that a theatrical commons can do to advance alternative producing structures and transnational coalitional politics.
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Leonard, Paul. "Around the Festivals / 1: Redefining “the Americas”." Canadian Theatre Review 61 (December 1989): 19–23. http://dx.doi.org/10.3138/ctr.61.004.

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One of the challenges of mounting an “international theatre festival” is to come up with a conceptual framework that can profitably link diverse shows from a variety of countries. Most frequently, and rather simplistically, artistic directors use “excellence” as the common denominator, and choose “the best” shows that are available, programming a festival with hit shows from other festivals they have attended around the world. When Le Festival de théâtre des Amériques began in Montreal in 1985, the mandate was more precise: as the name implies, the biannual event was to bring together theatre productions from among the 45 nations that constitute “the Americas.” During the first two versions, the festival presented shows from Canada, the USA, Mexico, Argentina, Brazil, Nicaragua, Haiti, Venezuela and Cuba.
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Knowles, Ric. "The Edinburgh Festival and Fringe: Lessons for Canada?" Canadian Theatre Review 102 (March 2000): 88–96. http://dx.doi.org/10.3138/ctr.102.016.

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A visit to the last ten days of the formidable Edinburgh International Festival and its famous Fringe – the ur-festivals for English language international festivals and fringes in Canada as elsewhere – provides the opportunity for some comparative musings on the cultural role played by such events in both Scotland and Canada. In a consciously provocative opinion piece in the Spring 1992 issue of Theatre Forum, Ritsaert ten Cate asked, “Festivals: Who Needs ‘Em?” In attempting to answer the question – “travel agents, who can offer package deals” is the closest he seems to get, quoting a “deadly serious” American student (87) – ten Cate raises some issues that remain crucial to any discussion of the cultural work performed by international festivals at the turn of the millennium. He focuses on a familiar, mutually reinforcing binary that seems to set artists/producers against the economic and other interests of governments, funders and “the part of society that provides cash backing for a festival (an overlapping, but essentially different part of society from that which makes up our audiences)” (87). It’s “‘us’ against ‘them,” he says (86). But his essay also touches on less familiar, more useful territory, including “the presentation of our registered cultural trademarks” (87) and “a move toward multiculturalism which seems inspired more by pragmatic reasoning, political opportunism, and the availability of funding than … by any involvement of the heart” (87). Noting ruefully that “we have witnessed just how successfully the arts can be incorporated as a useful aspect of consumer society,” he argues, against his own “better” instincts, that festival organizers “must consider what their own function is within the larger context of a melange of art and society and the world …” (86, emphasis in original).
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Kusumorasri, Irawati, Nanik Sri Prihatini, and Bambang Sunarto. "Governance of flagship events in Surakarta City case studies of Solo International Performing Arts (SIPA), Solo Batik Carnival (SBC), and Solo Keroncong Festival (SKF)." Gelar : Jurnal Seni Budaya 21, no. 1 (June 25, 2023): 47–56. http://dx.doi.org/10.33153/glr.v21i1.4348.

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The implementation of cultural events or festivals is part of efforts to revitalize the tourism sector in Surakarta City. The cultural event has succeeded in becoming a means of tourism development. The possibilities are present and have given birth to a performance program. The most significant event activities include Solo International Performing Arts (SIPA), Solo Batik Carnival (SBC), and Solo Keroncong Festival (SKF). This research aims to know the governance principles for organizing a good festival or cultural event. Hopefully, understanding the principles of governance to make SIPA, SBC, and SKF become the flagship event in Surakarta city will serve as managerial knowledge useful in developing festivals and cultural events. It is important to study the management of SIPA, SBC, and SKF to find out the characteristics of leading event management so that they are included in the leading criteria. Research produces theoretical solutions, so that festival management has an adaptive and applicable management system for organizing events. The findings will be useful as a reference for other cultural events in the city of Solo. The research uses explanatory methods to find and create concepts that clarify SIPA, SBC, and SKF into three flagship events. Implementing this event is successful because it uses the combined governance between modern management and traditional management. For this reason, the results of this study have significant meaning because they can at least serve as a model in the organization of festivals and cultural events in other places
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Fournier, Katharine. "Where Puppets Collide: Tradition and Innovation in ManiganSes, Festival international des arts de la marionnette." Canadian Theatre Review 138 (March 2009): 39–44. http://dx.doi.org/10.3138/ctr.138.007.

