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Björk, Jonathan, and 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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<p>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.</p>
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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.<br>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, and 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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Previous issue date: 2010-04-13<br>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.<br>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.<br>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, and 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, and 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.<br>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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Osterholt, Emily. "French Quarter Festivals, Inc.: An Analysis of Festival Operations (Internship Academic Report)." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/195.
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French Quarter Festivals, Inc. is a nonprofit organization that annually produces three festivals in the New Orleans area with the intention of promoting the Vieux Carré and the culture of the city. My internship began near the beginning of preparations for the 2015French Quarter Festival and concluded just after the event had passed. While the organization is very successful and French Quarter Festival has grown to be the largest free music festival in the United States, there remains room for improvement and growth within the organization. The following report serves as a case study of the organization and addresses issues that were revealed during both analysis and personal observations. The conclusion of the report includes recommendations intended to aide in the continual success and growth of the organization.
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Kahuno, Maryanne Njeri. "Constructing identity through festivals: The case of Lamu Cultural Festival in Kenya." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62642.
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Cultural festivals have become a prominent topic of research because of their socio-economic value. However, thus far, limited research has been conducted on the more profound issue of the possible contribution of festivals towards constructing a cultural identity. The aim of this study was therefore to determine the role that one particular festival, the Lamu Cultural Festival, plays in constructing cultural identity, particularly when people from different cultural backgrounds are involved. Lamu in Kenya was chosen as the study area, due to its rich and unique cultural heritage, with the main aim of investigating whether the Lamu Cultural Festival is helping to preserve the cultural heritage of this area and/or to create a new Lamu identity. An anthropological approach was used to conduct the study on cultural identity. The research was conducted on the 14th annual Cultural Festival in Lamu, where the festival has taken place since 2001, after the Island was declared a UNESCO World Heritage Site. The best way to understand another culture is to experience it first-hand by travelling to the destination, hence the use of participant observation for data collection. The dissertation looks at various debates regarding identity construction through cultural festivals. It also investigates the development of festival literature, festival tourism and the history of festivals. Cultural practices among the Aweer, the Bajuni, the Sanye and the Orma in Lamu, and these people's sense of cultural identity before the introduction of the Lamu Cultural Festival are also assessed, in order to understand the respective senses of cultural identity of these four indigenous groups involved in the festival. The Lamu Cultural Festival itself is also discussed in detail: the planning process, stakeholders and organisers, people's motivations for participating in the festival, festival items and their composition. The research findings may assist festival organisers in achieving a better understanding of the importance of involving indigenous communities in the planning process and possibly in achieving a Lamu identity over time.<br>Dissertation (MHCS)--University of Pretoria, 2017.<br>Historical and Heritage Studies<br>MHCS<br>Unrestricted
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Ludvigsson, Josefine. "Festivalernas Intåg : Korröfestivalen – en bordunstämmas resa genom festivaliseringen." Thesis, Växjö University, School of Education, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2382.
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<p>Title: Festivalernas Intåg – Korröfestivalen- en bordunstämmas resa genom festivaliseringen</p><p>The Korrö festival- The establishment of a Swedish Folk Music Festival.</p><p>This thesis describes how folk music festivals have been escalating during the past few and how they have influenced Swedish folk music. To reach my results I have been studying one festival in particular which is the Korrö Folk Music Festival. This event started in the mid-eighties as a small happening that attracted almost exclusively musicians that were a part of the bordooon movement. The bordoon movement gathered a couple of days in the summer at what they called the “Korrö bordunstämma” to build instruments and play folk music. Later on the event started to attract other people through public live concerts. These concerts became more and more popular and they soon took over the original purpose of the event. This became a turning point for “Korrö bordunstämma” who now decided to change name to the Korrö Folk Music Festival. I have been studying the history of this event to see if I could find any particular circumstances that may have contributed to the popularity this event have reached over the years. I will illustrate how certain factors such as organisation, economy and alteration of visitors have affected the festival. This text will give the reader a presentation of a festival in constant change. I believe that The Korrö Folk Music Festival has been an important part of the development of modern Swedish folk music and still is.</p>
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Knytlová, Magdalena. "Komparace vybraných gastro festivalů a návrh marketingové strategie." Master's thesis, Vysoká škola ekonomická v Praze, 2017. http://www.nusl.cz/ntk/nusl-358841.
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The Diploma Thesis deals with the marketing activities of the Garden Food Festival Olomouc. The objective of the thesis is to design specific marketing activities for the forthcoming year of this festival on the basis of the comparison with the foreign festival and the festival´s marketing, especially the marketing mix and communication. The theoretical part is dedicated to the history and significance of food festivals in the Czech Republic; furthermore, it introduces the areas of the marketing of services where the marketing mix and communication play a leading role. The subsequent practical part presents the comparison of a domestic food festival with a foreign one. To fulfil the objectives of the thesis, analysis of the marketing mix and communication as well as SWOT analysis is selected. The conclusions drawn are supported by a questionnaire survey about the awareness of the festival and its marketing. On the basis of the analyses performed and the data collection in the questionnaire survey, the concluding part of the thesis proposes specific features that the food festival could include in its marketing activities in the future.
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Mátlová, Markéta. "Wexford Opera Festival." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-96818.
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This MgA project is following my Bc project, which was about the estabilishing and beginnig of Wexford Opera Restival. MgA project is about the progress in years 1961 - 1968. You can find in this work the basic ideas of WOF, the main facts about this developing festival in the second decade of it´s existence and information about the choosing repertoire and artists. This is the only comprehensive factographical material in Czech language. In the Introdiction you can find much more about the base of WOF - also in english language.
