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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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Hawkins, Rowena. "Contemporary Shakespeares on Festival Stages: Empathy and Futurity in Poland and Hungary". Shakespeare Bulletin 41, n.º 1 (marzo de 2023): 105–23. http://dx.doi.org/10.1353/shb.2023.a907993.
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Abstract: This article explores “contemporariness” at European international Shakespeare Festivals. It begins by outlining the “disjunctions” and “anachronisms” of festival contexts, which combine highly contemporary productions with deeply commemorative practices. Through their unique temporality (“Festival Time”), festivals allow us to grasp our present moment from a crucial critical distance. To test the limits of this theory, this article considers two productions hosted on festival stages in recent years: Romeo i Julia , a Polish 3D water musical hosted by the Festiwal Szekspirowski in Gdańsk, Poland (2018), and Keresztvíz , a Hungarian production responding to the refugee crisis presented in Gyula, Hungary (2019). Situating these productions in their social, political, and climatic contexts, the article proposes that they use Shakespeare to cast what Giorgio Agamben might call an “untimely” gaze on contemporary concerns, and encourage audiences to look, with hope, towards a better future.
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Breen, John. "Sannō Matsuri". Journal of Religion in Japan 9, n.º 1-3 (22 de septiembre de 2020): 78–117. http://dx.doi.org/10.1163/22118349-00901005.
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Abstract This study of the Sannō Festival at Hiyoshi Taisha in Shiga Prefecture starts from the premise that all festivals reproduce and reinvent themselves over time, obfuscating their origins, typically claiming specious roots in the ancient or mythical past. Firstly, I analyze the Sannō Festival as performed today, drawing on my own festival fieldwork. I then adopt a historical approach, deploying historical sources to recreate the festival in its premodern guise. Finally, I use an array of primary sources to analyze the contested process of making the modern festival. Throughout, I keep within my purview multiple moving parts: the seven kami and the seven shrines that make up the Hiyoshi Taisha complex; the priests and monks who have venerated them, shaping and reshaping the Sannō Festival; and the common people, too, whose participation is key to the modern festival’s vibrancy and success.
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Nhan, Do Thi Thanh y Nguyen Dinh Thao. "Music in the Festival of Vietnamese People (Thanh Hoa) - Issues". Journal of Humanities and Education Development 4, n.º 3 (2022): 106–12. http://dx.doi.org/10.22161/jhed.4.3.12.
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The article focuses on studying music in festivals of Vietnamese people in Thanh Hoa. Through the collected material, the authors have synthesized, explored the cultural aspects of the composition and analyzed the music. The result of the research is to find out the meaning of music in contributing to the festival's appearance and to find out the operating rules and basic characteristics of music. From there, several discussions are given to preserve and promote music in the festival to achieve higher efficiency in life. The research results are the judgments about the culture and music constituting the overall festival, including (1) Meaning of festival organization; (2) Space and time of the festival; (3) Musical genres and performances in festivals; (4) Musical characteristics. The study also identifies appropriate research methods, and musical analysis techniques are also the basis for making objective judgments. This research will serve as the basis for the research, conservation, and promotion of folk music in larger and more comprehensive aspects.
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Reynaud, Bérénice. "‘Festival of festivals’". Afterimage 14, n.º 5 (1 de diciembre de 1986): 3–4. http://dx.doi.org/10.1525/aft.1986.14.5.3.
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Reynaud, Bérénice. "‘Festival of festivals’". Afterimage 14, n.º 5 (1 de diciembre de 1986): 3–4. http://dx.doi.org/10.1525/aft.1986.14.5.3.
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Sarale, Agnès, Hironori Yagi, Menelaos Gkartzios y Keishi Ogawa. "ART FESTIVALS AND RURAL REVITALIZATION: ORGANIZING THE OKU-NOTO TRIENNALE IN JAPAN". Journal of Asian Rural Studies 4, n.º 1 (25 de enero de 2020): 23. http://dx.doi.org/10.20956/jars.v4i1.1662.
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Organizing rural art festivals is considered an effective intervention in support of rural revitalization in the face of aging and population decline in Japan. Several studies have identified the impacts of art festivals on economic and social rural development internationally. Little research, however, has focused on the management process of such festivals. The objective of this paper is to identify and examine the management processes crucial to an arts festival’s success, especially in terms of preparation, organization and community outreach. We focus on the first edition of the Oku-Noto Triennale, which took place in Suzu City, a remote coastal area of rural Japan in 2017. The Triennale was held from September 3, 2017 to October 22, 2017 with 39 groups of artists. Data for this study was primarily obtained through qualitative interviews with Suzu’s City Office, the coordinator of theArt Front Gallery, a Tokyo-based art gallery, and community members involved in the festival. Our case study revealed thatseveral factors were found to be crucial to the festival’s success. The organizing team’s flexibility, for example, assigning additional municipalities’ employees to site operations, was pivotal. Experienced actors, such as outside professionals and residents with prior experience organizing previous projects, who could address and overcome the difficulties they faced during the preparation, also deserve mention. The festival also succeeded due to the involvement of residents. In total, 1,176 people were involved as registered supporters, and 434 residents were involved as local volunteers during the festival (counted in working-days). The organizing team worked hard to convey the underlying concept of the art festival to the local residents. By organizing the festival, the residents met and formed bonds with new people and also strengthened their ties with one another.
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Alexandrov, Evgeny y Elena Danilko. "A HISTORY OF THE MOSCOW INTERNATIONAL FESTIVAL OF VISUAL ANTHROPOLOGY “MEDIATING CAMERA”". LIFE OF THE EARTH 43, n.º 4 (27 de octubre de 2021): 482–94. http://dx.doi.org/10.29003/m2512.0514-7468.2020_43_4/482-494.
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The Ninth International FestivalBiennale “Mediating Camera” was held in Moscow in May 2021. This is the first Russian festival organized on the principles of visual anthropology and still adhering to that vision. The present article reports on the festival, the history of its establishment and development, and the changes it endured in the first twenty years since the turn of the millennium. The introduction briefly discusses visual anthropology and its situation in the USSR on the eve of Perestroika. The next section describes the first Russian documentary film festivals with similar angles. Further in the article, the authors discuss the approaches and principles adopted by the festival’s creators, a volunteer group of Moscow State University’s Center for Visual Anthropology. The main focus of attention is the initial period of the festival’s formation, when the organizers’ approaches to organizing the festival first took shape.
