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1
George, Jodie. "Examining the cultural value of festivals." International Journal of Event and Festival Management 6, no. 2 (June 15, 2015): 122–34. http://dx.doi.org/10.1108/ijefm-01-2015-0002.
Повний текст джерелаАнотація:
Purpose – Within Australia, cultural festivals focusing on music, food and art represent important social and economic opportunities for rural communities. However, tensions may also arise within communities where stakeholder ideologies are at odds regarding the place identity being presented for consumption by tourism practices. Thus, using Mitchell’s model of creative destruction/creative enhancement as a theoretical framework and through qualitative analysis, the purpose of this paper is to critically examine three South Australian festivals from multiple perspectives, to identify what relevant stakeholders consider festivals contribute to the community and how this may impact on the success of the festival itself. Design/methodology/approach – Using Mitchell’s model of creative destruction/creative enhancement as a theoretical framework and through qualitative analysis, this research critically examines three South Australian festivals from multiple perspectives, to identify what relevant stakeholders consider festivals contribute to the community and how this may impact on the success of the festival itself. Findings – Findings suggest that those communities who present a more complex understanding of the “rural idyll” through the integration of multiple local products will experience greater success, both for internal and external audiences. Originality/value – This research represents a unique contribution to the literature on festivals by combining the theoretical construct of cultural value with Mitchell’s model of creative destruction and creative enhancement, particularly within South Australia where little such work has been one, despite the fact that it presents itself as the “Festival State”.
2
Quintal, Vanessa, Michael Lwin, Ian Phau, and Abhinav Sood. "Festival Personality and How It Influences Visitor Attitude and Intention." Event Management 24, no. 6 (November 20, 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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SAUTER, WILLMAR. "Introduction: Festival Culture in Global Perspective." Theatre Research International 30, no. 3 (October 2005): 237–39. http://dx.doi.org/10.1017/s0307883305001483.
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According to the Australia Council, the 152 arts festivals held in that country during the season of 1993–4 had a combined operating expenditure of Australian $58.3 million and were attended by 2.2 million visitors. At the same time, these festivals provided 32,000 paid engagements for Australian artists. Considering this massive expansion of festivals in terms of artistic arena, national marketplace and international industry, the scholarly interest in this phenomenon has taken new directions. To study the productions seemed not to be enough, nor was it satisfactory to survey audience attendance or to investigate economic turnouts. Obviously festivals did something more than promote theatrical performances.
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Hammond, Paula. "Festivals and holidays: Australia Day." Child Care 5, no. 1 (January 2008): 18. http://dx.doi.org/10.12968/chca.2008.5.1.37633.
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Luther, Matt, Fergus Gardiner, Shane Lenson, David Caldicott, Ryan Harris, Ryan Sabet, Mark Malloy, and Jo Perkins. "An Effective Risk Minimization Strategy Applied to an Outdoor Music Festival: A Multi-Agency Approach." Prehospital and Disaster Medicine 33, no. 2 (March 21, 2018): 220–24. http://dx.doi.org/10.1017/s1049023x18000195.
Повний текст джерелаАнотація:
Specific Event Identifiersa. Event type: Outdoor music festival.b. Event onset date: December 3, 2016.c. Location of event: Regatta Point, Commonwealth Park.d. Geographical coordinates: Canberra, Australian Capital Territory (ACT), Australia (-35.289002, 149.131957, 600m).e. Dates and times of observation in latitude, longitude, and elevation: December 3, 2016, 11:00-23:00.f. Response type: Event medical support.AbstractIntroductionYoung adult patrons are vulnerable to risk-taking behavior, including drug taking, at outdoor music festivals. Therefore, the aim of this field report is to discuss the on-site medical response during a music festival, and subsequently highlight observed strategies aimed at minimizing substance abuse harm.MethodThe observed outdoor music festival was held in Canberra (Australian Capital Territory [ACT], Australia) during the early summer of 2016, with an attendance of 23,008 patrons. First aid and on-site medical treatment data were gained from the relevant treatment area and service.ResultsThe integrated first aid service provided support to 292 patients. Final analysis consisted of 286 patients’ records, with 119 (41.6%) males and 167 (58.4%) females. Results from this report indicated that drug intoxication was an observed event issue, with 15 (5.1%) treated on site and 13 emergency department (ED) presentations, primarily related to trauma or medical conditions requiring further diagnostics.ConclusionThis report details an important public health need, which could be met by providing a coordinated approach, including a robust on-site medical service, accepting intrinsic risk-taking behavior. This may include on-site drug-checking, providing reliable information on drug content with associated education.LutherM, GardinerF, LensonS, CaldicottD, HarrisR, SabetR, MalloyM, PerkinsJ. An effective risk minimization strategy applied to an outdoor music festival: a multi-agency approach. Prehosp Disaster Med. 2018;33(2):220–224.
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Holmes, Kirsten, and Jane Ali-Knight. "The event and festival life cycle – developing a new model for a new context." International Journal of Contemporary Hospitality Management 29, no. 3 (March 20, 2017): 986–1004. http://dx.doi.org/10.1108/ijchm-10-2015-0581.
Повний текст джерелаАнотація:
Purpose The events and festivals literature relies on theories and models borrowed from tourism studies which may insufficiently account for the unique characteristics of events and festivals. Using four case studies from Australia, United Arab Emirates and the UK, this paper aims to analyse events and festival life cycles using the Tourism Area Life Cycle (TALC) framework (Butler, 1980). Design/methodology/approach The paper is conceptual in that it theorises the range of event and festival life cycle trajectories; however, four event case studies are also used to illustrate this approach. Findings Findings facilitate an extension of Butler’s model to include additional trajectories and accompanying underpinning critical factors that better explain and predict the nature of events and festivals. Research limitations/implications The paper is based on four case studies from the cultural sector which is ideal for developing theory but limits the contexts examined in this paper. The findings are only applicable to recurring events and festivals. Practical implications In the new model, seven different pathways, ranging from continued growth to cancellation, suggest potential opportunities and risks for events and festivals. The results are of particular relevance for event managers, who can use the case studies and trajectories as reference points for event growth and consolidation. Social implications The case studies reveal that successful events are seen to have strong ties to their local communities and are rooted in the destination. Originality/value The paper’s originality is in both the context of utilising diverse international cultural festival and events as case studies and the proposal of seven alternative pathways for events and festivals, which extend Butler’s TALC to the unique context of these temporal phenomena.
