Academic literature on the topic 'Political aspects of Music festivals'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Political aspects of Music festivals.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Political aspects of Music festivals"
1
Lupak, R., V. Tarasyuk, and K. Varkholyak. "Aspects of festival events tourism development." Galic'kij ekonomičnij visnik 66, no. 5 (2020): 30–37. http://dx.doi.org/10.33108/galicianvisnyk_tntu2020.05.030.
Full textAbstract:
The importance of tourism development for the country's economy and the growing popularity of festival events tourism in the context of music, gastronomic and ethno-festival events is summarized. The conceptual characteristics of festival events tourism that require in-depth research are clarified. The economic advantages of each direction of festival event tourism and their interrelation with other economic processes are listed. Special attention is paid to marketing, technological, social, historical and other features of their formation and progressive growth. Peculiarities (in the context of meeting social needs, formation of new directions of tourist culture, development of economic and resource opportunities, expansion of interstate relations, introduction of advanced technologies) and factors (demographic, economic, political, technical-technological, social-psychological, organizational- cultural) of the development of music, gastronomic and ethnic festival tourism are determined. The characteristics of festival events tourism in Ukraine and certain European countries are given, particularly, taking into account the number of festivals, their visitors, the average ticket price and seasonality. The preconditions of the formed significant difference between the tourist activity organization in Ukraine and the group of European countries are determined. The required formation and implementation of tourism policy on the state basis, including the creation of extensive institutional network of tourism regulators, particularly festival events tourism are emphasized. It is proved that problems solution in the tourist complex has positive effect on the economic security of the country requiring a reasonable choice of the relative areas of industry development. The advantages of holding joint (music, gastronomic, ethnic) festivals are substantiated, forming at the same time new direction of tourist culture. It is concluded that organization and running of festival events create a wide range of opportunities for the territories development improving the market infrastructure, accelerating the rate of information technology development and increasing business activity.
2
Chirico, Robert. "From Cave to Caféé: Artists' Gatherings." Gastronomica 2, no. 4 (2002): 33–41. http://dx.doi.org/10.1525/gfc.2002.2.4.33.
Full textAbstract:
Historical documentation regarding public festivals and banquets continually acknowledges the alliance of painting, poetry, music, and design, but in contrast to these records, accounts of artists personal revelries remain scarce. This article discusses the festive, social, political, and artistic aspects of notable gatherings that took place over the past five centuries. Among the examples mentioned are the serious gatherings of Baccio Bandinelli's Academy and the meetings of the Dutch Rhetoricians (Rederijkers); the lavish parties of the 16th century artist Rustici and the modern-day Art Students League;the scandalous doings of the Dutch painters guild (Bentvueghels) in Rome and the antics of the Swedish sculptor Sergel. It also touches upon pre- and postwar banquets in Paris,Futurist and Dadaist gatherings, and the socializing of the New York School.
3
Russell, Ian. "Michael Brocken, The British Folk Revival, 1944–2002 (Aldershot: Ashgate, 2003), ISBN 0 7546 3281 4 (hb), 0 7546 3282 2 (pb)." Twentieth-Century Music 2, no. 2 (September 2005): 309–12. http://dx.doi.org/10.1017/s1478572206230299.
Full textAbstract:
For those of us who have lived with and through the second British folk music revival, it seems most apt that this important chapter of our lives should merit a serious academic history. We watched and were part of a radical youth movement that grew phenomenally in the late 1950s, burgeoned in the 60s, stumbled and stagnated through the 70s, but recovered its composure to mature in the late 80s; and now, half a century on, the fruits of this movement have become an established and significant part of the nation’s soundscape, as much a part of British culture as brass bands or choral singing. Much work has been and is being done to document every twist and turn of this revival, meticulously noting the key players, the setting up of clubs and festivals, broadcasting and recording developments, and so on; and, understandably, there is a welter of data on which to draw, including key witnesses to consult. One could argue that such histories are primarily of interest to the insider. But Brocken’s study, by contrast, attempts to take the view of the outsider, analysing the political agenda of the ‘revival’s’ architects and assessing its impact in terms of cultural studies as an aspect of popular music – in itself a most laudable enterprise.