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Marcon, Fernanda. "Música de festival." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/92875.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em Antropologia Social, Florianópolis, 2009.<br>Made available in DSpace on 2012-10-24T13:25:49Z (GMT). No. of bitstreams: 1
273298.pdf: 9010242 bytes, checksum: bb50b82cfa943a63fd213326d811db4c (MD5)<br>A música nativista pode ser entendida como um caso específico de regionalismo musical dentro da música popular brasileira contemporânea; trata-se de um repertório de canções oriundo do estado do Rio Grande do Sul, conhecido como "música nativista gaúcha". Como um estilo musical, a música nativista compreende diferentes gêneros - denominados ritmos pelos interlocutores dessa etnografia. Nesse sentido, os festivais de música nativista se tornaram um espaço privilegiado para o que ficou conhecido no Rio Grande do Sul - primeiramente - como Movimento Nativista, sobretudo, a partir da década de 1980. Além disso, a constituição do nativismo deve ser analisada com o que lhe serve de substrato maior: as referências à chamada cultura gaúcha. O objetivo desta dissertação foi o de realizar uma etnografia da produção de música nativista no festival Sapecada da Canção Nativa, em Lages-SC, atentando para os valores e tradições evocados pelos sujeitos em suas práticas musicais, considerando a constituição de imaginários acerca da formação da cidade de Lages durante o momento festivo.<br>La música nativista puede ser entendida como un caso aparte del regionalismo musical dentro de la música popular brasileña contemporánea; consiste de un repertorio de las canciones originarias del Estado de Rio Grande do Sul, conocido como música nativista gaúcha. Como un estilo musical, la música nativista comprende diferentes generos - denominados ritmos por los interlocutores de esta etnografía. De esta forma, los festivales de música nativista se convirtieron en un espacio privilegiado para lo que quedó conocido en Rio Grande do Sul - primeramente - como el Movimento Nativista, sobretodo, a partir de la década de 1980. Además de eso, la constitución del nativismo debe ser analizada a partir de una de sus bases principales: las referencias a la llamada cultura gaúcha. El objetivo de esta disertación fue el de realizar una etnografía de la producción de música nativista en el festival Sapecada da Canção Nativa, en Lages-SC, focalizando se en los valores y tradiciones evocados por los sujetos en sus prácticas musicales, considerando la constitución de imaginarios sobre la formación de la ciudad Lages durante el momento festivo.
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Ceotto, Elisa <1988>. "Organizzazione di un festival cinematografico: il caso Far East Film Festival." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3337.
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Questa tesi analizza il Far East Film Festival di Udine, festival del cinema asiatico popolare, che a partire dal 1998 è diventato punto di riferimento per la cultura cinematografica asiatica in Europa. Nella prima parte viene fatta un’analisi dei festival cinematografi: un breve cenno storico, la loro organizzazione, l’ambiente in cui operano e il loro ruolo nella creazione del valore. La seconda parte è dedicata al Far East Film Festival: la sua organizzazione, il suo impatto sul territorio e il suo pubblico.
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Parentelli, Lorenza <1995>. "Acieloaperto festival: organizzazione e produzione di un festival di musica leggera." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/20118.
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L'elaborato si propone di analizzare il festival di musica leggera Acieloaperto.
Nel primo capitolo vengono esposti i concetti di evento, evento culturale e festival; nel secondo capitolo si analizzano il territorio e il contesto in cui il festival ha luogo;
nel terzo capitolo viene analizzata la storia dell'associazione Retropop Live che organizza il festival e il suo operato sul territorio della zona di Forlì-Cesena, in particolare anche la sua forma giuridica di Associazione Culturale APS; nel terzo capitolo si analizzano la rassegna, in particolare organizzazione, produzione e proposta culturale; il quinto ed ultimo capitolo analizza l'organizzazione del festival in relazione allo scoppio del Covid-19.
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Apicella, Rita <1993>. "La gestione di un festival lirico: il caso del Rossini Opera Festival." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/18683.
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Il project management è uno dei fattori che più ha rivoluzionato il modo di concepire, pianificare e sviluppare eventi culturali e spettacoli dal vivo. Negli ultimi decenni, infatti, le organizzazioni culturali, ispirandosi sempre più spesso alle grandi realtà aziendali a carattere scientifico-tecnologico e ingegneristico, hanno avviato un processo virtuoso, evidenziando la necessità di definire le attività da svolgere, gestire al meglio le risorse economiche e umane e di raggiungere obiettivi innovativi, sia artistici che socioculturali, in tempi prestabiliti. Gli spettacoli dal vivo, in questo modo, sono gestiti come progetti temporanei, il cui successo deriva sì dal numero di visitatori che riescono ad attrarre, ma anche dall’ottimizzazione delle risorse, dalla capacità di creare valore economico e soprattutto culturale e dall’abilità di formare relazioni durature nel tempo. Quest’ultimo aspetto è ricollegabile alla necessità, da parte delle organizzazioni culturali, di mettere a punto, prima, durante e dopo l’evento, una comunicazione capace di creare una rete di fedeli stakeholder.
L’elaborato prende in esame i festival culturali, manifestazioni costituite da una serie di eventi e rappresentazioni a carattere multidisciplinare, che si svolgono in un arco di tempo più o meno breve, con un forte richiamo al luogo in cui sono ospitati e caratterizzati da un particolare contenuto (leitmotiv o tema conduttore). Oggigiorno, la presenza di una pluralità di festival, e il know-how che negli anni è stato acquisito dagli enti organizzatori, ha garantito, da un lato, una standardizzazione relativa agli elementi che un festival dovrebbe offrire all’audience e, dall’altro, delle linee guida per una corretta pianificazione e organizzazione degli eventi culturali di una rassegna festivaliera. Il caso studio rappresentato ha come soggetto il Rossini Opera Festival, festival musicale lirico, interamente dedicato alla figura di Gioachino Rossini, che si tiene ogni anno nella città di Pesaro. Partendo dalla storia del festival e dalla struttura organizzativa che lo gestisce, l’elaborato ha come obiettivo la raccolta e l’analisi di dati quantitativi e qualitativi, al fine di comprendere come le politiche gestionali ed economiche e l’aspetto artistico-culturale si combinino al meglio per raggiungere obiettivi sempre più innovativi e strategici.
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Pontiff, Brenda Renee'. "The American renaissance festival." Thesis, Kansas State University, 1986. http://hdl.handle.net/2097/9947.
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Reed, Delanna. "Storytelling at Umoja Festival." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1277.