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Ryan, Robin, Jasmin Williams, and Alison Simpson. "From the ground up: growing an Australian Aboriginal cultural festival into a live musical community." Arts and the Market 11, no. 2 (August 16, 2021): 92–108. http://dx.doi.org/10.1108/aam-09-2020-0038.
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PurposeThe purpose is to review the formation, event management, performance development and consumption of South East Australia’s inaugural 2018 Giiyong Festival with emphasis on the sociocultural imaginary and political positionings of its shared theatre of arts.Design/methodology/approachA trialogue between a musicologist, festival director and Indigenous stakeholder accrues qualitative ethnographic findings for discussion and analysis of the organic growth and productive functioning of the festival.FindingsAs an unprecedented moment of large-scale unity between First and non-First Nations Peoples in South East Australia, Giiyong Festival elevated the value of Indigenous business, culture and society in the regional marketplace. The performing arts, coupled with linguistic and visual idioms, worked to invigorate the Yuin cultural landscape.Research limitations/implicationsAdditional research was curtailed as COVID-19 shutdowns forced the cancellation of Giiyong Festival (2020). Opportunities for regional Indigenous arts to subsist as a source for live cultural expression are scoped.Practical implicationsMusic and dance are renewable cultural resources, and when performed live within festival contexts they work to sustain Indigenous identities. When aligned with Indigenous knowledge and languages, they impart central agency to First Nations Peoples in Australia.Social implicationsThe marketing of First Nations arts contributes broadly to high political stakes surrounding the overdue Constitutional Recognition of Australia's Indigenous Peoples.Originality/valueThe inclusive voices of a festival director and Indigenous manager augment a scholarly study of SE Australia's first large Aboriginal cultural festival that supplements pre-existing findings on Northern Australian festivals.
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Alonso-Vazquez, Marisol, and Christina Ballico. "Eco-friendly practices and pro-environmental behaviours: the Australian folk and world music festival perspective." Arts and the Market 11, no. 2 (July 2, 2021): 76–91. http://dx.doi.org/10.1108/aam-10-2020-0046.
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PurposeThe coronavirus disease 2019 (COVID-19) pandemic has once again brought to our attention one of the three main pillars of sustainability–the environment. It has also brought into sharp relief the fragility of the live music festival sector, whose success hinges fundamentally on the capacity for both travel and mass gatherings to occur. Considering this intersection of environmental sustainability and the live music festival sector, this paper–which reports on events occurring long before the global pandemic took hold–examines the ways in which eight Australian folk and world music festivals successfully engage in eco-friendly and pro-environmental practices and educational activities at their events. Findings from this research will assist industry practitioners in being able to engage in similar practices at their events, as well as further academic understandings of the relationship between the environment and the live music sector, and the role of environmental communication practices within this.Design/methodology/approachThis study engaged an exploratory research design using interviews to gain an insight into the perceptions of eight live music festival promoters regarding their patrons' on-site eco-friendly behaviours and engagement with the eco-friendly initiatives at their events.FindingsSocial support within the on-site festival community (applied here through the notion of a sense of communitas), coupled with the provision of eco-friendly initiatives and effective environmental communication approaches, were key pivot drivers to support patrons' pro-environmental behaviours. Engagement with environmental authorities and experts during the festivals was found to validate their eco-friendly approaches.Originality/valueThis paper provides details of, as well as insights into, the success of the eco-friendly and pro-environmental education practices engaged at select world and folk music festivals in Australia. It broadens and builds upon existing understandings of environmental communication practices.
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Bachman, Jarrett R. "Music Festivals and Regional Development in Australia." Event Management 16, no. 3 (October 1, 2012): 267–68. http://dx.doi.org/10.3727/152599512x13461660017475.
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Semple, Anne-Louise. "Music festivals and regional development in Australia." Australian Geographer 44, no. 2 (June 2013): 220–21. http://dx.doi.org/10.1080/00049182.2013.799054.
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Goldsworthy, Anna. "Music Festivals and Regional Development in Australia." Musicology Australia 37, no. 1 (January 2, 2015): 99–100. http://dx.doi.org/10.1080/08145857.2014.968962.
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Phipps, Peter. "Indigenous Festivals in Australia: Performing the Postcolonial." Ethnos 81, no. 4 (February 6, 2015): 683–96. http://dx.doi.org/10.1080/00141844.2014.989876.
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Rihova, Ivana. "Music Festivals and Regional Development in Australia." Tourism Management 36 (June 2013): 119. http://dx.doi.org/10.1016/j.tourman.2012.11.014.
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Lee, Seeun. "Music festivals and regional development in Australia." Annals of Leisure Research 17, no. 2 (October 17, 2013): 243–44. http://dx.doi.org/10.1080/11745398.2014.845930.
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McKnight, David. "Australian Film and the Cultural Cold War." Media International Australia 111, no. 1 (May 2004): 118–30. http://dx.doi.org/10.1177/1329878x0411100112.
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This article examines whether, and in what way, anti-communism was a factor in the slow development of an Australian film industry in the 1950s and early 1960s and in the kind of film culture developed in Australia, particularly through film festivals. In particular it examines the activities of the Australian Security Intelligence Organisation (ASIO) towards left and liberal filmmakers and film lovers. It briefly examines the effect of anti-communism on the struggle for Australian content by Actors' Equity in the early years of television.
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Gibson, Chris, Gordon Waitt, Jim Walmsley, and John Connell. "Cultural Festivals and Economic Development in Nonmetropolitan Australia." Journal of Planning Education and Research 29, no. 3 (December 21, 2009): 280–93. http://dx.doi.org/10.1177/0739456x09354382.
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Markwell, Kevin, and Gordon Waitt. "Festivals, Space and Sexuality: Gay Pride in Australia." Tourism Geographies 11, no. 2 (May 13, 2009): 143–68. http://dx.doi.org/10.1080/14616680902827092.
