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Literatura académica sobre el tema "Festival"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 7 de julio de 2024

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Artículos de revistas sobre el tema "Festival"

Levickaitė, Rasa. "CITY FESTIVAL - A TRADITIONAL CULTURAL EXPRESSION OF THE CREATIVE INDUSTRIES (THE CASE OF INTERNATIONAL CONTEMPORARY DANCE FESTIVAL “NEW BALTIC DANCE”) / MIESTO FESTIVALIAI – TRADICINĖ KULTŪRINĖ KŪRYBINIŲ INDUSTRIJŲ RAIŠKA (TARPTAUTINIO ŠIUOLAIKINIO ŠOKIO FESTIVALIO ”NAUJASIS BALTIJOS ŠOKIS“ ATVEJIS)". CREATIVITY STUDIES 4, n.º 1 (28 de junio de 2011): 36–53. http://dx.doi.org/10.3846/20290187.2011.577178.

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The article is based on theoretical overview on the subject of festival with its focus on special occasion having some unique aspect which is important to both the organizers and visitors of the festival. Second part of the article represents a case of International Contemporary Dance Festival. City festival is a traditional cultural expression of the creative industries. Creative city more rapidly develops through festival activities – creative cities use their creative potential in various ways: cultural activities, expressions, experiences, involvement of city inhabitants and visitors, presentation of city cultural heritage assets. A case study presented in the article is based on quantitative survey conducted during International Contemporary Dance Festival “New Baltic Dance” which took part in Vilnius 4–9 May 2010. Survey is designed for five key factors: choosing the festival, frequency of festival visits in Vilnius, transportation type visitors have arrived to the festival, channel visitors have found information about the festival, expenses during the festival period (including entrance ticket, overnight if needed, etc.), and each variable correlation between age, gender and education. Survey also includes fact-finding questions as destination festival visitors have arrived from and if festival visitors have used hotel services. While comparing goals of festival organizers and survey results, a conclusion is made that “New Baltic Dance” is a part of Vilnius city creative industries, meeting aims of the capital city and also of other Lithuanian cities and peripheries, attracting university graduates who have high demand for contemporary culture expressions and interest in contemporary dance process. On the other hand, festival visitors almost have no direct demand for better city tourism infrastructure and their economic input to the city development is very low. Santrauka Straipsnyje pristatoma miesto festivalių kaip tradicinės kultūrinės kūrybinių industrijų raiškos koncepcija. Teorinė dalis grindžiama festivalio objekto analize, festivalio kilmės, poveikio, unikalumo ir svarbos bendruomenės nariams, miesto, šalies gyventojams ir svečiams apžvalga. Antroji straipsnio dalis skirta tarptautinio šiuolaikinio šokio festivalio ”Naujasis Baltijos šokis“ atvejo analizei. Kaip manoma, kūrybinis miestas kur kas greičiau plėtojasi per festivalių veiklas – kūrybiniai miestai naudoja savo kūrybinį potencialą įvairiausiais būdais: plėtodamos kultūrines veiklas, ekspresiją, patirtis, įtraukdamos miestelėnus ir miesto svečius, pristatydamos miesto paveldą. Straipsnyje pristatomas atvejis yra kiekybinio tyrimo fragmentas, atliktas tarptautinio šiuolaikinio šokio festivalio ”Naujasis Baltijos šokis“ metu 2010 m. gegužės 4–9 d. Tyrimą grindžia šie pagrindiniai veiksniai: priežastys, lėmusios tiriamojo festivalio pasirinkimą; apsilankymo Vilniuje organizuojamuose festivaliuose dažnis; būdas, kaip žiūrovai pasiekė festivalį; kanalas, per kurį žiūrovai sužinojo apie festivalį; išlaidos, kurias patyrė festivalio žiūrovai (įskaitant bilietus į renginius, nakvynės mokesčius ir kt.). Tirta kiekvieno kintamojo koreliacija su sociodemografiniais rodikliais – amžiumi, lytimi ir išsilavinimu. Į tyrimą taip pat buvo įtraukti klausimai apie miestą, iš kurio atvyko žiūrovai, ir ar buvo pasinaudota viešbučių paslaugomis festivalio metu. Lyginant festivalio ”Naujasis Baltijos šokis“ organizatorių siekius ir tyrimo rezultatus, darytina išvada, kad šis festivalis yra Vilniaus miesto kūrybinių industrijų dalis, jis atitinka sostinės ir šalies periferijos kultūros gyvenimo poreikius, pritraukia aukštą jį išsilavinimą turinčią auditoriją, siekiančią pažinti ir patirti šiuolaikinės kultūros išraiškas, besidominčią šiuolaikinio šokio procesu. Kita vertus, tiriamo festivalio žiūrovai neformuoja poreikio geresnei miesto infrastruktūrai plėtotis ir daro mažą indėlį į miesto ekonomikos augimą.

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Muylaert Mager, Juliana y Ana Maria Mauad. "EM CARTAZ: festivais de cinema de arquivo – preservação e público". Revista Observatório 3, n.º 2 (1 de abril de 2017): 283. http://dx.doi.org/10.20873/uft.2447-4266.2017v3n2p283.

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

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Ukpokolo, Francesca C., Obiageli C. Okoye y Oluatunde B. Lawuyi. "Cultural Reconstruction of Iwa Ji Festival in Igbo-Ukwu, and Fractured Igbo Identity". Synthesis philosophica 33, n.º 1 (6 de noviembre de 2018): 149–64. http://dx.doi.org/10.21464/sp33109.

