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Relevant bibliographies by topics / Festivals d'arts du spectacle

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Academic literature on the topic 'Festivals d'arts du spectacle'

Author: Grafiati

Published: 25 February 2023

Last updated: 3 March 2023

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Journal articles on the topic "Festivals d'arts du spectacle"

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Toraldo, Maria-Laura, and Gazi Islam. "Festival and Organization Studies." Organization Studies 40, no. 3 (October 26, 2017): 309–22. http://dx.doi.org/10.1177/0170840617727785.

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The present essay examines the festival as a form of organizing and as a metaphor for contemporary organizations. Drawing upon classical and contemporary perspectives on festival, we focus on social ambivalences and how these are enacted and mediated through festivals. Specifically, we argue that festivals mark a tension between linear and cyclical dimensions of social time. Next, we argue that formal institutional and communitarian principles are mediated through festival. Finally, we argue that festivals mark a tension between reflexivity and social critique on the one hand and mass spectacle on the other, and problematize the notion of bodily enjoyment as a form of social consciousness. We discuss the implications of these three ambivalences – in the notion of time, the notion of community and the notion of reflexivity – for contributing to contemporary organizational discussions.

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Chen, Chiung-chi. "Spectacle and Vulgarity: Stripper Dance at Temple Festivals in Contemporary Taiwan." TDR/The Drama Review 55, no. 1 (March 2011): 104–19. http://dx.doi.org/10.1162/dram_a_00051.

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Starting in the early 1980s, female striptease shows mounted on the backs of trucks, known as “electronic festooned vehicles” (EFVs), have been popular entertainments offered to the deities at temple festivals. The EFV takes the “realities” of contemporary Taiwanese society—sexism, capitalism, and social hierarchy—and re-presents them in an evocative/provocative form.

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Dumeige, Bénédicte. "Les festivals du spectacle vivant : une galaxie d’acteurs aux pieds d’argile." L'Observatoire N° 50, no. 2 (2017): 33. http://dx.doi.org/10.3917/lobs.050.0033.

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Ross, Chanon. "Spectacle, Ecstasy, and Music Festivals: The Spiritual Longing of the Lost Generation." Liturgy 28, no. 3 (July 2013): 42–50. http://dx.doi.org/10.1080/0458063x.2013.774884.

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Gordon, Benjamin D. "Sightseeing and Spectacle at the Jewish Temple." AJS Review 43, no. 2 (November 2019): 271–92. http://dx.doi.org/10.1017/s0364009419000497.

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Jerusalem in the late Second Temple period (second century BCE–70 CE) was transformed into the largest pilgrimage city of the Hellenized East and the sole locus of sacrificial worship of the Jewish God in greater Judea. As argued in this paper, it also became a place for sightseeing and spectacle. By the early Roman era, movement to the city for pilgrimage was a significant component of Mediterranean and Near Eastern travel. The Jewish festival experience may have evolved to cater to the tastes of foreigners now regularly visiting the city from the Jewish Diaspora. The architecture of Herod's Temple complex and the distinctive religious customs practiced within its walls intrigued visitors, whether Jewish or non-Jewish. For those unable to witness the Temple or participate in one of its festivals firsthand, a virtual visit through a “walking-tour” description would have to suffice. Such descriptions, which are attested from the earliest days of the Second Temple, can charter in imaginative invention in order to foster a sense of awe and wonder for the audience.

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Guibert, Gérôme. "Le tournant numérique du spectacle vivant. Le cas des festivals de musiques actuelles." Hermès 86, no. 1 (2020): 59. http://dx.doi.org/10.3917/herm.086.0059.

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Chaplin, Felicity. "Stars and the off-screen spectacle of film festivals: Charlotte Gainsbourg at Cannes." Celebrity Studies 10, no. 4 (October 2, 2019): 533–42. http://dx.doi.org/10.1080/19392397.2019.1673007.

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Karaosmanoglu, Defne. "Nostalgia Spaces of Consumption and Heterotopia: Ramadan Festivities in Istanbul." Culture Unbound 2, no. 2 (June 11, 2010): 283–302. http://dx.doi.org/10.3384/cu.2000.1525.10216283.