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ManiganSes, a biennial, week-long puppet festival in Saguenay, Quebec, seeks to foster an appreciation for puppet arts — a broad theatrical tradition. With ten editions to its credit, it balances the passionate commitment to the art apparent in its mandate with the realities of sustaining a festival in Canada. It is overseen by a board of directors, though programming is entirely in the hands of the festival director. Denise Lavoie, general director for the past seven years, imagines a festival that encourages puppet arts but is also interested in what ManiganSes has to offer to the local community; festivals have enormous potential as educational centres, and ManiganSes is no exception. “This great festival is about the living art of the marionette,” says Lavoie. “It is fertile soil for traditions and ancient craft, for imagination and creativity, for assertions and reinventions” (ManiganSes 5).
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Rich, B. Ruby. "Telluride and After." Film Quarterly 75, no. 2 (2021): 102–8. http://dx.doi.org/10.1525/fq.2021.75.2.102.

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FQ editor-in-chief B. Ruby Rich reports from the 48th edition of the Telluride Film Festival. Unlike most of its peer festivals, Telluride opted not to hold a virtual edition in 2020, a decision entirely in keeping with its emphasis on the tactile and experiential aspects of cinema, and which made its return in 2021 all the more giddy for first-time attendees and long-term devotees alike. Rich reviews the many festival highlights, from Jane Campion’s reinvention of the Western in The Power of the Dog to Todd Haynes’ archival documentary The Velvet Underground. Childhood takes center stage in new films from Céline Sciamma and Kenneth Branagh while misunderstood masculinity emerges as a theme in Michael Pearce’s Encounter, Asghar Farhadi’s A Hero, and Mike Mills’s C’mon C’mon. Including a coda on the New York Film Festival, Rich concludes that the masterful riches of the two festivals augur well for the fall 2021 season.
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Acciari, Monia. "The permanency of film festivals: Archiving the changing India." Studies in South Asian Film & Media 10, no. 1 (October 1, 2019): 41–57. http://dx.doi.org/10.1386/safm_00004_1.

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Abstract Time and space are two dimensions that define a film festival in relation to duration, cultural, social, urban and political relations to the event. While the notion of space is well documented by the literature on film festivals, the idea of time is merely connected to the length of the event, mostly defined as volatile in nature. The overall aim of this article is to present an understanding of film festivals as multifaceted sociocultural and historical events beyond the idea of volatility that is naturally conferred to them. The idea of diverse intersecting temporalities is explored in this article by observing curated units of a festival ‐ commemorative events ‐ as loci to uncover the distinctive connotations of a changing nation. Time in film festival is discussed here not only as a dimension defining the length of the event, but also as an active element able to present history, moments of remembrance and renegotiate and contextualize current political and social instances. Hence, it is argued that festivals can be considered within the broad debate of archive a counter-archive, in which history and documents (the films) become channels to reassess the everyday social life of India, and shape a renovated image of the nation.
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Hluscu, Andreea, and Tita Kyrtsakas. "“I’m So Happy I’m Here Tonight”." Canadian Theatre Review 187 (July 1, 2021): 61–65. http://dx.doi.org/10.3138/ctr.187.020.

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How valuable is youth artistry in Toronto theatrical productions? How important is including diverse and under-represented youths at cornerstone theatre festivals like SummerWorks? What are the barriers to youth theatre? In our article, we explore these questions by examining the AMY (Artists Mentoring Youth) Project, which seeks to provide accessible performing arts training and creation programs to women and non-binary youth from equity-seeking communities. In addition to examining the relationship the mentors of the program have with the participants, we look at how vital youth representation is at SummerWorks. The AMY Project works to break down barriers that are often felt by youths in performing arts, and, as a result, young people produce socially engaging work that is well received and necessary to the festival and the Toronto theatre community.
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Sadavoy, Daniel. "Canada’s Raciest Festival." Canadian Theatre Review 138 (March 2009): 53–56. http://dx.doi.org/10.3138/ctr.138.010.