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Zhang, Jing y Guangquan Dai. "Political Trust and Festival Attachment: Influencing Residents’ Engagement in Traditional Festivals". Behavioral Sciences 13, n.º 9 (5 de septiembre de 2023): 741. http://dx.doi.org/10.3390/bs13090741.
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Traditional festivals hold immense cultural and tourism value, but striking a balance between preservation and adaptation in the face of globalization is challenging. This study focuses on the Hmong New Year, the largest traditional festival in a prominent Hmong settlement in China. Through mixed research methods, it examines the impact of festival attachment and political trust on residents’ attitudes toward festival tourism development. The results reveal the significant influence of festival attachment on residents’ perception and judgment of festival tourism, with political trust playing a crucial moderating role. Successful repetition of festival activities fosters stable cognitive perceptions of festival tourism, outweighing potential risks. This research enhances our theoretical understanding of festivals and provides insights into the sustainable development of traditional Hmong festivals, offering support for studying traditional festivals in diverse cultural contexts.
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Karmacsi, Zoltán y Enikő Sass. "The linguistic landscape of festival tourism in Transcarpathia". Acta Academiae Beregsasiensis, Philologica II, n.º 1 (21 de julio de 2023): 139–60. http://dx.doi.org/10.58423/2786-6726/2023-1-139-160.
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In addition to natural, historical and cultural attractions, there are an increasing number of places in Transcarpathia where tourists can enjoy organised programmes. In the big cities and smaller towns, festivals and festival-like events take place from the second half of January until mid-December. The area inhabited by Hungarians also organises a significant number of festivals and festival-like events every year. Many of these are known throughout Ukraine and even more widely. Among the festivals in the region, folk art and folklore festivals are the most popular, while gastronomic festivals are in the second position. Gastronomic festivals (especially wine festivals) have become an increasingly important part of festival tourism in Transcarpathia, attracting a significant number of domestic visitors. In our study, we tried to investigate the linguistic landscape of gastronomic festivals, focusing on the two most famous Hungarian festivals (Mezőgecse international pig festival, Berehovo international wine festival) and the most popular festival in Mukachevo, the Mukachevo red wine festival. The research is mainly conducted through personal participant observation and photo-documentation, however, photos and information about the festivals published in the press, on the website of the organising municipality and other online community platforms were also analysed. In the linguistic landscape of the festivals in Transcarpathia, including international festivals, no other language is present apart from the state language or the mother tongue of the Hungarian minority living in the area. Even in the festivals of Hungarian settlements, bilingual signs and the slight dominance of Ukrainian in the symbolic linguistic space are typical. The proportion of languages also depends on the target audience and the needs of the festival, as well as on the area of the festival depending on the ethnicity of Transcarpathia.
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Al-Azzam, Mu'ath Hesham, Ahmad Edwin Mohamed y Khong Chiu Lim. "THE RELATIONSHIP BETWEEN FESTIVAL ATTACHMENT AND ARAB TOURISTS' REVISIT INTENTION: A CONCEPTUAL MODEL". Journal of Tourism, Hospitality and Environment Management 7, n.º 27 (8 de marzo de 2022): 19–38. http://dx.doi.org/10.35631/jthem.727002.
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While there is a large body of literature on revisit intention to festivals, there is surprisingly little knowledge about it in the context of the Arab world. This research aims to develop a conceptual framework that focuses on the relationship between festival attachment and revisit intentions to festivals. The concept of festival attachment in the current research is borrowed from the concept of place attachment, referring to the same bonds that form between tourists and a tourist place that can also be developed or forged between tourists and a festival. Tourists have an opportunity to develop self-identification with festivals, create affective bonds with them, satisfy and meet their needs through specific facilities or attributes of festivals, and form social bonds with other tourists visiting them, just as they would at a tourist place. All of these aspects together represent what we call attachment to a festival or festival attachment. Based on extensive literature review, the researchers proposed that festival attachment is a multidimensional construct that comprises four dimensions: festival identity, festival affect, festival dependence, and social bonding. The current proposed model will be empirically tested in the context of Jerash Festival of Culture and Arts in Jordan from the perspective of Arab tourists. The findings of this research are expected to broaden the scope of the existing literature on place attachment by introducing important insights from festival settings and its relationship with revisit intention, as well as adding new insights about the Arab tourists' attachment to cultural festivals and their revisit intentions to these festivals.
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Ramsey, J. Ross y Todd Boyette. "“Science Festival” may not mean what we think it means: an analysis of how researchers and practitioners use this term". Journal of Science Communication 20, n.º 07 (25 de octubre de 2021): A01. http://dx.doi.org/10.22323/2.20070201.
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The modern science festival movement has grown significantly since the Edinburgh International Science Festival launched in 1989. Hundreds of science festivals now occur annually and vary widely. This article examines how the term “science festival” is used within research and practice. We find that most research articles fail to describe the science festivals they study. A subsequent analysis of festival websites and other publicly available information confirms the wide variability of science festival formats, which suggests the need for descriptive information about science festivals in scholarly work.
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Rodin, Ian y Richard Braithwaite. "Festival psychiatry". BJPsych Advances 24, n.º 2 (marzo de 2018): 123–31. http://dx.doi.org/10.1192/bja.2017.17.
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SUMMARYThis article is based on our experience of volunteering for the charity Festival Medical Services, to provide mental healthcare at the Glastonbury Festival of Contemporary Performing Arts and the Reading Festival. It describes the history of these annual events and the development of medical and psychiatric services offered. Principles of assessment and management of mental disorder in festival settings are outlined and common psychiatric presentations are described. Legal aspects of care are discussed. The article is intended primarily to inform others of this interesting and unusual form of mental healthcare and we hope that aspects of our experience will prompt reflection on psychiatric practice in other settings.LEARNING OBJECTIVES•Understand how psychiatric care is provided at the Glastonbury and Reading Festivals•Recognise the symptoms and signs of organic and functional conditions likely to present to psychiatrists at festivals•Identify the principles of psychiatric management in festival settingsDECLARATION OF INTERESTI.R. and R.B. gain free entry to the Glastonbury and Reading Festivals through their voluntary work with Festival Medical Services.