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Contemporary city cultures are often defined in relation to the processes of late-capitalism and commodification. Today, in various parts of the world, the previously dominant industrial cities have been replaced by cities of consumption (Urry 1995: 123). Cities are treated as sites for representation, masquerade and sociability (Featherstone and Lash 1999: 3). National and religious celebrations and culinary festivals are parts of the dynamism of city life where nostalgia becomes a marketing strategy. This article looks at the nostalgia industry in the contemporary city of Istanbul in connection to the Ramadan festivities and iftar tables as everyday spaces of spectacle and consumption. It examines the ways in which the Ramadan space is articulated in everyday practices not only as a site of spectacle formed by both global and local discourses, but also as a form of sociability that brings people together.

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Плотников, А., A. Plotnikov, Галина Плотникова, and Galina Plotnikova. "Producer Method of V.E. Meyerhold in the Organization of Socio-Cultural Activities." Scientific Research and Development. Socio-Humanitarian Research and Technology 7, no. 4 (December 6, 2018): 61–66. http://dx.doi.org/10.12737/article_5bffbbfec21801.75677729.

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The article reveals the principles of the "conditional theater" of Meyerhold and substantiates the integrity of the director's methodology for the organization of modern entertainment projects. The unity of the principles of carnivalization, relevance, polarization of genres, episodic composition, as well as allegorical or poetic transformation of reality into a scenic spectacle reveals itself in the continuity of design, artistic, rehearsal and organizational processes. It is proved that creative methods of directing theatrical performances and festivals continue the traditions of the directorial methodology of Meyerhold as the basis for the organization of socio-cultural projects at the present stage of development of society.

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Wang, Li-jung. "Multicultural Spectacle and Ethnic Relationship in Arts Festivals: The Cases Studies of the Hakkas in Taiwan." International Journal of Diversity in Organizations, Communities, and Nations: Annual Review 7, no. 5 (2007): 333–42. http://dx.doi.org/10.18848/1447-9532/cgp/v07i05/39444.

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Dissertations / Theses on the topic "Festivals d'arts du spectacle"

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Pulh, Mathilde. "La valorisation de l'expérience de consommation d'activités culturelles : le cas des festivals d'arts de la rue." Dijon, 2002. http://www.theses.fr/2002DIJOE005.

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Sohier, Alice. "Le rôle de l'expérience vécue et de ses antécédents sur la satisfaction envers un spectacle vivant : le cas des festivals rock." Caen, 2010. https://hal.archives-ouvertes.fr/tel-01885756.

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L'objectif de ce travail doctoral est de montrer l'influence de l'expérience vécue et de ses antécédents sur la formation des jugements de satisfaction à l'égard d'un spectacle vivant. De manière générale, la satisfaction apparaît être déterminée par des antécédents de nature cognitive et affective. Elle découle d'une comparaison entre des standards et une expérience de consommation. Cette dernière, étudiée au travers de sa valorisation, se compose de multiples facettes intégrant des éléments sociaux, affectifs, escapistes ou encore fonctionnels. Dans le cadre des festivals rock, elle semble découler, en partie, de la perception des individus à l'égard du style musical proposé, le rock. Le modèle conceptuel testé intègre cinq construits, la perception du rock, l'expérience de consommation, la satisfaction, la valeur et la qualité, ainsi que plusieurs variables modératrices (situationnelles, individuelles et comportementales). Une échelle de mesure de la perception du rock est construite. Elle est ensuite soumise, lors de l'étude empirique, aux spectateurs de quatre festivals rock (trois français et un étranger). Les résultats de l'enquête mettent en évidence le rôle médiateur de l'expérience de consommation dans la relation entre la perception et la satisfaction. Cette recherche propose aux praticiens deux axes d'intervention complémentaires pour favoriser la satisfaction de leurs spectateurs. Le premier renvoie aux caractéristiques de leur offre et se base notamment sur l'utilisation des techniques du marketing expérientiel (théâtralisation, habillage de l'offre). Le second relève de la stimulation de la perception des individus. Ces préconisations vont au-delà du champ des festivals rock, mais peuvent s'étendre à l'ensemble du secteur des spectacles vivants

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Giorgi, Borel Marie-Françoise. "Les Peintres au Festival d'Aix en Provence entre tradition et modernité." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H029.

