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Steenhuisen, Paul. "The Splendid Allure of Europium at the Inaugural Montréal/Nouvelles Musiques". Circuit 14, n.º 2 (15 de fevereiro de 2010): 53–58. http://dx.doi.org/10.7202/902313ar.
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Composer Paul Steenhuisen shares his own views on the Montréal/Nouvelles Musiques Festival by situating it within the context of other Canadian festivals and by discussing its main characteristics. The author also discusses the festival's artistic principles and its thematic orientation. On considering the compartmentalization of the public, he suggests that an artistic approach based on a unifying musical or philosophical idea would be an advantageous replacement to the "star composer" system.
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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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Etsename, Louis Emmanuel, e Raphael Adeyemi Ojo. "Exploring The Tourism Potential of the Odun Oba Festival Using Printmaking". Global Journal of Arts, Humanities and Social Sciences 12, n.º 2 (15 de fevereiro de 2024): 49–64. http://dx.doi.org/10.37745/gjahss.2013/vol12n24964.
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The Odun Oba festival is a major cultural celebration in Ondo, Nigeria, which annually serves to showcase the rich cultural heritage and traditions of the Ondo people. This study examines the festival’s socio-cultural viability as it relates to improving the kingdom’s tourism potential. This study deployed printmaking as a medium to capture and depict the Odun Oba festival, using printmaking’s diverse techniques and expressive capabilities to provide a distinctive platform to document the multifaceted nature of the Odun Oba Festival. The researcher has also tried to portray the lively attires, intricate and dynamic dance performances that are integral components of the festival through relief, intaglio and planographic print media respectively. The finished prints were exhibited physically and virtually, after which a survey (using Google form) was conducted to evaluate public perception of the works. The researcher recommends that the prints be displayed in galleries, cultural hubs, and public arenas, allowing people of diverse backgrounds access to connect with the festival's cultural legacy. It further suggests that the socio-cultural presentation of the Odun Oba Festival through the printmaking medium would not only encourage the flow of artistic expression but also act as a vehicle for preserving and passing down knowledge of the kingdom’s cultural heritage. Thus, promoting intergenerational discussions, and the nurturing of indigenous cultural identity and pride.
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Stauffer, Isabelle. "Das galante Fest als Gesamtkunstwerk". Daphnis 49, n.º 3 (14 de julho de 2021): 444–66. http://dx.doi.org/10.1163/18796583-12340026.
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Abstract Aurora von Königsmarck’s letters from Medevi show the outstanding role this celebrated baroque poetess played in the gallant festival culture at the Swedish court. They tell of courtly festivals taking place at the famous health spa Medevi in August 1682. They uncover festivals which do not appear in official festival books. So these letters represent very important documents of cultural history, allowing a fresh sight on courtly festival culture. This article inquires the gallant performance of Aurora’s letters, investigates them for well-known models, motifs and journals of courtly-gallant festivals and emphazises their political and aesthetical relevance. With her various artistical contributions Aurora tries to influence her position within the Swedish nobility. The festivals follow the French festival culture of Ludwig XIV. and are to be interpreted as synthesis of the arts, including several arts. Aurora’s letters are not only descriptions, but also a part of this synthesis of the arts.
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Marakhovska, Kseniia. "ANIMATION FESTIVAL IN THE MODERN UKRAINIAN CULTURAL SPACE". CULTURE AND ARTS IN THE MODERN WORLD, n.º 22 (30 de junho de 2021): 233–43. http://dx.doi.org/10.31866/2410-1915.22.2021.235919.
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The purpose of the article is to comprehend animation festivals as an important component of the cultural space of modern Ukraine and a decisive factor in the development of the world and domestic animation art. Research methodology. The analytical and synthetic method was used, which made it possible to discover the specifics and directions of development of the large-scale world and domestic animation festivals; owing to the generalisation method, information about animafests was systematised, and their multidimensional abstract review was carried out. The scientific novelty is that the largest world and domestic animation festivals are identified and analysed for the first time, and their specifics are studied. Animation festivals are considered as a kind of indicator of modern culture development. Conclusion. The definition of cultural space as a space of functioning of the animation festival is given, the essential features of the festival as a cultural phenomenon are highlighted. It is ascertained that a festival is a periodic festive event with elements of solemnity and competition, the ultimate goal of which is the demonstration of achievements, creative exchange, professional communication. Festivals differ in direction, themes, programmes. An essential feature of the festival is the presence of a single idea, theme and programme. The information on animation festival activity in Ukraine and the world is generalised and systematised. World and domestic animation festivals are understood from the standpoint of features and directions of their development, new methods and techniques. It is concluded that the demand for animation festivals is increasing every year. Animation festivals have a strong cultural and artistic potential: they showcase new trends and artistic innovations; allow avoiding the isolation of art; allow authors to represent their creations to viewers and experts; provide creative and professional communication. It is noted that animafests are a powerful catalyst for the creative process and contribute to creating the environment for further development and popularisation of animation art.
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O’Neal, Cecil, e John Hirsch. "Directing Shakespeare". Canadian Theatre Review 54 (março de 1988): 46–51. http://dx.doi.org/10.3138/ctr.54.009.
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John Hirsch was the Artistic Director of the Stratford Festival from 1981-1985. His tenure at the Festival often seemed overshadowed by the sustained controversy which surrounded the appointment of a successor to Robin Phillips. After the appointment and dissolution of the four-person board to serve as the Festival’s Artistic Directors, there was a search for the Canadian who had the international stature to serve as the Artistic Director of the Festival. Hirsch, one of a handful of Canadians who work regularly in major international theatres and whose work is seen as influencing the development of contemporary theatre, was appointed.
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Thiesen, Lene. "”Hvad laver en festivalarrangør om vinteren?”". Peripeti 19 (11 de outubro de 2022): 110–19. http://dx.doi.org/10.7146/peri.v19isaernummer2.134028.
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“What does a festival producer do during winter?”In this essay, Lene Thiesen offers insights into the job of festival programming in Copenhagen International Theatre (KIT) in the years from 1983 to 1997. Providing a perspective from inside the organization, it touches upon the lack of cultural political support for international exchanges, which was luckily outweighed by the enthusiasm of the artists, the volunteers, the audience, and the press. It also tracks the shifts in KIT’s artistic profile from the street theatre of the Fools Festivals through the thematized bilateral festivals with French and British artists, to the Dancin’ City and Images of Africa festivals in the mid-1990s.
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WENZHEN, Minghua Liu, Xinyao Li e Qiyue Ren. "Rural Festivals and Rural Cultural Spaces Creation: A Case Study of the “Yim Tin Tsai Arts Festival”". International Journal of Arts and Humanities Studies 3, n.º 4 (26 de outubro de 2023): 10–17. http://dx.doi.org/10.32996/ijahs.2023.3.4.2.
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The “Yim Tin Tsai Arts Festival”, a three-year artistic program, represents a pioneering effort to revitalize rural areas using art as a catalyst. This initiative is designed to explore and address various social issues arising from urbanizing. While rural festivals, including the “Yim Tin Tsai Arts Festival”, play a pivotal role in promoting regional economic development through the creation of cultural spaces, they face the challenge of homogenizing their tourism destination image. This article applies design strategy concepts to explore the impact of rural festivals and cultural spaces on the cultural benefits of the host region, using the “Yim Tin Tsai Arts Festival” in Hong Kong as a case study. Utilizing methods such as desk research and data analysis, this study examines and discusses the significant issues within the field of research regarding the influence of rural festivals and cultural space development. Furthermore, we present the following research focus and development directions for the study of the impact of rural festivals and cultural space development.
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Moosavi, Marjan. "Performing and Conforming: Iran’s Fadjr International Theatre Festival". TDR/The Drama Review 60, n.º 1 (março de 2016): 79–92. http://dx.doi.org/10.1162/dram_a_00525.