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Theatre festivals are fun. Feeling hegemonically excluded from them is not. Just ask Andrew Moodie, a playwright whose work was rejected by the Shaw Festival ostensibly because of the number of black characters in the script.
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Ailles, Jennifer. "Adapting the Bard: A Virtual Guide." Canadian Theatre Review 111 (June 2002): 28–32. http://dx.doi.org/10.3138/ctr.111.005.

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Adaptations of Shakespeare’s works occur in a variety of locations, one of the primary being the theatrical festivals dedicated to the Bard. Situated across Canada, these festivals – from Bard on the Beach in Vancouver to the Shakespeare by the Sea Festival in St. John’s – provide a variety of audiences with access to live performances of versions of Shakespeare’s works. To keep up with and attract media-savvy audiences, the festivals have had to create web sites to help advertise their productions. These web sites range from simplistic, low-graphic virtual “posters” to highly detailed sites with animation and extensive menus linking to numerous sub-pages. These web sites, though, are not just advertisements for theatre. With common features such as links to merchandise, memberships, and local tourist attractions mixed in among company histories, play summaries, and production photos, the festival web sites go beyond advertising and raise questions about the role(s) of the Web in relation to the production and reception of Shakespearean adaptations in Canada. Specifically, the overall construction of the festival web sites, particularly their opening home pages, frame the image of each festival as a locus of more or less authentic “Shakespeare.” The sites, as a whole, stress that they are bringing the cultural capital of the Bard to their audiences. What the virtual ads do not always express, to the same degree, is the adaptive nature of the Shakespearean product on offer and that the Bard, even in a traditional staging, is never presented unmediated. Since it is impossible to recreate a Shakespearean text as it was originally presented, any performance of Shakespeare’s works, however slightly altered, is necessarily an adaptation.
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Loiperdinger, Martin. "Film Festival Yearbook 5: Archival Film Festivals." Early Popular Visual Culture 14, no. 1 (January 2, 2016): 119–20. http://dx.doi.org/10.1080/17460654.2015.1134149.

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38

Rodriguez, Chantal. "Is One Octopus Enough?" Theater 49, no. 1 (February 1, 2019): 6–21. http://dx.doi.org/10.1215/01610775-7253739.

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Likening Latinx theater to many octopuses with many legs, Chantal Rodriguez reflects on the 2017 Encuentro de las Américas Festival, hosted in Los Angeles by the Latino Theater Company, which included the first international convening of the Latinx Theatre Commons. Rodriguez describes current and emerging trends in Latinx theater across the Americas as expressed over the course of two panel discussions and among small-group participants. Recounting how these geographically diverse conveners responded to questions concerning Latinx aesthetics, political activism, funding, festivals, and inclusion, Rodriguez unpacks the festival’s predominant question: “What can we do together that we can’t do alone?”
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Levin, Laura. "Views and Reviews." Canadian Theatre Review 138 (March 2009): 88–89. http://dx.doi.org/10.3138/ctr.138.013.

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The first two articles in the Views and Reviews section look at Canadian festivals and discuss the particular urban niches that they fill. Bruce Barton and Pil Hansen describe their experiences at HIVE2, a series of eleven performances, staged by major experimental theatre companies in Vancouver and nestled within the 2008 Magnetic North Festival. Moving back and forth between critical commentary and a more phenomenological, in situ account of their experiences as spectators, Barton and Hansen paint a vivid picture of an audience-oriented festival, one that aims to generate intimate encounters with spectators as fully present and “differentiated individuals.” Their description of the jam-packed HIVE2 events — where the number of spectators far exceeded the audience capacity given for each show (some permitting only one spectator at a time) — resonates with Heather McLean’s view piece on the over-programming of the Toronto Nuit Blanche festival, an annual all-night celebration of contemporary art. McLean reads large-scale arts festivals like Nuit Blanche in relation to the creative-city model that Toronto has adopted in recent years, a model driven by new and disconcerting forms of inter-urban competition. Here, she draws on her own experience as a (potential) presenter at Nuit Blanche — originator of the satirical, interactive performance, Assbook — to reflect on the larger curatorial, civic and spectatorial interests that animate the festival.
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Knowles, Ric. "IMPACT, Interculturalism, and the International Theatre Festival Model." Theatre Research in Canada 43, no. 2 (October 1, 2022): 206–38. http://dx.doi.org/10.3138/tric.43.2.a03.