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Entre 1948 et 1962, le fondateur du festival d'art lyrique d'Aix-en-Provence, Gabriel Dussurget, invite les peintres comme Georges Wakhévitch, Cassandre, Balthus, André Derain, Antoni Clavé, André Masson, Nathalie Gontcharova... à concevoir les décors et les costumes des opéras et ballets du Festival. A l'instar des Ballets Russes de Diaghilev, ceux-ci participent à la création de spectacles où la peinture s'allie à la musique, au chant, à la danse, et à la mise en scène dans une conception de l'opéra comme art total. L’activité des peintres au festival se concentre pendant les douze premières années, mais leurs créations seront régulièrement réutilisées jusqu’en 1972. On peut considérer que pendant plus de vingt ans, à Aix, l’œuvre des peintres fait partie intégrante de l’opéra, produit de l’excellence de tous les arts réunis. Son succès assurera au festival une notoriété internationale et contribuera au renouvellement de la scène lyrique française. A partir des collections patrimoniales de décors, costumes et archives conservées par la ville d'Aix-en-Provence, des sources privées et institutionnelles diverses, cette étude va s'attacher à analyser le travail des peintres dans le contexte de leur époque, dans son rapport avec leur œuvre picturale, leurs sources d'inspiration, leurs influences réciproques. Elle tentera d’évaluer la part de création et de modernité qu’ils ont apporté à l'évolution des arts de la scène, mais aussi celle de leurs limites liées aux contraintes du genre, leur parcours personnel et le contexte artistique de la période
Between 1948 and 1962, the founder of the Aix-en-Provence Lyric Art Festival, Gabriel Dussurget, invited painters such as Georges Wakhévitch, Cassandre, Balthus, André Derain, Antoni Clavé, André Masson, Nathalie Gontcharova ... to design the sets and costumes for the Festival's operas and ballets. Following the example of Diaghilev's Ballets Russes, they take part in the creation of shows where painting combines with music, song, dance, and staging in a conception of opera as a total art. The activity of the painters at the festival is concentrated during the first twelve years, but their creations will be regularly reused until 1972. It can be considered that for more than twenty years in Aix, the work of the painters was an integral part of the opera, a product of the excellence of all the arts combined. Its success ensured the festival an international reputation and contributed to the renewal of the French operatic scene. Based on the heritage collections of sets, costumes and archives kept by the city of Aix-en-Provence, and on various private and institutional sources, this study will attempt to analyse the work of the painters in the context of their time, in its relation to their pictorial work, their sources of inspiration and their reciprocal influences. It will attempt to evaluate the part of creation and modernity that they brought to the evolution of the performing arts, but also their limits linked to the constraints of the genre, their personal background and the artistic context of the period

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Nogueira, Wilson de Souza. "A espetacularização do imaginário amazônico no boi-bumbá de Parintins." Universidade Federal do Amazonas, 2013. http://tede.ufam.edu.br/handle/tede/4319.

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The changes in cultural practices since the emergence of new information and communication technologies, particularly since the 1990s, when it foreshadows the possibility of flattening OF the medias, raised discussions and studies about the impact they cause in society. In macrocosm, it is likely that this movement – or shaking – means just another crafty move of the capital to keep up appearances about reality. In microcosm, however, it is possible that there are forces, even under the influence of LIFE’S fetishization produces sociocultural phenomena overcome appearances and create changes. The Bois-Bumbás of Parintins, even in its spectacular version, is used the REGIONAL artistic expression and imagination to highlight – and even denounce – the fundamental questions of social and biological diversity of the Amazonia. The purpose of this narrative is to contribute to the understanding of festivals Amazonian beyond the ephemerality of the show.
As mudanças ocorridas nas práticas culturais, desde o surgimento das novas tecnologias da informação e comunicação, principalmente a partir dos anos de 1990, quando se prenuncia a possibilidade de horizontalização das mídias, suscitam debates e estudos sobre os impactos que elas podem provocar na sociedade. No macrocosmo é bem provável que essa movimentação – ou agitação – signifique apenas mais uma astuciosa jogada do capital para manter as aparências sobre a realidade. No microcosmo, porém, é possível existirem forças que, mesmo sob a influência da fetichização da vida, produzem fenômenos socioculturais para superar as aparências e gerar mudanças. Os bois-bumbás de Parintins, mesmo na sua versão espetacular, utilizam-se das expressões artísticas e do imaginário regional para destacar – e até denunciar –questões fundamentais da diversidade social e biológica da Amazônia. A finalidade desta narrativa é contribuir com a compreensão das festas populares amazônicas para além da efemeridade do espetáculo.

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Ferrari, Cécilia. "Il y a plus de choses dans la salle et sur la scène que n’en montre votre scénographie : Étude spatiale et iconographique du « théâtre populaire » à partir des expériences de Firmin GÉMIER : Festivals suisses, TNAG, Œdipe Roi de Thèbes (1903-1919) ; Jacques COPEAU : Savonarola, Florence (1935) ; Jean VILAR : La Tragédie du Roi Richard II, Avignon (1947)." Caen, 2014. http://www.theses.fr/2014CAEN1016.