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Iran’s Fadjr International Theatre Festival (FITF) is the largest and oldest theatre festival in the Middle East, yet remains among the least studied. Conversations with FITF’s officials and the festival’s international guests reveal the politics and complexities of Iran’s efforts to maintain control of artistic expression while promoting the country’s global autonomy.
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., Jaeni. "The Festival of Kromong Mountain as a Glorification of the Value of the Natural, Social, Economic, and Cultural Arts in Cirebon, West Java, Indonesia". International Journal of Innovative Science and Research Technology 5, n.º 6 (17 de dezembro de 2019): 17–24. http://dx.doi.org/10.38124/ijisrt19dec182.
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The Mountain Kromong Festival was conceived by researchers as an annual activity aimed at communicating art in realizing cultural engineering in a society that was contaminated with industrial culture. This festival is held right in the Gempol District of Cirebon , West Java, Indonesia to reassemble the cultural traditions of the mountain/huma community, which so far have covered the lives of industrial communities. Maintaining this form of festival is tantamount to maintaining value, so the value of the Mountain Kromong festival is always directed at the value of environmental glorification, both natural, social, economic, and cultural arts. The method used by researchers through participatory research stages, focus group discussions, revitalizing cultural arts, packaging festivals, and festival performances. The results of a series of research work on the Cirebon mountain kromong festival became a model of a mountain festival different from other mountain-themed festivals. The cultural closeness of all Mount Kromong festival materials is sourced from the local community, both artistic and aesthetic related matters. The entire series of festivals that have been running for two years, resulting in a cultural movement that is contained in Mountain Kromon performing art. Mountain Festival kromong increasingly in development right in the economic empowerment through the development of arts and culture-based tourism.
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Nagel, Carla Maria Oliveira. "UM OLHAR BRINCANTE SOBRE O FESTIVAL FOLCLÓRICO DE PARINTINS". Arteriais - Revista do Programa de Pós-Gradução em Artes 9, n.º 15 (29 de dezembro de 2023): 82. http://dx.doi.org/10.18542/arteriais.v9i15.15708.
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ResumoO presente artigo propõe uma reflexão sobre as singularidades e potências do processo de criação artística e de organização coletiva do Festival Folclórico de Parintins, no Amazonas, com a inserção dos folguedos e da cultura diaspórica nordestina, assim como do imaginário dos povos que habitam a Amazônia e as inovações culturais que se ligam a um complexo processo de ressignificação histórica do brincar de boi. Esse festival, assim como outros festivais do Amazonas, é realizado todos os anos no mês de junho, na cidade de Parintins, e está ligado às festas hieráticas e juninas da cidade. Ao partir do entendimento desse espetáculo como irradiador de um novo sentido de apreender a realidade amazônida e de cumplicidade de público, os intelectuais da Amazônia brasileira João de Jesus Paes Loureiro e Ericky Nakanome, assim como os pesquisadores das manifestações populares nordestinas Hermilo Borba Filho e Oswald Barroso, serão fundamentais para esta discussão.AbstractThis article proposes a reflection on the singularities and powers of the process of artistic creation and collective organization of the Parintins Folklore Festival, in Amazonas, with the insertion of festivities and northeastern diasporic culture, as well as the imagination of the people who inhabit the Amazon and the cultural innovations that are linked to a complex process of historical resignification of playing with bull. This festival, like other festivals in Amazonas, is held every year in June, in the city of Parintins, and is linked to the city's Hieratic and June festivals. By understanding this spectacle as radiating a new sense of apprehending the Amazonian reality and public complicity, the intellectuals of the Brazilian Amazon João de Jesus Paes Loureiro and Ericky Nakanome, as well as the researchers of popular northeastern demonstrations Hermilo Borba Filho and Oswald Barroso, will be fundamental to this discussion.
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Comunian, Roberta. "Temporary Clusters and Communities of Practice in the Creative Economy: Festivals as Temporary Knowledge Networks". Space and Culture 20, n.º 3 (25 de julho de 2016): 329–43. http://dx.doi.org/10.1177/1206331216660318.
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The article explores the role of art festivals as platforms for knowledge and network development in the creative industries and creative policy intervention using the case of a small street art festival ( Fuse Festival in Medway, UK). The analysis provides a broader perspective on the current research and debate on the impact and role played by arts festivals in local economic and cultural development—which usually concentrate on either their socioeconomic impact on local communities—to focus instead of their role in building knowledge communities and communities of practice. The results highlight the key role played by the festival in supporting and commissioning artistic work. The results also expose the temporary and explorative nature of many artistic practices and the role of interaction with audiences and other creative producers. Following a network perspective, the findings highlight the role of temporary clusters not only in shaping career opportunities for artists but also in drawing new pathways for local economic development for contexts undergoing regeneration.
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Karsono, Karsono. "Tourism and education intersection: cultural reproduction of Osing community in the Angklung Caruk music festival". International Journal of Visual and Performing Arts 5, n.º 2 (10 de novembro de 2023): 106–19. http://dx.doi.org/10.31763/viperarts.v5i2.1164.
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Music festivals are social and cultural events mostly seen as activities to present artistic expressions for the audience to enjoy. If it is investigated closely, the presentation of work at festivals is the final culmination of training and learning, both of which are essential elements of the educational process. This research aims to examine and show that music festivals have educational elements, even in the context of tourism interests. The music festival studied was the Angklung Caruk Festival, a type of traditional music from the Osing community. The festival competes for musical skills between student angklung groups in Banyuwangi, East Java. The research uses ethnographic methods to discover and explain the intersection between festivals' education and tourism dimensions. Data collection uses participant observation techniques, interviews, document study, and documentation. Data analysis uses an ethnographic model, including domain analysis, taxonomy, components, and cultural themes. The research results show that the Angklung Caruk music festival is an arena for competition in the beauty of musical works between student groups to achieve victory. This competition has become a tourism commodity packaged under the title Banyuwangi Festival. To present their best musical works, each angklung group receives intensive and profound education from professional musicians, with the support of the school, government, and parents. Thus, the Angklung Caruk Festival is an arena for reproducing Osing traditional music culture which has an economic and educational dimension. It has an impact on strengthening the identity and social repositioning of the Osing community in the present and future.
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Oriola, Mufutau Oluwakemi, e Oludare Joseph Tiamiyu. "Artistic and Communicative Connections between Newspaper Cartooning and Epa Festival in Ijagun Community, Ogun State, Nigeria". Journal of Religion and Human Relations 13, n.º 1 (22 de julho de 2021): 110–32. http://dx.doi.org/10.4314/jrhr.v13i1.6.
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Newspaper cartoons and Epa masks worn by Epa masquerades are similar in their humorous appearances and communicative values. This study examined the artistic and communicative connections between newspaper cartooning and Epa festival in Ijagun community, Ogun State, Nigeria. Descriptive questionnaire survey was conducted on 20literate indigenous Epa adherents in the community. Findings revealed that Epa festival and newspaper cartooning were related in their significant artistic connection through humour and entertainment, and communication of cultural values through exposure of social vices in the community. The study recommended the preservation of such festivals as Epa for awareness creation, entertainment and security.
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Kupis, Marta, e Karolina Golemo. "Hybrid festivals: Challenges facing Cracow’s festival scene in times of pandemic". Kultura i Społeczeństwo 66, n.º 3 (8 de novembro de 2022): 117–41. http://dx.doi.org/10.35757/kis.2022.66.3.6.
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The main goal of this paper is to show the strategies of dealing with the pandemic circumstances chosen by three of the city’s festivals: EtnoKraków/Crossroads, Sacrum Profanum, and Unsound. Emerging from their diverse approaches is a new hybrid festival formula, which brings with it brand new challenges. These include: new models of interaction between organisers, artists, and audiences; reorganisation of festival space; new patterns of audience accessibility and new forms of exclusion/openness; opportunities and barriers for (virtual) cultural exchange; and finally, a recalibration and blurring of the public and private dimensions brought about by the new types of festival experience. Indeed, it could even be argued that the live event sector is facing significant change in the very concept of “liveness”. The analysis is based both on existing data concerning processes of music festival production and consumption (press articles, reviews, and reports) and semi-structured interviews with artistic directors, managers and producers of the selected festivals, held in 2020/2021.