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Hutton, Alison, Jamie Ranse, Naomi Verdonk, Shahid Ullah, and Paul Arbon. "Understanding the Characteristics of Patient Presentations of Young People at Outdoor Music Festivals." Prehospital and Disaster Medicine 29, no. 2 (February 21, 2014): 160–66. http://dx.doi.org/10.1017/s1049023x14000156.
Повний текст джерелаАнотація:
AbstractOutdoor music festivals are unique events given that they are, for the most part, bounded and ticketed, and alcohol is served. They frequently have a higher incidence of patient presentations when compared with similar types of mass gatherings. Often, however, single events are reported in the literature, making it difficult to generalize the findings across multiple events and limiting the understanding of the “typical” patient presentations at these mass gatherings. The aim of this paper was to understand the characteristics of young people who have presented as patients to on-site health care at outdoor music festivals in Australia, and the relative proportion and type of injury and illness presentations at these events. This research used a nonexperimental design, utilizing a retrospective review of patient report forms from outdoor music festivals. Data were collected from 26 outdoor music festivals across four States of Australia during the year 2010. Females presented at greater numbers than males, and over two-thirds presented with minor illnesses, such as headaches. Males presented with injuries, in particular lacerations to their face and their hands, and alcohol and substance use made up 15% of all presentations.HuttonA, RanseJ, VerdonkN, UllahS, ArbonP. Understanding the characteristics of patient presentations of young people at outdoor music festivals. Prehosp Disaster Med. 2014;29(2):1-7.
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Juewei Shi and Sioh Yang Tan. "Flows of Innovation in Fo Guang Shan Oceania: Transregional dynamics behind the Buddha’s Birthday Festival." Journal of Global Buddhism 23, no. 2 (December 8, 2022): 185–202. http://dx.doi.org/10.26034/lu.jgb.2022.1998.
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Fo Guang Shan (FGS), a transnational Buddhist movement in the Chinese Mahāyāna tradition, has grown rapidly in the last fifty years to become a global network of close to 180 branch temples. For almost thirty years, FGS Oceania has invested heavily in the Buddha’s Birthday Festival annually in the form of weekend-long festivals in public spaces across Australia and New Zealand, involving months of planning and thousands of volunteers to welcome tens of thousands of visitors. FGS Oceania served as an incubator, exporter, and importer of innovations to make the Buddha, Dharma, and Sangha accessible to the public through these festivals. Here, we map the flows of such innovations among the headquarters in Taiwan, the Oceanic branches, and other regional headquarters to examine the dynamics of organisational learning that drive these innovations. Using a system of systems model, we argue that such flows were enabled by FGS’ culture of innovation and the independent yet collaborative nature of its transregional network.
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Gibson, Chris. "Music Festivals: Transformations in Non-Metropolitan Places, and in Creative Work." Media International Australia 123, no. 1 (May 2007): 65–81. http://dx.doi.org/10.1177/1329878x0712300108.
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This paper addresses the theme of this special issue of MIA in the context of music festivals. It discusses the continuing growth of music festivals as avenues for musical performance, and for regional economic development, and considers what festivals mean for musicians in terms of changing audience demographics and the conditions of work. Festivals are increasingly important for musicians in building audiences and incomes. They have proliferated particularly in rural, coastal and ex-urban parts of Australia, linked to day-tripper and short-stay tourism and the wider socioeconomic transition of those places. Festivals both reflect and contribute to social and cultural changes, such as the diffusion of musical genres with specialist audiences, inward migration of particular demographic groups and shifting place identities. They also offer new opportunities for places seeking to develop tourism, and local music and performance-based industries. This paper explains these trends, and draws on results from a recent large research exercise that sought to document the extent and impact of festivals. Although they are not new, festivals continue to reconfigure musical touring networks, audiences and performance opportunities. Such reconfigurations have occurred with less public fanfare than developments surrounding digital technology and downloading cultures, but their influence on the working lives of musicians is no less profound.
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Sölter, Arpad-Andreas. "Festival circus, golden gnomes and cultural diplomacy. The Audi Festival of German films in the context of multicultural festivals in Australia." Studies in Australasian Cinema 9, no. 2 (May 4, 2015): 190–204. http://dx.doi.org/10.1080/17503175.2015.1058647.
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Phillips, Stephen. "Aversive behaviour by koalas (Phascolarctos cinereus) during the course of a music festival in northern New South Wales, Australia." Australian Mammalogy 38, no. 2 (2016): 158. http://dx.doi.org/10.1071/am15006.
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The effects of short-term disturbances that result in changes to movement patterns and/or behaviour of wildlife are poorly understood. In this study the movements of seven koalas were monitored before, during and after a five-day music festival. During the monitoring program koalas occupied home-range areas of 0.6–13 ha with one or more core areas of activity. Aversive behaviour in the form of evacuation of known ranging areas was demonstrated by three koalas that had core areas within 525 m of the approximate centre of the festival area, the associated responses comprising movements that were perpendicular to and away from staging areas where music was played. Responses contained within known ranging areas were observed in three other koalas whose core areas were located up to 600 m away. The type of response appeared related to the proximity of koala home ranges to music-staging areas, while the maximum distance associated with an aversive response was 725 m. Six of the radio-tracked koalas returned to their home-range areas following the conclusion of festival activities. While the specific stimulus eliciting aversive behaviour was not identified, responses in all instances were initiated during the musical phase of the festival event. The potential for short-term disturbances such as music festivals to significantly influence the ranging patterns of koalas warrants recognition of possible longer-term ecological consequences for planning and management purposes.
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Hutton, Alison, Lynette Cusack, and Lana Zannettino. "Building public policy to support young people in reducing alcohol-related harm when partying at Schoolies Festivals." Australian Journal of Primary Health 18, no. 2 (2012): 96. http://dx.doi.org/10.1071/py11067.