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Entre la fin du XIXe et le début du XXe siècle, plusieurs hommes de théâtre désignent le public qu’ils visent à rassembler par le terme peuple et leur théâtre par l’expression théâtre populaire. Leur attention se concentre sur la recherche d’un espace traduisant l’égalité propre à la société démocratique. Afin d’offrir à tous une bonne visibilité de la scène, ils choisissent le Festspielhaus de Bayreuth comme modèle de référence : le public est disposé face à la scène et la salle est plongée dans l’obscurité. Qui est le peuple que l’on place dans ce type d’espace où les échanges entre les spectateurs sont réduits et où chacun est fasciné par l’image scénique ? Pour répondre à cette question, la thèse propose d’étudier le dessin (projet de la scène et de la salle) de quelque spectacle populaire pour en mieux comprendre le dessein (acception du terme « populaire »). Grâce à l’élaboration d’une grille typologique analysant la scène, la salle et la scénographie, l’étude porte sur les expériences de Gémier (1903-1919) et le travail de Copeau pour Savonarola (1935). Ces exemples attestent la cristallisation du modèle frontal pour une réception de l’image-écran proposée par la figure naissante du metteur en scène. La grille est ensuite appliquée à une régie de Jean Vilar, La Tragédie du Roi Richard II (1947), spectacle n’utilisant ni le modèle frontal ni l’image illusionniste. En se faisant le régisseur d’une « scène illimitée » et d’une image polysémique confiée au spectateur, Vilar permet de passer de la réception passive à l’invention artistique. L’acception donnée au mot peuple se lit dans la scénographie : si l’on change de dessin, le dessein change aussi, ou vice versa
Between the end of the XIX century and the beginning of the XX century, many theater’s men call the audience they want to reunite as peuple and their theater as théâtre populaire. Their major interest is the research of a space capable to transmit the equality of the democratic society. In order to offer to everyone a good view of the stage, they choose the Bayreuth’s Festspielhaus as a reference model: the entire public is in front of the stage in the middle of darkness. Who’s the peuple that you place in that kind of space where spectators can’t almost have no exchange and where everyone is fascinated by the stage? In order to answer this question, the thesis proposes to study the dessin (room and scenography’s project) of a popular spectacle to better understand the dessein (acceptation of the word « populaire »). Thanks’ to a typological grid that analyzes the stage, the room and the scenography, the study will bring us to the Firmin Gémier’s experiences (1903-1919) and Jacques Copeau’s work for Savonarola (1935). These examples show the frontal model’s crystallisation for a reception of the image-screen proposed by the new figure of the metteur en scène. The grid is the used with Jean Vilar’s work, La Tragédie du Roi Richard II (1947); a spectacle that doesn’t uses neither the frontal model nor the illusionist image. Becoming the régisseur of « ilimitated stage » and of a polysomic image given to the spectator, Vilar allows to pass from a passive reception to an artistic invention. The acceptation given to the word peuple read in the scenography: if we change the dessin, the dessein also changes, or vice versa

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Wang, Bonifacio Po-jen, and 王伯仁. "The Modern Spectacle in Taiwan? : Festivals, Festivalization and the Festivalscapes." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/73804745731429425715.

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碩士
國立臺灣師範大學
地理學系
96
In the last 15 years, there has been a mushrooming of different kinds of “festivals” in Taiwan. Through the concept of festivalization, this dissertation tries to examine the dynamics of festivalscapes and the associated social and spatial meanings behind this phenomenon. The theoretical ground of the dissertation is mainly based on Lefebvre’s critique of everyday life and his conception of the production of space. Moreover, Bryman’s ideas of Disneyization, Hannigan’s ideas of fantasy city are also useful sources of reference. Most importantly, the concepts of modern festivals, festivalization, and the festivalscapes echo Debord’s critique of a “society of the spectacle.” In order to grasp the overall picture of the modern festivals in Taiwan, the empirical research of the dissertation firstly tried to identify the numbers of different kinds of festivals in space and time, to analyze their contents and characteristics, and to construct the ideal-types of the modern festivals. It was followed by a case study of the Kaohsiung Lantern Festival that aimed to explore the elements of the festivalscaples and the very process of their production. As a result, a total of 434 festivals were identified in the 12 months between July 2006 and June 2007, and 5 ideal-types of the modern festivals were established, including the New Festivals for Local Economy, Festivals of Cultural Governance, the Renovation of Traditional Festivals, the “S”(Shopping) Days, and Community Carnivals. The origins of these festival ideal-types were also traced. As a whole, the phenomenon of festivalization illustrated the dual logics of cultural governance and cultural consumption in the creation of the festival spectacle in Taiwan. In addition, the case of Kaohsiung Lantern Festival vividly demonstrated the production of the festivalscapes in terms of the thematic scenarios, hybrid programs, and cheerful atmosphere. Arguably, it was the political economy of the festivals that provided the platform for local government to display its achievement, to promote its policies, to market the city/place, and to boost consumption and the local economy.