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ETSU/Umoja Storytelling performances will begin at 4 p.m. both days on the Majestic Park Storytelling Stage, located at the gazebo between Main and Market streets on the site of the old Majestic Theater. Included will be stories and songs from Dr. Joseph Sobol, Dr. Delanna Reed and their friends, colleagues and graduates from the ETSU Storytelling Program.
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Dreyer, Adriana. "Tourist perceptions of the Klein Karoo National Arts Festival's corporate brand / A. Dreyer." Thesis, North-West University, 2010. http://hdl.handle.net/10394/4352.
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Youssef, Dalia. "La marque et la pérennité d'un festival : étude comparative entre le Festival de court métrage d'Alexandrie en Égypte et le Festival In d'Avignon en France." Electronic Thesis or Diss., Avignon, 2024. http://www.theses.fr/2024AVIG0061.
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L'importance croissante des festivals en tant que vecteur de marketing territorial les positionne souvent comme des outils de communication pour les marques partenaires. Une question émerge naturellement : le festival peut-il lui-même être considéré comme une marque à part entière ? Cette interrogation constitue le fil conducteur de cette thèse, de la revue de littérature aux études de terrain en passant par les théories, qui explore le festival sous différentes perspectives, notamment en tant que système de parties prenantes, objet de recherche en marketing, et enfin, en tant que marque. La problématique centrale de la recherche se formule ainsi : face à la diversité de ses publics et à l'influence qu'ils exercent sur les gestionnaires, dans quelle mesure le festival peut-il être géré comme une marque territorialisée ? Pour répondre à cette question, une approche qualitative a été choisie, employant la méthode de l’étude comparative. Les deux terrains festivaliers étudiés sont le festival de court métrage d’Alexandrie en Égypte et le festival du spectacle vivant d’Avignon en France. Cette approche vise à enrichir la compréhension des dimensions de la valeur de la marque des festivals, tout en offrant des perspectives pratiques pour surmonter les défis auxquels font face les organisateurs de festivals, notamment en Égypte.Les résultats obtenus révèlent que, même de manière inavouée ou inconsciente, les gestionnaires de festivals développent une stratégie de marque territorialisée. De plus, l'influence des parties prenantes observée se manifeste dans la puissance des associations liées à la marque . Enfin, lamarque émerge comme un outil de gestion particulièrement adapté au contexte du festival, notamment en termes de gestion des risques<br>The growing significance of festivals as territorial marketing vectors often positions them as communication tools for partner brands. A natural question arises: can the festival itself be considered as a brand in its own right? This inquiry serves as the guiding thread throughout this thesis, spanning from the literature review to field studies, exploring the festival from various perspectives, including as a stakeholder system, a subject of marketing research, and ultimately, as a brand. The central research question is formulated as follows: given the diversity of its audiences and the influence they exert on the organizers, to what extent can the festival bemanaged as a territorialized brand? To address this question, a qualitative approach was chosen, employing the method of comparative study. The two festival sites studied are the Alexandria Short Film Festival in Egypt and the Avignon Festival, France. This approach aims to enhance the understanding of the dimensions of festival brand value while offering practical insights toovercome challenges faced by festival organizers, particularly in Egypt. The findings reveal that, even if implicitly or unconsciously, festival managers develop a territorialized brand strategy. Furthermore, the observed influence of stakeholders is evident in the strength of associations linked to the brand. Finally, the brand emerges as a management tool particularly well-suited to the festival context, especially in terms of risk management
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Rowley, Ben. "Festival or carnival? : the 2002 Adelaide Festival of the Arts and cultural activism /." Title page/ table of contents only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09arr8838.pdf.
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Batchelder, Xela. "The world's largest arts festival, The Edinburgh Festival Fringe: mechanics, myth and management." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1149104422.
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Niero, Elena <1992>. "I festival cinematografici come catalizzatori turistici. Il caso dell'International Film Festival di Rotterdam." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10520.
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Questa tesi presenterà i festival cinematografici come veri e propri promotori turistici di una località e si focalizzerà su un caso di particolare successo quale l’International Film Festival di Rotterdam.
La prima parte della tesi illustrerà una panoramica delle diverse tipologie di festival cinematografici esistenti. Verranno elencate le caratteristiche necessarie per l’organizzazione di un festival cinematografico, le motivazioni di base che spingono alla creazione di un film festival, le modalità di progettazione (in particolare gli aspetti organizzativi, economici e sociali), i processi decisionali di scelta delle località e delle date di svolgimento dell’evento (legacy e allungamento della stagionalità turistica) ed infine i profili socio-culturali dei partecipanti.
Nella seconda parte invece, verrà presentato l’International Film Festival di Rotterdam. Dopo un’introduzione sulla nascita del festival, la tesi illustrerà le caratteristiche dell’evento, la programmazione ufficiale (stagionalità ed eventi) e l’assegnazione dei premi. Verranno poi elencate le strategie impiegate per la comunicazione ed il marketing, il merchandising, il budget ed i finanziamenti.
Una particolare attenzione verrà rivolta alla scelta della località, Rotterdam, come chiave del successo di questo festival.
Lo scopo della tesi è dimostrare come un evento cinematografico come l’IFFR, possa avviare una serie di effetti a cascata a beneficio dell’intero sistema su cui si fonda.
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Carrozzo, Virginia <1991>. "Progettare e gestire un festival cinematografico: il caso del Salento International Film Festival." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13056.
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Partendo dall'analisi di quelli che vengono definiti eventi culturali, con particolare attenzione ai festival cinematografici, si arriva a descrivere il processo di progettazione e gestione di un evento culturale. Viene analizzato, in seguito, il caso del Salento International Film Festival che, nel suo piccolo, come tutti i festival del cinema, determina una crescita sociale, culturale ed economica dei Paesi in cui esso si svolge.
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Warnes, Mathias. "Heidegger and the festival of being : from the bridal festival to the round dance." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43841.