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Paterson, Erika. "Exploring the Fringe / 1: The Self-Determined Audience". Canadian Theatre Review 67 (junho de 1991): 49–53. http://dx.doi.org/10.3138/ctr.67.009.
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The Canadian Fringe Festivals are a uniquely new form of theatre within the realms of “fringe” theatre, other Fringe Festivals, and Canadian theatre in general. As a theatre event the Fringes are unique in terms of their actual and ideological relationship to institutionalized theatre; their economical and philosophical relationship with artists and audience, and most significantly, their neglect or rejections of “normally” imposed artistic value / criteria. As a festival event the Fringes are uniquely situated somewhere between official celebration and popular celebration. And the audience, whether it is understood as a theatre audience, or Festival participants, is unusual by its ever-increasing size, its modes of participation, and its influence on the artists and the work they produce for the Fringes.
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KUZMINA, NATALYA. "Festival in the big city: the role of festivalization in urban cultural life". Public Administration 23, n.º 4 (2021): 64–70. http://dx.doi.org/10.22394/2070-8378-2021-23-4-64-70.
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The article analyzes the theoretical aspects of urban festivals as well as their implementation in practice, aimed at forming the image of the city. Urban festivals are cultural events that consolidate a community that shares both the values and meanings conveyed by the festival, giving them a sense of belonging to each other and to the location in which the cultural event takes place. Urban festivals influence the culture of citizen participation, contribute to the emergence of new cultural practices, have a positive impact on the area, the appearance of the city, etc. The article shows that the festivals leave a “trace” in the symbolic, informational and cultural space of the city; they act as a tool for designing the urbanistic image, as well as a kind of “magnet” for tourists. Due to festivalization, the city becomes a place of touristic cultural consumption, and at the same time, acting as an object of investment in the service sector. The festivals create conditions for regulated and safe human interaction with the city. During the festivities, the urban space is filled with diverse and multi-genre cultural events, while some other aspects of urban life become unseen because of the festival activity. The author concludes that the city festival forms a specific type of urban citizen. Another feature of the city festival is that it helps to “revive” the place where it is held (the city), to activate the creative potential of young artists and cultural workers, to increase the attractiveness of cultural institutions (concert halls and other venues) among the citizens, in particular, the new audience, to educate the artistic and aesthetic taste of young people.
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Kim, Sun Young, e Hee-young Song. "A Study on the Strategy of Brand Building in the Tongyeong Theater Arts Festival: Focused on the Strategy of Brand Construction". Korean Society of Culture and Convergence 44, n.º 11 (30 de novembro de 2022): 405–17. http://dx.doi.org/10.33645/cnc.2022.11.44.11.405.
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The need for brand building is growing at local arts festivals. Therefore, this study tried to contribute to the establishment of the brand strategy of the local art festival by analyzing the brand construction status of the Tongyeong Theater Arts Festival(TTAF) as a brand myth construction model. As a result of the study, in terms of the dominant ideology, the TTAF was exposed to negative perceptions such as their own league, low artistic level, and doubts about individuality and creativity, as commonly found in other regional festivals. In addition, the desires of consumers and masses were marked by independent consumption, demand for easy and comfortable arts, and enhancement of pride and self-esteem in local culture. To overcome the cultural contradiction, the TTAF is judged to have to focus more on regional specialization and artistic level improvement using the unique cultural resources of the region. Therefore, this study specifically suggests the improvement of the brand strategy of the TTAF through the supplementation and innovation of the PR marketing strategy.
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Sawert, Daniel. "New Materials for Studying Preparation and Staging of the 6th World Festival of Youth and Students in 1957". Herald of an archivist, n.º 2 (2018): 550–63. http://dx.doi.org/10.28995/2073-0101-2018-2-550-563.
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The article assesses archival materials on the festival movement in the Soviet Union in 1950s, including its peak, the 6th World Festival of Youth and Students held in 1957 in Moscow. Even now the Moscow festival is seen in the context of international cultural politics of the Cold War and as a unique event for the Soviet Union. The article is to put the 6th World Festival of Youth and Students in the context of other youth festivals held in the Soviet Union. The festivals of 1950s provided a field for political, social, and cultural experiments. They also have been the crucible of a new way of communication and a new language of design. Furthermore, festivals reflected the new (althogh relative) liberalism in the Soviet Union. This liberalism, first of all, was expressed in the fact that festivals were organized by the Komsomol and other Soviet public and cultural organisations. Taking the role of these organisations into consideration, the research draws on the documents of the Ministry of culture, the All-Russian Stage Society, as well as personal documents of the artists. Furthermore, the author has gained access to new archive materials, which have until now been part of no research, such as documents of the N. Krupskaya Central Culture and Art Center and of the central committees of various artistic trade unions. These documents confirm the hypothesis that the festivals provided the Komsomol and the Communist party with a means to solve various social, educational, and cultural problems. For instance, in Central Asia with its partiarchal society, the festivals focuced on female emancipation. In rural Central Asia, as well as in other non-russian parts of the Soviet Union, there co-existed different ways of celebrating. Local traditions intermingled with cultural standards prescribed by Moscow. At the first glance, the modernisation of the Soviet society was succesful. The youth acquired political and cultural level that allowed the Soviet state to compete with the West during the 6th World Festival of Youth and Students. During the festival, however, it became apparent, that the Soviet cultural scheme no longer met the dictates of times. Archival documents show that after the Festival cultural and party officials agreed to ease off dogmatism and to tolerate some of the foreign cultural phenomena.
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Ponomarenko, Olena. "“Wagner Festival Ravello” as a Sociocultural Phenomenon of the Festival Process in Italy". Scientific herald of Tchaikovsky National Music Academy of Ukraine, n.º 130 (18 de março de 2021): 183–96. http://dx.doi.org/10.31318/2522-4190.2021.130.231270.
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The relevance of the issue is due to the need to consider Italian music festivals as a component of national culture, to summarize their experience, which is important for musical life in general and for Ukraine in particular.The purpose of the article is to identify the prerequisites for the origin, the development process, as well as the modern vector of functioning of one of the most authoritative festivals in the south of Italy “Wagner Festival Ravello”, the 68th season of which took place in 2020.The scientific novelty lies in the fact that for the first time in Ukrainian art history, Italian music festivals are considered as an organic, artistic and economic component of the national culture, their traditional and innovative features are noted, and prospects for further development in the musical life of modern Italy. A detailed analysis of the Wagner Festival in Ravello will contribute to the dissemination of Italian experience for the organization and conduct of musical projects in Ukraine.The research methodology is based on the use of the inductive method, which, to characterize the festival process in the cultural life of Italy, involves the study of individual festival projects and provides for the use of a set of complementary research methods — historical-analytical, empirical and sociocultural. The historical-analytical method contributed to the understanding of the logic of the formation and development of the festival, the appeal to empirical and sociocultural methods made it possible to consider the features of the organization of the festival in the context of social relations in the system of musical life in modern Italy.Main results and conclusions. “Wagner Festival Ravello” is developing and constantly improving its capabilities. The high professional level of the international festival has been maintained for many years, and this is done thanks to the coordinated management of everyone involved in the organizational process. It should be noted that there is significant support from public authorities, as well as investments from the business sector. Within the framework of a modern project, there are creative scenes created using innovative technologies, orchestra of the Teatro San Carlo, the recording studio, the festival magazine — all these components of systemic activity are interconnected and aimed at ensuring an impeccable result. The Ravello Foundation has been leading and constantly developing the project for almost 20 years in order to represent the city of Ravello internationally as one of the cultural centers of the Campania region. Further creative life and the success of the festival require cooperation of cultural, financial, state institutions, constant technological renewal — everything that will allow the world to demonstrate the historical and artistic monuments of the City of Music and preserve the Wagner Festival of Ravello for future generations as an Italian cultural brand. Prospects for further research in this direction are: first, in a thorough study of the specifics of the functioning of music festivals in modern Italy and coverage of various aspects of the organization of this process; secondly, in the analysis of cooperation between the cultural, financial, tourism sectors, which affects the high level of organization and long-term creative life of festival events; thirdly, in considering the control system by the state, which should always be focused on professional support and represent the most important component of the functioning of art projects. All of the above will help domestic musicians learn about the specifics of organizing music festivals in Italy, as well as adopt and use it in the practice of musical life in modern Ukraine
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Pakhomov, Yuriy. "Sumy region wind music festivals from the standpoint of cultural and artistic traditions of the region". Culturology Ideas, n.º 20 (2'2021) (2021): 163–70. http://dx.doi.org/10.37627/2311-9489-20-2021-2.163-170.