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Cet article propose une étude de cas du festival IMPACT de Kitchener, en Ontario, pour illustrer ce que permet un tel festival ainsi que les obstacles à surmonter dans l’organisation de festivals de théâtre internationaux au Canada, en particulier ceux qui tentent de promouvoir la négociation et l’échange interculturels. Le texte présente d’abord l’histoire du festival et un aperçu des conditions matérielles de son fonctionnement, y compris le financement, les questions relatives à la traduction, la politique internationale, l’espace, les pratiques professionnelles et les différences culturelles. Ensuite, l’étude s’attarde à l’édition 2019 du festival, où diverses tensions et contraintes ont atteint leur paroxysme, entraînant la démission de la direction artistique et de la présidence du conseil d’administration. L’article prône un modèle d’administration et d’organisation de festival plus flexible, davantage axé sur la communauté et géré par les artistes. Plutôt que de se contenter du modèle qui prévaut au Canada, ce modèle doit permettre les rencontres et les échanges par-delà les différences culturelles. Enfin, l’article insiste sur la nécessité de trouver de nouvelles façons de concevoir des festivals tels qu’IMPACT pour agir comme des médiateurs interculturels, des lieux de négociation et de renégociation de valeurs culturelles, où les artistes et d’autres personnes peuvent se réunir et générer un dialogue vivant et performatif au-delà des différences, qui demeurent néanmoins réelles et respectées.
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Sawadogo, Boukary. "FESPACO and critical discourse on African cinema." Journal of African Cinemas 14, no. 1 (November 1, 2022): 35–47. http://dx.doi.org/10.1386/jac_00060_1.

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The Pan-African Film and Television Festival of Ouagadougou (FESPACO) celebrated its golden jubilee at its 26th edition in 2019. This marks a time for reflection and assessment of the future of the festival. The 50th anniversary also represents a key juncture for scholars and practitioners to rethink curatorial practice in Africa to enable film festivals to function also as a medium of production and dissemination of critical discourse on African screen media. FESPACO has a longstanding tradition of continually producing archives of knowledge about African cinema. The study of the relationships between FESPACO and critical discourse on African cinema offers a template for other festivals to follow, thus opening a new discursive space in the emerging field of film festival studies.
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Goffin, Jeffrey. "Around the Festivals / 4: I Saw the Future at the Children’s Festival." Canadian Theatre Review 61 (December 1989): 31–32. http://dx.doi.org/10.3138/ctr.61.007.

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It was the end of May. I found myself at the Olympic Plaza in downtown Calgary. Instead of a handful of office workers enjoying their lunchtime reprieve in a quiet sunny spot, there were thousands of children. Colourful tents, balloons and banners decorated the block. Clowns, jugglers, singers, mimes, musicians and artists lead the children in various activities. Even the adjoining Centre for the Performing Arts and the Glenbow Museum were awash with children. In the Max Bell Theatre, Mermaid Theatre performed a black light show. In the Martha Cohen Theatre the Youth Drama Society of Soweto presented a collective creation. In the rehearsal hall England’s Bac to Bac performed a play about West Africa. Hundreds of kids packed the Jack Singer Concert Hall to hear Heather Bishop. At the Glenbow, Quest Theatre acted out Robert Munsch stories.
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Budde, Antje, and Sebastian Samur. "Making Knowledge/Playing Culture." Theatre Research in Canada 40, no. 1-2 (March 20, 2020): 83–101. http://dx.doi.org/10.7202/1068259ar.