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This dissertation consists in a hermeneutical-phenomenological and being-historical
investigation of the time-play-space of “the festival” in the Collected Works of the
philosopher Martin Heidegger (1889-1976). After introducing the scope and limits of the
research within the primary and secondary literatures, followed by an interpretation of the
festival in the 1920s, I show how the festival becomes prominent in the mid-1930s by
way of Heidegger’s first sustained reading of Hölderlin, where the theme of the “bridal
festival” of humans and gods first emerges, and next in “The Origin of the Work of Art”
essay, which mentions “the festival of thinking.” From these two texts the festival then
extends its resonances throughout the later writings, and culminates after 1946 in a
thinking of the “round dance.” I focus on the bridal festival as a) the initiatory event of
tragic being; b) the fissuring clasping of unbound demigods; and, c) the central thought of
Heidegger’s being-historical thinking of the Greek gods and possible future for Hesperia.
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Todd, Louise A. "Festival images : brand image and stakeholders' brand relationship types at the Edinburgh Festival Fringe." Thesis, Edinburgh Napier University, 2011. http://researchrepository.napier.ac.uk/Output/4344.
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The Edinburgh Festival Fringe (The Fringe) is the largest arts festival in the world and it has inspired the creation of similar festivals world-wide. Since its conception in 1947, the Fringe has demonstrated significant growth in visitor numbers; ticket sales; and its economic contribution. Despite this, the sustainable future of Edinburgh's festivals is debated as Edinburgh, ‘the Festival City', faces threats from other festival destinations. Festivals position Edinburgh creatively in contrast to the city's traditionally perceived image as a cultural-historic centre. Despite this, little research has been undertaken into the creative and cultural significance of Edinburgh's festivals, including the Fringe. This interdisciplinary research grounded in marketing, tourism, and festival and event management; and underpinned by constructivism, presents an understanding of types of brand relationships that exist between the Fringe and its primary stakeholders. This is achieved through defining both the Fringe brand image and its primary stakeholders; and applying these definitions to the development of a typology of Fringe-stakeholders' brand relationships. The significance of this study is evident within its topic of inquiry and the research methods applied. In the little-considered arena of arts festivals and their stakeholders, this is the first in-depth study into the Fringe as a festival and festival brand. Within this, the definition of a Fringe brand image contributes to understanding the cultural and creative significance of the Fringe. Furthermore, this research contributes a unique understanding of the types of stakeholders that are engaged with the Fringe. The types of brand relationships that exist between these stakeholders and the Fringe are another significant contribution to knowledge and understanding. While specific to the present context, these findings may prove transferable to further festivals or events, and related areas and industries. The contribution made by this research to the methodological developments in festival and event studies is of additional significance. The application of visual research methods, including semiotic analysis and photo-elicitation within phenomenological interviews, has previously been applied in marketing, consumer, and tourism research, but not to the understanding of festival brands and stakeholders' brand relationship types. Findings of this research illustrate that existing marketing and consumer brand frameworks and stakeholder theories are applicable to festivals. Further, it is possible to define ‘a' Fringe brand image which is subjective and contradictory. The unique open-access and organic, operational model of the Fringe facilitates its many contributors, and consumers. Fringe stakeholders may be categorised according to their level of engagement with the Fringe (as primary or secondary) and their particular stakeholder role(s), which are varied and multiple. Fringe-stakeholder brand relationship types are overwhelmingly positive; and are based upon interpersonal relationship dimensions (including friendships, marriages, kinships and partnerships). Fringe-stakeholder brand relationship types can be classified therefore as having similar dimensions to those brand relationship types previously described for consumer products and brands.
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Marinoni, Elisa Enrica <1992>. "L’ORGANIZZAZIONE DI UN FESTIVAL CINEMATOGRAFICO: analisi e case study dell’Italian Film Festival a Singapore." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/9059.
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L'elaborato si prefigge di analizzare l'organizzazione di un festival cinematografico e si divide in due parti. La prima parte offre una breve panoramica sul mondo dei festival cinematografici, delineandone l’evoluzione storica e tratteggiando una definizione di film festival con particolare riguardo al framework e al network degli stessi. Successivamente vengono descritti i processi di gestione di un festival che vanno: dall’input creativo alla valutazione e, in particolare, si focalizza sul project management dell’evento. La seconda parte è dedicata all'analisi del case study: l’Italian Film Festival a Singapore, festival organizzato dall’Istituto Italiano di Cultura (IIC) di Singapore, in collaborazione con Biennale, che porta nella città-stato asiatica una decina di film italiani del panorama contemporaneo.
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Bazzoni, Francesca <1992>. "I festival culturali hanno una linea culturale? Analisi del caso Suoni di Marca Festival." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9995.
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Il progetto di tesi si propone di fornire un contributo riguardo l’approccio ai festival culturali in una prospettiva economico-manageriale, analizzando il particolare caso del festival musicale «Suoni di Marca» a Treviso. A tal proposito verrà fornita un’analisi in chiave interpretativa della proposta culturale di Suoni di Marca Festival. Nella cornice di una ricerca empirica circa i festival culturali territoriali e l’economia dell’esperienza, oggetto di indagine saranno alcune principali determinanti di Suoni di Marca: contenuto, pubblico, relazioni, location e durata. Nondimeno verrà considerato il forte contesto territoriale del festival, oltre che lo sviluppo della linea culturale nei suoi ventisei anni di attività, soffermandosi sui più rilevanti path di cambiamento per arrivare alla formulazione di una risposta esaustiva al quesito di ricerca: «I festival culturali hanno una linea culturale?»
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Gabrielová, Alžběta. "Management filmového festivalu a jeho specifika." Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-262196.
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This Master thesis explores the area of film festivals. The first section describes the film festivals and their categorization. For a better comprehension of the issues part of the work is dedicated to the general and Czech history of film festivals. The work is focused on the interest groups and their impact on the functioning of film festivals. The current situation is analyzed through a selected case of the International Film Festival Karlovy Vary. All program activities are analyzed. The work describes the processes that take place during the organization of the film festival and also explores its internal and external conditions. It presents the structure of the organization team and summarizes responsibilities of its positions.
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Anderton, Christopher Booth. "(Re)Constructing music festival places." Thesis, Swansea University, 2007. http://ssudl.solent.ac.uk/1560/.