4
Lukić-Krstanović, Miroslava. "The Festival Order – Music Stages of Power and Pleasure." Issues in Ethnology and Anthropology 3, no. 3 (December 1, 2008): 129–43. http://dx.doi.org/10.21301/eap.v3i3.7.
Full textAbstract:
Music festivals consist of a complex of interactions and social and cultural experiences. This paper analyzes music festivals in SE Europe in their function as a planetary prouction, combining regional cross-cultural perspectives and local politics. At the beginning of the 1990s music events in SE Europe (concerts, festivals, cultural happenings) were either a part of political conflict, antagonisms and economic crises, or they were included in the music world through the cultural contacts of global achievements – the music net and industry. Music festivals become the arena and scene of a contradictory reality in these places, being made up of individual, group interests, needs, establishment strategy and politics. To illustrate this phenomenon the paper presents the biggest festivals and spectacles in Serbia and SE Europe: EXIT festival (Novi Sad) attracted thousands of techno and rock lovers with the participation of many famous bands; and the folk trumpet playing festival (Guča), which each summer for several decades has been attracting thousands of lovers of ethno sound to a fair-carnival atmosphere. This ethnological research stresses complex property divisions – lifestyle, music genres, political strategies, scene movements and economic interests.
5
Yan, Yang. "The activities of the Chinese orchestras of the traditional instruments of the new type in the 1960s - 1970s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 198–211. http://dx.doi.org/10.34064/khnum2-49.14.
Full textAbstract:
Background. The article discusses one of the most complex and controversial periods in the development of the Chinese orchestra of traditional instruments of the new type – the 1960–70s. Since 1966, with the beginning of the Cultural Revolution, all conservatories were closed, and Western instruments and teaching materials were destroyed. Chinese musicians, unable to play classical music, were forced to work with folk songs and folklore in remote provinces. The objective assessment of this historical phenomenon makes it possible to evaluate it not only as a dead end on China’s path to modern progress, but also as an era of constructive innovations and efforts to make a real change in China’s cultural heritage. The specifics of the creative activity of orchestras conducted by conductors Li Delun, Huang Yijun, Li Guoquan, Yang Jizhen is highlighted. Objectives. The purpose of the article is to identify the specifics of the development of the Chinese orchestra of traditional instruments in the 1960s – 1970s, to determine the role of prominent Chinese musicians in the process of modernizing the orchestra and creating a national repertoire during this period. Research methods are based on scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical theoretical, musical historical and executive analysis. Results. As soon as the Cultural Revolution began, the music centers in Beijing and Shanghai came under attack. Composers were deprived of their creative freedom, since all the works had to correspond to the political situation of the time. At this time, collective creativity in the genre of opera and ballet, written according to certain pattern and corresponding to the ideas of Mao Zedong, is widely adopted. As standards of “new art”, official propaganda put forward “exemplary” revolutionary performances – Yanbanshee, almost entirely based on the material of the period of the liberation struggle. The Central and Shanghai orchestras were also persecuted. The chief conductor of the Central Symphony Orchestra, Li Delun was arrested. Since 1963, the programs of the Shanghai Orchestra of Chinese Instruments have begun to reflect the country’s transition to the Cultural Revolution. In the compositions appeared more pronounced revolutionary ideals, showing the need for government reform. Such content was, for example, the orchestral suite "Revolutionary Song", created by the musicians of the Shanghai orchestra. Due to the policy of the Cultural Revolution after 1964, the orchestra completely ceased to perform. In 1964, works performed at a concert in honor of the nation’s birthday included revolutionary pieces such as “Praise to the People”, “Spring Gong Enhances Performance”, “Battle in Shanghai”, and others. Shanghai Orchestra Conductor Juan Yijun, composer Luo Zhongrong, one of the authors of the revolutionary symphony “Shatszyaban” was persecuted and sent to the countryside for forced labor. In 1966, as a result of