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Journal articles on the topic 'Festival art'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Czarnecki, Mark. "To Serve the Art." Canadian Theatre Review 45 (December 1985): 6–11. http://dx.doi.org/10.3138/ctr.45.001.

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1 / What is the “quintessential” theatre festival? To find the answer we must first eliminate operations that call themselves “festivals” but which clearly are not. In Canada, the three largest “festivals” – Stratford, Shaw, and Charlottetown – are not festivals but summer theatres operating on a repertory basis. Their self-imposed programming mandates, high ticket prices, and locations define them as tourist industries. Nor is the Blyth Festival a true festival; although its mandate Is populist and its roots are communal, it mounts a summer season using resources from a national talent pool a

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2

Sarale, Agnès, Hironori Yagi, Menelaos Gkartzios, and Keishi Ogawa. "ART FESTIVALS AND RURAL REVITALIZATION: ORGANIZING THE OKU-NOTO TRIENNALE IN JAPAN." Journal of Asian Rural Studies 4, no. 1 (2020): 23. http://dx.doi.org/10.20956/jars.v4i1.1662.

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Organizing rural art festivals is considered an effective intervention in support of rural revitalization in the face of aging and population decline in Japan. Several studies have identified the impacts of art festivals on economic and social rural development internationally. Little research, however, has focused on the management process of such festivals. The objective of this paper is to identify and examine the management processes crucial to an arts festival’s success, especially in terms of preparation, organization and community outreach. We focus on the first edition of the Oku-Noto

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3

S, Selvakumaran. "In Diaspora Countries - Tamil Culture and Arts." Indian Journal of Multilingual Research and Development 1, no. 1 (2020): 7–15. http://dx.doi.org/10.34256/ijmrd2012.

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

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Ohiienko, Iryna. "Ethnic Festivals of the Mid to Late 20th – Early 21st Century as a Component of the Folklore Culture of Bulgaria." Materìali do ukraïnsʹkoï etnologìï, no. 20 (23) (December 20, 2021): 139–50. http://dx.doi.org/10.15407/mue2021.20.139.

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The article is dedicated to the study of folklore festival culture in Bulgaria in the mid to late 20th – early 21st century. The characteristic features of the folklore festival culture of Bulgaria are considered, the main functions of the folklore festivals are determined, a number of well-known international, national and local ethnic folklore festivals taking place in different cities and villages of Bulgaria are classified. The first ethnofestivals in Bulgaria are described, such as the Festival of Folk Art and Animal Husbandry in Rozhen, the Festival of Folk Art in Koprivshtitsa, the Inte

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Nevolov, Vasily, and Valeriy Patsunov. "Ukrainian Theater Art in the Context of the European International Theater Festivals." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art Current Archives Announcements About 1, no. 2 (2018): 94–103. https://doi.org/10.31866/2616-759x.2.2018.153232.

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The purpose of the study is to identify the effectiveness of the interaction between Ukrainian and European theatrical art on the experience of international theatrical festivals in Ukraine and in Europe, the Ukrainian theaters’ participation in international theatrical festivals, studying the influence of this experience on the festival movement in Ukraine, and also on the intensification of the integration process Ukrainian theatrical art into the European cultural space in the context of Ukraine’s European choice. Research methods.  A comparative method of research has been

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Bakas, Fiona Eva, Nancy Duxbury, Paula Cristina Remoaldo, and Olga Matos. "The social utility of small-scale art festivals with creative tourism in Portugal." International Journal of Event and Festival Management 10, no. 3 (2019): 248–66. http://dx.doi.org/10.1108/ijefm-02-2019-0009.

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PurposeThe purpose of this paper is to address the gaps in research on strategic planning for the social impacts of small-scale events in rural areas and small cities. This is achieved by investigating the social utility inferred by small-scale art festivals with a creative tourism element in terms of increasing social capital and positive social change, from an event stakeholder perspective.Design/methodology/approachThe identified gap in knowledge is addressed by using interviews and fieldnotes from participant observation to co-create meaning with the organizers of four small-scale art fest

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Zhao, Ziqi. "Musical Festival as a Modern Art Project." International Journal of Education and Humanities 17, no. 2 (2024): 186–214. https://doi.org/10.54097/a9xyey21.