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The British music festival market is remarkable in its size, breadth and longevity. In recent years, a considerable growth has been seen in the numbers of greenfield music festivals: those rock, pop and folk music events which are held outdoors, across a weekend, and offer on-site camping accommodation. These represent the annual (re)construction of a temporary ‘village’, and may accommodate anywhere from a few thousands to tens of thousands of festival-goers. They offer excellent promotional opportunities for their organisers, sponsors and hosts, and have become important leisure and tourist resources at the local, regional and national level. At the same time, they have significant social, cultural and aesthetic roles to play, in that they showcase new musical talent, and allow festival-goers to gain ‘authentic’ experiences of music and sociality. However, despite their social, cultural and economic significance, there is a notable dearth of academic work critically examining greenfield music festivals, or theorising the relationships of these events to their host locations. This lack is addressed here by reconsidering music festival histories and expectations, and by examining the organisation, mediation and reception of three greenfield music events - the Cambridge Folk Festival, the Cropredy Festival and the V Festival - through a cultural economy approach. In light of the research findings, stereotypical understandings of greenfield music festival places and histories as carnivalesque and countercultural are critiqued, and the roles of other festival histories and meanings discussed. Three novel theoretical concepts are then introduced: ‘Cyclic place’ moves beyond the ideas of the carnivalesque and liminality to suggest a new way of thinking about music festival spatialities; ‘Meta-sociality’ helps to overcome the limitations of neo-tribal ideas in respect of music festival socialities; and ‘Specialness’ addresses questions of festival loyalty and belonging. Taken together, these help to explain how greenfield music festivals come to be annually (re)constructed in their own images, and why they remain such an enduring element of British cultural life.
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Cuneo, Zoe. "Faux/Real Festival of Arts." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/aa_rpts/199.
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The purpose of this internship report is to analyze the Faux/Real Festival of Arts in regards to my Arts Administration learning experiences. In addition, I will describe my internship involvement with Faux/Real and examine the success of its first year. This report also contains my S.W.O.T. analysis of the festival, highlighting its strengths, weaknesses, opportunities, and threats. Finally, I assert best practices for festival management and programming, and offer recommendations to Faux/Real on how they could incorporate those practices that they have not already implemented to strengthen the festival.
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Krejčí, Leoš. "Mezinárodní operní festival Smetanova Litomyšl." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-96816.
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In my thesis I decided to captue the emergence and development of international opera Smetana. The first part is devoted to the relationship between Bedrich Smetana and his hometown. Describe the difficult journey of a small father Frederick, who after great hardship ends in the hometown of his only son. We can also mention the first musical steps, local composer, his first song, the first artistic achievements.The chapter ends with a visit by telling the master in Litomysl, where the person becomes the subject of spectacular celebrations. In another chapter entitled " Musical traditions of Litomysl trying to portray the mood and musical passion, which laid the basis for establishing Litomysl festival.In the next chapter, through the testimony of three witnesses Miroslav Broulik, Zdenek Vandas and Vladimir Sauer, we are able to penetrate the personal secrets of behind-the-festival. Last, the longest chapter deals with the International Opera Smetana, who was the most famous monument Litomysl native.
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Santos, João Pedro Silva e. Santos. "Festival (in) capacidades sem limites." Master's thesis, FEUC, 2013. http://hdl.handle.net/10316/24776.
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Trabalho de projecto do mestrado em Gestão, apresentado à Faculdade de Economia da Universidade de Coimbra, sob a orientação de Filipe Coelho.<br>Resumo
Num contexto de crise económica e social, em que as Instituições Particulares de Solidariedade Social (IPSS) assumem cada vez mais um papel preponderante enquanto agentes de inclusão social, e os apoios governamentais à sua atividade têm vindo sucessivamente a ser reduzidos, torna-se essencial transmitir à sociedade atual a importância do trabalho por elas desenvolvido. Apenas deste modo é possível a sua sustentabilidade através do aumento de apoios provenientes de pessoas individuais, empresas e outras organizações não governamentais.
A realização deste projeto do Festival (in)Capacidades Sem Limites pretendeu corresponder a esta necessidade de divulgação das IPSS de apoio a pessoas portadoras de deficiência, de epilepsia ou outras incapacidades e de integração social destes grupos referidos. A organização deste Festival constitui uma estratégia de marketing social que resulta de uma iniciativa de empreendedorismo social coletivo, realizado através de parcerias de responsabilidade social, com especial relevância do apoio empresarial, sendo fundamental para esta o marketing social na promoção do seu conceito.
O fato de este projeto ter conseguido envolver dezenas de entidades (IPSS, outras associações sem fins lucrativos, organismos públicos e empresas), bem como perto de uma centena de voluntários, demonstra o potencial destas iniciativas conjuntas como forma de aumentar o impato de divulgação de uma causa social.
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Bidgood, Lee, and Los Ambajadores. "Performance At Corazon Latino Festival." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1054.
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Thank you for coming to celebrate the vibrant Latino culture in an evening jam-packed with fun family activities, delicious food, free dancing lessons, and live entertainment. For this year's festival, we highlighted the beautiful connection between the Latino and Appalachian communities here in our area, making this festival like no other!
This year's festival included:
Corazón Sano – Awareness and prevention of health issues, such as blood pressure and glucose screening, healthy living, and self-care management
Arte – Exposure to the Latino roots and culture in the art exhibit, Ni de Aquí ni de Allá (Neither from Here Nor from There) at ETSU’S Tipton Art Gallery
ChicoZone – Area for children to enjoy face painting, piñatas, and art coloring
Entertainment – Zumba, “Running of the Bulls” with the Little City Roller Girls, “Los Embajadores” Mariachi/Bluegrass live band, Dance Lessons with Bj Goliday, and music by DJ Torrado
Pasaporte A Las Américas – A trip across Latin American countries without leaving Main St! Cultural Ambassadors will guide visitors through the beauty and traditions of each country
Food – A variety of food trucks will represent the Latino and Appalachian cultures
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Reed, Delanna. "Storytelling at Blue Plum Festival." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1276.
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Reed, Delanna. "Storytelling at Nickelsville Days Festival." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1269.
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Bidgood, Lee, and Great Smokey Mountain Bluegrass Band. "Performance at Blue Plum festival." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1071.