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U mnogim su afričkim društvima domorodački festivali pred istrebljenjem, što je rezultat modernizacija i utjecaja kršćanske religije na život ljudi. U jugoistočnoj Nigeriji, festival Iwa Ji, godišnji festival jama koji se slavi da bi se zahvalilo Vrhovnom biću i bogovima za osiguranje održanja, posljednjih desetljeća susreće se s napuštanjem. No istraživači su ustanovili kulturno značenje vezano za festival i njegov potencijal u očuvanju identiteta ljudi, kao i za promociju turizma, na temelju čega su predložili rekonstrukciju festivala da bi bio opće prihvaćen. Rekonstrukcija se provela. Rad proučava rekonstrukciju festivala kao fuziju domorodačkog Iwa Ji festivala i suvremenih praksi, argumentirajući da je rekonstruirani festival odraz razlomljenog identiteta Igbo naroda. Služeći se Turner¬Schechner modelom izvedbe kao socijalne drame za eksplanatorni model u studiji, autori argumentiraju da su advent moderne i kršćanska religija stvorile procjep u iskustvu kulture. Obnovljena pozornica predstavljena je u rekonstrukciji i prepakiravanju festivala za bolju prihvatljivost. Reintegracija se provela kako je festival postao bolje prihvaćen povodom rekonstrukcije te su sudionici iskusili transformaciju. Za proizvođenje podatak primijenjen je etnografski pristup. Podaci su se analizirali deskriptivno.

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Szymkiewicz, Aleksy. "Identity, place and values. On construction and internalization of festival normalities on the examples of music festivals in Poland". Journal of Urban Ethnology 19 (20 de diciembre de 2021): 153–70. http://dx.doi.org/10.23858/jue19.2021.010.

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The aim of this paper is to compare of how two different festivals stimulate specific norms and perceptions, and therefore to present the way in which the visions of the festival cities are reproduced by the festival audience based on the axio-normative orders contained in the missions of the events. Based on the shared symbols and life strategies promoted by festivals, participants (re)build their identity which they manifest in chosen cultural practices. The article attempt to answer the following question: what is shared by festival-goers? Are the main motivations for participating in the vent due to shared musical tastes or also specific values and lifestyles, and consequently a common identity? It has been shown that the values promoted during festivals are declared by their organizers – they are present in the visual identification, seminars, workshops, etc. Festivals create their narratives based on symbols such as logos, attitude smartphones, or festival slogans which contain condensed axio-normative systems that create the boundaries of the community. It influencesthe behavior of festival goers: the city’s vision, ways of spending free time, and their identity. The places where the fieldwork was conducted were: “Henryk Rasiewicz National Festival of Unbreakable and Independent Songs in Kraków”, “Ostróda Reggae Festiva” in Ostróda, and the “Song of Our RootsFestival” in Jarosław.

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DEMİRCİ, Barış, O. Can YILMAZDOĞAN y Ebru DÜŞMEZKALENDER. "FESTİVAL ALGISI, FESTİVAL MEMNUNİYETİ, FESTİVAL DEĞERİ VE AİDİYET İLİŞKİSİ: ESKİŞEHİR SOKAK LEZZETLERİ FESTİVALİ ÖRNEĞİ". Business & Management Studies: An International Journal 8, n.º 1 (25 de marzo de 2020): 1096–112. http://dx.doi.org/10.15295/bmij.v8i1.1425.

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Araştırma ile Eskişehir Sokak Lezzetleri Festivali’ni ziyaret eden katılımcıların festival algıları, memnuniyetleri, festivalin algıladıkları değeri ve destinasyona aidiyetleri arasındaki ilişkileri bütünleşik bir bakış açısıyla araştırmak amaçlanmıştır. Bu amaç doğrultusunda, ilgili alanyazın incelenerek araştırma modeli oluşturulmuştur. Değişkenler arası ilişkileri test edebilmek için Ekim 2018 tarihinde gerçekleştirilen 3. Eskişehir Sokak Lezzetleri Festivali’ni ziyaret eden yerli turistlere kolayda örnekleme yöntemi ile ulaşılmış ve 226 kişi ile yüz yüze anket uygulaması gerçekleştirilmiştir. Eksik ya da hatalı doldurulduğu tespit edilen 26 anket analize dâhil edilmemiş olup 200 anket formu değerlendirmeye alınmıştır. Toplanan veriler güncel istatistik programı ile analiz edilmiştir. Gerçekleştirilen korelasyon analizi ile festival algısı, memnuniyet, festival değeri ve destinasyon aidiyeti değişkenleri arasında istatistiksel olarak anlamlı ve pozitif yönlü ilişkiler tespit edilmiştir. Bu ilişkiler; festivale yönelik olumlu algıların, festival memnuniyetinin ve festivalin algılanan değerinin, turistlerin destinasyon aidiyetini olumlu yönde etkilediğini göstermektedir. Dolayısıyla bir destinasyona olan aidiyeti geliştirmede, festivallerin olumlu etkilerinin göz önünde bulundurulması gerektiği söylenebilir.

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Kim, Dong-Han, Jun-Jae Lee y Hyo-Yeun Park. "Assessing Economic Value of Local Festivals for Sustainable Development: A Case of Yeongju Korean Seonbi Culture Festival". Sustainability 13, n.º 23 (1 de diciembre de 2021): 13297. http://dx.doi.org/10.3390/su132313297.

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Diversity of financial resources is important to increase the sustainability of festivals. This is because even if one of the festival’s resources is stopped by external variables, the festival can be continued with other resources. Local festivals often suffer from low levels of economic independence as a primary concern for their economic sustainability. To solve the aforementioned real-world problem, this study investigated the determinants of festival goers’ willingness to pay for the development fund for the local festival. By using the CVM method, this study initially hypothesized four festival quality factors, three festival related decisions, and four demographic factors in the model. In total, 695 questionnaires were collected from visitors who completed the festival experience through an on-site survey for the Korean Seonbi Culture Festival in Yeongju, Korea. Based on a double-bounded DC CVM, the results of this study showed that festival environment, past visit experience, and demographic factors were significant determinants of festival goers’ willingness to pay for the fund. In addition, it was attempted to estimate the value of this festival through WTP (WTP; willingness to pay). This study offers the foundation for the introduction of a development fund to make the local festival economically sustainable. The theoretical and managerial implications are discussed.

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S, Selvakumaran. "In Diaspora Countries - Tamil Culture and Arts". Indian Journal of Multilingual Research and Development 1, n.º 1 (17 de diciembre de 2020): 7–15. http://dx.doi.org/10.34256/ijmrd2012.