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Studying the organization of music festivals is not just an immersion into the world of music, but a comprehensive approach that provides valuable knowledge and skills applicable in different areas of life. Organizing a festival is a large-scale project that requires the ability to plan, coordinate, manage resources (financial, human, technical) and risks. Organizing a festival involves attracting an audience, creating brand awareness of the festival, managing advertising - these are tasks that require deep knowledge of marketing tools. Interaction with artists, volunteers, technical staff, sp

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Ayuni, Astari, and Agusti Efi. "MANAJEMEN FESTIVAL SENI PERTUNJUKAN PEKAN NAN TUMPAH DI PROVINSI SUMATERA BARAT." Gorga : Jurnal Seni Rupa 9, no. 1 (2020): 100. http://dx.doi.org/10.24114/gr.v9i1.18100.

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AbstrakPenelitian ini dilatarbelakangi oleh minimnya festival seni di Provinsi Sumatera Barat yang bertahan hingga beberapa kali pelaksaan dalam satu dekade terakhir. Hal ini disebabkan oleh beberapa faktor, diantaranya; tidak adanya manajemen dalam pengelolaan festival, sehingga terkesan terburu-buru dan tidak maksimal dalam pelaksanaanya. Diantara banyak festival seni yang pernah ada, terdapat satu festival seni yang berhasil bertahan hingga saat ini, ialah festival seni Pekan Nan Tumpah. Festival seni Pekan Nan Tumpah adalah festival seni yang diselenggarakan setiap dua tahun sekali oleh Ko

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9

., 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, no. 6 (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,

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Pieprzak, Katarzyna. "Art in the Streets: Modern Art, Museum Practice and the Urban Environment in Contemporary Morocco." Review of Middle East Studies 42, no. 1-2 (2008): 48–54. http://dx.doi.org/10.1017/s0026318400051518.

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Every summer, cultural festivals take place all over Morocco, and streets in towns and cities become animated scenes for the articulation of Moroccan contemporary culture. So animated, heterogeneous and pluralistic has this festival scene become that the semiofficial newspaper for the Islamist PJD party has called these street festivals “vectors of decadence” and performing-artist union officials have declared that they feel threatened by the “foreign invasion” of internationally-based diaspora groups. Recently, in a critique of these attitudes, the magazine Telquel reported that they are “sic

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Akbar, Poeti Nazura Gulfira. "Can grassroots festivals serve as catalysts to connect and empower youth in urban informal settlements? A case study of art festivals in Indonesian kampungs." International Journal of Tourism Cities 8, no. 1 (2022): 168–86. http://dx.doi.org/10.1108/ijtc-12-2020-0286.

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Purpose The purpose of this study is to examine how young residents in two Indonesian kampungs (urban informal settlements) participate in two grassroots art festivals and to what extent their participation affects their capacity and network. Design/methodology/approach This study uses a qualitative method. The data collection were done in 2017 and took the form of in-depth semi-structured interviews with 15 respondents in two kampungs, Kampung Dago Pojok, Bandung, and Kampung Bustaman, Semarang. Findings The results show that the grassroots festival can empower youth throughout its process wh

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Pidlypskyi, Andrii, and Oleksandr Aksonov. "Festival and Competition Movement in the Sphere of Folk-Stage Dance in Ukraine Through the Prism of Contemporary Art Studies Thought." Dance Studies 5, no. 1 (2022): 68–77. https://doi.org/10.31866/2616-7646.5.1.2022.261613.