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Cayer Giraldo, Nelson Alexis y Hernando José Cobo Plata. "Re-significación y desplazamiento de los sentidos de las músicas de origen popular". Revista Grafía- Cuaderno de trabajo de los profesores de la Facultad de Ciencias Humanas. Universidad Autónoma de Colombia 9 (15 de enero de 2012): 141. http://dx.doi.org/10.26564/16926250.341.
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Resumen:Este artículo se desprende de investigaciones acerca del Festival de Música Andina Colombiana Mono Núñez (FMN), financiadas y realizadas por los autores (Cayer, N., 2010), (Cobo H., 2010), con la colaboración del Centro de Documentación Musical de Ginebra y la Fundación Canto por la Vida. Aquí se amplían la interpretación y discusión sobre el tema de las expresiones autóctonas dentro del festival, a partir del trabajo etnográfico y de entrevistas, llevado a cabo con las agrupaciones participantes en el décimo sexto Encuentro ‘Octavio Marulanda Morales’ de Expresiones Autóctonas (EOMEA), evento realizado en el marco de la trigésima séptima versión FMN en el año 2011. Palabras clave: alteridad, tradición, folclor, autenticidad, función, festivales, performance, mercado/ consumo.Resumo:O artigo deriva das pesquisas sobre o Festival de Música Andina Colombiana Mono Núñez (FMN), financiadas e realizadas pelos autores (Cayer, N.,2010), (Cobo H., 2010), com a colaboração do Centro de Documentación Musical de Ginebra e da Fundación Canto por la Vida. Aqui é ampliada a interpretação e discussão sobre o tema das expressões autóctones dentro do festival, partindo do trabalho etnográfico e de entrevistas, levado a cabo com agrupações participantes no décimo sexto Encontro “Octavio Marulanda Morales” de Expressões Autóctones (EOMEA), evento realizado no marco da trigésima sétima versão do FMN no ano 2011. Palavras chave: alteridade, tradição, folclore, autenticidade, função, festivais, performance, mercado/ consumo.Abstract:This article originates in the research on Festival de Música Andina Colombiana Mono Núñez (FMN), funded and carried out by Cayer (2010) and Cobo (2010) with the contribution of Centro de Documentación Musical de Ginebra and Fundación Canto por la Vida. The topic of aboriginal expressions within the festival is widened and discussed here, based on the ethnographic work in interviews with the groups that participated in the XVI Conference “Octavio Marulanda Morales” of Aboriginal Expressions (EOMEA), which took place within the XXVII Festival Mono Núñez in 2010. Keywords: otherness; tradition; folklore; authenticity; function; festivals; performance; market/ consumption
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Ossowska, Luiza, Dorota Janiszewska, Gregory Kwiatkowski y Dariusz Kloskowski. "The Impact of Local Food Festivals on Rural Areas’ Development". Sustainability 15, n.º 2 (12 de enero de 2023): 1447. http://dx.doi.org/10.3390/su15021447.
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The importance of food festivals in the functioning of local rural areas is manifested in the construction of a sense of community and place. However, each stakeholder group perceives the impact of such festivals differently. The literature lacks a comprehensive approach to this issue. The main aim of this research is, thus, to identify how particular groups of stakeholders perceive the impact of a local food festival on the development of a rural area. The research was conducted at a small local food festival in Poland in July 2020. Individual groups of stakeholders (organizers, vendors and visitors) were asked to assess the impact of the festival on the development of the rural area. This research was conducted in three main stages using various research tools. In the first stage, an in-depth interview was conducted with the festival’s organizers. In the second stage, a survey, via a questionnaire, was conducted with visitors. In the third stage, semi-structured interviews were held with vendors. Surveys and interviews were carried out using the paper-and-pencil interview (PAPI) method. Our results indicate that interest in the impact of festivals on rural development decreases with distance. That is, the sooner such effects are visible, the more positive they are perceived. Moreover, visitors (on vacation) perceive a festival’s impact more positively than vendors (at work).
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Christiani, Jessica. "Perspektif Bisnis Dalam Prambanan Jazz Festival Yogyakarta". PROMUSIKA 10, n.º 2 (3 de diciembre de 2022): 113–22. http://dx.doi.org/10.24821/promusika.v10i2.7354.
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Prambanan Jazz sebagai salah satu festival musik skala internasional. Prambanan Jazz tergolong dalam kategori festival musik profit. Secara eksplisit festival Prambanan Jazz dapat dilihat melalui deretan musisi popular yang dihadirkan, pemberian harga tiket yang cukup mahal, serta terlibatnya pihak sponsorship dalm acara. Prambanan Jazz merupakan fenomena sosial adalah salah satu festival musik yang berhasil memperoleh loyalitas dan animo masyarakat. Fakta di lapangan seputar euphoria masyarakat menyambut hadirnya Prambanan Jazz dengan bukti dari penjualan tiket yang habis terjual dan meningkatnya antusias penonton dari tahun ke tahun. Studi tentang sebuah festifal seperti Prambanan Jazz ini dilakukan untuk mengupas dimensi bisnis dari pertunjukan musik dalam bentuk festival dan mengungkap perspektif bisnis tim pengelola. Tujuannya penelitian adalah untuk mengetahui kacamata tim promotor dalam mengelola sisi bisnis Prambanan Jazz, serta strategi dibalik kesuksesan festival. Metode studi yang digunakan adalah kualitatif deskriptif. Data yang dikumpulkan melalui wawancara dengan 4 orang narasumber yang merupakan tim inti pengelola. Hasil temuan penelitian ini menunjukkan terdapat dua pilar utama bisnis yang ada dalam Prambanan Jazz Yogyakarta. Pilar pertama adalah bisnis pertunjukan musik yang meliputi konsep dan konten yang dihadirkan dalam festival. Pilar kedua adalah tentang bisnis di dalam venue. Pengelolaan Prambanan Jazz Yogyakarta cenderung menggunakan strategi win win solution, serta strategi kurasi musik demi mendukung optimalisasi penyelenggaraan festival.AbstractBusiness Perspectives in Prambanan Jazz Festival Yogyakarta. As one of the international scale music festivals, Prambanan Jazz belongs to the category of profit music festivals. This can be seen explicitly through the rows of popular musicians presented, the ticket prices are quite expensive, and the involvement of sponsors in the event. The social phenomenon where Prambanan Jazz Festival has become one of the festivals that has managed to gain the loyalty and interest of the community cannot be avoided. Facts on the ground regarding the community's euphoria welcoming Prambanan Jazz Festival 's presence, to the fact that tickets were sold out, and the increasing enthusiasm of the audience from year to year are proof that this festival has succeeded in winning the hearts of the public.This study was conducted to explore the business dimension of this festival and reveal the business perspective of the management team. The aim is to find out the perspective of the promoter team in managing the business side of Prambanan Jazz, as well as the strategy behind the success of this festival. The study method used is descriptive qualitative. Data was collected through interviews with 4 informants who are the core management team. The findings of this study indicate that there are two main business pillars in Prambanan Jazz Festival. The first pillar is the music show business which includes the concept and content presented at the festival. The second pillar is about the business within the venue. In its management, it tends to use a win win solution strategy and music curation strategy to support the optimization of the festivalKeywords: Music Festival; Prambanan Jazz; Business
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Quintal, Vanessa, Michael Lwin, Ian Phau y Abhinav Sood. "Festival Personality and How It Influences Visitor Attitude and Intention". Event Management 24, n.º 6 (20 de noviembre de 2020): 665–84. http://dx.doi.org/10.3727/152599519x15506259856543.