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Unable to cope with the brutal Sinhala aggression against Tamils in Eelam, the Eelam Tamils emigrated to foreign lands in an attempt to uplift their language, art, literature and culture in the countries where they had settled for survival. As a result, they established Tamil schools in the countries where they lived and celebrated the festivals of the Tamils such as Pongal festival and Deepavali festival, the spiritual festival of Murugan Kavadi dance festivel. During these festivals, the Tamil arts such as drama, silambam, oyil and kummi are performed with great diligence. In that sense, this article sets out to explore the way the Tamil diaspora promotes Tamil culture through their arts.

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Yamagishi, Kafferine y Lanndon Ocampo. "Evaluating the greening agenda of festivals: The case of Sinulog". Turyzm/Tourism 32, n.º 1 (31 de mayo de 2022): 115–40. http://dx.doi.org/10.18778/0867-5856.32.1.06.

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This work advances previous work on greening festival management by using the Sinulog festiwal as a case in point, as it has conditions resonating with most festivals in the Philippines and some other emerging economies. An analysis based on strengths, weaknesses, opportunities and threats (SWOT) was constructed based on an earlier work that provided some insights on assessing the green management initiatives of the festival organization. The weaknesses in the SWOT analysis are considered inputs to a root cause analysis to identify the fundamental green management issues. The two analyses suggest that the festival organization has a limited view of the green management agenda. Four elements are found crucial for greening the Sinulog festival: crafting an environmental policy; allocating financial and human resources for implementing greening initiatives; partnership agreements with local environmental institutions; and partnership agreements with sponsors who proactively support the environmental agenda. These insights may have value for other festivals in their greening agendas.

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Teeuwen, Mark. "Kyoto’s Gion Festival in Late Classical and Medieval Times: Actors, Legends, and Meanings". Religions 13, n.º 6 (14 de junio de 2022): 545. http://dx.doi.org/10.3390/rel13060545.

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

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Krstić, Marija. "All Roads Lead to Guča: Modes of Representing Serbia and Serbs during the Guča Trumpet Festival". Issues in Ethnology and Anthropology 7, n.º 2 (28 de febrero de 2016): 447–70. http://dx.doi.org/10.21301/eap.v7i2.7.

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In this paper I research famous Serbian music event, the Dragačevo Trumpet Festival, better known as the Guča festival, by analysing on line photographs about the festival. The Dragačevo Trumpet Festival is one of the most famous music festivals in Serbia and one of the most famous brass band festivals in the world. Since 1961, it is annually held in the village of Guča in western Serbia. From 1962, the participants from other parts of Serbia came to Guča, while in 1963 for the first time the Roma players participated. From that time on, Roma remained among the best trumpeters at the competitions. However, during these fifty years, the festival always demonstrated and was conceptualised as the carrier of the Serbian folk tradition and culture. In my research I use visitors’ photographs available on one of the websites dedicated to Guča, www.guca.rs, in order to question how the festival’s photographs visually represent the Serbs. The main goal of the paper is to explain and show how Guča festival found its place in modern Serbia in spite of its rural, folk, barbarian and sometimes nationalist representation.

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Tesis sobre el tema "Festival"

Björk, Jonathan y Lindqvist Moreau Victor Victor. "Alive Festival 09 : Genomförande av festival". Thesis, University of Skövde, School of Humanities and Informatics, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-3151.

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I detta examensarbete tar vi upp hur vi gått till väga i genomförandet av Alive Festival -09. Vi har jobbat genom den ideella föreningen KF LIVE (Se definition) som fungerar som arrangörsgrupp i Skövde. Vi tar upp frågor som rör ekonomi, marknadsföring samt det egentliga arbete som krävs under festivaldagen. Under arbetets gång har vi hunnit införskaffa information, reflekterat över den och till sist använt oss av den när vi faktiskt genomfört festivalen. Festivalen som hölls under nio timmar innefattar tre scener med femton lokala som internationella band. I denna rapport kommer läsaren kunna ta del av de beslut vi i gruppen fattat samt få en överblick för det arbete som krävs under festivaldagen.

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

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

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Bergström, Lisa y Emily Grafström. "Vägen till framgång : En studie om festivaler i Stockholm". Thesis, Södertörns högskola, Institutionen för ekonomi och företagande, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-17088.

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The purpose of this paper is to examine how events can be successful and stay competitive.Festivals are a big part of the event world and it can be difficult to understand why certainfestivals are successful and others not. In this paper we have conducted a comparison betweentwo major festivals in Stockholm. Both of them reached success, but nevertheless one of themfailed, while the other one is still successful. With this comparison, it appeared that there aremany aspects that help a festival to reach success but also factors that can make a festival afailure. To conduct this study, a number of interviews have been carried through; these havelater been put in relation to different theories about festivals. The results of this study providesinsight into festivals ups and downs and why these happen, and can hopefully be a help toboth new and existing festivals to achieve good results.

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ABDALA, Lorena Pompei. "Estéticas da existência: a moda nos Festivais de Rock (Goiânia Noise Festival e Lollapalooza Music Festival-2008/2009)". Universidade Federal de Goiás, 2010. http://repositorio.bc.ufg.br/tede/handle/tde/2830.