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The purpose of the research is to analyze the current trends in the art-historical understanding of the folk-choreographic festival and competition movement in Ukraine. Research methodology. Methods of analysis and synthesis, comparison, and theoretical generalization are applied. Scientific novelty. The main aspects of consideration of the festival and competition movement in the field of folk-stage choreography of Ukraine in modern Art Studies are revealed. Conclusions. Among the numerous scientific works of domestic theoreticians and practitioners on the problems of

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Viljoen, Armand, Martinette Kruger, and Melville Saayman. "The art of tastings: enhancing the arts festival experience." International Journal of Event and Festival Management 9, no. 3 (2018): 246–65. http://dx.doi.org/10.1108/ijefm-03-2018-0023.

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PurposeThe role and importance of arts festivals are well documented within the festival and events literature. Art and culture, as well as the subsequent enhancement thereof, are especially significant in multicultural societies. However, little is known regarding the role of culinary experiences within an arts festival setting. The paper aims to discuss these issues.Design/methodology/approachThe case study was a well-known and popular Afrikaans national arts festival held annually in Potchefstroom, South Africa. Visitors to three distinct tasting experiences (brandy, whisky and sparkling wi

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Zhavoronkov, Mark. "Configuration of the festival process of the arts of illusionism in the dialogues of intercultural interaction." Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, no. 23 (2022): 45–57. http://dx.doi.org/10.34079/2226-2849-2022-12-23-45-57.

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The article analyzes the specific features of the festival movement of illusion art its impact on sphere of intercultural interaction. The author puts emphasis on the transformational processes of the phenomenon, identifies the problem area of the aforementioned socio-cultural process by means of comparison. The aim of the study is to reveal a clear mechanism in the sequence of functioning of festivals of illusionism to reproduce the independent dynamics in the middle of the country, which provides undoubted prospects of socio-cultural, economic nature. The study highlights the significance of

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Koncul, Ana. "Claiming space and building legacy: A case study of the All Girls Graffiti Jam." Kultura, no. 185 (2024): 189–202. https://doi.org/10.5937/kultura2485189k.

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This article presents the All Girls Grafti Jam (AGGJ) Festival and explores its motivation, growth, and contributions to the regional street art scene. Initiated in 2018 by the first Serbian female street artist, TKV, AGGJ began as a grassroots effort aimed at providing a platform for the empowerment and promotion of female artists and entrepreneurs. By featuring collaborative artistic interventions, panel discussions, exhibitions, and performances, the festival strives to become an important regional platform dedicated to inclusion, community-building, and sustainability. The festival's evolu

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Kaźmierczak, Małgorzata. "“Real Time Story Telling”: A Performance-Art Festival in the Context of International Networks during the Transitional Period in Poland before and after 1989." ARTMargins 13, no. 2 (2024): 7–25. http://dx.doi.org/10.1162/artm_a_00381.

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Abstract The article explains the situation of performance artists in Poland during the transition period before and after 1989. Then it focuses on the first large performance art festival in Poland after 1989, Real Time Story Telling. It was organized in Sopot and Gdańsk in 1991 by Galeria Działań and curated by the outstanding artist and art theorist Jan Świdziński. The article explains the idea of the festival and briefly describes the curatorial activity of the invited international performance artists. The article also outlines the international network of connections between performance

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17

Ehrhardt, Amelia, Jenn Goodwin, and Cathy Gordon. "Is Dearth a Little or a Lot?" Canadian Theatre Review 187 (July 1, 2021): 20–25. http://dx.doi.org/10.3138/ctr.187.007.

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In the format of an interpolated Zoom transcript, former SummerWorks Curators Amelia Ehrhardt, Jenn Goodwin, and Cathy Gordon discuss the disciplining and undisciplining of SummerWorks Performance Festival between 2015 and 2019. The authors came to SummerWorks as specific curators of the dance and live-art streams and watched the festival grow from being a theatre-focused festival known to invite other art forms to a performance festival focused on a multidisciplinary perspective. Ehrhardt, Goodwin, and Gordon discuss the festival’s transition and specific works that exemplified their curatori

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Fournier, Katharine. "Where Puppets Collide: Tradition and Innovation in ManiganSes, Festival international des arts de la marionnette." Canadian Theatre Review 138 (March 2009): 39–44. http://dx.doi.org/10.3138/ctr.138.007.