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Books on the topic "Festivals d'arts du spectacle"

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Zhunich, Emilii︠a︡. Festivali za muzikalnost︠s︡enichni izkustva: Kont︠s︡ept︠s︡ii, metamorfozi, realizat︠s︡ii. Sofii︠a︡: Institut za izsledvane na izkustvata, BAN, 2020.

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Pierre, Béhar, and Watanabe-O'Kelly Helen, eds. Spectaculum Europaeum: Theatre and spectacle in Europe (1580-1750) = histoire du spectacle en Europe (1580-1750). Wiesbaden: Harrassowitz, 1999.

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Holme, Bryan. Princely feasts and festivals: Five centuries of pageantry and spectacle. New York, N.Y: Thames and Hudson, 1988.

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Holme, Bryan. Princely feasts and festivals: Five centuries of pageantry and spectacle. London: Thomas and Hudson, 1988.

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name, No. Comme le prsent promet: Vingt ans d'arts de la scne au Festival Bellone Brigittines. Bruxelles: Brigittines Editions / La lettre vole, 2001.

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Festival Bellone Brigittines (Brussels, Belgium), ed. Comme le présent promet: Vingt ans d'arts de la sc`ene au Festival Bellone Brigittines. Bruxelles: Brigittines éditions, 2001.

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Barbara, Hanawalt, and Reyerson Kathryn, eds. City and spectacle in medieval Europe. Minneapolis: University of Minnesota Press, 1994.

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G, Johnson David. Spectacle and sacrifice: The ritual foundations of village life in North China. Cambridge, Mass: Harvard University Asia Center, 2009.

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Spectacle, pageantry, and early Tudor policy. 2nd ed. Oxford: Clarendon Press, 1997.

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Spectacle and sacrifice: The ritual foundations of village life in North China. Cambridge, Mass: Harvard University Asia Center, 2009.

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Book chapters on the topic "Festivals d'arts du spectacle"

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Romano, David Gilman. "Athletic Festivals in the Northern Peloponnese and Central Greece." In A Companion to Sport and Spectacle in Greek and Roman Antiquity, 176–91. Oxford: John Wiley & Sons, Inc, 2013. http://dx.doi.org/10.1002/9781118609965.ch11.

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Burgess, Diane, and Kirsten Stevens. "Locating Buzz and Liveness: The Role of Geoblocking and Co-presence in Virtual Film Festivals." In Rethinking Film Festivals in the Pandemic Era and After, 59–80. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_4.

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AbstractThe sudden and near-complete move of festivals into the online space in 2020 complicated our understanding of the “there” and “then” involved in film festival participation. Experiencing festivals in lockdown (often from domestic spaces), “taking part” in these virtual events had the potential to dramatically expand the points of access. Although this approach was taken early with the YouTube-based We Are One global film festival, for the vast majority of single-festival-run online events access was limited to specific geographic areas through geoblocking technology. This chapter examines the function of geofenced access in virtual and hybrid virtual/real-world film festivals. It poses the question: what are the benefits for festivals in enforcing territoriality and place-boundedness in the de-territorialized world of online media? Looking to the importance of embodied co-presence and networked publics in existing understandings of liveness, buzz, and value creation at festivals, we interrogate the role of “place” in defining festival prestige and influence. We ask, if the mechanisms of value creation linked to the physical spectacle and viral spread of buzz at festivals are disrupted, will the film festival experience still be seen as valuable? And what might that mean for the future of festivals and their study?

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"The Great Temple Festivals of Southeastern Shanxi." In Spectacle and Sacrifice, 177–86. BRILL, 2009. http://dx.doi.org/10.1163/9781684174881_009.