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The article considers such kind of musical activity as festivals of wind music. As a result of research, the emergence and development of some orchestral festivals held in Sumy region at different levels of performance have been traced. Their role in aesthetic and patriotic education is determined, as well as the need for such measures to promote orchestral wind music, preservation and further development of orchestral traditions, which are important both in military rituals and in public life of the region. It has been found that nowadays wind music festivals are a major factor in the development of this genre of performance. Despite the rather wide coverage of the festivals, the events in the genre of orchestral wind music taking place at different levels of performance in Sumy region, did not receive due attention. Coverage of this issue is necessary for proper understanding and analysis of the state of performance on wind instruments in the region. The material of the article will be useful for scholars who study the festival movement and develop issues of history and development of wind music in our country.
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Byun, jung min, e Hyun Kyu Choi. "A Study on the Direction of Regional Festival Development". Korean Society of Gyobang and Culture 4, n.º 1 (30 de março de 2024): 65–80. http://dx.doi.org/10.58936/gcr.2024.3.4.1.65.
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Local festivals are reproduced or newly realized through various artistic expressions based on historical facts or geographical environment. These festivals based on localism provide a special experience for local residents and tourists, as well as an opportunity to raise pride in historical consciousness and traditional culture.
To this end, events and performances for various experiences are an opportunity to awaken the interest and theme consciousness of the festival again. However, the reality of the local festival is that it is a onetime event in which the identity is lost due to the competitive overheating phenomenon or the unique meaning disappears. Now the festival is a space for education and learning to enjoy and learn in the space of simply enjoying amusement, and it is necessary to develop it into a complex community space where everyone can sympathize with the fusion of traditional culture and modern culture. To this end, it is necessary to find the possibility of development of traditional values of the region, to develop local customized contents using cultural heritage and artists, and to present various cultural products combined with tourism and festival contents through specialization projects considering regional connection.
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Alvarez, Natalie. "Roots, Routes, RUTAS". Theatre Research in Canada 40, n.º 1-2 (20 de março de 2020): 27–41. http://dx.doi.org/10.7202/1068256ar.
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In this article, author Natalie Alvarez examines how the Caminos and RUTAS festivals of Toronto’s Aluna Theatre harness the interactional, mass gathering of the festival and its high visibility to form a theatrical commons grounded in a heterogeneous and intercultural Americas, one that includes Latin American, Latinx, Indigenous, and Afro-Caribbean artists that have historically been excluded both from the Eurocentric vision of “Latin America” and Canadian performance histories. With a producing mandate to foster Canadian-hemispheric cultural exchanges, Beatriz Pizano’s and Trevor Schwellnus’s curatorial practices aim to generate alternate genealogical routes of Canadian performance history for a new generation of artists to travel. The performance routes of these festivals speak to the critical role festivals can play in directing—and redirecting—transnational flows of knowledge and artistic production. But Pizano and Schwellnus’s curatorial aims are also driven by an interest in how festivals like RUTAS and Caminos can generate a structural shift in the kinds of artistic traditions that are sustained on Toronto’s stages and the ways in which they are sustained by fostering hemispheric collaborations and co-productions. The RUTAS and Caminos festivals demonstrate very powerfully the work that a theatrical commons can do to advance alternative producing structures and transnational coalitional politics.
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Leonard, Paul. "Around the Festivals / 1: Redefining “the Americas”". Canadian Theatre Review 61 (dezembro de 1989): 19–23. http://dx.doi.org/10.3138/ctr.61.004.
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One of the challenges of mounting an “international theatre festival” is to come up with a conceptual framework that can profitably link diverse shows from a variety of countries. Most frequently, and rather simplistically, artistic directors use “excellence” as the common denominator, and choose “the best” shows that are available, programming a festival with hit shows from other festivals they have attended around the world. When Le Festival de théâtre des Amériques began in Montreal in 1985, the mandate was more precise: as the name implies, the biannual event was to bring together theatre productions from among the 45 nations that constitute “the Americas.” During the first two versions, the festival presented shows from Canada, the USA, Mexico, Argentina, Brazil, Nicaragua, Haiti, Venezuela and Cuba.
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Knowles, Richard Paul. "Stratford's First Young Company". Theatre Research in Canada 11, n.º 1 (janeiro de 1990): 3–28. http://dx.doi.org/10.3138/tric.11.1.3.
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The first so-called 'Young Company' at the Stratford Festival was founded in 1975 by the incoming Artistic Director, Robin Phillips. This essay describes the brief history of that loosely-defined company and analyses their productions of The Two Gentlemen of Verona and The Comedy of Errors in 1975 and of Hamletand The Tempest in 1976, the Festival's first productions of Shakespeare at the Avon Theatre.
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Seničić, Maša, e Ognjen Obradović. "Online theatre and film festivals: (Un)sustainability of digital gatherings in a time of crisis". Kultura, n.º 169 (2020): 63–85. http://dx.doi.org/10.5937/kultura2069063s.
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Applying interdisciplinary theoretical analysis within a framework that cross-references studies in the fields of performance, cultural policy, film and screen media, this paper examines transformations of festivals in digital environment during the Covid-19 pandemic. Festivals are cultural and artistic showcases that present and value certain content, as well as places of public gathering and critical debate, on which we particularly focus in this study. After a brief theoretical remark on what theatre and film encounters represent as places of real physical meetings, we move on to online festivals and events of similar nature which take place in digital surroundings. We then set out to analyse two online festivals, using the case study method on FIST - Festival of International Student Theatre (2020) and my Darling Quarantine - Short Film Festival (2020). These examples help us examine the potential advantages and disadvantages of online festivals, and also their specifics: by moving to the digital realm, online festivals lose their exclusivity given by space-time and geographical limitations. Thus, it is necessary to find new models of functioning that can contribute to having quality collective discussions and transnational exchanges of knowledge and ideas. FIST has accomplished this through opening a space for debate through live online chat, making viewers an integral part of the performance. Likewise, my Darling Quarantine has proven itself as a place of collective effort through its creative cooperative programming. We conclude that the critical and socio-cultural potential of online festivals is exceptional, therefore they should not necessarily be thought of as surrogates or extensions of live events, but as authentic cultural practices.
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Brillianesti, Sukma Smita Grah. "Gerbang Menuju Prekarisasi: Studi Pengalaman Kerja Sukarelawan dan Pemagang Muda di Festival Seni Biennale Jogja Equator". Retorik: Jurnal Ilmu Humaniora 12, n.º 1 (28 de junho de 2024): 104–20. http://dx.doi.org/10.24071/ret.v12i1.8715.