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ManiganSes, a biennial, week-long puppet festival in Saguenay, Quebec, seeks to foster an appreciation for puppet arts — a broad theatrical tradition. With ten editions to its credit, it balances the passionate commitment to the art apparent in its mandate with the realities of sustaining a festival in Canada. It is overseen by a board of directors, though programming is entirely in the hands of the festival director. Denise Lavoie, general director for the past seven years, imagines a festival that encourages puppet arts but is also interested in what ManiganSes has to offer to the local comm

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Kraus, Brittany. "Art for Everyone?" Theatre Research in Canada 40, no. 1-2 (2020): 42–63. http://dx.doi.org/10.7202/1068257ar.

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Founded in 2008 by Shahin Sayadi and Maggie Stewart, the Prismatic Arts Festival is a Halifax-based multidisciplinary arts festival that features the work of Indigenous and culturally diverse artists. This article examines the development of the Prismatic Arts Festival and the ways in which the festival has sought to negotiate, challenge, and transform Halifax’s artistic landscape by creating a model that is locally-grounded, nationally-networked, and fundamentally devoted to advancing the careers and profiles of Indigenous and culturally diverse artists in Nova Scotia and across Canada both w

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Marakhovska, Kseniia. "ANIMATION FESTIVAL IN THE MODERN UKRAINIAN CULTURAL SPACE." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 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 larg

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Marakhovska, Kseniia. "Animation Festival in the Modern Ukrainian Cultural Space." Culture and Arts in the Modern World, no. 22 (June 30, 2021): 233–43. https://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 larg

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Karmacsi, Zoltán, and Enikő Sass. "The linguistic landscape of festival tourism in Transcarpathia." Acta Academiae Beregsasiensis, Philologica II, no. 1 (2023): 139–60. http://dx.doi.org/10.58423/2786-6726/2023-1-139-160.

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In addition to natural, historical and cultural attractions, there are an increasing number of places in Transcarpathia where tourists can enjoy organised programmes. In the big cities and smaller towns, festivals and festival-like events take place from the second half of January until mid-December. The area inhabited by Hungarians also organises a significant number of festivals and festival-like events every year. Many of these are known throughout Ukraine and even more widely. Among the festivals in the region, folk art and folklore festivals are the most popular, while gastronomic festiva

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Leung, Helen Hok-Sze. "Routed Through Vancouver: The Global/Local Art of Queer Film Festival Programming." Studies in World Cinema 5, no. 1 (2025): 37–56. https://doi.org/10.1163/26659891-bja10050.

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Abstract This article documents and analyzes the programming practice of the Vancouver Queer Film Festival, specifically its focus on youth, Asia, and Indigenous voices, during the last two decades. The case study examines how a queer film festival negotiates participation in a global queer film circuit with its simultaneous commitment to local communities and histories. It explores how the festival environment fosters conditions for queer cinema to create place-specific meanings along the routes it travels in the world. Its conclusion considers the challenges and possibilities place-based que

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Hunter, Mary Ann. "Youth Arts Festivals and the Politics of Participation." Canadian Theatre Review 106 (March 2001): 16–20. http://dx.doi.org/10.3138/ctr.106.003.

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Artrage, Next Wave, Take Over, Come Out, Loud and Fried are just some of the myriad youth arts festivals held in Australia in recent years. Usually supported by government arts funding and curated by professional producers, these festivals attract young artists, young audiences and lots of attention from those interested in new or emerging performance practices. Festival participation is increasingly popular among Australians, with over 30 per cent of eighteen-to-twenty-four-year-olds having attended a festival in the year prior to the last population census (Bureau of Statistics). Each state

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Li, Xiubai, Jinok Susanna Kim, and Timothy J. Lee. "Contribution of Supportive Local Communities to Sustainable Event Tourism." Sustainability 13, no. 14 (2021): 7853. http://dx.doi.org/10.3390/su13147853.