Повний текст джерелаАнотація:
Mass gatherings such as Schoolies Festivals are often situated in existing communities. Schoolies Festivals are generally unbounded, transient mass gathering events that are situated within various coastal communities around Australia. Mass gatherings are traditionally examined as separate case studies or through using a mass gathering framework to assess patient safety. However, mass gathering frameworks and single case studies do not go far enough to examine events such as Schoolies Festivals. Schoolies Festivals often consist of a bounded ticketed dry zone for night time activities, surrounded by open dry zones, which are an unbounded part of the general community social space and can include hotels, caravan parks and the local community services. We believe that the Ottawa Charter provides the necessary broader lens through which to examine the safety of young people participating in Schoolies Festivals. The Ottawa Charter views health in terms of the whole population and although developed in 1986, maintains its relevance in contemporary social and health contexts. As a primary health care framework, the Ottawa Charter provides researchers and policy makers with the capacity to think ‘outside the square’ to develop strategies to prevent harm for young people attending such events. In addition the Ottawa Charter is a useful framework as it views the health of whole populations and maintains its relevance today. Through examining the needs of the community through a primary health care framework, the interface between the Schoolies event and the wider community can be examined to address some of the underlying structural factors that contribute to the safety of young people at Schoolies Festivals.
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D. Andersson, Tommy, Henrik Jutbring, and Erik Lundberg. "When a music festival goes veggie." International Journal of Event and Festival Management 4, no. 3 (October 11, 2013): 224–35. http://dx.doi.org/10.1108/ijefm-06-2013-0015.
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Purpose – The purpose of this study is first to describe and discuss an innovative strategy, pursued by a music festival, to reduce the environmental impact by allowing only vegetarian food in the festival area. A second aim is to discuss the effects of the vegetarian strategy for the festival in terms of branding and communication impacts. A third aim is to assess the effect on the ecological footprint of the festival from the vegetarian food strategy. Design/methodology/approach – Festival visitors’ food consumption was surveyed in 2010 (719 responses) and again in 2012 when only vegetarian food was served on festival premises (663 responses). The EPA event calculator, developed in Australia, was used to calculate the ecological footprint of the festival. The implementation and the impacts were studied from the festival organisers’ perspective through two (one hour long) interviews with one of the festival managers. Findings – For the festival brand, the vegetarian strategy proved to be extremely successful in terms of media attention and an enhanced “green” image of the festival. An analysis of the environmental impact of the vegetarian strategy indicates a remarkable drop of 40 per cent in the size of the ecological footprint. Practical implications – Based on the results of this study, a vegetarian strategy can be recommended as an innovation for festivals that have core values and a brand image grounded both in sustainability and the reduction of environmental impacts and that are truly concerned about the environment. Originality/value – Festival Footprint Analysis.
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Boaden, Sue. "Art information networks in Asia and the Pacific." Art Libraries Journal 11, no. 4 (1986): 4–7. http://dx.doi.org/10.1017/s0307472200004855.
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As former colonial links and reliance on a technologically-developed ‘West’ recede into the past, Asian and Pacific countries, including Australia, are becoming increasingly aware of one another as neighbours. Circulation of exhibitions, artists’ visits, cultural festivals, government and UNESCO activities, and art publishing, provide a network for sharing art and art information between countries in this region. Among art libraries, those in Australia and New Zealand participate in the network represented by ARLIS/ANZ; the IFLA Section of Art Libraries and its global role offers scope for further developments. An Asian/Pacific ‘ARLIS’ is proposed.
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Hughes, Caitlin Elizabeth, and Vivienne Louisa Moxham-Hall. "The Going Out In Sydney App: Evaluating the Utility of a Smartphone App for Monitoring Real-World Illicit Drug Use and Police Encounters Among Festival and Club Goers." Substance Abuse: Research and Treatment 11 (January 1, 2017): 117822181771141. http://dx.doi.org/10.1177/1178221817711419.
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Gaining accurate information on illicit drug use and policing in real-world settings is a challenge. This study examines the utility of a smartphone app (‘Going Out In Sydney’) to prospectively follow up illicit drug use and policing encounters at music festivals and licensed entertainment precincts in Sydney, Australia. In all, 38 regular festival and licensed entertainment venue attendees used the app to log nights out over a 3-month period, including (1) where they went (eg, festival, nightclub), (2) the prevalence of illicit drug use, and (3) the incidence and nature of police encounters. A survey and interview were then conducted about the utility of the app. The app enabled rich data collection (n = 353 entries) about illicit drug use and policing at both target settings. Follow-up surveys indicated that most participants were extremely satisfied with the ease of use of the app and privacy afforded, and compared with other data collection modes, such as paper-based logs and online surveys, rated the app the most desirable method of data collection. This suggests smartphone apps may be a viable option for future studies on illicit drug use and policing of drugs.
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Janssen, Marty, Sylvester Okeke, Carolyn Murray, Margy Ewing, Heng Lu, Christopher Bourne, and Limin Mao. "STI testing among young people attending music festivals in New South Wales, Australia: exploring the client segmentation concept in the ‘Down to Test’ program." Sexual Health 18, no. 5 (2021): 405. http://dx.doi.org/10.1071/sh21101.
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Background The ‘Down to Test (DTT)’ campaign is a sexually transmissible infection (STI) social marketing intervention delivered through outdoor music festival activations and supported by digital media communications in New South Wales, Australia. This paper investigates whether and how the tailored messages reached the intended audience. Methods Data was collected through three annual rounds of online surveys post campaign exposure, targeting young people (aged 15–29years) attending 14 music festivals in NSW from October 2017 to March 2020. Descriptive statistics, principal component analysis and multivariable logic regression were applied to identify the key client segment and factors associated with a strong intention for future STI screening. Results Of the 10044 participants with a valid urine specimen submitted, 261 (2.8%) tested positive for chlamydia. Altogether, 1776 participants (median age=22) self-completed the evaluation surveys online with more being female (73.4%) than male (26.2%). Participants were mostly Australian-born (89.5%), heterosexual (82.6%) and the majority being sexually active (96.7%). Rates of self-reported lifetime STI testing (70.4%) and intention for future STI screening (‘definitely yes’ in the next 12months, 39.0%) were also high. The most significant factor associated with future intention for STI testing is the Sexual Experience and Perception Factor (adjusted odds ratio [AOR]=2.02; 95%CI 1.76–2.32; P<0.001), followed by the Sexual Beliefs and Attitudes Factor (AOR=1.14; 95% CI 1.01–1.30; P<0.05). Conclusions The NSW state-wide DTT campaign has largely reached sexually active youth who are attentive to sexual health promotion messages and contributed to enhanced STI screening in a fun and peer-supportive environment.