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This study offers an investigation into the dynamics of cultural labor, focusing specifically on the engagement of volunteers and interns in art festivals. Despite their appeal as expressions of artistic richness, art festivals conceal fundamental challenges related to volunteer labor, which blur the lines between altruism and exploitation, and between unpaid volunteerism and paid labor. This research employs ethnographic methods, with data collected through direct observation, interviews, and literature review targeting interns and volunteers involved in art festival activities, specifically using the Biennale Jogja Equator as the primary case study. The findings reveal that while volunteers gain invaluable firsthand experience and develop critical skills within the creative sector, they also face systemic challenges inherent in the art festival production ecosystem. On one hand, volunteers accumulate cultural and social capital, such as skill acquisition and networking opportunities; on the other hand, questions remain about how to translate this capital into economic capital or tangible benefits. This condition makes volunteer work and internship programs as gateways to deeper precarization.
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Dung, Vu Thi. "Cultural-Artistic Value in Epic and Festival of the Muong Thanh Hoa People". Journal of Humanities and Education Development 4, n.º 5 (2022): 27–30. http://dx.doi.org/10.22161/jhed.4.5.5.
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The epic The Land of the Earth is a system of mythical stories about the formation of heaven and earth of the Muong. It is also considered history and an encyclopedia of the customs of the Muong people. This epic is both pride and respect in the cultural life of the Muong community. This article studies several outstanding cultural symbols of the epic "Land for the Land" which have been preserved and remained quite intact in the Poon Poong festival - one of the most important festivals of the Muong people in Thanh Hoa.
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Dung, Vu Thi. "Cultural-Artistic Value in Epic and Festival of the Muong Thanh Hoa People". Journal of Humanities and Education Development 4, n.º 5 (2022): 27–30. http://dx.doi.org/10.22161/jhed.4.5.4.
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The epic The Land of the Earth is a system of mythical stories about the formation of heaven and earth of the Muong. It is also considered history and an encyclopedia of the customs of the Muong people. This epic is both pride and respect in the cultural life of the Muong community. This article studies several outstanding cultural symbols of the epic "Land for the Land" which have been preserved and remained quite intact in the Poon Poong festival - one of the most important festivals of the Muong people in Thanh Hoa.
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Quarmby, Kevin. "“Would they not wish the feast might ever last?”: Strong Spice, Oral History and the Genesis of Globe to Globe". Multicultural Shakespeare: Translation, Appropriation and Performance 11, n.º 26 (30 de dezembro de 2014): 17–30. http://dx.doi.org/10.2478/mstap-2014-0003.
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The 2012 Globe to Globe Festival proved a great success. Actors, directors, musicians, dancers, designers and technicians travelled from all over the world to perform on the Globe stage. Visitors to London’s Cultural Olympiad enjoyed six jam-packed weeks of Shakespeare, presented in an array of international languages. The Globe’s Artistic Director, Dominic Dromgoole, and his Festival Director, Tom Bird, had achieved what seemed, to many, the impossible. Nonetheless, filmed interviews with Dromgoole and Bird, conducted during the festival by the American documentary-maker Steve Rowland, offer tantalizing insights into the genesis of the festival venture. These candid interviews confirm the sometimes farcical, often exhausting, but invariably serendipitous truth behind the Globe to Globe Festival’s short, intense history. Although the Globe was “flying completely blind,” it still succeeded in hosting a glorious feast of Shakespearean delights, seasoned with the strong spice of multiculturality.
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Lynde, Denyse. "Robert Chafe: The Last Two Years in Review". Canadian Theatre Review 128 (setembro de 2006): 58–62. http://dx.doi.org/10.3138/ctr.128.012.
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The year 2004 saw the publication of Robert Chafe’s Two Plays: Butler’s Marsh and Tempting Providence and its nomination for a Governor-General’s Literary Award. It also saw Artistic Fraud of Newfoundland’s production of Burial Practices of the Early European Settlers through to Today, Theatre Newfoundland and Labrador’s (TNL) production of Isle of Demons and Stephenville Festival’s commission of Vive la Rose. Finally, it saw the beginning of the international tour of Tempting Providence. Although busy, this was a typical year for playwright/actor Chafe, who, while closely associated with Artistic Fraud, also works regularly with TNL and the Stephenville Festival.
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Ponomarenko, Olena. "Functions of Music Festivals in Modern Italy: “Rossini Opera Festival”". Scientific herald of Tchaikovsky National Music Academy of Ukraine, n.º 135 (26 de dezembro de 2022): 137–50. http://dx.doi.org/10.31318/2522-4190.2022.135.271014.
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The relevance of the study. Considering the music festivals of modern Italy, it is important to identify their functionality and influence on the development of the cultural life of the country as a whole. This issue has been little studied, although, in our opinion, it is important and relevant for characterizing the festival movement in Italy.
Main objectives of the study is to describe the International Opera Festival “Rossini Opera Festival: ROF”, its main functions.
The methodology is based on the use of the inductive method, which, to characterize the festival process in the cultural life of Italy, involves the study of individual festival projects and provides for the use of a set of complementary research methods — historical-analytical, empirical and sociocultural. The historical-analytical method contributed to the understanding of the logic of the formation and development of the festival, the appeal to empirical and sociocultural methods made it possible to consider the features of the organization of the festival in the context of social relations in the system of music life in modern Italy.
Results and conclusions. As an instrument of dialogue between civilizations, music is still today a fundamental lever of economic growth, able to interact with all other values: artistic heritage, cultural and tourism industry, environment and landscape. Through an integrated plan of structural interventions, services for citizens and businesses of the city, music in Pesaro becomes an engine of development, creative enrichment of cultural heritage and synergy between culture, tourism, society and education. The "Rossini Opera Festival: ROF" is a truly local indie phenomenon that draws a prepared and interested audience to Pesaro. Music as a means of dialogue between civilizations today contributes to economic growth, interaction with all other values of the region: historical and artistic heritage, cultural, tourism industry, landscape. Impressive is not only the scale of the project, but also the effectiveness of cooperation between cultural, financial, state institutions participating in its organization. Together they have developed a formula for holding Italian festivals, which provides a high result — the revival of the cultural and economic development of the region thanks to tourist flows, changing the image of cities (creating new infrastructure), interaction between public and private institutions, local authorities, professionals and art lovers. As an inseparable component of human culture, music always, in all its manifestations, acts as its memory, as a memory of history, a reminder of past events and their participants.
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Ponomarenko, Olena. "Music Festivals in Modern Italy During the Covid-19 Pandemic". Studia Universitatis Babeş-Bolyai Musica 67, n.º 2 (20 de dezembro de 2022): 87–109. http://dx.doi.org/10.24193/subbmusica.2022.2.05.
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"This study analyses one of the complex problems of modern artistic discourse – the functioning of a music festival as a special form of intercultural dialogue and its integration into a modern cultural medium. The article reveals the issues of the relationship of its components, such as the conditions for the implementation of intercultural communication in the context of a music festival; the morphological space of the multi-layer score of this artistic phenomenon; forms of intercultural communication, and sociocultural constraints associated with the Covid-19 pandemic. The purpose of this study was to analyze the music festival as one of the forms of polyculture dialogue and its functioning in the new realities of the Covid-19 pandemic. In this regard, both theoretical (semantic analysis) and practical (comparative analysis) research methods were used. As a result of the study, it was proven that a music festival as one of the forms of intercultural dialogue allows realizing different semantic levels of culture, enriches spirituality, and contributes to the consolidation of representatives of different cultures, leading to a constructive solution of the problems of artistic discourse; it was revealed that during the Covid-19 pandemic, not all genre and stylistic forms could be realized, due to the difficult situation of socio-cultural isolation; a classification of new formats for holding music festivals was proposed, which take into account the current conditions for its functioning in the context of the Covid-19 pandemic. The practical significance of this study is that its results can be used for further analysis of the mechanisms of functioning and broadcasting of a polyphonically complex score of a music festival. Keywords: music festival, the musical life of modern Italy, artistic dialogue, interaction, multi-layered score of a creative project, multicultural space "
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Cottreau, Deborah. "Wolfville Doing It Right: Bawtree’s Atlantic Theatre Festival". Canadian Theatre Review 83 (junho de 1995): 72–74. http://dx.doi.org/10.3138/ctr.83.016.