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This study explores festival personality for its impacts on visitor attitude and intention toward festivals. Two distinct and popular festivals held at a botanic park in Western Australia were selected for the research. A total of 481 local and international visitors participated in the self-administered, pen-and-paper and online surveys. The Excitement personality attribute was unique to the Chili Festival, whereas the Cheerfulness personality attribute was unique to the Tulip Festival. Both festivals embodied the Imagination personality attribute, suggesting the place in which a festival is held may embody its own attributes, which contribute to the holistic personality of the festival. For both festivals, the personality attributes had significant impact on favorable visitor attitude, resulting in their positive intention toward these festivals. The study paves the way for researchers to extend brand personality research to the event tourism domain, particularly in the niche sector of festivals. The enhanced understanding lends input into how festival organizers, brand managers, and marketers can manage the positioning, differentiation, and communication strategies of their festivals in this competitive sector.
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Tsaur, Sheng-Hshiung, Yao-Chin Wang, Chyong-Ru Liu y Wen-Shiung Huang. "Festival attachment: antecedents and effects on place attachment and place loyalty". International Journal of Event and Festival Management 10, n.º 1 (25 de abril de 2019): 17–33. http://dx.doi.org/10.1108/ijefm-02-2018-0014.
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PurposeThe purpose of this paper is to propose the mechanism of festival attachment and examine how it serves as a significant predictor of place attachment and place loyalty.Design/methodology/approachThrough on-site survey with convenience sampling, 465 visitors were surveyed at the Pingxi Sky Lantern Festival, which is one of the most famous Taiwanese festivals. Structural equation modeling is used to examine the proposed research model.FindingsEmpirical results of this study reveal that “hedonism” is the most important antecedent for improving festival attachment, followed by novelty seeking, attractions and cultural exploration. Festival attachment exerts positive effects on place attachment, which then increases place loyalty. Moreover, place attachment partially mediates the relationship between festival attachment and place loyalty.Originality/valueBy hosting festivals, festival managers can induce festival attachment in visitors and then transfer the attachment with festivals into the host place. The findings of this study demonstrate the major role of festivals in promoting local tourism.
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van Zyl, Cine. "Positioning maps: a conjoint analysis tool for festival or event application". International Journal of Tourism Cities 3, n.º 4 (4 de diciembre de 2017): 424–41. http://dx.doi.org/10.1108/ijtc-06-2017-0034.
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Purpose The purpose of this paper is threefold: first, to describe a novel tool (conjoint analysis (CA)) for application by explaining the theory behind it; second, how the tool was developed; and third, how it can be used to ensure an optimal festival/event offering. In this way, the research needed on the individual behavioural and psychological factors of the events-tourism sector are addressed. Design/methodology/approach Planned events in this case the three largest arts festivals in South Africa (SA) (in Potchefstroom – Festival A, Grahamstown – Festival B and Oudtshoorn – Festival C) were studied. Five different attributes – festival brands, ticket prices, entertainment activities, food and beverages and transport to venues – were developed to describe arts festivals. The data were analysed using CA. CA was used in a linear regression model with individual ratings for each arts festival product. In addition, two techniques often used as complementary to and in conjunction with CA, namely, cluster and correspondence analysis were also used. K-means clustering constructed a four-factor solution, which categorised and labelled the attributes as, brand-, price-, activity- and transport-sensitive. The software package STATISTICA used the results for the correspondence analysis to draw maps between the arts festivals and attribute importance, age groups and festival attributes, arts festivals and language. Findings Festival A and B preferred the attribute level quality music, whilst Festival C preferred quality performances on the attribute entertainment. On the attribute refreshments, Festivals B and C preferred value for money and Festival A, a wide variety of good quality refreshments. On the attributes transport and ticket prices, all three festivals agreed for safe and secure parking and at the same price. Research limitations/implications This paper demonstrates, by applying the recommended tool, how it can be used to distinguish festivals/events in an overcrowded SA market with the possibility of providing a competitive advantage. In that all three festivals researched preferred the attribute festival brand held in the region which destination marketing organisations (DMOs) can use to their advantage. Practical implications This paper demonstrates, by applying the recommended tool, how it can be used to distinguish festivals/events in an overcrowded SA market with the possibility of providing a competitive advantage. In that all three festivals researched preferred the attribute festival brand held in the region which DMOs can use to their advantage. Originality/value The description of the development of the model could illustrate how market positioning (by way of revitalizing older theories), in the arts festival context can be approached to ensure an optimal arts festival offering. By so doing the paper strives to make an academic contribution.
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Del Rosario, Peter Jerome B. "Hermeneutic analysis of the San Isidro Pahiyas Festival as a development communication medium in Lucban, Quezon, Philippines". Journal of Hospitality and Tourism Insights 2, n.º 2 (3 de junio de 2019): 203–20. http://dx.doi.org/10.1108/jhti-01-2019-0002.