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Goh, Talisha. "FROM THE OTHER SIDE: FEMINIST AESTHETICS IN AUSTRALIAN MUSICOLOGY." Tempo 74, no. 292 (March 6, 2020): 21–29. http://dx.doi.org/10.1017/s0040298219001141.
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AbstractThe rise of new musicology and feminist music criticism in the 1980s prompted a rethinking of gender in Australian art music spheres and resulted in over a decade of advocacy on behalf of women music makers. Local musicological publications began to cover feminist concerns from the late 1980s, with a focus on composing women. Catalysed by the proliferation of feminist musicology internationally in the 1990s, a series of women's music festivals were held around Australia from 1991–2001 and accompanied by conferences, symposia and special-issue publications. Aesthetic concerns were at the forefront of this debate as women musicologists and practitioners were divided on the existence of a gendered aesthetic and the implications this might have. This article examines the major feminist aesthetic contributions and debates at the time and how these considerations have impacted music-making practices, with particular reference to women composers of new music.
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Brien, Donna Lee. "Celebration or Manufacturing Nostalgia? Constructing Histories of World Expo '88." Queensland Review 16, no. 2 (July 2009): 73–87. http://dx.doi.org/10.1017/s1321816600005122.
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Brisbane's World Expo '88 changed people's lives, and the memories of Expo '88 are revered more than 20 years on from the event itself. We are very much looking forward to celebrating the anniversary of this very special event with the people of Brisbane, and recreating the unique atmosphere and sense of wonder that Expo '88 created in Brisbane. (Malcolm Snow, South Bank Corporation CEO, in Hoey 2008a)World Expo ‘88, also widely known as ‘Expo '88’ and locally simply as ‘Expo’, was held in Brisbane from April to October 1988, as a key event of the national Bicentennial celebrations commemorating the 200 years of European settlement of Australia. Other major components of the Bicentennial year – such as the symbolic re-enactment of the voyage of the First Fleet that culminated in the Parade of Tall Ships sailing into Sydney Harbour on Australia Day – together with other significant national events such as the 1956 and 2000 Olympic Games, have generated historically focused interest, which has been manifested and disseminated in the usual way in articles, books and museum exhibitions. Brisbane's World Expo '88, however, appears to be one of the few Australian so-called ‘signature’ events that has also generated its own long-lived series of commemorative memorials and festivals.
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FitzGibbon, Sean I., Amber K. Gillett, Ben J. Barth, Brendan Taylor, and William A. Ellis. "Do koalas really get the blues? Critique of ‘Aversive behaviour by koalas (Phascolarctos cinereus) during the course of a music festival in northern New South Wales, Australia'." Australian Mammalogy 39, no. 1 (2017): 108. http://dx.doi.org/10.1071/am16016.
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It is imperative that the reported results of scientific studies are based on sound data analyses and unbiased interpretation, especially where they may be used to guide government policy and regulation. A recent paper by Phillips (2016) evaluated the behavioural response of radio-collared koalas to an inaugural large music festival held in 2010 in northern New South Wales. The study concluded that six of seven koalas showed an aversive response. However, we regard the paper as misleading because it contains serious errors in the examination of koala home ranges and in the subsequent assessment of ‘aversive behaviour’ during the music festival. We conclude that Phillips’ paper is based on sufficient data to state that three, not six, of the koalas he studied displayed a short-term behavioural response to the music festival. These koalas temporarily moved outside of their estimated ranges during the festival period (10–80 m). Further, Phillips fails to report crucial ecological data regarding the high level of disease and mortality he recorded, which are presented in their entirety in the author’s prior, unpublished report. For the two deaths that are reported, no mention is made that these koalas had pre-existing disease. Rather, the author raises the possibility that the mortalities may have been related to festival-induced stress. The omission of such key data is prejudicial to the interpretation of results. The reported short-term impact of the festival upon some of the study animals is indeed noteworthy; however, it is apparent that the impact has been considerably overstated due to errors of analysis and the omission of critical ecological data. Our critique highlights our concerns by drawing on the author’s unpublished report as well as our own research at the same site over the past five years. Our aim is to ensure that debate over the impact of music festivals on wildlife is based on sound data analyses and unbiased interpretation, to provide guidance to relevant regulators and land managers.
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Sorbello, Cav, and Eliane Karsaklian. "RESIDUAL IMPACTS OF COO IN CULTURAL FESTIVALS: A CASE STUDY OF ITALIAN WEEK IN AUSTRALIA." Journal of International Management Studies 16, no. 1 (May 1, 2016): 45–60. http://dx.doi.org/10.18374/jims-16-1.6.
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Healey, Amy, Krista J. Siefried, Mary Ellen Harrod, Erica Franklin, Amy Peacock, Monica J. Barratt, and Jonathan Brett. "Correlates of higher‐risk drug‐related behaviours at music festivals in New South Wales, Australia." Drug and Alcohol Review 41, no. 2 (November 18, 2021): 320–29. http://dx.doi.org/10.1111/dar.13404.
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Hall, Nina L., and Ros Taplin. "Solar Festivals and Climate Bills: Comparing NGO Climate Change Campaigns in the UK and Australia." VOLUNTAS: International Journal of Voluntary and Nonprofit Organizations 18, no. 4 (November 16, 2007): 317–38. http://dx.doi.org/10.1007/s11266-007-9050-8.
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Gabaccia, Donna R. "Global Geography of ‘Little Italy’: Italian Neighbourhoods in Comparative Perspective." Modern Italy 11, no. 1 (February 2006): 9–24. http://dx.doi.org/10.1080/13532940500489510.
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Between 1870 and 1970 the migration of 26 million people from Italy produced an uneven geography of Little Italies worldwide. Migrants initially clustered residentially in many lands, and their festivals, businesses, monuments and practices of everyday life also attracted negative commentary everywhere. But neighbourhoods labelled as Little Italies came to exist almost exclusively in North America and Australia. Comparison of Italy's migrants in the three most important former ‘settler colonies’ of the British Empire (the USA, Canada, Australia) to other world regions suggests why this was the case. Little Italies were, to a considerable extent, the product of what Robert F. Harney termed the Italo-phobia of the English-speaking world. English-speakers’ understandings of race and their history of anti-Catholicism helped to create an ideological foundation for fixing foreignness upon urban spaces occupied by immigrants who seemed racially different from the earlier Anglo-Celtic and northern European settlers.