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Overlooking the Bay of Fundy, situated in the quaint university town of Wolfville, Nova Scotia, stands a steel-supported wooden ‘O’, a proposed 514-seat skating-rink-turned-theatre, soon-to-be home of the Atlantic Theatre Festival. The brainchild of Artistic Director Michael Bawtree and associates, ATF stands as proof positive that local initiative and grass-roots collaboration are the key to Canada’s cultural future. Other than local residents and area politicians, further contributors include some of Canada’s finest theatrical talent: Christopher Plummer is ATF’s Honourary Fundraising Chairman; Michael Shamata, recently-appointed Artistic Director for London’s Grand Theatre, offers ATF invaluable advice on the daily running of, and casting for, a repertory company; Stratford lighting designer Michael Whitfield provided ATF with their initial requirements for stage lighting. He continues to advise project architect Michael Harvey (Halifax), on the theatre’s structural design. Former Artistic Director of Canada’s Stratford Festival, Michael Langham, is the festival’s Associate Director. On 16 June, 1995, ATF will launch its inaugural season with Langham’s mise en scène of Shakespeare’s The Tempest.
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Doran, Mark. "Deal Summer Music Festival: David Matthews UK and World Premières". Tempo 57, n.º 223 (janeiro de 2003): 83–85. http://dx.doi.org/10.1017/s0040298203240080.
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Nestling on the Kent coast between Ramsgate and Dover, the historic town of Deal is the distinctly pleasant home of a Summer Music Festival which in its 21 seasons has come to incorporate a fair amount of important contemporary music alongside more traditional offerings. This year's programme featured a welcome performance of the Seventh Piano Sonata (1956) by Harold Truscott (1914–92), marking the tenth anniversary of the death of this composer (resident in Deal from 1954); the world première of the choral work Town and Country (2002) by the Festival's new President, Kent-born Sir Richard Rodney Bennett (b.1936); and two compositions (and one arrangement) by David Matthews (b.1943), part-time Deal resident and the Festival's Artistic Director since 1989.
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Bolin, Mary Jane, e Raymond D. Dunstan. "Festivals as Artistic Events". Art Education 38, n.º 3 (maio de 1985): 30. http://dx.doi.org/10.2307/3192891.
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Ferraz, Leidson Malan Monteiro de Castro. "CONTRIBUIÇÃO À HISTÓRIA DOS FESTIVAIS DE TEATRO NO BRASIL". Arteriais - Revista do Programa de Pós-Gradução em Artes 5, n.º 9 (16 de fevereiro de 2021): 124. http://dx.doi.org/10.18542/arteriais.v5i9.9821.
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ResumoPara colaborar com a investigação histórica, a proposta é reunir dados sobre os primeiros festivais de teatro no Brasil, partindo de uma certa trajetória temporal que vai dos festivais artísticos ainda em benefício aos eventos em reverência a autores, passando depois a ter o conceito moderno de reunião de atrações variadas em período e local constantes, além de atividades extras programadas. O artigo também presta homenagem àqueles que pioneiramente deram dinâmica à realização destes encontros festivos do teatro amador ou profissional de então, nos mais diversos pontos deste país, destacando aspectos de relevância social, cultural e política.AbstractAs to collaborate with the historical investigation, the present proposal gathers data regarding the first theatre festivals in Brazil, taking into consideration a time trajectory that varies from artistic festivals, which in benefit to the events in curtsy to authors, to concepts of modern attractions in constant different times and places, other than the extra programmed activities. This article also pays homage to those pioneers of a dynamic fulfillment of such festive gatherings in the realms of amateur and professional theatre of the period, ranging from diverse sites in the country taking into account social, cultural and political aspects.
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Utile, Edward. "Aesthetic Morality in the Blyth and District Community Play". Canadian Theatre Review 90 (março de 1997): 20–27. http://dx.doi.org/10.3138/ctr.90.004.
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Many Hands, the opening production of the 1993 Blyth Festival season, was billed as a co-production between the Blyth Festival Theatre and “The Local People of Blyth and District”. The idea of producing a large-scale community play based on the Colway model (otherwise known as a Collaborative Community Play, or CCP) had originated with Peter Smith, the Festival’s Artistic Director. Smith had been appointed AD for the 1991 season at a time when the Festival’s popularity in the township was at a low ebb, and the theatre’s intimate past relationship to the community appeared to be in jeopardy. During the tenure of Smith’s predecessor, Katherine Kaszas (1985-90), the Board’s decision to build a “national” profile through touring and capital expansion projects had resulted in a precedent-setting deficit and increased ticket prices. The growing presence of the theatre in the community had also exacerbated the discomfort already experienced by a number of residents with the cosmopolitan lifestyles and values of visiting artists, while others had complained about the worsening of seasonal inconveniences such as increased traffic and parking problems, and insensitivity to local customs on the part of tourists visiting the theatre. A high percentage of the theatre’s Board at the time was composed of members from the environs (as distinct from Blyth itself) and many local residents perceived the theatre to be losing its ability to remain either accessible or responsive to the immediate community as constituted by the village. Finally, the risks that Smith had taken in his first two seasons as artistic director to produce theatre that was “a little more urban, a little more on the edge” (Algie) had met with only limited success, and the nature of pressure from the Board prior to the 1993 season can be inferred from the results of a poll taken during a dinner hosted for long-standing patrons of the Festival. Supporters were asked to voice their “artistic requests” for 1993, with the result that Smith was asked to include “something lighter”, a comedy and a musical (Waters).
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Corcoran-Tadd, Athena. "<> rainy days 2017". Tempo 72, n.º 284 (20 de março de 2018): 81–83. http://dx.doi.org/10.1017/s0040298217001334.
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Questioning whether new music is ‘losing touch’, Lydia Rilling, in her first edition as artistic director of Luxembourg's rainy days festival, curated a programme which sought, via an exploration of ‘the emotional landscapes of contemporary music’, to ‘reveal’ that this is not the case. The festival's scope extended beyond concerts to sound installations, pre- and post-concert talks, an (all female-presented) conference dedicated to the festival topic, a newly affiliated composition academy, and a closing ‘bal contemporain’ which paired Frank Zappa and Alexander Schubert with onion soup, while composers, musicologists and curators let loose after such extensive reflection upon the question that had been posed at every turn, emblazoned on the yellow telephone book-sized festival programmes (from which all quotations in this review are taken), echoed on individual concert programmes, interrogating the listener from the tickets’ fine print: how does it feel?
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Sennikova, Veronika V. "TOMSK CHILDREN'S AND YOUTH FILM FESTIVALS AND STUDIOS: THE EXPERIENCE OF CHILDREN AND YOUTH CINEMA REVIVAL". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, n.º 43 (2021): 126–38. http://dx.doi.org/10.17223/22220836/43/9.