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"Play and Spectacle at Pentecost." In Festivals and Plays in Late Medieval Britain, 119–50. Routledge, 2016. http://dx.doi.org/10.4324/9781315255293-14.

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Guglielmini, Silvia. "Galway International Arts Festival, What’s behind the internationalisation of a name." In Focus on World Festivals. Goodfellow Publishers, 2016. http://dx.doi.org/10.23912/978-1-910158-55-5-2987.

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Galway International Arts Festival (GIAF) takes place in July in the West of Ireland and combines different art-forms including theatre, music and the visual arts. It comprises comedy and street spectacle, as well as a discursive strand centred on creativity called First Thought Talks. The festival was established in 1978 as an outlet for professional artists living in the area and a stage to showcase national and international artwork. It was originally called Galway Arts Festival and added the term ‘international’ to its title in 2014. This name change could be interpreted as a strategic marketing move to position GIAF in a broader circuit of international events, but is also an interesting starting point to discuss GIAF’s transformation as informed by globalisation. Globalisation is a complex interplay of economic and cultural dynamics shaping the sense of the world as a smaller place, where ‘new global elements coexist alongside existing and established local or national cultural forms’ (Robins, 1997: 19). Globalisation goes hand-in-hand with technological progress and the information economy, which is based “on the capacity to create new knowledge and to apply it rapidly, via information processing and telecommunications, to a wide range of human activities in ever-broadening space and time” (Carnoy et al., 1993: 6). As the world becomes interconnected, there is increasing competition to gain financial resources and hold a share of people’s attention.

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Gallego Cuiñas, Ana. "Literary Culture and Spectacle: The Boom in Literary Festivals in Latin America." In Latin American Literatures in Global Markets, 241–80. BRILL, 2022. http://dx.doi.org/10.1163/9789004523494_013.

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England, Samuel. "Conclusion: The Ministry of Culture." In Medieval Empires and the Culture of Competition, 177–87. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474425223.003.0006.

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Considers the book’s findings on medieval literary culture by considering modern re-enactments of the Middle Ages. The conclusion inspects Baathist Iraq under Saddam Hussein, and the medieval nostalgia the Iraqi government ministries tried to promote. The book surveys the political uses for nostalgia, especially statements of longing for a functional, competitive court. From Dante’s anguished praise of past kings to modern military dictatorships’ cultural festivals, the spectacle of medieval performance animates our ideas and institutions.

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Edenius, Mats. "The Function of Representation in a "Smart Home Context"." In Human Computer Interaction, 2376–89. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-87828-991-9.ch158.

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In our society, we seem almost completely engaged in a variety of representational processes. By rendering events and processes “still”, they can be more easily manipulated and transferred into a stock of movable resources which can provide the possibility to control. It is in that context information technology can give us power. In this article it is argued that in order to understand information technology we must begin with representation. I will illustrate such a perspective by a case study that puts a smart home-technology in focus and exemplifies how it may let us deeper our knowledge about IT, how that knowledge is constructed, knowledge is constructed, what actors are involved, what drives them and what kinds of issues are at stake. Antiquity had been a civilization of spectacle. “To render accessible to a multitude of men the inspection of a small number of objects”: this was the problem to which the architecture of temples, theatres and circuses responded. With spectacle, there was a predominance of public life, the intensity of festivals, sensual proximity. In these rituals in which blood flowed, society found new vigour and formed for a moment a single great body. The modern age poses the opposite problem: “To procure for a small number, or even for a single individual, the instantaneous view of a great multitude”. (Foucault, 1977, p. 216)

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Stone, Amy L. "Inclusive Collective Partying." In Queer Carnival, 83–129. NYU Press, 2022. http://dx.doi.org/10.18574/nyu/9781479801961.003.0005.

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This chapter discusses how these LGBTQ events create inclusive collective parties as a way of forging community. This inclusive collective party was often framed not just as heterosexual cisgender people using the LGBTQ community for entertainment, but as creating valuable experiences of being part of a collective celebrating their time together. It argues that in some cities, LGBTQ festival organizers use these inclusive collective parties as a limited way of resisting racial segregation and settler colonialism during festivals through racial integration, diversity, and inclusivity. The same inclusive collective partying had different meanings in each setting. At times, it focused on educating the heterosexual public, at others it seemed to be a spectacle of entertainment or a blatant attempt to shape the agenda for cultural change. Conversely, other LGBTQ events, such as a ball put on by Black lesbians, struggle to maintain their cultural autonomy or keep the event intentionally small and inclusive to foster community.

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