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The importance of community attitude and participation for the success and sustainability of cultural festivals has been steadily increasing in recent years. The Chuncheon Puppet Festival (CPF) is an international festival that has been held every year since 1989 in Chuncheon, Korea. The festival has several distinctive characteristics as a sustainable event because: (a) it maintains its single genre of puppet performances based on modern cultural art; (b) it is well-established as the festival for the local residents of Chuncheon City and is planned by local community residents and local smal

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Xu, Zhenyi. "Construction and Image Communication of Urban Cultural Space under the Collision of Modern Art Elements and Chinese Traditional Culture: A Case Study of the Wuzhen Theatre Festival." Advances in Social Science and Culture 6, no. 2 (2024): p186. http://dx.doi.org/10.22158/assc.v6n2p186.

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Since its inception in 2013, the Wuzhen Theatre Festival has gradually grown into one of the most influential theatre festivals at home and abroad. As one of the brand characteristic events, it has helped Wuzhen transition from a traditional Jiangnan ancient town to a well-known cultural landmark through media communication. This paper aims to analyze the multiple cultural spaces presented in the Wuzhen Theatre Festival, explore how this medium combines modern art elements with Jiangnan culture, builds a bridge between high art and ordinary people, thereby endowing Wuzhen with a more diversifi

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Peter, Virginas. "Film Festivals as Aesthetic Experiences: Theories of Affect and the Collective." Art Style, Art & Culture International Magazine 12, no. 12 (2023): 155–66. https://doi.org/10.5281/zenodo.8310023.

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Art Style | Art & Culture International Magazine Abstract Film festivals may be distinguished by virtue of their collectively felt atmospheres, and, while oscillating between uniqueness and the generic, they equally provide and require specific moods. Characterized by an intense schedule of film projections as well as observing the elongation of the cinematic by way of meeting and celebrating film-makers, film festival phenomena comprise several elements which play into their atmospheres. The author argues that tracing the becoming of those elements draws us closer to the role of film fest

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Josifovski, Andrej, and Milena Toković. "The city as a stage: Runaway International Street Art Festival." Kultura, no. 185 (2024): 203–16. https://doi.org/10.5937/kultura2485203j.

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As the largest man-made artefact, the city has a profound impact on consciousness. We start from the premise that public space serves as a stage within the urban arena where conflicts between diferent interests and cultures unfold. What transforms the arena into a stage for urban culture are self-aware and liberated individuals who form the backbone of urbanity. This paper aims to show how street art festivals transform the city into a stage. The first part introduces the city as a stage and examines the role of festivals in cultural revitalization. The second part discusses the importance of

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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, no. 3 (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 high

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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, no. 1 (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

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Kill, Rebekka. "Art at the Music Festival: Blueprints and the Chronotope." Journal of Communication Inquiry 42, no. 3 (2018): 306–12. http://dx.doi.org/10.1177/0196859918776507.

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The events, festivals, and happenings of the late 1960s, especially those in the West coast areas of the United States, were predominantly music focused. During this period, and alongside these events, new types and modes of visual art, fashion, and graphic design emerged that were subsequently shared worldwide and are very familiar to us now. It can be argued that events such as the Monterey Pop Festival and Woodstock were progenitive and created the hippy style. If we look at the photographs, films, and posters from these events, there is little evidence of these new modes of practice. Very

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Sharma, Amit, Ajit Singh, and Vikram Kaushik. "Youth Festivals, Culture, and Brotherhood." International Journal of Research (IJR) 10, no. 1 (2023): 66–79. https://doi.org/10.5281/zenodo.7690708.

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<em>Youth festivals are promoting art and culture. Students learn competitive nature during the festivals. Youth festival promotes brotherhood, national unity, and mutual respect. The main objective of the study is to know the association between geographical background of respondents and their opinion on culture and leadership qualities promotion. We did content analysis to collect data. We used codebook to categorize the variables. Result indicates that respondents think that the programs organized during the youth festival help the youth to connect with their local culture. Urban and rural

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Menezes, Pedro. "Music Between Work and Leisure: The Case of a Collective from Fortaleza, Brazil." Journal of Cultural Analysis and Social Change 8, no. 2 (2023): 12. http://dx.doi.org/10.20897/jcasc/14065.