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Regional film festivals are part of the film process and play a special role in the formation and preservation of national and cultural identity. The author of the article refers to the regional children's cinema festival. This topic is relevant because children's filmmaking is given very little attention in the space of contemporary culture (These are films made by the children themselves). We characterize this cinema as the artistic practice of “small cinema with great meaning”. The purpose of research – to identify the specific features of the cinema, as a product of children's creativity. In the course of the work, the following tasks were solved. Firstly, the features of the organization of children's film festivals and educational film studios (in Tomsk region) were studied. Secondly, an analysis of the artistic and imaginative specificity of children's cinema is given. The study was conducted on the material Children's Film Festival "Bronze Knight", the children's film studio "On a cloud" (Tomsk). Our research has shown that the experience of the regions demonstrates the success of the institutionalization of the practices of children's film-making in the format of film festivals, as well as in the form of organizing film schools. At the same time, an important organizational feature is the set guidelines for children's creativity. There are content priority setting; the need to determine value-semantic guidelines, attention to professional training; emphasis on the development of creativity, etc. Analysis of children's films, presented at the International Film Festival "Bronze Knight", enabled us to identify the characteristics of their artistic-figurative system. On the one hand, there is an orientation toward the Soviet film tradition with its distinct guidelines for the transmission of cultural value-semantic attitudes and special aesthetics. This is manifested, firstly, in themes, plots and heroes (humanistic values are glorified, respect for each other and love for their homeland, people and culture are instilled; a positive hero striving for good deeds; the presence of creative and instructive elements, a craving for intellectuality); secondly, in artistic aesthetics (close-ups, landscape photography; foreshortening; even rhythm, experiments with color: sepia, aged shots). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics of frames and rhythm, including youth discourse (slang, neologisms). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics and rhythm, including youth discourse (slang, neologisms). Thus, it should be noted that the ideological core of the artistic and imaginative system of children's films is based on the traditions of Russian cinema aesthetics, while maintaining a craving for intellectuality and spiritual and moral themes, while the visual embodiment combines the traditions of Soviet cinema and the means of modern cinema language.
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Odutsa, Evans Nyongesa. "CRITICAL REVIEW OF LITERARINESS IN CULTURAL CREATIVE DANCES PERFORMED IN THE KENYA SCHOOLS AND COLLEGES DRAMA FESTIVALS". International Journal of Education and Social Science Research 06, n.º 06 (2023): 198–209. http://dx.doi.org/10.37500/ijessr.2023.6613.
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The Kenya Schools and Colleges Drama Festival is a series of student-theatre competitions in, held from January to April annually. Students across all learning institutions take part in these festivals. The competitive nature of these festivals provides an opportunity for participants to be creative in their submissions. The festivals feature many genres, including cultural creative dances. Traditional dances, as a sub-genre of orature, play are integral to the appreciation and maintenance of traditional cultures. They tell creative or literary stories orally and in a modern context. Therefore, this article seeks to articulate how cultural creative dances performed during drama festivals tell creative or literary stories orally. The study sought to describe the literary stories told and themes addressed through the dances, analyse the dramatic and oral literary features of these stories and the literary features included during performance and adjudication of cultural creative dances. The study used descriptive and analytical methods to underline important practical, philosophical, aesthetic, and psychological considerations in determining the artistic quality of cultural dances in Kenya’s Drama Festivals. It thus relied on qualitative data obtained through textual analysis, interviews, focus group discussions and participant observation. The study employed the performance theory and theatre semiotics to examine the unique literary quality of these dances. The study found that cultural creative dances tell stories unique to the cultures from which they are composed. They also address themes of human or universal relevance out of those cultures. Moreover, cultural creative dances exhibit all features of literariness in terms of their composition. Some of these features make it to the stage performance and adjudication process. However, adjudication examines other technical aspects of production based on the themes prescribed for the festival by the government. This research underlines the place of cultural creative dance as dramatic genre and oral literary performance.
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Mukherjee, Madhuja. "Little cinema culture: Networks of digital files and festival on the fringes". Studies in South Asian Film & Media 10, n.º 1 (1 de outubro de 2019): 23–40. http://dx.doi.org/10.1386/safm_00003_1.
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Abstract This article reflects on the contemporary digital turn that has transformed our audio-visual experiences fundamentally, and has affected mainstream control over production and circulation of data. Clearly, such conditions have reinvented the problematical relation between producer and receiver. In relation to such circumstances, the article focuses on marginal film festivals, especially the TENT 'Little Cinema International Festival' for experimental films and new media-art, held in Kolkata, India, since 2014. 'Little Cinema International Festival', on one hand, showcases international packages such as those from Berlinale; on the other hand, it presents curated programmes comprising videos made by first-time filmmakers from India. The article deliberates on the broad and long drawn contexts of 'festivals' and artistic endeavours, as well as the formal contours of the videos, which generate spaces for dialogues, both within the filmic text, and in the milieus in which these are shown. The emphasis on the thriving 'amateur' practice also draws attention to 'Little Magazine', 'Little Theatre' and 'Little Film' practices in West Bengal, as well as contemporary new-media transactions, which has transmediated into newer modes of articulations.
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Safia, Selim Ben, e I. Am Not Alone in This Shit. "Letters to TURBA". TURBA 1, n.º 2 (1 de setembro de 2022): 1–4. http://dx.doi.org/10.3167/turba.2022.010202.
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Letter from Tunis: We will keep dancing . . . We just don’t know quite yet how to keep on balance . . .In the aftermath of the Hors Lits Festival, I am writing to share with you the reality of artistic, and particularly choreographic, performance in Tunisia. Here in Tunis, we have to date only one national dance festival and two or three private festivals, still struggling for their existence. Faced with the lack of a strong event dedicated to dance, we conceived the Hors Lits Festival (literally, “out of bed”), offering performances within the privacy of spectator’s homes: in a living room, a bedroom, or a kitchen . . . out of bed. This format has allowed us to reach a new audience, to present artists, to try out new artistic forms . . . to demonstrate the importance of creating alternative spaces for dance. Letter from Istanbul: There Is a Sonic Revolt in the Streets!When the government announced Turkey’s withdrawal from the Istanbul Convention on 20 March 2021, we were waking up every day with the news of missing, murdered, raped, and beaten women and LGBTQ+ people. Our situation was sadly not unique; indeed, all around the world, our comrades had been struggling with the same systematic violence. Hence, we were not alone in this shit!
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Chima, Emmanuel, Subthiga Mathanamohan, Abdullahi Yussuf, Brandon Farnsworth, Cassandre Langlois e Amritha Sruthi Radhakrishnan. "New Research". TURBA 2, n.º 2 (1 de setembro de 2023): 18–63. http://dx.doi.org/10.3167/turba.2023.020203.
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Abstract The refugee experience is exacerbated by hostile receiving environments, out of which have developed an essentialized refugee imaginary. Media reporting has evidently been rife with documentation of anti-immigration political rhetoric and prejudice toward refugees. In this article we employ a framework of migrant-directed artistic programming to examine the experiences of refugees hosted in Malawi, United Kingdom, and India as curated in their visual, literary, and performance artworks. We interrogate context, meaning, and practice for the annual Tumaini Festival at Dzaleka Refugee Camp, Malawi; Refugee Week Festival, United Kingdom; and the recently published collection of artistic works from India Why did I become an illegal migrant? Tamil refugee students and youth on citizenship. Our examination pays particular attention to the dynamics and interplay of refugees’ individual and collective agency and the paternalistic oversight of their host communities. The distinct and overlapping experiences of refugees in the three countries echo the salience of the resulting power relations in society. This article highlights the agency and tactful resistance of refugees across communities in three different countries. Using thoughtfully curated artwork and related experiences, the refugee communities highlighted in this article begin to remold the layperson's understanding of the refugee experience. Our article contributes to the growing body of literature on refugee experiences and underscores the importance of elevating the voices and perspectives of marginalized migrant communities. Following the author's experience of the performance SÅLE at the 2022 Ultima Oslo Contemporary Music Festival in Norway, this article argues that the concept of curating as deployed in contemporary music must be expanded beyond an understanding of the authorial individual carried over from the figure of the composer. Using Aneta Szyłak's (2013) concept of curating context, the text argues that a more open-ended understanding of the term will allow practitioners organizing musical events to think beyond this narrowly delimited role and engage in new ways with the organization and constitution of musical events. The text then addresses organizers of contemporary music events directly to detail what this wider view of the curation of musical context could entail for their practices, while speaking to the specificities and challenges of musical curating specifically. The article concludes by suggesting that an expanded notion of working with musical context facilitates the inclusion of new people and perspectives into contemporary music and serves to better frame and value the work of many people already working in this musical genre whose labor does not fit into established notions of musical work. This article questions the potential of pre-enactment to embody prototypical counter- strategic forms in artistic and curatorial practices, within the European context, in light of a resurgence of authoritarianism, political populism, and the presence of various conflicts, migratory phenomena, and environmental crises. Pre-enactment has been characterized, for example, in certain works of the duo Hofmann & Lindholm, the Public Movement and Interrobang collectives, and the director Milo Rau. According to Friederike Oberkrome and Verena Straub in the introduction to their book (2019), pre-enactment is the invention of hypothetical scenarios, speculations on possible futures, and the experimentation of fictitious times and spaces order in to act on the present. This article approaches pre-enactment from the perspective of performative action-exercises based on three examples: Training for the Future (2019–) by Jonas Staal and Florian Malzacher, la facultad (2021–) by Myriam Lefkowitz and Catalina Insignares, and The Truth Commission (2013–) by Chokri Ben Chikha and his company Action Zoo Humain. Festivals and their arrangements illuminate aspirational, economic, and aesthetic questions of societies and their citizens. However, to what extent do festivals reflect or represent the crucial concerns of the community they are a part of? This article addresses negotiations in the curatorial process of various festivals, while unraveling the layers of identity formation maneuvered through historical dance narratives. It addresses concerns about how festivals or cultural events become “sites” of curation that can speak to power. The attempt is to define the politics of curation and the need for “curation as a strategy of critique” for the existing presentation of “national” culture and its performance (display) in India. Considering the massive expansion of festivals in artistic arenas, national marketplaces, the international cultural industries, and scholarly programs in festival studies, this article tries to map out the historical context of the dance (performance) festival culture that exists in India.