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Marcus, Julie. "What's at Stake? History Wars, the NMA and Good Government." Cultural Studies Review 10, no. 1 (September 13, 2013): 134–48. http://dx.doi.org/10.5130/csr.v10i1.3548.
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I want to place the fate of the National Museum of Australia (NMA) in the context of some of the political strategies that underpin the electoral placidity and public acceptance of a government so radically reshaping Australian democratic institutions. A national museum that reaches and engages with a national constituency can be an important place for the vigorous public debate that democracy requires. In such a place, political doctrines and dogmas, cultural fantasies and assumptions, historical interpretations and good old common-sense may all be scrutinised as well as confirmed. Such a place sits beside schools and universities, public libraries and art galleries and festivals, each of which provides the opportunity for reflection as well as for congratulation. As with the other publicly funded but independent sites of public reflection, the National Museum is to be reined in and redirected. It is to become ‘balanced’. Nothing could more surely ring its death knell. In future, the museum’s visitors will reflect along the narrow and limited lines of carefully delineated ‘alternatives’ that in fact confine and constrain rather than enlarge understanding.
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Weller, Sally. "Consuming the City: Public Fashion Festivals and the Participatory Economies of Urban Spaces in Melbourne, Australia." Urban Studies 50, no. 14 (April 30, 2013): 2853–68. http://dx.doi.org/10.1177/0042098013482500.
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Hackett, Lisa J. "The neo-pin ups: Reimagining mid-twentieth-century style and sensibilities." Australasian Journal of Popular Culture 9, no. 1 (March 1, 2020): 7–23. http://dx.doi.org/10.1386/ajpc_00012_1.
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Pin Up style has made a comeback with dozens of pin up competitions featuring at retro car festivals and events across Australia. A sub-culture has grown up around this phenomenon, with boutiques, celebrities and online influencers celebrating its aesthetic. I refer to this group as ‘neo-pin ups’ to differentiate them from the pin ups of the mid-twentieth century. Despite heralding the style and beauty of 1940s and 1950s pin ups, these neo-pin ups bear little resemblance to their mid-century counterparts. Researchers such as Madeleine Hamilton have investigated the era of the original Australian 1940s and 1950s pin up, finding an image deemed to be both ‘wholesome’ and ‘patriotic’ and suitable for the troops on the front lines. Ironically, this social approval resulted in pin up evolving in a more explicit direction throughout the 1960s as epitomized by Playboy magazine and the Miss World competitions. During this time, the increasingly influential feminist movement challenged the way women were viewed in society, particularly in regard to objectification and the male gaze. This critique continues today with the #metoo and gender equality movements. This article investigates how and why Australian women are transforming the image of the 1940s and 1950s pin up. Drawing upon interviews and observations conducted within the Australian neo-pin up culture, this article demonstrates how neo-pin ups draw on contemporary mores, rejecting the social values of their mid-century counterparts and reclaiming women’s place in society and history, from a female point of view. Neo-pin ups are not looking to return to the past, instead they are rewriting what pin ups represent to the present and future.
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Dutch, Martin J., and Kristy B. Austin. "Hospital in the Field: Prehospital Management of GHB Intoxication by Medical Assistance Teams." Prehospital and Disaster Medicine 27, no. 5 (July 19, 2012): 463–67. http://dx.doi.org/10.1017/s1049023x12000994.
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AbstractIntroductionRecreational use of gamma-hydroxybutyrate (GHB) is increasingly common at mass-gathering dance events in Australia. Overdose often occurs in clusters, and places a significant burden on the surrounding health care infrastructure.ObjectiveTo describe the clinical presentation, required interventions and disposition of patrons with GHB intoxication at dance events, when managed by dedicated medical assistance teams.MethodsRetrospective analysis of all patrons attending St. John Ambulance medical assistance teams at dance events in the state of Victoria (Australia), from January 2010 through May 2011.Main outcome measuresClinical presentation, medical interventions and discharge destination.ResultsSixty-one patients with GHB intoxication attended medical teams during the study period. The median age was 22 years, and 64% were male. Altered conscious state was present in 89% of attendances, and a GCS <9 in 44%. Hypotension, bradycardia and hypothermia were commonly encountered. Endotracheal intubation was required in three percent of patrons. Median length of stay onsite was 90 minutes. Ambulance transport to hospital was avoided in 65% of presentations.ConclusionsThe deployment of medical teams at dance events and music festivals successfully managed the majority of GHB intoxications onsite and avoided acute care ambulance transfer and emergency department attendance.DutchMJ,AustinKB.Hospital in the field: prehospital management of GHB intoxication by medical assistance teams.Prehosp Disaster Med.2012;27(4):1-5.
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Gration, David, Maria Raciti, and Gabby Walters. "Back to nature." International Journal of Event and Festival Management 6, no. 3 (October 19, 2015): 282–302. http://dx.doi.org/10.1108/ijefm-02-2015-0008.
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Purpose – The purpose of this paper is to explore festivalgoer/camper perceptions of and responses to the non-urban festival service environment (blended festivalscape). Design/methodology/approach – For this exploratory study a quantitative approach was adopted. A self-administered online survey was administered to recipient members of an Australian non-urban festival e-newsletter database resulting in 398 usable responses from festival campers. Findings – Environmental beliefs held by festival campers’ influenced their perceptions of naturescape, socialscape and overall satisfaction. Festival campers’ who attended more than once were found to have stronger pro-environmental beliefs than those who attended once. Festival camper perception of naturescape has a positive moderating influence leading to greater overall satisfaction and the likelihood of repeat attendance and positive word-of-mouth. Research limitations/implications – It is very important to know how festivalgoers perceive and relate to their festival service environment. Critical to the appeal and success of the non-urban festival is the alignment of festivalgoer environmental beliefs to the natural setting in which they are held. Limitations include use of a single case study context. Originality/value – This paper responds to lack of research on non-urban festivals when compared to urban festivals and the surprisingly little interest shown in the central role of natural settings and the camping experience. A closer understanding of the environmental beliefs of campers at non-urban festivals has the potential to provide beneficial outcomes for people, profit and planet.