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Made available in DSpace on 2014-07-29T16:28:01Z (GMT). No. of bitstreams: 1 ESTETICAS DA EXISTENCIA PART 1.pdf: 220939 bytes, checksum: 22ef569adbc52795342cfe83a7ff729d (MD5) Previous issue date: 2010-04-13
This dissertation deals about the care of the self as a mediator of the construction of identities, which legitimize the existence of the socio-cultural subjects. Through the visual narratives produced in the scenario of rock festivals, were traced the relationship of fashion as a tool for the construction of identity. The fashion, understood as a social and cultural practice operates as an existential support in the setting of the visual symbolic representation of a given culture at a given time and space history. The figures of speech created by the practices of fashion generate social archetypes that become signs of a life style. The dress becomes a whole system of meaning. The analysis is based on photographs taken of goers of the two festivals (Festival Goiânia Noise and Lollapalooza Music Festival), noting that were considered the subjects photographed and not the photograph itself, as supported by observation. The study was structured considering the symbolic systems as creators of communities of existence and fashion as a form of social practice. Thus, the work is grounded in the discourse of fashion in the form of how identities are determined by simulations made by the groups / tribes and how to establish mediated existence poetics of everyday wear.
Esta dissertação versa sobre as práticas de si como mediadora do processo de construção das identidades, as quais legitimam as existências sócio-culturais dos sujeitos. Através das narrativas visuais produzidas no cenário dos festivais de rock, foram traçadas as relações da moda como instrumento para a construção das identificações. A moda, entendida como uma prática social e cultural opera como um suporte existencial na fixação das visualidades da representação simbólica de uma dada cultura, num dado tempo e espaço histórico. As figuras de estilo criadas pelas práticas da moda geram arquétipos sociais que se tornam signos de um modo de vida. A vestimenta torna-se um sistema inteiro de significação. A análise baseia-se em fotografias tiradas de freqüentadores dos dois festivais (Festival Goiânia Noise e Lollapalooza Music Festival), lembrando que foram considerados os sujeitos fotografados e não a fotografia em si, como suporte de observação. O estudo foi estruturado pensando os sistemas simbólicos como criadores de comunidades de existências e a moda como uma forma de prática social. Deste modo, o trabalho se fundamenta, nos discursos da moda, na forma de como as identidades são fixadas pelos simulacros criados pelos grupos/tribos e de como se estabelecem as existências mediadas pela poética cotidiana do vestir.

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Richards, Evan E. "The 33rd Alaska Folk Festival : a short documentary /". Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/RichardsEE2008.pdf.

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Le, Grange Rene. "Effective planning and organisation of a student theatre festival". Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-08112004-100939.

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Gross, Justin A. Alderman Derek H. "The festival gap : comparing organizers' perceptions of visitors to a survey of visitors at the Carolina Renaissance Festival, 2005 /". Access via ScholarShip, 2006. http://hdl.handle.net/10342/1111.

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Thesis (M.A.)--East Carolina University, 2006.
Presented to the faculty of the Department of Geography. Advisor: Derek Alderman. Includes bibliographical references (leaves 114-119). Also available via the World Wide Web. Adobe reader required.

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Batchelder, Xela Ann Pollock. "The world's largest arts festival, The Edinburgh Festival Fringe mechanics, myth and management /". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149104422.

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Kaiser, Anne Maria y Mandy Sickert. "Moritzburg Festival 2017: 5. - 20. August 2017: 25. Festival". Moritzburg Festival, 2017. https://slub.qucosa.de/id/qucosa%3A32102.

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Lebendiger Innovationsgeist, musikalische Dynamik und faszinierende Spielstätten prägen die einzigartige Atmosphäre des Moritzburg Festivals. 1993 gegründet, versteht sich das Moritzburg Festival als experimentelles Labor und Exzellenzstätte zugleich. Unter der künstlerischen Leitung des Cellisten und Echo- Preisträgers Jan Vogler hat es sich als eines der renommiertesten Kammermusik- festivals weltweit etabliert.Alljährlich im August treffen sich Solisten der inter- nationalen Musikszene und herausragende Nachwuchskünstler aus aller Welt im idyllischen Moritzburg bei Dresden. Hier arbeiten sie gemeinsam an neuen Interpretationen kammermusikalischer Werke und präsentieren diese in dynamisch wechselnden Besetzungen, die so nur beim Moritzburg Festival zu erleben sind. Die Programme des Festivals spiegeln die Vielseitigkeit der Kammermusikliteratur wider und widmen sich intensiv auch zeitgenössischen Kompositionen. Doch exzellente Musikalität muss auch für die Zukunft gesichert werden. Nachwuchs- förderung ist daher ein bedeutendes Anliegen des Moritzburg Festivals. Mit Gründung der Moritzburg Festival Akademie im Jahr 2006 haben junge Musiker die Möglichkeit, intensiv an gemeinsamen Programmen zu arbeiten und sich in verschiedenen Konzertformaten einem breiten Publikum vorzustellen.

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Johansson, Frida y Sofia Eliason. "Festival- ett jämställt rum? : En turismvetenskaplig studie som undersöker två festivalers arbete mot en jämställd festival". Thesis, Karlstads universitet, Handelshögskolan, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-44424.