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Bidgood, Lee, and Great Smokey Mountain Bluegrass Band. "Performance at Old Oak Festival." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1064.
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Bidgood, Lee, and ETSU Mandolin Orchestra. "Performance at Corazon Latino Festival." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3258.
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Carvalho, João Malho Ferreira Ribeiro de. "Plano de Negócios. Festival Cósmico. Festival Transformacional." Master's thesis, 2019. http://hdl.handle.net/10400.26/32594.
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Com este trabalho, realizado no âmbito da investigação associada ao trabalho de projeto para obtenção do grau de Mestre em Turismo, com especialização em Gestão Estratégica de Eventos, pela Escola Superior de Hotelaria e Turismo do Estoril, e no âmbito da implementação do trabalho desenvolvido pela Start-up Beach Break®, pretende-se planear, organizar, produzir e estabelecer um Festival Transformacional, anual, de média dimensão e que seja reproduzível nos anos subsequentes, que origine um vasto leque de impactos a nível sociocultural, ambiental e político, através da programação de espaços cenográficos, de conteúdos artísticos, políticos e ambientais e de atividades de desenvolvimento pessoal que despoletem sentimentos únicos e inesquecíveis nos festivaleiros, tanto a nível individual como coletivo, trilhando um caminho para um novo paradigma.
O Festival Cósmico é realizado para dar resposta à procura por significado e autenticidade por parte das gerações presentes, encurralados pelo desencanto do modernismo e pós- modernismo e pelas alterações climáticas. Pretende facilitar experiências, associadas à psicologia transpessoal, que contribuam para a criação de significado, de resiliência da saúde mental, de melhoria de bem-estar, através da criação de um ambiente seguro para acolher festivaleiros de todos os segmentos na busca de experiências de lazer, hedonistas, artísticas, de aprendizagem, de desenvolvimento pessoal, de partilha, de cura, do espaço, de surpresa, de interatividade, de communitas, de efervescência coletiva, de sincronicidade, místicas, transcendentes e transformacionais. Pretende comunicar, através da representação, contestação e inversão da cultura, uma mensagem consciente, a nível político, social e ambiental, que possa contribuir para a transição sustentável da sociedade, da forma menos dolorosa possível, num ambiente fantasioso, temático, de festa, rituais e celebração, de meditação, sagrado, e de debate.
Este Festival Transformacional terá o propósito de originar uma transformação de consciências, no sentido de contribuir para uma sociedade mais livre, tolerante, comunitária, presente, diversificada, criativa, artística e conectada, que encoraje o desenvolvimento pessoal e a autoexpressão.
O Festival Cósmico, de 22 a 27 de setembro de 2020, no Moledo e Planalto das Cesaredas, é um festival com onze áreas programáticas, inspiradas no tema “cosmos”, com vasta diversificação ao nível da oferta, com música, animação não musical, palestras e debates, workshops e atividades de desenvolvimento pessoal.
Foram gerados resultados ao nível da investigação específica sobre festivais transformacionais, tal como à viabilidade de mercado, económica e financeira, da sua realização no concelho da Lourinhã.<br>With this work, carried out in the context of research associated with the work project to obtain the degree of Master in Tourism, with specialization in Strategic Event Management, by the Estoril Higher Institute for Tourism and Hotel Studies, and in the implementation of the work developed by Start-up Beach Break®, is intended to plan, organize, produce and set up a medium- sized, annual Transformational Festival that will be reproducible in subsequent years, resulting in a wide range of socio-cultural, environmental and political impacts through the programming of scenographic spaces, artistic, political and environmental content and personal development activities that trigger unique and unforgettable feelings in festival-goers, both individually and collectively, paving the way for a new ethos.
The Cosmic Festival is held to meet the demand for meaning and authenticity by present generations, trapped by the disenchantment of modernism and postmodernism, and climate change. It aims to facilitate experiences, associated with transpersonal psychology, that contribute to the creation of meaning, mental health resilience, and well-being, through the creation of a safe environment to welcome festival-goers from all segments in search of leisure, hedonistic, artistic, learning, personal development, sharing, healing, space, surprising, interactivity, communitas, collective effervescence, synchronicity, mystical, transcendental and transformational experiences. It intends to communicate, through the representation, contestation and inversion of culture, a conscious message, at political, social and environmental level, that can contribute to the sustainable transition of society, in the least painful way possible, in a fantasy, thematic, festive, of rituals and celebration, meditation, sacred, and debate environment.
This Transformational Festival will be designed to bring about a transformation of consciousness to contribute to a freer, tolerant, communal, present, diverse, creative, artistic and connected society that encourages personal development and self-expression.
The Cosmic Festival, from September 22nd to 27th, 2020, at Moledo and Planalto das Cesaredas, is a festival with eleven programmatic areas, inspired by the theme “cosmos”, with a wide range of offerings, with music, non-musical animation, lectures and debates, workshops and personal development activities.
Results were generated in terms of specific research on transformational festivals, as well as the market, economic and financial viability of its realization in the municipality of Lourinhã.
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Wermeille, Anaïs. "Le "Festivable" ou conceptualisation de l'expérience des festivals de cinéma : exemple du Festival du Nouveau Cinéma de Montréal." Thèse, 2008. http://hdl.handle.net/1866/7149.
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ŠERPÁN, Adam. "Analýza struktury návštěvníků hudebních festivalů a návrh nového projektu." Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-53551.
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The master thesis analyzes the structure of multi-genre music festivals´ visitors and on the base of this analysis, a part of marketing mix of concrete festival is proposed to be modified. This modification is primarily focused on communication mix. Music festivals are the product of tourism. This is one of the essential ideas of this master thesis. Festival is a service - nonmaterial product, so there must be reached the maximal efectivaty of the communication with the music festival customer - visitor. The secondary goal of the master thesis is proposal of the realizatoion of multi-genre music festival in České Budějovice. This goal is almost achieved, when local authority has expressed the agreement with this project.
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WAN, THAM SEIW, and 譚曉雲. "《Festival》." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/u8ujuq.