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Lado B is a collective of musicians from Fortaleza, Brazil, that holds monthly festivals in a public cultural center. Aiming at some self-sufficiency, Lado B organizes its festivals according to a kind of adiabatic circuit, which works as follows: at a given festival, each member of the collective is in charge of a function that is necessary for the realization of that particular event. At each new festival, each member of the group performs a task different from the role played at the previous festival; that is to say, members alternate themselves in the many roles as the festivals go on, unt

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Azaglo, Alex Kwasi, and Agbeyewornu Kofi Kemevor. "Design components in the celebration of Hogbe festival of Battor traditional area in Ghana." Journal of African History, Culture and Arts 2, no. 2 (2022): 75–82. http://dx.doi.org/10.57040/jahca.v2i2.109.

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Festivals are regarded as one of the most important elements in the formation of culture. This means that in order for a town to accomplish its cultural development goals, the festival should be a focal point. The Battor Traditional Area celebrates the Hogbe festival to commemorate their escape from Notsie, Togo, to their current abodes in Ghana's Volta Region. The paper seeks to identify and describe the design elements and principles that contribute to the festival's success and pageantry. The study employed qualitative research, using Hogbe festival as a case study. The qualitative research

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Abbasov, Iftikhar Balakishi, and Tszin'bo Van'. "Design of space for a kite festival." Культура и искусство, no. 1 (January 2020): 81–91. http://dx.doi.org/10.7256/2454-0625.2020.1.30362.

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The object of this research is kite festival in the Chinese city Weifang in Shandong province. The subject is the impact of graphic support of the kite festival upon heightening interest in the folk culture. The development of a new design concept of hosting a festival would increase its attractiveness and popularize traditions of the Chinese folk crafts. Having originated in China, the kites rapidly spread among the neighboring countries of Southeast Asia, and later appeared in Western countries. Kite festivals were used extensively &ndash; from entertainment events to translation of info

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Stevens, Kirsten. "Fighting the Festival Apocalypse: Film Festivals and Futures in Film Exhibition." Media International Australia 139, no. 1 (2011): 140–48. http://dx.doi.org/10.1177/1329878x1113900118.

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Since the turn of the millennium, the number of film festivals celebrated annually has exploded, with more than 30 events being celebrated in the Melbourne metropolitan area alone in 2010. The rate of proliferation raises issues of event saturation, bringing into question the future of the film festival format. This article engages with the growing debate over the sustainability of unchecked festival growth. Examining the rise in specialised events that has characterised the film festival phenomenon, it argues that the diverse range and ubiquitous nature of these events collectively forms an e

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Franklin, Adrian. "Where "Art Meets Life"." Journal of Festive Studies 1, no. 1 (2019): 106–27. http://dx.doi.org/10.33823/jfs.2019.1.1.27.

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In Hobart, a litany of winter festivals flopped and failed until the arrival of Mona (Museum of Old and New Art), a private museum owned by mathematician, successful online gambler, and autodidact David Walsh. Since 2013, its new festival, Dark Mofo, not only has reignited long-somnolent traditions of midwinter festival imaginaries among its postcolonial society but also has proved to be an effective vehicle for galvanizing an all-of-community form of urban activation, engagement, and regeneration. It has also completely overwhelmed the city with visitors keen to participate in a no-holds-barr

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Nowotarska-Romaniak, Beata, and Sonia Szczepanik. "The Crucial Role of Festival Insurance." Zeszyty Naukowe Wyższej Szkoły Humanitas Zarządzanie 24, no. 2 (2023): 81–92. http://dx.doi.org/10.5604/01.3001.0053.7558.