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Frågan om jämställdhet på festivaler har de senaste åren varit ett ämne som lyft stora debatter på sociala medier. Kända artister har kritiskt lyft diskussioner centrerade på festivalernas könsfördelningar av artistbokningar. I jämförelse till dessa diskussioner var det dock svårt att hitta tidigare fakta och forskning som berör hur arbetet med jämställdhet bakom och inom festivalerna faktiskt ser ut. Studiens syfte ämnar därför undersöka hur två musikfestivaler arbetar och förhåller sig kring jämställdhetsfrågor. De festivaler som har studerats är Way Out West och Umeå Open, en större festival och en mindre festival. Ämnet implementeras inom en turismvetenskaplig forskning eftersom festivaler tillhör kultursektorn och har en bidragande faktor inför Sveriges besöksnäring. Festivaler kan även utifrån ett samhällsperspektiv anses bidra med platsidentitets skapande faktorer samt fungera som ett verktyg för att sprida budskap vilket gör ämnet om jämställdhet på festivaler relevant att studera. För att besvara studiens syfte har vi utgått från tre frågeställningar som belyser tre teman: Jämställdhet inom organisationen, jämställda bokningar, jämställdhet inför besökarna. Dessa teman är relevanta att undersöka eftersom vi anser att det är utifrån de perspektiven jämställdhet kan tillämpas inom en festival. Vidare kopplas dessa teman samman med studiens resultat som berör de strategier och tillvägagångssätt organisationerna bakom festivalerna har använt sig av för att arbeta med jämställdhet. I studiens slutsats presenteras vårt forskningsbidrag som kan antyda att det finns två särskiljande strategier som är relevanta vid arbete med jämställdhet på en festival. Studiens teoretiska ramverk baseras på tidigare forskning som berör feministisk geografi, jämställdhet samt musik och festivaler. Den primära datan har samlats in genom två intervjuer med en representant från Way Out West och en representant Umeå Open. Vidare har intervjuerna kompletterats med en bild- och textanalys i avsikt att undersöka om och i så fall på vilket sätt hemsidorna är könskodade.
For the past years there have been lots of discussions in social media relevant to the question about equality in festivals. Several famous artists have pointed out the gender distribution that exist in festivals bookings of performers. In perspective to these discussions there is little research to find about how festivals actually are working with the subject. Therefore, this study aims to investigate how two music festivals relate and work around the subject about equality. The festivals that this study are investigating is Way Out West and Umeå Open, one festival that is a bit bigger than the other. Furthermore, this study’s research can be related to tourism studies since festivals is an event related to culture that also can be recognized as a contributing factor for Swedens tourism industry. In addition, festivals also can be used as a tool to distribute political or social messages to a wider range of people which also points out the relevance of this study’s research. Further the aim of the study is answered to by three questions which are developed in three topics. These topics are: equality inside of the organisation, equality bookings and equality in perspective of the visitors. Notably we believe that these topics are central to research hence they are relevant to how equality can be applied in a festival. Additionally, are these topics connected to the study’s result that will indicate on the festivals strategies that they are using to develop an equal festival. The result presents our contribution to further research by introducing two specific strategies that are relevant and useful in working with equality in festivals. The study’s theoretical framework is founded on previous research and includes subjects as feministic geographies, equality, music and festivals. Further the primary data has been collected through two interviews and two imageand text analysis. Each interview with a respective represent from each festival.

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Libros sobre el tema "Festival"

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

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

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1946-, Aubrey Crispin, ed. Glastonbury festival tales. London: Ebury Press, 2004.

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Festival. London: New End Publishers, 2007.

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Barrett, Victoria. Festival. New York: Pinnacle Books, 1997.

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Rayner, Claire. Festival. Bath: Chivers, 1993.

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Naqvi, Maniza. Festival. Karachi: Scheherzade, 2012.

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Festival. Buenos Aires: Mansalva, 2011.

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DePree, Gladis. Festival. Grand Rapids, Mich: Zondervan Pub. House, 1986.

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illustrator, Cardella Aaron, ed. Festival. Cleveland, Ohio: Cleveland State University Poetry Center, 2015.

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Capítulos de libros sobre el tema "Festival"

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

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AbstractIn this chapter we seize the momentum of the pandemic crisis and its disruption of the film festival world to consider festivals’ stake in the climate and ecological crisis. We will delineate three layers of concern that need to be considered holistically when taking on the challenge of greening film festivals. The first layer tackles the context of festival operations, namely, all arrangements and preparations required to organize festival events. The second layer addresses the emergent discourse of environmentalist media studies, which urges festival scholars to consider critically the consequences of the virtualization of film festivals. The third layer puts the “eco” back into “ecosystem.” The phrase “festival ecosystem” itself is becoming popular in the discourse on film festivals. We think that the time is right to bring what we are calling the festival ecosystem back into a more literal relationship with “environmental media,” media infrastructure and its material relations to the biological environment. This will entail a rethinking of how that ecosystem can be made to work in balance with our planetary needs regarding its natural resources and include acknowledging there are the limits to widespread festival mechanisms that are rooted in logics of growth and abundance.

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Karlekar, Tilottama. "Precarity, Innovation, and Survival in the Indian Film Festival Sector". En Rethinking Film Festivals in the Pandemic Era and After, 231–54. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_12.

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AbstractDespite the vast expansion in the film festival sector in India since the early 2000s, most festivals have remained financially precarious. This is true of more mainstream festivals with industry support as well as of myriad activist and “alternative” festivals on the margins. In addition, the country’s Hindu nationalist government has subjected all cultural spaces to increased scrutiny and policing. As the virus affected India and the Indian government enforced a national lockdown, festival organizers had to adapt rapidly. In order to survive, they looked both to global strategies and specific local histories of exhibition and circulation. In this chapter, I map the festival sector in India in the midst of crisis and explore the divergent strategies for survival adopted by festival organizers. I focus closely on the “frontline” strategies implemented by two community-based, activist film festivals that have adopted distinct, yet successful, models for navigating the pandemic. Already adept at negotiating multiple forms of precarity, they connected with new global audiences while redefining ideals of “community.” This chapter explores what these festival experiments tell us about how the festival as medium might change politically, economically, and cinematically, even beyond the pandemic.

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Burgess, Diane y Kirsten Stevens. "Locating Buzz and Liveness: The Role of Geoblocking and Co-presence in Virtual Film Festivals". En Rethinking Film Festivals in the Pandemic Era and After, 59–80. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_4.

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

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Damiens, Antoine. "Festivals, Covid-19, and the Crisis of Archiving". En Rethinking Film Festivals in the Pandemic Era and After, 291–305. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_15.

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AbstractBuilding upon my experience working with festival archives, this chapter examines some of the challenges with archiving festivals in times of pandemic. It argues that festival organizers, scholars, and amateur historians must collect and preserve a maximum of documents on festivals’ responses to the pandemic: while we collectively are living through a historical moment (an unprecedented crisis), there is a real possibility that the festivals organized in Covid times may not be properly archived. In particular, I look at some of the reasons why festivals are rarely properly archived and examine the impact of technology on the preservation of festival histories. I then discuss how the lack of a clear archival impetus will shape future research on festivals and argue for a reconceptualization of academic scholarship as a counterarchival gesture.

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Lee, Hyunseon. "From Festival Films to Film Festivals". En Korean Film and Festivals, 15–40. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429327841-3.

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Tsai, Beth. "Film Festivals in Taiwan: Lurking on the Periphery". En Rethinking Film Festivals in the Pandemic Era and After, 211–30. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_11.