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Murray, Simone, and Millicent Weber. "‘Live and local’?" Convergence: The International Journal of Research into New Media Technologies 23, no. 1 (January 24, 2017): 61–78. http://dx.doi.org/10.1177/1354856516677531.
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Literary festivals throughout the English-speaking world have been enthusiastic adopters of digital technology: uploading podcasts of author talks, posting videos of panel sessions to video-sharing sites such as YouTube, inviting guest bloggers to comment on proceedings and encouraging live-tweeting as a means of reinforcing audience members’ participatory agency. Such innovations serve to expand festivals’ reach to encompass dispersed audiences and, moreover, increase the longevity of previously transient events. They hence provide evidence to justify writers’ festivals’ claims on public funding as well as to delineate vibrant online and offline bookish communities of interest. However, wholesale uptake of digital technology destabilizes some previous givens of the literary festival as they have coalesced since the phenomenon’s 1980s efflorescence. The concept of authorship undergoes profound changes in a climate of online performativity, constant availability to readerships and digitally diminished ‘aura’. Equally, previously passive audiences are reconceptualized as amateur critics, co-publicists and even co-publishers in the case of crowdsourced subscription publishing. Festival programming may be sampled live or archived, and audiences are only partially tethered to a particular geographical location – a disarticulation taken to another level by emerging online-only writers’ festivals such as the #TwitterFiction Festival and the Digital Writers’ Festival. What are the implications of these shifts for our conceptualization of 21st-century literary community? This article seeks to address this question by proposing a theoretical framework for examining the digital/literary festival interface, analyzing a wide range of terrestrial and online-only festivals and underpinning this analysis with empirical audience interviewing conducted at multiple Australian and UK writers’ festivals and book towns. In bringing together these strands, the article presents a detailed picture of an important and currently underexplored dimension of the public encounter with literature at a moment of profound digital change.
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Hutton, Alison, Christine Savage, Jamie Ranse, Deb Finnell, and Joan Kub. "The Use of Haddon’s Matrix to Plan for Injury and Illness Prevention at Outdoor Music Festivals." Prehospital and Disaster Medicine 30, no. 2 (February 27, 2015): 175–83. http://dx.doi.org/10.1017/s1049023x15000187.
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AbstractIntroductionMass-gathering music events, such as outdoor music festivals (OMFs), increase the risk of injuries and illnesses among attendees. This increased risk is associated with access to alcohol and other drugs by young people and an environment that places many people in close contact with each other.AimThe purpose of this report was to demonstrate how Haddon’s matrix was used to examine the factors that contributed to injuries and illnesses that occurred at 26 OMFs using data from the Ranse and Hutton’s minimum data set.MethodsTo help understand the kinds of injuries and illnesses experienced, Hutton et al identified previous patterns of patient presentations at 26 OMFs in Australia. To develop effective prevention strategies, the next logical step was to examine the risk factors associated with each illness/injury event. The Haddon matrix allows event practitioners to formulate anticipatory planning for celebratory-type events.ResultsWhat was evident from this work was that the host, the agent, and the physical and social environments contributed to the development of injuries and illness at an event. The physical environment could be controlled, to a certain extent, through event design, safety guidelines, and legislation. However, balancing cultural norms, such as the importance placed on celebratory events, with the social environment is more difficult.DiscussionThe use of the Haddon matrix demonstrates that interventions need to be targeted at all stages of the event, particularly both pre-event and during the event. The opportunity to promote health is lost by the time of post event. The matrix provided vital information on what factors may contribute to injury at OMFs; form this information, event planners can strategize possible interventions.HuttonA, SavageC, RanseJ, FinnellD, KubJ. The use of Haddon’s matrix to plan for injury and illness prevention at outdoor music festivals. Prehosp Disaster Med2015; 30(2):1-9
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Fileborn, Bianca, Phillip Wadds, and Stephen Tomsen. "Sexual harassment and violence at Australian music festivals: Reporting practices and experiences of festival attendees." Australian & New Zealand Journal of Criminology 53, no. 2 (February 14, 2020): 194–212. http://dx.doi.org/10.1177/0004865820903777.
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Despite the well-documented under-reporting of sexual violence, to date, no research has considered reporting practices within the specific context of music festivals. Drawing on 16 in-depth interviews with victim-survivors, this article examines survivors’ experiences of (non)reporting sexual violence in festival settings. We argue that while some barriers to reporting are shared across contexts, others play out in context-specific ways. Our research argues that the liberal, often transgressive culture of music festivals, combined with site-specific policing practices and spatial context, creates unique impediments to reporting with particular implications in responding to, and aiming to prevent, sexual violence at music festivals.
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Moffitt, Sally. "Book Review: Food, Feasts, and Faith: An Encyclopedia of Food Culture in World Religions." Reference & User Services Quarterly 58, no. 4 (October 25, 2019): 264. http://dx.doi.org/10.5860/rusq.58.4.7163.
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The alliterative Food, Feasts, and Faith: An Encyclopedia of Food Culture in World Religions brings together information about the uses of food and drink within the faith practices of well-known religions with global adherents such as Buddhism, Christianity, Hinduism, Islam, and Judaism as well as lesser-known faith communities and sects such as Candomblé, Rastafari, Santeria, and the indigenous peoples of Africa, Australia, and America. Articles, which follow a standard A to Z arrangement, cover customs (fish on Friday), food stuffs (rice), drink (wine), people (Guru Nanak), festivals (Qingming), practices (fasting), rituals (marriage ceremonies), religious groups (Seventh-Day Adventists), and sacred texts (Laws of Manu) to name but a few of the 226 entries and 220 or so related topics. Each article includes see also references and lists sources for further reading. Twenty-seven primary source documents such as “The Taittiriya Upanishad on Food” (2:577) supplement the main work. Each is briefly introduced for context, given see also references to related articles, and provided with a citation to the source from which the excerpted text is taken.
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Loreck, Janice, Sian Mitchell, Whitney Monaghan, and Kirsten Stevens. "Looking Back, Moving Forward." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 2 (September 1, 2020): 159–69. http://dx.doi.org/10.1215/02705346-8359640.