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Festivals, being one of the most planned forms of entertainment, bring people together to enjoy art. Such valuable gatherings not only provide great entertainment but also increase the risk that has always been prevalent in large crowds. However, festival organizers can be protected from the harmful consequences of unforeseen occurrences thanks to insurance contracts. In their article, the authors based on literature analysis research, present the legal aspects of festival insurance in Poland.

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Valkovsky, Anton V. "Festival Movement in Volgograd in 1980s - 2000s: the Lineage of Continuity." Observatory of Culture, no. 5 (October 28, 2015): 121–27. http://dx.doi.org/10.25281/2072-3156-2015-0-5-121-127.

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The article analyses the lineage of continuity and interaction and brings out the commonalities, trends and patterns in the development of the festival movement in Volgograd during the three decades by the example of contemporary art festivals. It highlights the main functions of festivals in the region as well.

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WENZHEN, Minghua Liu, Xinyao Li, and 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, no. 4 (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 t

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Patasar, Sharda. "The Ritual Art of the Ganesh Utsav in Trinidad." Asian Diasporic Visual Cultures and the Americas 2, no. 3 (2016): 181–99. http://dx.doi.org/10.1163/23523085-00203001.

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The Ganesh festival, or utsav, is relatively new to Trinidad’s landscape as a public performance of Hinduism. Although it has been a very important celebration for over a century within select diasporic Hindu communities in Trinidad, particularly in the southern part of the island where it is said to have begun, the practice has become more widespread since the early 1990s. Many of the villages make their own mūrtis (idols or images). Focusing on the festival’s interpretation within the Caribbean context, this article highlights preliminary findings gathered from fieldwork on the ritual art of

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Scott, Shelley. "Suicide Girls Live!" Canadian Theatre Review 124 (September 2005): 46–50. http://dx.doi.org/10.3138/ctr.124.006.

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From 13 to 15 January 2005, the SuicideGirls Live! burlesque show appeared as part of the High Performance Rodeo in Calgary, Alberta. Straddling the boundaries of feminism, popular culture and, indeed, definitions of performance art and theatre, the SuicideGirls performance highlights the diversity of the festival phenomenon in Canada. Performing any kind of work at a festival invites a contextual analysis. As Jill Dolan writes in Presence and Desire, in reference to heterosexual and lesbian spaces, “[C]ontexts make the terms of the performative exchange very different, even if the images used

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SILVA, PAULO RICARDO MUNIZ, and EDWAR ALENCAR CASTELO BRANCO. "Cantar e seguir a canção ou para não dizer que não esgrimi a palavra: guerra de sentidos e estética da contestação nas canções de protesto em Teresina (1975-1985) * War of senses and aesthetic of refusal in the protest songs in Teresina (1975-1985)." História e Cultura 2, no. 2 (2014): 234. http://dx.doi.org/10.18223/hiscult.v2i2.846.

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<p><strong>Resumo:</strong> A música de protesto, categoria já consolidada no âmbito dos estudos sobre música brasileira, marcou a produção musical em Teresina, a capital do Estado do Piauí, durante a década de 1970. Neste contexto, o Festival Estudantil de Música do Piauí (FEMPI), e o Festival do Parque Piauí (FESPAPI), ambos ocorridos entre as décadas de 1970 e 1980, tiveram importância fundamental para a constituição deste quadro histórico. Responsáveis pela popularização de expressivos nomes da arte piauiense, tais como Geraldo Brito, Zé Rodrigues, João Berchmans, Achylle

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Bermes, Iryna. "Local Forms of Festival Space in Drohobych." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(1) (June 13, 2023): 25–30. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283115.

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At the present stage of cultural development, the search for value and semantic guidelines leading to the realization of new forms of cultural life, including music, is underway. As one of such new forms, festivals help embrace new forms, genres, and types of musical art within a common cultural space while simultaneously motivating creative teams and becoming an impetus for new achievements. The relevance of the article is in the active spread and growing importance of music festivals as creative events and an important component of the national art process. The paper reveals various aspects

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Ni Kadek, Ni Kadek Intan Permata Putri, I Nengah Wirata, and Nyoman Reni Ariasri. "The Influence of the Tanah Lot Art and Food Festival on Tourist’ Visiting Interest." Jurnal Pariwisata Nusantara (JUWITA) 3, no. 2 (2024): 74–86. http://dx.doi.org/10.20414/juwita.v3i2.11066.