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碩士<br>國立臺灣藝術大學<br>廣播電視學系碩士班應用媒體藝術組<br>104<br>Festival is a photography series on temple fair where believers show their respect for god by putting on a parade. Through photography, author showcase the people, event and happenings of the moment. The purpose of the parade is to bring good fortune, rid of bad luck, which in a sense presents the idea of god allowing the parade for the sake of the people. Throughout the festival, we see statue of god being paraded, men in costumes acting as god, and so men also parade themselves for the god. This dynamic showcase the intricate relationship between god and men. In the legend of Mazu, she was once a human named Moon Lin, but later became a goddess; many of the god in folklores began has human. In contrast to that, the costumed Ba Jia Jiang and Guan Jiang Shou in the parade are god to begin with, but performed by human throughout the festival. This relationship of god is man, and man is god can be found in all of the temple fairs.
Within the literary review, author discuss the people participating temple fairs, as well as explore the creative method. People showcase strong emotions throughout the Festival; show their respect and faithfulness, which became their day of life. To believers, religion brings them peace, and becomes their commitment. This series is based on documentary style of photography, to help audience understand the event and the interaction throughout the Festival, then with the photo montage provide a timeline of the event, documenting the people, event, and happening in order to showcase that special relationship between man and god.
The series contain a total of 70 photographs providing the timeline of the parade from beginning to end. With photographs presenting the parade of god and man, and also the relationship of god and man. Both god and man are intertwined throughout the Festival, and thus any Festival represent the parade of both god and man.
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Chen, Lei, and 陳蕾. "The Cultural Economy of Ethnic Festivals: 2015 Taipei Hakka Yimin Festival." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/263258.
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碩士<br>國立政治大學<br>廣播電視學系<br>104<br>By conducting document analysis, participant observation, and in-depth interviews, this thesis focuses on the context where cultural economy serves as governance and local development. This study analyes the formation of Hakka identity in the cultural economy of Taipei Hakka Yimin Festival which is different from that in 1980s.
The main findings of this thesis center on the following: Firstly, from the perspective of “governance”, due to resources and competition for leadership, the relationships among third sector, public sector, private sector are ambiguous. Secondly, using the four models of cultural economy from Ray to analyze local development, this study identifies that cultural performance is used to construct Taipei Hakka Yimin Festival as a multi-culture which shows compatible of Hakka culture and a festival which is distinct from modern city. And using these features to attract participation of non-Hakka. Thirdly, through distinguishing insider of actors and outsider of non-Hakka, there have different place identity logic to different target. To insider, place identity refers to hometown and Taipei place identity. To outsider, by constructing Taipei as a multi ethnic city is a way to active place identity. Lastly, in demonstration of place identity, the festival is used to build an ethic image which implies the spirit of Yimin as brave and loyalty are seen as Hakka spirit and cultural heritage.
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Huang, Pei-Chen, and 黃珮甄. "Seasonal festivals space interpretation of modern society ─Miaoli Taiwan Lantern Festival." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/55572515193085620219.
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碩士<br>中原大學<br>建築研究所<br>101<br>The spatial pattern agglomerated in the time and space field represents not only a new experience and cognition of the crowd for a place but also charming features in the urban landscape. By Taiwan's traditional festivals which are continued in the landscape patterns cultivated by seasons and solar terms, the city is transformed to show the levels of gazing, expectations, aesthetics and consumption in the contemporary fields, to link the surface of life, the space, and the modern society.
In this study, in view of the "Taiwan Lantern Festival" which is led by the country and held by local counties and cities for years, the spatial production similar to traditional ceremonies is made with the background of the night sky. Corresponding to the symbolized large lanterns and the collaged exhibit space of themes, the activity fields concerned in the regional flow are virtually extended. How do they become the "dynamic consumption" production of the space depending and derived in the vision in the kingdom of the timeliness? How do such celebrations continue to evolve in the type of the fiesta and transform into the real paradise in life in the characterization process of the modern mechanisms, technology, and aesthetic? In this study, through the case study, literature and image data aggregation of the 2011 Miaoli Taiwan Lantern Festival, it is tried to analyze the criticism building and cultural imagination of the theme park under the constraints of the deviation from the social system, so that it helps understand how the cultural activities are consumed and the economic models are created and respond the new space significance of the modern society reproduction. Besides, from the field surveys and interviews, the space powers that the country dominates traditional practices are gradually constructed. Through the transformation of traditions, the city experiences of the temporary architecture and images are created. By that, the value/strategy of the Lantern Festival, the labor constraints of the local space sharing, and the material supports of the city co-construction are liked under the promotion of globalization, and the spatial image recognition of people can be brought in the combination of industry, the consumer networks of different "trends," and the festival's marketing oriention.
When looking at the city's appearance of the "Taiwan Lantern Festival" space, the microscopic buildings in a flash are changed like the mirror. When the space combines the social phenomena of both sides, it is related to the different developments in life. Time allows individuals for the virtual and physical rivalry, which attaches to the contemporary urban consumption age seriously.
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Tsai, Wei ling, and 蔡瑋菱. "Religious Festival Visitors’ Festival Experience, Festival Image, Perceived Value and Behavioral Intentions: The Case of Matzu Temple Festival at Lurehmen, Tainan." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/37185670547915428098.
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碩士<br>台灣首府大學<br>休閒管理學系碩士班<br>104<br>This study aims to investigate, in religious festival settings, how tourists’ experience affect their festival image, perceived value, satisfaction and behavioral intentions. Tourists who attended the Luremen cultural festival during the Chinese New Year holidays in February 2016 were surveyed. A self-administered questionnaire was developed and disseminated at the Luremen Tian-Hou Temple in Tainan. A total of 400 useable questionnaires were collected. Structural equation modeling (SEM) was used to examine the relationships among the constructs using SmartPLS 3.0.
The results show that all of the hypotheses were supported, and it reveals that festival experience positively affects festival image, perceived value, satisfaction and behavioral intentions. It was found that festival image has a direct positive effect on perceived value, but not satisfaction and behavioral intentions. Perceived value has been found to serves as a complete mediator between festival image and satisfaction and behavioral intentions. In order to further examine the effect of festival experience, a first-order approach, in which festival experience was replaced by authenticity experience and emotional experience, was then adopted in the SEM model. SEM analysis does not support the hypothesis that authenticity experience is positively related to satisfaction, thus suggesting tourists’ satisfaction mainly resulted from emotional experience.
