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Dissertations / Theses on the topic 'Indian Festivals'
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Beaubien, Brad M. "Community festivals and social capital." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1217382.
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This research examines the relationship between community festivals and social capital across time and place. Social capital includes the social networks, norms, and trust that enable groups of individuals to cooperate in pursuing shared objectives, and benefits accrue to both the individual and the community. Research shows the ancient Greek and American Indian civilizations relied on festivals for a variety of purposes relating to social capital, including the bridging of social divides, the transmission of cultural heritage, and the reinforcement of community identity. Today, research findings from five small town festivals in Indiana indicate a similar relationship with social capital. Festivals can bring a community together, offer a shared experience for a diverse group of people, build new relationships, and foster community pride and identity. As such, community festivals may serve as a tool for community planners in building or sustaining social capital in a community.Department of Urban Planning
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Todd, Kevin M. "Local festivals and their community building capacity." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1266024.
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Many small towns in the state of Indianan hold yearly festivals. This thesis asks the question, "Do small town festivals have the capacity to build community?" The answer to this question was sought by first looking at prior research and then devising an Index to determine the primary components to community. The index identified Networks, Communion, Collaboration, and Behavior as the four primary components of community. Field study and data collection were conducted by the means of surveying festival visitors at seven small town festivals in Indiana and also by observing the visitors, events, and booths of each festival. Through statistical analysis of the data, it was determined that small town festivals do have the capacity to build community in that they possess and encourage the four main components of community.Department of Urban Planning
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Bush, Ratimaya Sinha. "Festivals, rituals and ethnicity among East Indians in Trinidad /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487944660929446.
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Sahney, Puja. "Cultural Analysis of the Indian Women's Festival of Karvachauth." DigitalCommons@USU, 2006. https://digitalcommons.usu.edu/etd/7343.
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The festival of Karvachauth is celebrated by upper class married women of North India and occurs in the month of October or early November. On this day married women fast to ensure the long lives of their husbands. They wake up before dawn and eat a meal. After sunrise they do not drink water or eat any food until they see the moon at night. The moon is watched through a sieve and prayed to before breaking the fast. An important part of Karvachauth is a ritual that is performed by women in the afternoon. This ritual is hosted by a woman of the neighborhood and other women assemble in the house where they form a circle. The narration of a folktale of a princess named Veeravati forms the center of the ritual. Women also dress up in festive bright saris and lots of jewelry for the ritual. Some part of the day is spent in putting intricate designs of henna on their hands and feet.
Although women's act of fasting for their husbands might appear as a sign of subjugation, in my thesis I argue that it is not. Rather, festivals like Karvachauth temporarily liberate women from daily restrictions and give them a licensed freedom to break away from customs that confine them to the threshold of their households. I argue that Karvachauth gives women a chance to move out of their confined private worlds into the public world, dominated by men, and out of their reach in daily life. I do acknowledge that women must satisfy the serious aspects of the ritual first if they wish to enjoy the liberties. But once they are able to do so, the freedoms are easily manipulated by women to empower them, albeit temporarily, in various ways.
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Elkin, Courtney Carmel. "Clashes of cultural memory in popular festival performance in Southern California 1910s-present /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495960481&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Carspecken, Lucinda Mary. "Finding new ground collective ownership, environmentalism, neopaganism and Utopian imagination at an Indiana festival site /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3331244.
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Thesis (Ph.D.)--Indiana University, Dept. of Anthropology, 2008.Title from PDF t.p. (viewed on Jul 23, 2009). Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4383. Adviser: Beverly J. Stoeltje.
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Mesana, Virginie. "De l’espace-diaspora indien à la confluence des rapports sociaux : cinéastes et héroïnes d'une communauté imaginée." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31847.