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Purpose Only few festival studies in the Philippines attempted to examine the capability of festivals as folk media to communicate development. The purpose of this paper is to analyze the development-oriented activities and messages in the San Isidro Pahiyas Festival in Lucban, Quezon. Design/methodology/approach The researcher conducted participant observation, ethnographic photography, key informant interview and record review. A historical analysis of the festival’s background, thematic analysis of its list of programs, visual analysis of the photographs guided by Barthes’ (1964) semiology and hermeneutics were employed. Findings Formerly a native ritual before the Hispanic rule in the country, the San Isidro Pahiyas Festival is currently held by the Local Government of Lucban, Quezon, primarily for touristic purposes. The festival’s activities in 2015 reflected the municipality’s dependence on agriculture and the residents’ religiosity, skills and creativity. The adornments during the said celebration likewise gave a glimpse of the residents’ social status, livelihood sources and reverence to Saint Isidore. Through hermeneutics, the researcher also found issues on the residents’ idolatry and their motivation to display their produce during the festival. Research limitations/implications The findings of this study can only hold true for the 2015 celebration of the San Isidro Pahiyas Festival. Despite this, the study finds hermeneutics and Barthes’ (1964) semiology useful for festival studies. It also appeals to folk media studies and postcolonial theories. Originality/value This research provides an unconventional methodology for festival studies, which contributes to the very limited hermeneutic tourism studies abroad and folk media studies in the Philippines.
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McGee, Kristin. "Staging jazz pasts within commercial European jazz festivals: The case of the North Sea Jazz Festival". European Journal of Cultural Studies 20, n.º 2 (27 de abril de 2016): 141–66. http://dx.doi.org/10.1177/1367549416638525.
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This article examines the North Sea Jazz Festival in order to highlight the growing influence of both ‘convergence culture’ (Jenkins) and prevailing jazz mythologies upon the reception and organization of contemporary European jazz festivals. In particular, the European jazz festival is examined within the context of increasing commercialization and digital mediation of the live music field. To stake my claim, I first sketch the context within which European jazz festivals arose, especially as initially driven by curators/aficionados, whose longing for ‘authentic’ jazz within natural (resort) surroundings provided the basis for our current European jazz mythology. Next, drawing from both secondary sources and journalistic reviews, I trace how the North Sea Jazz Festival transitioned from an independently curated event to a highly professionalized media festival in Rotterdam, northern Europe’s most modern, post-industrial jazz city. Finally, my close reading of the recent North Sea Jazz Festival’s headlining, crossover Dutch jazz artist, Caro Emerald, reveals how this transformation encouraged associations with the so-called European jazz myth, one which privileged Europeans’ connections to past American aesthetics and promoted New York–based jazz ‘heroes’ alongside crossover European jazz acts. My research draws from the fields of cultural studies, historiography, ethnomusicology and media studies to postulate a multidisciplinary theoretical perspective for examining jazz ideologies in light of large-scale transformations of festival culture.
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Lee, Seonmi. "A Case Study on the Digital Transformation Festivals due to the Covid-19 Pandemic". Korean Society of Culture and Convergence 44, n.º 7 (31 de julio de 2022): 121–35. http://dx.doi.org/10.33645/cnc.2022.7.44.7.121.
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This study is intended to comparatively study domestic and foreign festival cases that successfully continued festivals through digital transformation during the COVID-19 pandemic, and to draw implications. Selected examples are the 2nd of May Festival in Madrid, Spain, the DESECE Children’s Festival in Greece, and the online Gangneung Danoje Festival. As a result of the analysis, the Digital Transformation Festival is first, the most prioritized point in the digital transformation of the festival is the theme of the festival, so it is not the use of digital technology itself. Second, the digital transformation festival established a hybrid festival model in which live and digital coexist. Third, social media became the basis for the success of the digital festival. Fourth, it provided an opportunity to build an archive of existing festivals. Fifth, the COVID-19 crisis improved festival services by introducing a visiting festival program.
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Pai, Chen-Kuo, Tingting Lee y Sangguk Kang. "Examining the Role of Service Quality, Perceived Values, and Trust in Macau Food Festival". International Journal of Environmental Research and Public Health 18, n.º 17 (1 de septiembre de 2021): 9214. http://dx.doi.org/10.3390/ijerph18179214.
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An emerging paradigm for festival and event management reveals that hosting theme-based festivals can foster economic growth at the local and national levels. As a case of this research, the annual Macau Food Festival was selected to explore relationships among visitors’ perceptions of festival quality, festival value, trust in the festival, visitors’ satisfaction, and behavior intention. Out of 453 questionnaires distributed, 433 questionnaires were valid for data analysis using partial least squares-structural equation modeling. The results showed that festival quality consisting of the sub-dimensions of hospitality, venue, product, convenience, and program have a positive impact on festival value, trust in festival, and festival satisfaction, which in turn affect festival loyalty. Based on these empirical findings, the current study offers practical and theoretical implications for destination management organizations and festival hosts to sustain annual theme-based festivals held at a certain destination such as Macau Food Festival.
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Xie, Heshen. "Western-Centrism and the Global Queer Film Festival Circuit". Journal of Festive Studies 4, n.º 1 (23 de febrero de 2023): 83–100. http://dx.doi.org/10.33823/jfs.2022.4.1.105.
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Since they emerged in the late 1970s, queer film festivals have turned into a global cultural activity. A complex worldwide network of queer film festivals has also formed. This article establishes the framework of the global queer film festival circuit to examine the hegemonic relationships it produces. The global queer film festival circuit comprises top-tier film festivals and second-tier queer film festivals. As the first queer-themed film festival in Asia, the Hong Kong Lesbian and Gay Film Festival (HKLGFF) is situated in a subordinate and passive position. Aiming to emphasize the unbalanced relationship among queer film festivals on a global scale, this article argues that due to commercial considerations and the lack of festival resources, the HKLGFF’s programming is dominated by the choices of top-tier film festivals and thus reproduces Western-centrism. Through the analysis of the HKLGFF’s programming process and criteria, it also demonstrates how top-tier film festivals influence the programming of second-tier queer film festivals by dominating the global market of queer films. Overall, this article expands the concept of the queer film festival circuit, addressing the significance of small-scale queer film festivals in the global South to worldwide queer culture as well as the global circulation of queer films.
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Gaur, Sanjaya S. y Mandar Chapnerkar. "Indian festivals: the contribution they make to cultural and economic wellbeing". Worldwide Hospitality and Tourism Themes 7, n.º 4 (10 de agosto de 2015): 367–76. http://dx.doi.org/10.1108/whatt-03-2015-0017.