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The Melbourne Women in Film Festival (MWFF) is a four-day event in Melbourne, Australia, that supports and celebrates the work of Australian women filmmakers. Launched in 2017, the festival emerged from our desire as screen academics to increase the visibility of both professional and amateur women filmmakers and their work. Despite a strong history of grassroots and state-supported women’s creative cultures in Australia, women have remained marginal within the domestic screen industry. Women filmmakers are also underrepresented within the global festival circuit. This article traces the curatorial practices underpinning MWFF since its inception. We describe our approach to running a locally based, women-centered film festival; how we define “women” and “women’s filmmaking”; and how our programing choices support our festival ethos. We also contextualize our event as one that both continues and is in dialogue with women’s screen culture in Australia, particularly the one-off Women’s International Film Festival held in 1975. Locating our festival in this historical context, we argue that retrospective screenings play a particularly vital role at MWFF in achieving our festival aims. We recount our inaugural festival in 2017 and explain the significance of retrospectives in building a legacy for women filmmakers and making their achievements visible to the next generation.
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Hutton, A. "(A276) Young People at Mass Gathering Events: Data Collection Tools and Findings." Prehospital and Disaster Medicine 26, S1 (May 2011): s76. http://dx.doi.org/10.1017/s1049023x11002603.
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BackgroundDuring the summer months in Australia, school leavers celebrate their end of school life at Schoolies festivals around the nation. These events are typically described as a mass gathering as they are an organised event taking place within a defined space, which is attended by a large number of people.Discussion and ObservationsTwo research projects were undertaken to understand the Schoolies phenomenon. The first project was to understand the event as a mass gathering. The second to determine what was important to stay safe and healthy at this event from a young person's perspective. To understand the Schoolies event as a mass gathering Arbons conceptual framework was used which considers the psychosocial, environmental and biomedical aspects of the event. This study found that the crowd mood of the Schoolies were expressive, social and participatory. The environment was bounded, ticketed and dry. The bio-medical data showed a high patient presentation rate when compared to the Australian average. However most of the presentations were minor. What was of concern to the researchers were the high level of risky drinking that took part a this event. The second study used postcards to understand what young people perceived to be important to their health and safety whilst at Schoolies. 3 lead questions were used, and 9 items placed underneath each question to be ranked by participants. Data collected showed that exposure to illicit drugs and violent behaviour where of concern to them. The results from these studies highlights the need to re focus the Schoolies event to be inclusive of strategies that not only support young people to party safely, such as dry zones, but to support young people to feel safe from exposure to drugs, and to violence (physical and sexual) that can occur for many reasons.
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Kuppers, Petra. "Outsider Histories, Insider Artists, Cross-Cultural Ensembles: Visiting with Disability Presences in Contemporary Art Environments." TDR/The Drama Review 58, no. 2 (June 2014): 33–50. http://dx.doi.org/10.1162/dram_a_00345.
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Disability is highly visible in contemporary performance festivals and art venues. Traveling from the disability performance ensemble work of Theater Hora and Jérôme Bel, to Javier Telléz's installation Artaud's Cave at dOCUMENTA(13) in Kassel, and on to the Australian Back to Back Theatre's Ganesh versus the Third Reich at the Bodies of Work festival in Chicago raises the pressing questions: How and why is disability art and performance becoming so visible? And for whom?
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Eales, Alison. "Music Festivals and Regional Development in Australia. By Chris Gibson and John Connell. Farnham: Ashgate, 2012. 252 pp. ISBN 978-0-7546-7526-6." Popular Music 33, no. 1 (January 2014): 175–77. http://dx.doi.org/10.1017/s0261143013000706.
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Noble, Alistair. "Bendigo International Festival of Exploratory Music (BIFEM) 2015." Tempo 70, no. 275 (December 7, 2015): 94–95. http://dx.doi.org/10.1017/s0040298215000753.
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Each September, contemporary music enthusiasts, composers, scholars and performers from around Australia migrate toward the Victorian regional city of Bendigo for BIFEM, a remarkable music festival now in its third year. The festival has established itself as an annual event of unparalleled significance in Australia – not only as a forum for the presentation of exciting and little-heard music, but as a gathering of like-minded peers. A high proportion of the audience consists of musicians and composers, so informal conversations between concerts are almost as stimulating as the programmed forums and workshops that take place during the festival. In 2015, over the weekend 4–6 September, almost every work in the programme was an Australian premiere, which gives some further evidence of the importance of the festival to the nation's cultural ecology.
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Whitford, Michelle, and Lisa Ruhanen. "Indigenous Festivals and Community Development: A Sociocultural Analysis of an Australian Indigenous Festival." Event Management 17, no. 1 (April 1, 2013): 49–61. http://dx.doi.org/10.3727/152599513x13623342048149.
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Chirakranont, Rangson, and Sirijit Sunanta. "Craft Beer Tourism in Thailand." Tourism Analysis 26, no. 2 (April 14, 2021): 237–39. http://dx.doi.org/10.3727/108354221x16079839951493.
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The craft beer movement and craft beer tourism are a new global phenomenon that has reached various parts of the world. However, the literature on craft beer tourism mostly focuses on traditional origins of craft beer in Western countries—the US, Australia, and European countries. This research note illustrates how a study of the Thai craft beer movement and craft beer tourism could contribute to the existing body of knowledge. The consumption of non-Western people in non-Western places has been underrepresented in the literature of food and beverage tourism. The craft beer movement has spread to Thailand via urban middle-class Thais who brought the passion for and knowledge of home brewing from the West to Thailand. Brewing lessons, brewery visits, and craft beer events/ festivals have functioned as community building activities for Thai craft beer enthusiasts as well as the main craft beer distribution channel. Craft beer consumption continues to grow despite the Thai alcoholic production law that prohibits home brewing. For future studies, different craft beer tourism activities in Thailand should be analyzed for 1) the adoption of the experience economy framework, 2) the formation of the consumption community, 3) the roles of various stakeholders who differentially contribute to and benefit from craft beer tourism activities, and 4) the role of foreign tourists in the development of craft beer tourism in Thailand.