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Dans les industries filmiques majoritaires encore dominées par des voix et des regards masculins, la production des réalisatrices, notamment en diaspora, demeure souvent méconnue. Cette recherche étudie le cas des cinéastes en diaspora indienne et le regard que celles-ci portent sur leurs sociétés d’origine et hôte. L’objectif est d’examiner les mécanismes discursifs de production filmique et la circulation de leurs films en festival à l’occasion de leur premier visionnement. Nous cernons ainsi comment les réalisatrices participent de la formation de la diaspora indienne entendue comme une « communauté imaginée » et rendent compte de l’appartenance genrée à celle-ci. Notre thèse s’articule alors autour de la question suivante : comment la mise en scène d’héroïnes en diaspora contribue-t-elle à produire des récits alternatifs constitutifs d’un imaginaire de l’espace-diaspora indien? Alors que la production des réalisatrices n’appartient à aucune des industries filmiques majoritaires (Bollywood et Hollywood), tout en empruntant certains de leurs référents et influences, elle se situe dans un entredeux filmique que nous examinons à la lumière des dimensions « matérielle et idéelle » de leurs pratiques cinématographiques. Celles-ci étant comprises au titre d’« imagination comme pratique sociale », nous prêtons plus spécifiquement attention à l’exercice de monstration de rapports sociaux consubstantiels de sexe, ethniques et de classe, en et hors diaspora, au sein des sociétés hôtes nord-américaines qu’elles dépeignent. Pour ce faire, nous mobilisons une approche méthodologique qualitative articulant l’analyse de données de trois ordres : 1. l’analyse d’un corpus de dix films réalisés par des cinéastes en diaspora indienne en Amérique du Nord ; 2. une série de six entretiens semi-dirigés avec leurs auteures ; 3. une observation à dimension participative du festival de films de la diaspora indienne à New York (NYIFF) à deux reprises, en 2012 et en 2013. Notre encadrement théorique tire profit du croisement conceptuel de plusieurs contributions issues de trois champs d’étude, soit des apports théoriques en sociologie de la culture et des Cultural Studies, des contributions en sociologie des relations ethniques et des travaux féministes sur la consubstantialité des rapports sociaux. Cet encadrement théorique inusité nous permet d’analyser les pratiques des réalisatrices en diaspora indienne et d’entrevoir leurs (re)positionnements au sein de relations sociales majoritaires/minoritaires, donnant lieu à l’expression d’un « majoritaire idéalisé » en diaspora et à l’expérience d’un « entre-majoritaires ».
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Archer, Ken Joseph. "The Brooklyn Carnival a site for diasporic consolidation /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1236386011.
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Kahlon, Raminder Kaur. "Performative politics : artworks, festival praxis and nationalism, with reference to the Ganapati Utsava in western India." Thesis, SOAS, University of London, 1998. http://eprints.soas.ac.uk/29520/.
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This study explores regionally based perspectives on the broader nation-wide phenomena of the politicisation of Hinduism (Hindutva) in historical and contemporary times (van der Veer 1987; Basu et al 1993; Pandey 1993; Jaffrelot 1996). However, in contrast to these works, my focus is on the extent to which an annual religious festival, the Ganapati utsava, has been effected by the wider socio-political terrain in the cities of Mumbai and Pune, Maharashtra. The Ganapati utsava is a discursive arena for mutually reliant activities of a devotional, artistic, entertaining, and socio-political nature. The intertwining of the various constituent elements sustain and accentuate each other in the performative milieux of the festival, yet also lie outside of totalising political schemas. I note that the festival has become a site for the hegemonic strategies of several political parties, and sponsored media competitions who all vie for supremacy in the festive context. As a result, the festival represents an uneven field of consent and contestation (Laclau and Mouflfe 1985). The history, and contemporary praxis of the festival necessitates a consideration of the movement of nationalism(s) for which the festival played a significant part, particularly under the auspices of Bal Gangadhar Tilak since the 1890s. I propose that the efficacy of nationalism as a hegemonic strategy relies as much on public performative events, as on constitutional politics and social structures (eg. Gellner 1983), or on the print media, such as newspapers and novels (eg. Anderson 1983). By integrating Habermas' views on the 'public sphere' (Habermas 1991) and perspectives on public rituals or 'public arenas' (Freitag 1989), the study notes the interactive potency of both collective gatherings and media forms as sites for variant nationalist strategies. Mandap (shrine) tableaux, in particular, are considered as performative loci for socio-political variables, particularly in their audio-taped narratives and visualisation of versions of the nation.
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Ancín, Itziar. "The Kabir Project. Bangalore and Mumbai (India)." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23290.
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The Kabir Project (K.P.) was born in Bangalore, India, in 2002, after the Gujarat pogrom, which occurred in the same year. In the context of increasing divisions in Indian society, defined by religion, social class, caste and gender, this research explores how this initiative, through live concerts and documentary films, spreads the folk music traditions of the 15th century mystic poet Kabir along with his messages of unity and understanding between confronted identity groups. This study presents the context of violence between Muslims and Hindus since the Indian Partition and the reasons for gendered violence in the conflict. It focuses also on the connections between globalization and minorities’ prosecution in liberal democracies; on the colonial roots and socioeconomic reasons which led to the Gujarat massacre in 2002; and the social role of the mystic as bridging cultural and religious differences. Through two complementary methods: in-depth interviews to audiences and organizers at the K. P. festivals in Bangalore and survey questionnaires distributed to the Kabir Festival Mumbai audiences, this study tries to answer the following questions: What is the potential for social change of the K. P. in the world-views of today's Indian citizens? Are the messages presented by films and folk music capable of generating positive attitudes towards dialogue between confronted identity categories? In which ways?The research reveals the success of the K. P. to challenge audiences’ minds through communication for development events, whose objectives are reached by spreading Kabir values through artistic forms, and by creating shared spaces between confronted identity sections. Festivals in rural areas help to diminish the distance between those antagonized communities. In addition, urban festivals also generate positive attitudes in elites towards dialogue and coexistence, since that is the social profile of the audience.