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Purpose: This research aims to determine the influence of the Tanah Lot Art and Food Festival on tourists' interest in visiting Tanah Lot. Method: This research employs a quantitative approach at the Tanah Lot Tourist Attraction (DTW) in Beraban, Tabanan, over a five-month period (January - May 2024). Data was collected through questionnaires to examine the influence of the Tanah Lot Art and Food Festival on tourists' interest in visiting. Data analysis was conducted using simple linear regression with SPSS. Result: The results indicate that the Tanah Lot Art and Food Festival has a positive a

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Winkelhorn, Kathrine. "Københavns Internationale Teater – en banebryder for scenekunst." Peripeti 19 (October 11, 2022): 128–39. http://dx.doi.org/10.7146/peri.v19isaernummer2.134031.

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Copenhagen Interanational Theatre – breaking new grounds in performing artsMetropolis is organized by Copenhagen International Theater (KIT), which has been the primary driving force behind international, cross-disciplinary performing arts in Denmark since 1980 with festivals, seminars, workshops, and residencies. KIT has organized the legendary Fools Festivals, Dancin’ City, Images of Africa, Sommerscene, Dancin’ World, New Circus Festival, etc. as a major international platform in the Nordic countries. Presently KIT is working as an art-based metropolitan laboratory for the performative, sit

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Dornhof, Sarah. "Street Art out of Time." Manazir Journal 4 (October 24, 2022): 74–97. http://dx.doi.org/10.36950/manazir.2022.4.5.

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The small town of Asilah in the north of Morocco holds an annual international festival of visual and performance arts, including exhibitions, workshops, conferences, and other parallel activities. However, it is best known for the murals that are painted every year anew by invited artists on the facades of old town houses. Founded in 1978, the Arts Festival or Cultural Moussem of Asilah qualifies as the first street art festival in Morocco and has significantly shaped the cultural context for arts to interact with public spaces. It has, in particular, linked street art manifestations to ideas

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Bittner, Karolina. "Festivals of Songs in the Polish People’s Republic." Betekintő 18, no. 4 (2024): 7–32. https://doi.org/10.25834/bet.2024.4.1.

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As Communist rule established itself in Poland, its agents learned relatively quickly to appreciate the propagandic value of culture, including music. The authoritiesrealized that popular music, and the pop song in particular, is an important medium of influence on society. The pop song became an integral tool in socialistpropaganda, which manifested in how its repertory and content, as well as performers, were selected. Indeed/as a result, the list of criteria a pop star candidate hadto fulfil was rather long.In the Socialist nation, the pop song had an important role to play. It was intende

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Gourgoulianni, Sofia. "Peripheral Cultural Vitality: Community Engagement Through Art Festivals in Non-Touristic Greek Regions." International Journal of Social Sciences and Humanities Invention 12, no. 06 (2025): 8619–22. https://doi.org/10.18535/ijsshi/v12i06.01.

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In recent years, Greece’s cultural image in the global tourism market has largely been shaped by mass tourism and homogenized portrayals of ancient heritage. This paper explores the counter-narrative offered by two distinctive art festivals in non-metropolitan and non-touristic regions: the Thessalian Poetry Festival and DEO Projects’ contemporary art exhibitions in Chios. The Thessalian Poetry Festival, established in 2013, has fostered a sustained literary community across multiple cities in Thessaly. By combining international participation with strong regional collaboration, it enhances lo

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Kinsey, T. A. "Cleveland Performance Art Festival Closes." Afterimage 27, no. 1 (1999): 3. http://dx.doi.org/10.1525/aft.1999.27.1.3.

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