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AbstractThis chapter investigates an ongoing geopolitical shift concerning the status of festivals in Taiwan—exemplified by the Taipei Film Festival and the Taipei Golden Horse Film Festival and Awards—and their future challenges instigated by the global pandemic. I consider film festivals in Taiwan to be lurking on the “periphery” and argue they should not be prescribed as secondary and unnoticed (in terms of prestige and influences). Instead, we need to identify the center (Western Europe and wealthy North America) versus the periphery paradigm in which the global festival circuit continued to reinforce power relations where mid- or lower-ranking film festivals had to wrestle with the hierarchy of status. This chapter begins by tracing how the pandemic preparedness in Taiwan allowed most Taiwanese film festivals to conduct business as usual. Yet this local advantage—abetted by the country’s history and political dissension with the People’s Republic of China (PRC)—is impeded by the collateral implications from disrupted festivals worldwide. The impacts of Covid-19 continue to further expose the unequal power relations within the globalized festival network, despite the survival and strife for the success of mid-level and regional film festivals.

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Dovey, Lindiwe y Estrella Sendra. "Toward Decolonized Film Festival Worlds". En Rethinking Film Festivals in the Pandemic Era and After, 269–89. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_14.

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AbstractThis chapter is in part a manifesto and in part an engagement with the thinking and practice already re-shaping film festivals in this era of decolonization and Covid-19. We take as a starting point and analyze the provocative docu-fiction film titled Film Festival Film (dir. Perivi Katjavivi and Mpumelelo Mcata, 2019, South Africa) which raises myriad, difficult, and enduring questions about film festivals and contemporary film culture. Reading the provocations of this film alongside our own respective research into and work with film festivals and film curation (mostly in relation to African filmmaking), we then put ourselves into conversation with 22 film festival curators and filmmakers around the world who have shared their experiences with us, as well as with recent decolonial theorizing (by, e.g., Ndlovu-Gatsheni, Mignolo and Walsh). The chapter grapples with questions such as what does decolonization mean in relation to contemporary film culture? What would decolonized film festival worlds look like? And what have film practitioners learned from their work during the Covid-19 pandemic that might help us to collectively realize those worlds? In this way, we try to chart the significant work being done by many people to build more inclusive, sustainable, decolonized film cultures.

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Jackson, Mark Laurence y Mark Hanlen. "Cruel Festival". En Securing Urbanism, 431–83. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-9964-4_9.

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Chitwood, Ken. "Hosay Festival". En Encyclopedia of Latin American Religions, 1–2. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-08956-0_259-1.

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Swartjes, Britt y Femke Vandenberg. "Festival atmospheres". En Remaking Culture and Music Spaces, 21–33. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003254805-3.

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Actas de conferencias sobre el tema "Festival"

Mitrović, Srđan, Suzana Marković y Josipa Mijoč. "Segmenting Wine Festival Visitors Based on Their Visit Experience". En 6th International Scientific Conference – EMAN 2022 – Economics and Management: How to Cope With Disrupted Times. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2022. http://dx.doi.org/10.31410/eman.s.p.2022.145.

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

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

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Music festival is one of the special event. It is a unique cultural event which continuously held on a particular place and time. It has been confirmed that music festivals can attract people to visit the destinations for instance Glastonbury, and the Fuji Rock. Various researches have explored the potential of festivals in forming destination image. It has not been yet explored a link between the music festivals and image formation of thedestination. The research aim is to examine the effect of music festivals on the perceived images of destinations. The objectives are to explore music festival in Thailand and to examine the perception of tourists towards destination image influenced by music festival.Music festivals in Thailand have been studied and 5 music festivals were chosen as the research settings. The documentary study was used to examine the 5 music festivals. Then the semi-structured interviews were conducted with tourists who have visited at least one of the five selected music festivals. The qualitative data are analysed using thematic analysis.The findings show that the destination images are influenced by the music festivals. The perceived images of the destination may similar to the existing images, while some may differ and transferable. The findings also show that the participants perceiveimages of the place differently during the music festival. The results can be applied to destination marketer in order to create or shape the destination images.

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COMAN, Ecaterina, Vlad BATRANU-PINTEA, Radu TUDORICA, Ovidiu TODERICI y Alexandra GIRBEA. "PROMOTING CITIES THROUGH FESTIVALS". En 10th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscss.2023/s09.41.

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Promoting cities only through historical heritage is no longer topical, especially for the new generations. The differentiation and promotion of a city can be achieved by organizing festivals, which could attract a constant number of tourists annually. The article wants to examine the characteristics of a festival that gives it the power to be popular and to evolve each year to attract more and more tourists. We needed to see what people cherish the most about these festivals and what values a festival needs to have to have the same success. A content analysis of internet posts and comments left by attendees at three very known festivals was conducted. We analyzed the information on Google, Facebook, Instagram, YouTube, and News sites. Based on the results of our study, we came up with some recommendations on how the festivals should be organized in order to increase the notoriety of a city, as well as the number of tourists.

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Shea, Brendan Sullivan y Neal Lucas Hitch. "School’s Out: Exploring Learning By Doing Methods In On-Site Design Build Architecture Workshops". En 2022 AIA/ACSA Intersections Research Conference. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.aia.inter.22.18.

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

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Wan Hafiz, Wan Zainal Shukri, Gan Mei Yen, Abdul Wahab Mohamad Rahijan y Wenjie Cai. "CHINESE FOOD CULTURE AND FESTIVAL: ROLE AND SYMBOLIC MEANING AMONG HOKKIEN MILLENNIALS". En GLOBAL TOURISM CONFERENCE 2021. PENERBIT UMT, 2021. http://dx.doi.org/10.46754/gtc.2021.11.023.