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Vishwa, Nishant. "Architecture of the Kinetic City." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378112760.
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Vukovic, Kresimir. "The Roman festival of the Lupercalia : history, myth, ritual and its Indo-European heritage." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:2765ebe9-20ef-47c0-9d48-63c7e8a2fb34.
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The Roman festival of the Lupercalia is one of the most discussed issues in the field of pre-Christian Roman religion. Hardly a year goes by without an article on the subject appearing in a major Classics journal. But the festival presents a range of issues that individual articles cannot address. This thesis is an attempt to present a modern analysis of the phenomenon of the Lupercalia as a whole, including literary, archaeological and historical evidence on the subject. The first section presents the ancient sources on the Lupercalia, and is divided into five chapters, each analysing a particular aspect of the festival: fertility, purification, the importance of the wolf and the foundation myth, the mythology of Arcadian origins, and Caesar's involvement with the Lupercalia of 44 BC. The second section places the Lupercalia in a wider context, discussing the festival's topography and the course of the running Luperci, its relationship to other lustration rituals, and its position in the Roman calendar, ending with an appraisal of the changes it underwent in late Antiquity. The third section employs methods from linguistics, anthropology and comparative religion to show that the Lupercalia involved a ritual of initiation, which was also reflected in the Roman foundation myth. The central chapter of this section discusses the methodology used in comparative Indo-European mythology, and offers a case study that parallels the god of the festival (Faunus) with Rudra of Vedic Hinduism. The last chapter considers other parallels with Indian religion, especially the relationship between flamen and brahmin. The thesis challenges a number of established theories on the subject and offers new evidence to show that the festival has Indo-European origins, but also that it played an important role throughout Roman history.
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McCann, Therese Marie. "Art, Artifacts, and Residue: The Space of The Exhibition in Ann Hamiltons indigo blue." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1529698973965083.
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Liao, Min-Hsuan, and 廖閔萱. "The Impact of Chinese and Indian Festivals on the Gold Prices." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/19011934335871461888.
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碩士大葉大學
管理學院碩士在職專班
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This paper analyzes the festival effects of China and India on the gold futures price of New York Commodity Exchange, from September 2004 to July 2014. After the robust empirical study, we get the following conclusions: The empirical results show that Chinese festivals (January to April, a total of 8 months) and Indian festivals (January to March, May to June, and September to December, a total of nine months), do not significant impact on gold futures price returns. In addition, the gold futures price returns in June are significantly lower than the other months. The gold futures price returns will decrease in June because the gold price is expected to fall during the period of “May Day” Golden Week holiday, people tend to hold gold futures in pre-holiday, and sell them in post- holiday.
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Tsai, Yi-Ting, and 蔡逸婷. "Analysis of the Marketing Communications Strategy of India Dance- A Case Study of 2015 Taiwan Asian Indian Cultural Festival." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/58128200162681164769.
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碩士國立臺灣師範大學
美術學系
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This research is based on the method of person branding building and the strategy to operate the marketing communication, in accordance with the audience survey of focus media, to discuss how the foreign dance group in Taiwan to obtain the attention of focus on media through the marketing communication mix. In the foundation of case study method, including the context analysis, this research breaks down the key trend and guideline of the activities through the first hand data analysis. In order to understand the operation of the marketing communication mix in Taiwan, the deep interview with the activity organizer was taken in detailed plan. To understand if the activity on the day meets up with the audience’s expectation, this research also adopted the field study via the questionnaires filled by the focus audience with valid basic profile and explanation the source to reach this activity. In 2015 Taiwan Asian Indian Cultural Festival, except the various types of the India dance performance during this festival, the theme drama “Legnds of the Taj Mahal” which is the Indian legendary romanticism is the only public tickets charged performance. This performance is not only the drama story within, but also covering the 3 major India classic dance types. Therefore, through marketing mix such as the objective descriptor JEFFERY manages the personal branding marketing to promote the performance, promotions on Facebook and YouTube, horizontal alliance, trial experience and sponsor by public and private cooperation, this research also discusses if such marketing combination is an effective communication to the focus media. After integrating the research data, this research is aimed to bring up the risk that the personal branding building might face the lineage dismissing. In addition, this research will also suggests the possible issues in the marketing communication mix and other operation methods, in order to enlarge the efficiency of the organizer in the marketing and promotion management as the improvement guideline for next activity. No limitation to the performance, other homogeneous performance or heterogeneous foreign dance performance can also refer the suggestion and marketing strategy in this research.
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Sharafi, Aziz. "Response to the video documentation on an East Indian festival "Diwali"." Thesis, 1995. http://spectrum.library.concordia.ca/4118/1/MM01367.pdf.