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Purpose – This paper aims to highlight an Indian festival’s contribution to cultural and economic well-being. Design/methodology/approach – This study utilizes a qualitative approach to analyze the impacts of Ganesh Chaturthi festival, which is annually celebrated over a period of two weeks across the nation. Findings – The study shows that the Ganesh Chaturthi festival fosters national cohesiveness, promotes communal harmony, preserves family values, helps maintain national identity, revitalizes the economy and fosters cultural tourism. Research limitations/implications – This paper provides useful insights for policy makers, local government, businesses and community leaders for deriving optimal benefits from the annual Ganapati festival. Originality/value – The Indian economy is developing very rapidly, and yet there is limited published literature available on the contribution of festivals to these developments.
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McCrone, David. "Treading Angels: Edinburgh and its Festivals". Scottish Affairs 28, n.º 3 (agosto de 2019): 290–317. http://dx.doi.org/10.3366/scot.2019.0285.
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How did Edinburgh become ‘festival city’? Despite appearances, it was not always so, and it acquired the accolade by happenstance; in the view of one observer, a ‘strange amalgam of cultural banditry, civic enterprise and idealism’. The official Festival's survival was down to the City Council, and it was funded almost entirely by public bodies. This was the central structure around which The Fringe developed, and The Traverse prospered, along with smaller festivals and events to become Festival City. The story sheds considerable light on how Edinburgh ‘works’, its strengths and weaknesses combined.
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Black, Niki. "Festival connections". International Journal of Event and Festival Management 7, n.º 3 (10 de octubre de 2016): 172–87. http://dx.doi.org/10.1108/ijefm-04-2016-0026.
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Purpose The purpose of this paper is to examine the contribution of small-scale, rural festivals to the social sustainability of their host communities. Small-scale, community originated festivals proliferate the rural landscape throughout the UK and yet despite this, festival research has focussed predominantly on large, urban events and on their economic impact (Wood, 2009; Gibson and Connell, 2011). This paper seeks to address the perceived research gap by examining these events through a lens of social sustainability. Design/methodology/approach The research uses a case study approach focussed on four festivals in Northumberland, UK. Individual interviews and focus groups were conducted with festival organisers, key figures and visitors. Following a constructivist grounded theory method four principle indicators were identified to determine festival contribution to community social sustainability. These indicators are: contribution to community pride and localness, enhancement of knowledge and understanding, contribution to the continuity of local culture and enablement of networks of connectivity. Findings The findings demonstrate the networks of connections which festivals enable between the culture, heritage and people (individuals and groups) of a place. By focussing on four indicators the paper shows the social impact of connections through the festival processes and content. The paper argues that small-scale festivals in rural locations can contribute to social sustainability if they demonstrate a balance of both consistency and innovation and accessibility and openness within the locale. Originality/value This paper addresses the gap in social impact research into rural festivals and presents an original approach to identify festival impact on community social sustainability.
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de Carvalho, João Malho Ferreira Ribeiro, Nuno Gustavo y Victor Afonso. "A case study for a transformational festival creation in Lourinhã, Portugal". European Journal of Tourism, Hospitality and Recreation 12, n.º 1 (1 de diciembre de 2022): 46–60. http://dx.doi.org/10.2478/ejthr-2022-0003.
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Abstract This research aims to evaluate, select, and validate strategic alternatives for implementing a transformational festival proposal in the municipality of Lourinhã, Portugal. The methodological model investigates the historical context, the classical festival themes, and the transformational festival’s characterisation through literature review and an exploratory interview with a major British stakeholder; the market potential through randomised inquiries representative of the Portuguese population; the contextual strategic assessment through a focus group with local stakeholders; and verifying the possibility of validating the concept of a festival design based upon these premises, through an interview with a major national stakeholder and three short interviews. As a result, we characterised transformational festivals, confirmed consumer profile key indicators, and validated a concept design with a hybrid strategic approach, essential to developing a disruptive, attractive, and marketable concept. The originality of the research is related to the return to the origins that these festivals highlight, as opposed to digital trends. The discrepancy between the paradigmatic importance of transformational festivals and their acceptance was highlighted. The research was limited by the lack of stakeholders’ acceptance of participation in the qualitative research.
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Wiehe, Ben. "When science makes us who we are: known and speculative impacts of science festivals". Journal of Science Communication 13, n.º 04 (19 de diciembre de 2014): C02. http://dx.doi.org/10.22323/2.13040302.
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Science festivals (or just “festivals”) are currently ascendant in the United States with more than 40 new initiatives emerging in just the past 5 years, but their story is not so easily told. The schedule of any one individual festival may contain a staggering array of events, and each festival is different both from year to year, and from other festivals. One multi-festival evaluation points to potential strengths of the format, as well as the importance of the participation of STEM practitioners. Collaboration and social identity formation are considered as powerful festival impacts, and potential challenges for festivals are discussed.
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Ohiienko, Iryna. "Ethnic Festivals of the Mid to Late 20th – Early 21st Century as a Component of the Folklore Culture of Bulgaria". Materìali do ukraïnsʹkoï etnologìï, n.º 20 (23) (20 de diciembre de 2021): 139–50. http://dx.doi.org/10.15407/mue2021.20.139.
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The article is dedicated to the study of folklore festival culture in Bulgaria in the mid to late 20th – early 21st century. The characteristic features of the folklore festival culture of Bulgaria are considered, the main functions of the folklore festivals are determined, a number of well-known international, national and local ethnic folklore festivals taking place in different cities and villages of Bulgaria are classified. The first ethnofestivals in Bulgaria are described, such as the Festival of Folk Art and Animal Husbandry in Rozhen, the Festival of Folk Art in Koprivshtitsa, the International Folklore Festival in Burgas, the Festivals of Folk Art Pirin Sings, Balkan Sings and Tells, which are held from the 1960s till nowadays. They have started the development of the folklore-festival movement in Bulgaria. The ethnic festivals, held in Bulgaria, are classified. According to the time of holding, there are short-term and long-term festivals. According to the venue, Bulgarian ethnofestivals are stationary or mobile. According to geographical criteria, Bulgarian ethnofestivals can be divided into local, national, international and world. According to the age criteria of the participants, among the ethno-festivals there are children’s, youth, mixed festivals. Among the ethnofestivals the holidays of folk art, festivals of calendar and ceremonial holidays, festivals of authentic folk clothing, festivals of national cuisine, festivals of folk instrument ensembles, festivals of folk dances, festivals of folk crafts and trades etc. can be distinguished.
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Qureshi, Bilal. "Elsewhere: The Last Circus". Film Quarterly 74, n.º 1 (2020): 84–87. http://dx.doi.org/10.1525/fq.2020.74.1.84.