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The practice of preparing and consumption traditional food at home is the foci in most traditional celebrations, mostly accompanied by rich ethnic rituals, practice and symbolic meanings. However, studies showed changes in lifestyle and work demands in post-modernity have impacted the significance of century’s old ethnic practices in modern life. Millennials (those born between 1980s - 1990s) are more attracted to branding and commercial foods rather than festival foods. This presents an imminent risk of an erosion of Chinese festival foods and cultural identity. This study explores the symbolic meanings of the Hokkien festival foods, factors influencing the consumption of Hokkien festival foods, and role of Hokkien festival foods among Hokkien millennials. Adopting an interpretivist approach, twenty participants who identified themselves as Chinese Hokkien and were born between 1980s - 1999s in Negeri Sembilan were interviewed for the purposes of data collection. The symbolic meaning of Hokkien festival foods among Hokkien millennials were maintaining relationship with their ancestors by following festive traditions and spending quality time with family members. The role of Hokkien festival foods were to celebrate the traditions, culture and heritage as well as pass those traditions on to the younger generations. There were three main factors that influenced Hokkien festival food consumption, which were changed or set aside in keeping with a more modern lifestyle, affected by the attitude of the younger generation and the fact that parents failed to pass on the traditions.

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Cheon, Yong-soo. "The Impact of Festival Quality on Festival Image". En 10th International Workshop Series Convergence Works. Global Vision School Publication, 2016. http://dx.doi.org/10.21742/asehl.2016.8.32.

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Urbans, Mihails, Jelena Malahova y Vladimirs Jemeļjanovs. "Compliance of fire safety measures for accommodation of people in Riga schools". En 21st International Scientific Conference "Economic Science for Rural Development 2020". Latvia University of Life Sciences and Technologies. Faculty of Economics and Social Development, 2020. http://dx.doi.org/10.22616/esrd.2020.53.027.

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This article describes the situation with fire safety at Riga schools regarding their compliance with the fire safety requirements set in Latvia for accommodation of people in schools. The objective of the current paper was to research and evaluate the compliance with the requirements of regulatory enactments regarding the accommodation in Riga schools and analyse the actual fire safety situation during accommodation of participants of the Dance and Song Festivals in Riga schools. The research was conducted in spring of 2018, prior to the Dance and Song Festival, assessing the compliance of 60 accommodation sites with the Latvian regulatory enactments on fire safety. During the Dance and Song Festival, it was planned to organise accommodation places in schools for 24 000 persons – participants of the festival events in the city of Riga. Ensuring fire safety at public facilities is a topical issue for any country, since the fulfilment of fire safety requirements is important not only in cases, when school premises are intended to be used for temporary accommodation of participants of the Dance and Song Festivals for a period not exceeding a week, but also in cases when children have to stay in school premises every day to receive the knowledge they will need in their future lives and the fulfilment of fire safety regulations is an important condition for providing the overall safety.

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Khalil-Butucioc, Dorina. "Stimulating dramaturgy in the Republic of Moldova: from art education to theater festivals". En Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.22.

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Starting with the 90s, realizing the need to support and promote the new national drama, at the Writers’ Union was set up a Drama Section, AMTAP introduced the Dramaturgy and Screenwriting specialty, the Ministry of Cultures and UNITEM initiated a National Drama Competition. In this context, Dramaturgy Workshops were created at the „Luceafărul” and „M. Eminescu” Theaters, at the Center for Contemporary Dramaturgy (CDC) (2012—2013), at the School of Contemporary Dramaturgy of the Center for Cultural Projects „Arta Azi” (2017, 2018, 2020); Dramaturgy camps were organized at the „Codru” Sanatorium, near Calarasi, (1997), in Vadul lui Vodă (2001),and Râbniţa (2020); some national and international festivals were held in the country: the Festival of Contemporary Dramaturgy in the Republic of Moldova, (May 2-8, 1998), the International Theater Festival „Satiricus I.L. Caragiale” (2008, 2011, 2018, 2020), the „Verbarium” International Festival of Contemporary Dramaturgy(2013, 2014). The results of these actiivities were reflected in specialzed collections, many pieces were written, necessary translations were made depending on the specifics of the linguistic event etc.

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Cosi, Piero, Fabio Tesser, Roberto Gretter, Cinzia Avesani y Mike Macon. "Festival speaks Italian!" En 7th European Conference on Speech Communication and Technology (Eurospeech 2001). ISCA: ISCA, 2001. http://dx.doi.org/10.21437/eurospeech.2001-137.

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Najafi, Hossein. "Festival ao vivo: Streaming on-line de projetos de imagens em movimento dos alunos, na era da COVID". En LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.154.g286.