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Both immigrants and Canadians of East Indian origin who watched a video about a Hindu festival were queried afterwards about their personal reactions. This work applies Horner's meta-language for coding and deciphering the data.
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Harrison, Klisala. "Victoria's First Peoples Festival embodying Kwakwaka'wakw history in presentation of music and dance in public spaces /." 2000. http://wwwlib.umi.com/cr/yorku/fullcit?pMQ56180.
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Thesis (M.A.)--York University, 2000. Graduate Programme in Musicolgy and Ethnomusicology.Typescript. Includes bibliographical references (leaves 143-157). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ56180.
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"Corpus Christi in Cuzco: festival and ethnic identity in the Peruvian Andes (folklore, Indian, Inca)." Tulane University, 1985.
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The complexity of the Corpus Christi festival in Cuzco, Peru, articulates the subtleties of cultural/ethnic definitions in an urban environment influenced by its unique precolombian past and pressured by modernization Participation in the festival rites form socially interwoven groups not restricted to but strongly influenced by residence, occupation and kinship--criteria which with language use, dietary habits and dress are the effective dimensions of ethnic classification and social stratification. These groups are identified with the city's traditional parish/barrios, where ethnic criteria define participants generally as Indians, specifically as Cuzquenos, and historically as Incas The festival's formal social structure is acephalous and heterogeneous. Festival performance is dependent upon the permanent, exclusive hermandades dedicated to specific festival rites and upon the ephemeral, inclusive cofrad(')ias insuring the participation of parish patronal saints. The non-hierarchical cargo structure of the cofrad(')ias has no formal relationship to secular offices Precolombian principles of socio-religious organization are encoded, validated and made manifest in the festival's symbolic structure and ritual drama Corpus Christi is commonly believed to be an extension of the Incan festival Inti Raimi. However, a close examination of the ethnohistorical sources strongly suggests that Corpus Christi resembles far more the Capacocha, a propitiatory/prophylactic rite involving both Incas and non-Incas Throughout its history, Corpus Christi has provided the overwhelming Indian majority with a sanctioned opportunity for expressing claims to socio-political precedence in opposition to Spanish/Mestizo cultural dominance, as well as for expressing shifting alliances among social groups within the Indian community Aspects of the festival's social and symbolic structures are shown to be but variants in a regional pattern when compared with other areal and calendric festivals. Corpus Christi marks a pivotal moment in a season of religious rites associated with important phases in the annual cycles of agricultural production, animal husbandry and celestrial phenomena The city's modern Jubilee Week with its ficticious 'reenactment' of Inti Raimi contrasts with Corpus Christi in the extreme. Inti Raimi is ideologically Mestizo; Corpus Christi, Indian. The two festivals embody two different but equally valid models of Cuzco and its Incan identityacase@tulane.edu
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Rippel, Elena Marie. "Festive expressions of ethnicity : national German-American festivals in Indianapolis at the turn of the twentieth century." Thesis, 2014. http://hdl.handle.net/1805/6055.
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Indiana University-Purdue University Indianapolis (IUPUI)Expressions of German-American culture in Indianapolis reached a high point in the first decade of the twentieth century. Social clubs such as the Socialer Turnverein and the Maennerchor enriched the city’s cultural life through musical performances and athletic classes and provided a social outlet for their members. During this decade, these clubs played a large role in organizing two national festivals held in Indianapolis: a Turnfest (gymnastics festival) in 1905 and a Saengerfest (singing festival) in 1908. Examining the planning and implementation of the Turnfest and Saengerfest sheds light on how club leaders responded to their social and political environment at the beginning of the twentieth century, how the respective clubs’ members conceived of their ethnic and club identities, and how they represented these identities in the festivals.
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Blair, Lyndsey Denise. "Indianapolis Arts and Culture in the Late Twentieth Century: The Origins, Activities, and Legacy of the Pan American Arts Festival." Thesis, 2015. http://hdl.handle.net/1805/8482.
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Indiana University--Purdue University Indianapolis (IUPUI)The purpose of this thesis is to discuss and explain the commitment to arts and culture in Indianapolis from the mid-1960s to the end of the 1980s by focusing on the origins, activities, and legacy of an extraordinary event in the history of Indianapolis’ arts community: the 1986-1987 Pan American Arts Festival. Early efforts by the City Committee, a local growth coalition comprised of several civic leaders, focused on the physical revitalization of downtown Indianapolis’ cultural landscape. The group’s work in this area, which was part of a larger downtown revitalization project, played an important role in the creation of the Pan American Arts Festival. Ultimately, the planning and administration of this festival had a significant impact on the city’s arts community as it shifted the arts and culture commitment from Indianapolis’ physical structures to the actual livelihood of the organizations housed within them.