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(A project of the Digital Dramaturgy Lab at the Centre for Drama, Theatre and Performance Studies, University of Toronto) This article discusses the 2017 festival-based undergraduate course, “Theatre Criticism and Festival Dramaturgy in the Digital Age in the Context of Globalization—A Cultural-Comparative Approach” as a platform for experiential learning. The course, hosted by the University of Toronto’s Centre for Drama, Theatre and Performance Studies, and based on principles of our Digital Dramaturgy Lab, invited a small group of undergraduate students to critically investigate two festivals—the Toronto Fringe Festival and the Festival d’Avignon—in order to engage as festival observers in criticism and analysis of both individual performances and festival programming/event dramaturgy. We argue that site-specific modes of experiential learning employed in such a project can contribute in meaningful ways to, and expand, current discourses on festivalising/festivalization and eventification through undergraduate research. We focus on three modes of experiential learning: nomadic learning (learning on the move, digital mobility), embodied knowledge (learning through participation, experience, and feeling), and critical making (learning through a combination of critical thinking and physical making). The article begins with a brief practical and theoretical background to the course. It then examines historical conceptions of experiential learning in the performing arts, including theoriesadvanced by Burnet Hobgood, David Kolb and Ronald Fry, and Nancy Kindelan. The importance of the festival site is then discussed, followed by an examination of how the festivals supported thethree modes of experiential learning. Samples of student works are used to support this analysis.
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Hauptfleisch, Temple. "Eventifying Identity: Festivals in South Africa and the Search for Cultural Identity." New Theatre Quarterly 22, no. 2 (April 19, 2006): 181–98. http://dx.doi.org/10.1017/s0266464x0600039x.

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Festivals have become a prominent feature of theatre in South Africa today. More than forty such annual events not only provide employment, but constitute a socio-cultural polysystem that serves to ‘eventify’ the output of theatre practitioners and turn everyday life patterns into a significant cultural occasion. Important for the present argument is the role of the festivals as events that foreground relevant social issues. This is well illustrated by the many linked Afrikaans-language festivals which arose after 1994, and which have become a major factor not only in creating, displaying, and eventifying Afrikaans writing and performance, but also in communicating a particular vision of the Afrikaans-speaking and ‘Afrikaner’ cultural context. Using the Klein Karoo Nasionale Kunstefees in Oudtshoorn as a case study, in this article Temple Hauptfleisch discusses the nature, content, and impact of this particular festival as a theatrical event, and goes on to explore the polysystemic nature of the festival phenomenon in general. Temple Hauptfleisch is a former head of the Centre for South African Theatre Research (CESAT) and Chair of the University of Stellenbosch Drama Department. He is currently the director of the Centre for Theatre and Performance Studies at Stellenbosch and editor of the South African Theatre Journal. His recent publications include Theatre and Society in South Africa: Reflections in a Fractured Mirror (1997), a chapter in Theatrical Events: Borders, Dynamics, Frames (2003), and one on South African theatre in Kreatives Afrika: Schriftstellerlnnen über Literatur, Theater und Gesellschaft (2005).
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Knowles, Ric. "Introduction: Festivals." Theatre Research in Canada 40, no. 1_2 (November 2019): 1–4. http://dx.doi.org/10.3138/tric.40.1_2.1.

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Nori, Gauri. "The rise of experimental film festivals in India." Studies in South Asian Film & Media 10, no. 1 (October 1, 2019): 7–22. http://dx.doi.org/10.1386/safm_00002_1.

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Abstract This article will examine the emergence of independent platforms to screen radical and alternative cinema in India by tracing two case-studies: Experimenta, a biannual festival curated by Shai Heredia, and The New Medium section curated by Shaina Anand. While Experimenta has remained largely independent, relying on the support of established artists and cultural organizations, The New Medium section has managed to secure its place within the programme of the MAMI Mumbai Film Festival (MFF). Although their approach may differ, both curators are committed to promoting a culture of moving image experimentation in the country. Drawing on first-hand observations, interviews and scrutinizing festival ephemera, this article aims to identify the curatorial practices and strategies that have established these alternative film festivals both within the international film festival network and the larger film community in the country.
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47

Cottreau, Deborah. "The Montreal Fringe: Success on a Mountain of Suds." Canadian Theatre Review 82 (March 1995): 86–89. http://dx.doi.org/10.3138/ctr.82.017.