In conclusion, results from the present study may be summarized as follows:
1. Survey results show that tourists attending the Luremen cultural festivalhave high intentions to revisit, and may be considered as loyal Matzu believers.
2. This study provides empirical evidence to support most of the hypotheses.
3. Tourists’ satisfaction mainly results from emotional experience.
4. Perceived value was found to be a key mediating variable between festival image and outcome variables (satisfaction and behavioral intentions).
5. SEM analysis reveals that the positive correlation between festival image and satisfaction was not supported. It is suggested that this might result from the true meaning of festival image not being included in the construct. Further investigation about the festival image was recommended.
6. Some managerial implications including the way to employ up-to-date web technology to enhance awareness of the cultural festival, to further increase customers’ value by engaging tourists in additional nostalgia programs were suggested‧
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Hui-Kuan, Hung, and 洪惠冠. "A Study on Municipal Artistic Festival Development— A Case Study of HsinChu City Glass Arts FestivalA Study on Municipal Artistic Festival Development— A Case Study of HsinChu City Glass Arts FestivalA Study on Municipal Artistic Festival Development." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/59256919207802236067.
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碩士<br>國立臺南藝術大學<br>博物館學研究所<br>95<br>A Study on Municipal Artistic Festival Development
— A Case Study of HsinChu City Glass Arts Festival
Hui-kuan Hung
Abstract
Recently, various kinds of cultural and artistic theme festivals had taken place around Taiwan. From the start of a year to the end, from the northern to the southern, we can see all sorts of these held in the metropolis and small town. However, there are lots of subjects within worthy to research further more.
This research mainly focuses on the analysis of municipal artistic festival development, advancement, and bewilderment in order to provide suggestions and solutions for the coming schemes as consultation. Besides above, we also hope to bring positive influences for city development, to mold out city characteristics by executing these festivals.
We take Hsin-Chu City as the regional scope and the Artistic Festival of Glass, which has been held for six times and considered to be the characteristic of Hsin-Chu, as primary objective of this study, and demonstrate by searching, collecting and analyzing documents, experiments and observations of participators. Also, we inspect the entire achievement of the Artistic Festival of Glass with the principles “Taiwan Cultural Indicators (TWCI)”, by Taiwan Thinktank, and “Arts and Local Festival Indicators”, by National Culture and Arts Foundation.
Among this research we have these detections and conclusions:
1. The Hsin-Chu City has advantages to form her own characteristic by holding artistic festivals.
2. Artistic festivals should be planned and proceeded by the thoughts of “forepart preparation — field work — program presentation — sustainable operation”, for doing contributions to cultural accumulation.
3. The result estimations of Hsin-Chu International Glass Art Festival are:
a. The cultural and artistic merit of the Hsin-Chu International Glass Art Festival is affirmative.
b. International cultural interactions (in all stratums) among all previous Hsin-Chu International Glass Art Festival are still unilateral.
c. Financial self-sufficiency and primary value of output should be improved more effectively.
d. It needs more efforts to cumulate inter-department cooperating experiment and develop professional cultural administration personnel.
e. There are obvious achievements of the enhancements for local artistic glasswork creations.
f. Citizens agree with glass-relative culture to be the municipal characteristic of Hsin-Chu.
4. The Hsin-Chu City Government shall establish strategy management by objectives “glass-center doctrine” with the concept of ecological museum in order to construct Hsin-Chu as a fascinating cultural and artistic city of glass.
a. When proceeding with the bidding for governmental construction projects, artistic elements of glass should be included in the grading conditions of public competition proposals appropriately.
b. Streets of glass business, arts villages, glass workshops should be established aggressively and artistic training courses of glassworks should be set up in significant schools in order to cultivate and bring up artists
c. Encourage those who are willing to devote themselves to artistic glasswork creation to study abroad and set up their own studios in Hsin-Chu
d. Combine artists from different fields of arts (such as music, dance, drama, cinema, photography, architecture, literature…) to create glass-theme artworks.
e. Create musical glass instruments and develop glass percussion groups in a planned way.
f. Research and produce artistic glass construction materials and then prompt the citizens to adopt these. Hold contests of glass-theme architecture and reward the designers of outstanding works. Furthermore, the government could award incentives to the builders of “characteristic houses of Hsin-Chu”, like the idea of “characteristic houses of Yi-Lan”.
g. Advocate using glass tableware, especially the food business proprietors, in order to increase the connections between science, technology, daily life and glass industry..
h. Glass-relative culture should be included in the regionalism teaching materials. Designate “the Glass Day” and scheme glass-relative promotion activities for it.
i. Grant and reward civilian enterprises to set up artistic school of glass for sustainable development of glass-relative business human resource.
In the recent time there are miscellaneous festivals and activities in Hsin-Chu but going on individual ways without integrations, also the popularities and qualities are irregular. The Hsin-Chu City Government shall formulate the regulations for city management by objectives “festivals”. For the purpose constructing Hsin-Chu a charming artistic city of glass-relative culture, the preparatory committee of Hsin-Chu municipal artistic festivals should be organized for handling the following tasks:
1. Gathering the host and sponsor of each festival to survey and review the content of festivals and usage of resources.
2. Merging these festivals into four major ones (could be planned as seasonal) to establish the resolution of marketing the city characteristics by these four.
3. Estimating the festivals achievement by qualities as the substitutes for quantities of activities and participant citizens.
4. Eliminating the egoism to combine the resources from the government and non-governmental associations.
This research also brings out suggestions for:
1. Comprehensive cultural establishments of Hsin-Chu City.
2. Individual activity content of 2006 Hsin-Chu International Glass Art Festival.
3. Long-term regulations for Hsin-Chu International Glass Art Festival.
4. Improvements for the Glass Museum of Hsin-Chu City operating management and creation criterion.
5. Policy of the Council for Cultural Affairs.
6. Following research in relative area.