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FQ columnist Bilal Qureshi reports from his first visit to the documentary film festival True/False in Columbia, Missouri. Overcoming his initial trepidation—both at the prospect of traveling just as the coronavirus was gathering steam and at the festival's regional location—Qureshi finds himself falling in love with film festivals all over again. Yet the contact high of the collective experience provided by the festival, with its freedom to collide with films and audiences through impromptu gatherings and celebrations, takes on a heightened poignancy in this moment of COVID-19. While noting the uncertainties of the new cinematic and social order that will emerge post-COVID, Qureshi hopes that the opportunity to press reset might result in more small-scale, community-focused festivals like True/False.
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Cheyroux, Emilie. "Small Film Festivals Surviving the COVID-19 Pandemic". Journal of Festive Studies 4, n.º 1 (23 de febrero de 2023): 47–65. http://dx.doi.org/10.33823/jfs.2022.4.1.132.
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The COVID-19 pandemic was a major challenge for film festival organizers, who had to resort to online platforms to showcase films they had selected. While virtual film festivals did not offer the same experience, being deprived of the opportunity to gather people in a festive atmosphere, they provided a fairly accessible solution that enabled audiences to watch films they would have missed otherwise. Even major and economically stable festivals, such as South by Southwest (SXSW), decided to cancel; and not all film festivals embraced the opportunities provided by online platforms. Responses to the pandemic were as diverse as the six thousand film festivals organized on average each year. Small nonprofit film festivals, however, tend to be more vulnerable than large-scale events. When the pandemic was at its climax in 2020, their economic sustainability was at stake. This article focuses on Cine Las Americas, a small community-based Latino and Indigenous film festival that takes place in Austin, Texas. Based on interviews of members of the executive and programming team, on research about the history of the festival, and on the experience of the 2020 “Virtual Showcase,” it shows that solidarity between the festival and a wide range of local organizations played a great role in its capacity to survive this critical time. To retrace the festival’s history, the article draws inspiration from organizational theory, illustrating that Cine Las Americas became a field-configuring event (FCE) in the city of Austin, to the point where the friendship that its successive organizers, who have showed crucial adaptation skills over the years, had secured with local partners contributed to its survival.
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Kim, Young-Kyu. "Local festival visitors’ evaluation on the festival program :focused on the Sungju Melon·Life·Culture Festival". National Association of Korean Local Government Studies 25, n.º 4 (28 de febrero de 2024): 77–96. http://dx.doi.org/10.38134/klgr.2023.25.4.077.
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Since 1995, when autonomous local government era started, an endeavour to vitalize local economy through hosting a local festival became a typical phennominon among local governments in Korea. However, non distinctive festivals mimicking one another did not earn the support from the local residents and ruined the effort of local governments and communities. Therefore a local government’s effort to remove overlapping investments and produce a meaningful result through festivals are sought throughout the local governments in Korea. It is the aim of this study to suggest an effective ways and solutions for an ideal festival through analyzing the evaluation from the festival visitors to the 2023 Sungju Melon·Life·Culture Festival.
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Jarman, David. "Festival community networks and transformative place-making". Journal of Place Management and Development 11, n.º 3 (13 de agosto de 2018): 335–49. http://dx.doi.org/10.1108/jpmd-06-2017-0062.
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Purpose Festivals are often explicitly connected to the destinations in which they take place, explored here as contributing to broader processes of place-making and engagement with local communities. Place is defined at a local scale, primarily as experienced by volunteer contributors to an arts and cultural festival in urban Scotland. Networked relationships between festival volunteers inform the research methods and analysis, reflecting both observer and insider perspectives. This paper aims to comment on varying attitudes among the contributors, relating these findings to their positions in the festival’s social network. Design/methodology/approach Social network analysis methods were used to capture and examine data from a sample of festival volunteers: a survey instrument was distributed among individuals identified by the creative director, acting as a key informant. These data generated information on connections between the respondents, as well as demographic and opinion-based attribute data. Network centrality measures were used to sample the respondents for four follow-up interviews with festival volunteers. Findings The resulting network revealed a core-periphery structure to the festival’s organising team. The influential core group members were more established volunteers, recognised for their value to the team. The festival was widely endorsed as contributing to local place-making, though not uncritically. Management implications were identified for the dual nature of the festival organisation: a formal hierarchy with clear functional departments, acting as a platform for an intangible yet vital social network. Originality/value Social relationships are shown to have profound implications for the management and identity of this volunteer festival, in relation to its host neighbourhood. Combining social network analysis with semi-structured interviews has demonstrated the value of this mixed methods approach.
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Li, Jing y Gouxiong Yu. "Constructing the festival tourist attraction from the perspective of Peircean semiotics: The case of Guangzhou, China". PLOS ONE 18, n.º 2 (21 de febrero de 2023): e0282102. http://dx.doi.org/10.1371/journal.pone.0282102.
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Based on the Peircean semiotic theory, this study aims to explore the semiotic construction of a festival tourist attraction using the Guangfu Temple Fair in China as a case. A qualitative research method of grounded theory was used to analyze the organizers’ planning scheme, conference materials, 7 interviews, and 45 tourists’ interviews. We found that festival organizers produce festivalscape based on social values and tourists’ expectations, including safety assurance, cultural activity, personnel service, facilities, creative interaction, food, a trade show, and the festival atmosphere. Tourists in the festivalscape, through cultural, novel, social, and emotional experience and collateral observations, assign meaning to the festival’s attractiveness in terms of cultural diversity, vibrant activities, distinctive features, and a sense of ceremony. These findings indicate that organizers’ sign production and tourists’ sign interpretation constitute the conceptual model of the semiotic construction of festivals as tourist attractions. Furthermore, the study extends the understanding of tourist attractions and will help organizers to create successful festival attractions.
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Walls, Amanda. "Why a Cracker? Jephthah’s Daughter as the Unleavened Bread of Passover". Religions 15, n.º 6 (8 de junio de 2024): 712. http://dx.doi.org/10.3390/rel15060712.