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A pandemia de COVID-19 interrompeu a maioria das atividades sociais, incluindo a educação e, inesperadamente, estudar e trabalhar em casa tornou-se uma nova normalidade (Dockery e Bawa, 2020). No entanto, isto apresentou desafios, incluindo questões sobre como os educadores podem fazer a curadoria de exposições, apresentações e exibições de fim de ano, que se tornaram parte integrante da prática da escola de arte. Estes eventos constituem mais do que um “final comemorativo” para as escolas de arte. Hauan e Kolstø, (2014) sugerem que eles também podem funcionar como ambientes importantes de aprendizagem. Esses tipos de eventos geralmente são formatados como festivais de cinema. À sombra da COVID-19, muitos festivais de cinema em todo o mundo ficaram on-line. Tradicionalmente, os alunos de efeitos visuais (VFX) da Universidade de Tecnologia de Auckland (AUT) exibem seus curtas-metragens baseados em efeitos visuais, no final de cada semestre, em um evento popular chamado Screening Night (Figura 1). Este festival não é apenas um momento de orgulho para os alunos, onde podem mostrar o resultado final para seus amigos, familiares e potenciais colaboradores e empregadores, mas também apoia processos de networking. Todos os anos, um painel de potenciais empregadores e artistas da Nova Zelândia é convidado para esses festivais, e um diálogo construtivo ocorre durante e após o evento. Quando a COVID-19 ocorreu, a cidade de Auckland passou por um grande bloqueio — todas as reuniões sociais, incluindo a noite de exibição do AUT, foram canceladas. Este estudo de caso oferece uma consideração pedagógica de como um método alternativo para a exibição de eventos, usando festivais com transmissão ao vivo por meio de serviços on-line, pode ser projetado e facilitado. A transmissão ao vivo on-line tem sido um meio proeminente para emissoras pessoais e individuais tão diversas quanto jogadores de vídeo, revisores de gadgets, chefs domésticos e creches, por meio das quais monetizam as atividades de criação de conteúdo para criar fontes significativas de receita (Kaytoue et al., 2012). Assim, tais métodos são familiares aos alunos e se propõem como potenciais para aplicação, design e desenvolvimento educacional. Este estudo de caso demonstra como a estrutura de um festival migrou e foi reformatada para um festival com transmissão ao vivo, onde os alunos: apresentaram seus trabalhos com um discurso autorreflexivo; apresentaram seus filmes e os problemas da produção de VFX; receberam feedback e comentários de convidados; receberam apoio positivo do curador; estabeleceram, em rede, um “espaço de pavilhão” e envolveram-se em discussões sobre empregabilidade. Por meio de um planejamento vigoroso, o ethos do evento noturno de exibição física foi traduzido em um evento de festival com transmissão ao vivo. Os alunos apresentaram suas obras de arte em seus discursos autorreflexivos on-line, as pessoas foram convidadas a comentar e revisar as obras de arte junto com os apresentadores. O evento do festival com transmissão ao vivo apresentou novas funções, incluindo comentários interativos. Além disso, muitos alunos estavam assistindo ao evento do festival com transmissão ao vivo com suas famílias em suas casas, dentro de suas “bolhas” — o espectro para a comunidade pareceu ficar mais amplo. O estudo demonstra que a exibição com transmissão ao vivo como um método pedagógico pode se constituir uma alternativa eficaz aos eventos tradicionais de exibição física, não apenas na era das restrições da COVID-19, mas como uma abordagem adaptável para futuros festivais on-line, apresentações e iniciativas de rede.

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Informes sobre el tema "Festival"

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

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

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Ellis, Christopher D., Byoung-Suk Kweon, Sarah Alward y Robin Burke. Ravinia Festival South Parking Lot. Landscape Architecture Foundation, 2011. http://dx.doi.org/10.31353/cs0040.

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Candido, Marcia Rangel, Cleissa Regina Martins, João Feres Júnior y Luiz Augusto Campos. Infográfico – Festival do Rio 2016. Universidade do Estado do Rio de Janeiro, octubre de 2016. http://dx.doi.org/10.12957/gemaa.2016.0004.

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Maiorino, Alexandre, Júlio César de Melo Colabardini y Flavio Gabriel Parro da Silva. Festival Internacional de Música em Casa: Fimuca Áudio. Revista Acústica e Vibrações, diciembre de 2021. http://dx.doi.org/10.55753/aev.v36e53.55.

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Em razão da pandemia do coronavírus no ano de 2020, praticamente todas as atividades educativas foram canceladas no primeiro semestre, incluindo atividades culturais, como os festivais de música. Nesse contexto, nasceu o Festival Internacional de Música em Casa - Fimuca, que reuniu, em três edições, profissionais, professores de música e mais de 36 mil participantes para compartilhar experiências e conhecimentos. O Fimuca proporcionou um momento ímpar de imersão, interação e criação, atualização e compartilhamento de conhecimentos que, em meio à pandemia da COVID-19, gerou possibilidades de diálogos e reflexões sobre as formas contemporâneas de se apreciar, consumir, criar, compartilhar, aprender e ensinar música. Nesse contexto, o objetivo desse trabalho é relatar as atividades desenvolvidas durante o Fimuca, por meio do olhar dos coordenadores dessa ação.

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Turner, Tom y Nancy Hodges. Exploring Outdoor Lifestyle Brands within the Americana Music Festival Marketplace. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-395.

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Cortés-Selva, L., M. Jurado-Martín y L. Ostrovskaya. Camerimage, un festival único dedicado al arte de la fotografía cinematográfica. Revista Latina de Comunicación Social, marzo de 2018. http://dx.doi.org/10.4185/rlcs-2018-1272.

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Rogers, Amanda. The Seven Colours Festival: Young People and Civic Participation in the Arts. Swansea University, julio de 2024. http://dx.doi.org/10.23889/sureport.66346.

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Based on our previous research (Rogers et al 2021) we noticed a difference between how artists think the arts relate to society, and how young people imagine this relationship. Young people wanted to see (and connected most strongly to) art works that more immediately engaged with the pressing social issues of Cambodia, many of which are political – including climate change, the expression of identity and human rights (e.g. LGBTQ identity), corruption and scams, and democracy. However, artists, particularly in the performing arts and music sectors, must walk a tightrope in making works that address this kind of content, with incidents of censorship most likely to occur in music (Brennert and Yean 2023). This raises the question of how the arts can connect to society, and the possibilities and limitations of this relationship. This project follows on from our initial findings, focusing on young people who may not have much experience of the arts. It considers how the arts may work for young people as a form of civic participation and what that might look like in Cambodia. To do this it traced the journey of four young interns in producing a youth festival (the 7 Colours Festival) during the course of 2023 for Cambodian Living Arts (CLA). We examined their participation in creating the event, how they connected the festival to the social concerns of young people, and evaluated how young people participated in the festival. Translation report available.

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Divita, Lorynn. "I Just Thought It Looked Cool": Cultural Appropriation by Music Festival Attendees. Ames: Iowa State University, Digital Repository, noviembre de 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1481.

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Nancy Hazard. 2005 Tour de Sol: The Sustainable Energy and Transportation Festival and Competition. Office of Scientific and Technical Information (OSTI), mayo de 2005. http://dx.doi.org/10.2172/875402.

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Derrick, G. E., S. Hettrick, J. Baker, E. Karoune, S. Kerridge, G. Fletcher, N. Chue Hong, L. Ballantyne, J. Fransmann y T. Roche. Shaping the future of research evaluation: Insights from The Festival of Hidden REF. Emerald Publishing Limited, abril de 2024. http://dx.doi.org/10.1108/egp-02-2024-0001.

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