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Cordoba, Cyril. "From the Grand Hotel to the Piazza Grande". Journal of Festive Studies 4, n.º 1 (23 de fevereiro de 2023): 23–46. http://dx.doi.org/10.33823/jfs.2022.4.1.104.
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The Locarno Film Festival is one of the oldest film festivals in the world. Founded in 1946, it is today widely recognized as an international hub for emerging cinema. However, what remains little known is that it was originally conceived as a touristic attraction managed by a few film professionals, and thus had to fight hard to impose its artistic and cultural ambitions over the interests of the tourism and film industries. This article shows that, considering that Locarno was neither created nor supported by political authorities or cultural institutions, its evolution heavily depended on the economic interests of a tourist organization and professional associations of film producers, distributors, and cinema operators. Looking beyond the official narrative publicized in commemorative books depicting the festival as a privileged place for avant-garde cinema since its early years, the article demonstrates that Locarno’s specialization in new cinema was decided in a context of commercial pressures and increasing competition between film festivals. Focusing on the period during which it evolved from a small-scale, provincial celebration to an international platform for art house cinema, it argues that the so-called cinephile editions of 1966–70—when the directors of the event decided to completely distance themselves from the tourist imperatives and commercial function of the festival—must be understood as a radical and short-lived experience in the history of Locarno, rather than a representative trend.
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Kozieł, Patrycja. "17th AfryKamera African Film Festival in Poland". Hemispheres.Studies on Cultures and Societies 37 (2022): 89–91. http://dx.doi.org/10.60018/hemi.csyx3365.
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The AfryKamera Film Festival ran from September 30 to October 9, 2022 in Warsaw and featured more than thirty films, including several competitive categories, such as feature films, musical documentary features, short films and animations. The programme is continuously available in numerous cities in Poland and on the biggest online platforms. As indicated in the festival’s official Manifest, AfryKamera is changing, developing and referring to the future, hence this year’s poster, which, like the entire event, was linked to Afrofuturism, a visual, literary, and philosophical concept and artistic genre of groundbreaking significance for Afro-American and African communities.
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Willems-Braun, Bruce. "Situating Cultural Politics: Fringe Festivals and the Production of Spaces of Intersubjectivity". Environment and Planning D: Society and Space 12, n.º 1 (fevereiro de 1994): 75–104. http://dx.doi.org/10.1068/d120075.
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Canada's fringe festivals are important interventions in the discourses and institutions framing Canadian theatre, leading some to recognize them as sites of a radical cultural politics. Most commentators have placed their attention on performance at these events, but in this paper, the focus is on the manner in which these events reorganize urban spaces into festival spaces, constructing informal discursive arenas within which the interaction of patrons, artists, and organizers is encouraged, and which situates performance, display, and the negotiation of social identities within an intersubjective field less influenced by certain constraints in traditional theatre. What is often overlooked, however, is that these discursive arenas are constructed within, at the same time as they engage, the social and spatial organization of the city, and are therefore marked by certain exclusions and inclusions. By refusing to abstract these festivals, as ‘artistic events’, attention can be paid to their ‘topography’, to explore the relations between cultural practice, social identity, and the organization of the city.
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Citron, Paula. "The Blyth Festival: The Little Acorn that Grew". Canadian Theatre Review 45 (dezembro de 1985): 63–68. http://dx.doi.org/10.3138/ctr.45.009.
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The seeds of the Blyth Festival’s commitment to Canadian drama were planted during its founding season in 1975 when the first artistic director James Roy planned his playbill. For security, he scheduled Agatha Christie’s The Mousetrap. His “risk” play was a new script based on the writings of local celebrity Harry J. Boyle entitled Mostly In Clover. “Clover” is Boyle’s literary creation, a fictionalized small town that is the amalgam of St. Augustine, Auburn and Blyth, three neighbouring hamlets nestled in the fertile farmlands of Huron County in Southwestern Ontario. When Mostly In Clover outsold The Mousetrap two to one, the unique direction of the Blyth Festival was set.
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Joanna Ostrowska, Joanna Ostrowska. "Festiwale – święta sztuki czy projekty intelektualne". Człowiek i Społeczeństwo 33 (15 de junho de 2012): 179–87. http://dx.doi.org/10.14746/cis.2012.33.11.
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The article tries to analyze the phenomenon of the growing numbers of artistic festivals with an intellectual agenda. In the author's opinion the very appearance of artistic festivals in the beginning of the 20th Century was already an intellectual project of healing war wounds through art, which later created the background for the political project of a common union of European countries. Contemporary artistic festivals are as much presentations of different kinds of art as they are intellectual projects that try to introduce various issues: urban studies, ethnical diversity or results of scientific research. Artistic festivals are analyzed here as cultural performances (in order to be presented, issues undertaken by the festivals need to be performed) that have subversive, transformative and normative power. From the viewpoint of performance studies and aesthetics of performativity, contemporary festivals crushed the division between art and events that are part of everyday, "real" life.
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Bezuhla, Ruslana. "Competition and festival movement in Ukraine during the Russian-Ukrainian war". CONTEMPORARY ART, n.º 18 (29 de novembro de 2022): 9–18. http://dx.doi.org/10.31500/2309-8813.18.2022.269657.
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The article analyzes the peculiarities of conducting contests and festivals in Ukraine in the conditions of a full-scale invasion of Russian troops into Ukraine. Significant security risks, which are still present in many regions of the country, led to the search for new formats of events. It was found that the key tasks of artistic events were: support of the moral spirit of society, accumulation of aid for the Armed Forces, promotion of Ukrainian culture both in Ukraine and abroad. The change in the format of the event itself is due to the specified tasks: the theme of war has become an important part of the theme of the festivals, and the charitable focus of the events has acquired key importance. Territorial changes are associated both with a threatening situation in some regions and with cooperation and support from other events located in safer places. The purpose of the article is to create a comprehensive archive of materials that will allow analyzing the functioning of the competition-festival movement of Ukraine during the time of Russian military aggression, understanding the cultural strategies determined by the tasks of the military today. Methodology of work. The article uses the following general scientific approaches, principles and methods that made it possible to consider the peculiarities of the functioning of the competition and festival movement of Ukraine during the war from different vector positions, thus, with the help of the comparative method, the formats for the task of events are compared, the phenomenological method is applied at the stage of revealing the essence of the phenomenon of competition festival movement of Ukraine and its transformation during the military invasion of Russia.