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This article presents a new hypothesis regarding the social and ideological functions of the otherwise unknown festival to commemorate Jephthah’s daughter and the meaning of its symbols and occasions. A unique event in the biblical world, this festival is the only time known to us in which Israelite women were expected to appear together in public assembly. Judges 11:39–40 enjoin “the daughters of Israel” to celebrate it annually. The story of Jephthah’s daughter, summarized in Judges 11:34–39, evokes and develops many themes that intersect with the depiction of and the prescriptions for observing two well-known festivals that share a season: the holiday of Passover and the Festival of Unleavened Bread, Maṣṣot. A synthesis of the correlations among the holidays will suggest that the festival dedicated to honoring Jephthah’s daughter was an early, long-lasting folk version of Maṣṣot in which the daughter represented the festival’s ritual staple, unleavened bread.
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Reynolds, Peter. "Transit Festival, Leuven, Belgium". Tempo 70, n.º 276 (abril de 2016): 85–87. http://dx.doi.org/10.1017/s0040298215001072.
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This year's Transit festival (the sixteenth) marked an important milestone, as Maarten Beirens took over as Artistic Director from Mark Delaere, who has steered it through the last 15 years. Delaere very much devised the festival's format, with its hard-edged programming and quirky informality, which one feared might be lost, but any worries about drastic changes under the new regime were soon allayed. Indeed, Beirens is to be congratulated on pulling off one of the most successful festivals I can remember, with an almost unbroken series of strong, inventive works and performances.
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Carter-Long, Lawrence. "Sundance 2020: Inclusion, Diversity, and Disability beyond Diagnosis". Film Quarterly 73, n.º 4 (2020): 75–81. http://dx.doi.org/10.1525/fq.2020.73.4.75.
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Thirty years after the passage of the Americans with Disabilities Act, are festivals like Sundance ready to move beyond basic access to embrace a new disability aesthetic? In search of an answer, Lawrence Carter-Long attends his first Sundance Film Festival, with a goal of assessing Sundance's commitment to disability access and inclusion beyond the branding and rhetoric. He reviews the Festival's disability-focused programming, participation, panels, and planning, much of which was supported by the Festival's new partnership with the Ruderman Family Foundation, whose philanthropy focuses on disability rights. Carter-Long discusses audience favorites Crip Camp and The Reason I Jump, both of which received audience awards, as well as the Festival's efforts to provide closed-captioning (CC) via individual CaptiView devices and Feature Film Captioning Service, concluding that the Festival set a new standard for disability inclusion and access.
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Kesgin, Muhammet, Rajendran Murthy y Rick Lagiewski. "Profiling food festivals by type, name and descriptive content: a population level study". British Food Journal 124, n.º 2 (30 de noviembre de 2021): 530–49. http://dx.doi.org/10.1108/bfj-04-2021-0412.
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PurposeThis research aims to classify and describe food festivals and examine the patterns in food festival naming and festival descriptions in online media.Design/methodology/approachThis research represents the first population-level empirical examination of food festivals in the United States using a purpose-built dataset (N = 2,626). Methodology includes text mining to examine food festival communications.FindingsFood festival size varies across local and regional spheres within the country. Food festivals employ geographical (place-, destination-based) associations in their names. Food festivals' descriptions and online communications showcase a welcoming environment predominantly emphasizing family-oriented and live entertainment experiences. Food festivals across the country show common naming patterns based on the elements of longevity, recurrence, location name, brand name, geographic scope, theme, and occasion.Originality/valueThe study makes an original contribution to the theory and practice by identifying festival forms, styles, functions, and their diversity. A population level examination of food festivals does not currently exist. Therefore, this research will serve as a foundation for scholarly work in the future and as a benchmark for evaluating current and future research.
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M. Van Winkle, Christine, Amanda Cairns, Kelly J. MacKay y Elizabeth A. Halpenny. "Mobile device use at festivals: opportunities for value creation". International Journal of Event and Festival Management 7, n.º 3 (10 de octubre de 2016): 201–18. http://dx.doi.org/10.1108/ijefm-04-2016-0025.
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Purpose The purpose of this paper is to understand mobile device (MD) use in a festival context. Festivals offer a range of opportunities and activities to use a MD making this context ideal for understanding digital experiences during leisure. The guiding research question asked how do festival attendees use MDs at festivals. The Typology of Human Capability (THC) provided a framework to enhance the understanding of digital experiences at festivals. Design/methodology/approach This research involved six festival case studies where semi-structured interviews were conducted with attendees on-site. Interview questions focused on how festival attendees used MDs during the festival. Data were analyzed using directed content analysis guided by the THC. Findings On-site interviews with 168 attendees revealed that data support the THC dimensions and constructs (sensing, linking, organizing and performing). This typology advances the understanding of the range of digital customer experiences currently available at festivals. Research limitations/implications The addition of context to the THC is recommended to enhance its utility in application. As a limited number of festivals were included, the specific findings may not apply to all festivals but the implications are relevant to a range of festivals. Practical implications Operational definitions of the THC constructs within the festival setting were identified and provide opportunities for developing digital experience offerings. Originality/value This study provided the first comprehensive examination of MD use in festival contexts and in so doing offered data in support of Korn and Pine’s (2011) THC. The findings reveal opportunities for modifying the THC to increase its applicability in a range of settings.
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MOHANTY, Rojalin y Ansuman SAMAL. "An Empirical Study on Developing the Tourism Potentials of Fairs and Festivals in Odisha in India". Theoretical and Practical Research in Economic Fields 14, n.º 2 (20 de diciembre de 2023): 335. http://dx.doi.org/10.14505/tpref.v14.2(28).13.
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Numerous studies on the appeal of tourist sites have been done. However, little study has been conducted on festival attractiveness and its effect on place attachment. This study adopted a mixed-methods strategy to examine the festivals in Odisha. Travel and tourism have become essential economic activities throughout the world in this globalization market. Festivals have recently grown in number, variety, and popularity, making them one of the strongest parts of the tourism industry. During tourism activities, tourists pay close attention to how attractive something is. The festival’s appeal is one of the most important things that determines whether or not a tourist will go and take part in activities. Also, the appeal of a festival can makes tourists more likely to come back, which is the key to the success of festival activities. This paper sought to determine the role of tourism as a long-run economic growth mechanism in Odisha. The Government of Odisha promotes tourism, but the focus remains on the golden triangle, which includes Puri, Konark, and Bhubaneswar. Without a doubt, these locations are well-equipped to meet the needs of both domestic and foreign tourists. Other beautiful places in Odisha still are largely unknown to tourists. In this paper, we try to demonstrate the overall importance of various fairs and festivals for the development of tourism and relate the significance of fairs and festivals.