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Unknown to most people in Quebec, westerner Kris Kieren and her partner, Nick Morra, have become two vital, albeit youthful, contributors to Montreal’s cultural scene. Four years ago, against all financial and political odds, with a little sweat, a lot of hard work, and an impressive team of volunteers, Kieren and Morra found an answer to Montreal’s alternative theatre needs by successfully launching the first Montreal Fringe Festival. Today, the Fringe is an annual event, firmly entrenched both municipally as one of the city’s many summer festivals, despite a paucity of local and provincial funding, and nationally, as the first in a series of ten summer fringe festivals to take place across Canada (the Manotick Fringe in Ontario is currently on hold until 1995 pending funding pledges). The Montreal Fringe Festival has become increasingly popular with local theatre lovers of all ages and of all cultural persuasions. To the credit of its founders, it recently has attracted not only local theatre artists, but theatre artists from across Canada and from around the globe.
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Boni, Franco, and Peter Dickinson. "Rhubarb-o-rama! Plays and Playwrights From the Rhubarb! Festival." Canadian Theatre Review 97 (December 1998): 91–92. http://dx.doi.org/10.3138/ctr.97.017.

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As theatre festivals go in Canada, Toronto’s Rhubarb! has always been something of an anomaly. Not only does it take place at the wrong time of year (late January or early February, instead of the customary summer months), it absolutely refuses to take itself too seriously, or to let others do so: a loosely juried, Equity-exempt showcase for independent theatre, Rhubarb! has also, since 1986, banned critics from reviewing performances. The more dissident meanings attached to the name itself encapsulate something of the original festival participants’ sense of anarchy and spirit of experimentation: produced for the past twenty years by Buddies in Bad Times Theatre (in conjunction with Nightwood Theatre for five of those years), Rhubarb! was (and still is) all about taking the buzz and bedlam at the back of the stage and placing it front and centre, an aesthetic strategy that often proved bitter medicine for Toronto’s more staid audience members during the festival’s early years.
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Ishii, Tatsuro. "The Festival of the Kasuga Wakamiya Shrine." Theatre Research International 12, no. 2 (1987): 134–47. http://dx.doi.org/10.1017/s030788330001347x.

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Kasuga Wakamiya no On-matsuri (hereafter referred to as On-matsuri) is a giant annual festival which has taken place for almost 850 years. Nara, the first permanent capital of Japan between 710 and 794 A.D., abounds in ancient rituals and festivals even to the present day; On-matsuri is the largest of these, attracting both local people and visitors from throughout Japan. On-matsuri is known particularly for its wealth of ancient Japanese performing arts such as kagura, bugaku, sēnō, dengaku, sarugaku, and nō, as well as for the ritualistic events of Shintoism, the polytheistic religion indigenous to Japan.
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Kim, Sun Young, and Hee-young Song. "A Study on the Strategy of Brand Building in the Tongyeong Theater Arts Festival: Focused on the Strategy of Brand Construction." Korean Society of Culture and Convergence 44, no. 11 (November 30, 2022): 405–17. http://dx.doi.org/10.33645/cnc.2022.11.44.11.405.

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The need for brand building is growing at local arts festivals. Therefore, this study tried to contribute to the establishment of the brand strategy of the local art festival by analyzing the brand construction status of the Tongyeong Theater Arts Festival(TTAF) as a brand myth construction model. As a result of the study, in terms of the dominant ideology, the TTAF was exposed to negative perceptions such as their own league, low artistic level, and doubts about individuality and creativity, as commonly found in other regional festivals. In addition, the desires of consumers and masses were marked by independent consumption, demand for easy and comfortable arts, and enhancement of pride and self-esteem in local culture. To overcome the cultural contradiction, the TTAF is judged to have to focus more on regional specialization and artistic level improvement using the unique cultural resources of the region. Therefore, this study specifically suggests the improvement of the brand strategy of the TTAF through the supplementation and innovation of the PR marketing strategy.
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