the repressions, outstanding conductors Li Guoquan and Yang Jazheng died. The widespread distribution of orchestras in China is a paradox. “Exemplary Performances” played an active role in the distribution of Chinese symphonic music. Many amateur orchestras significantly increased their professional level and could perform individual symphonic works. Major symphonic works on revolutionary themes were also created: Qu Wei’s “The Gray-Haired Girl” symphonic suite (created by his ballet), Tian Feng’s “Five Cantatas to lyrics by Mao Zedong”, “Pipa Concert for Orchestra” and “Steppe Sisters” Wu Zujiang, Liu Dehai, Wang Yanqiao. Another genre was music for ballets (“The Red Women’s Battalion”, “The Gray-Haired Girl”). Conclusions. In the period from the 1960s to the 1970s, Chinese orchestral music was enriched with new genres that influenced its subsequent development. In spite of the fact that the main models of Yangbanshee are the opera and ballet genres, major symphonic works were also created: the symphony “Shatszyaban” (Luo Zhongzhong, Yang Muyun, Deng Jiaan, Tan Jingming); Qu Wei’s symphonic suite “The Gray-Haired Girl”; Overture “Festival” Xu Yang Yang, Pipa Concert with Orchestra “Steppe Sisters” Wu Zuqiang, Liu Dehai, Wang Yanqiao. In these compositions combine the traditions of Chinese musical art and European orchestral art, embodied the creative search for Chinese composers and performers to create samples of the modern symphony genre in China. Collective creativity was widespread: on the one hand, the efforts of several people created largescale monumental compositions, on the other hand, the individual author’s principle was leveled, which made it possible to “depersonalize” music. However, an understanding of the cultural aspects of Yanbanshee and its features in a political context is of great importance for an objective study of the development processes of musical art in China. Starting around the 1990s, the political thaw allowed musical works from the time of the Cultural Revolution, gradually returning them to the mainstream of the achievements of Chinese society. Since then, the Yanbanshee has a strong tendency to revive, enjoying the support of the population and continuing to be very popular in the theater, on television, and in the form of commercial and private entertainment.
6
Skliamis, Kostas, and Dirk J. Korf. "Cannabis festivals and their attendees in four European cities with different national cannabis policies." International Journal of Event and Festival Management 10, no. 2 (September 18, 2019): 138–54. http://dx.doi.org/10.1108/ijefm-08-2018-0049.
Full textAbstract:
Purpose The purpose of this paper is to: describe and contextualize the aims and distinctive and common characteristics of cannabis festivals in countries with different cannabis policies; assess characteristics of participants; identify reasons to attend cannabis festivals; explore to which extent cannabis festivals contribute to the social and cultural acceptance of cannabis, as perceived by attendees. Design/methodology/approach The approach incorporates three methods of data collection in the research design; quantitative research among 1,355 participants, participant observation and interviews with the organizers. Findings Cannabis festivals in Amsterdam, Berlin, Rome and Athens have common features but also maintain and reproduce local, social and cultural characteristics. Cannabis festivals, as well as their attendees, represent heterogeneous categories. The style of the festival – music festival or march combined with music – affects the main reason for attendance by the participants. In cannabis festivals more similar to music festivals the majority of the respondents attended for entertainment while at the cannabis festivals in the form of a march combined with music the majority attended for protest. Furthermore, increasing age, residency and the high frequency of cannabis use are factors that led the participants to attend for protest. Originality/value The research on cannabis festivals is limited. This paper not only explores the aims of cannabis festivals in four capital cities of Europe and the characteristics of their attendees including motivations, but also offers interesting insights for understanding the ways in which political and social constructions like cannabis festivals shape attitudes, perception and behaviors around cannabis use.
7
Griffin, Christine, Andrew Bengry-Howell, Sarah Riley, Yvette Morey, and Isabelle Szmigin. "‘We achieve the impossible’: Discourses of freedom and escape at music festivals and free parties." Journal of Consumer Culture 18, no. 4 (December 25, 2016): 477–96. http://dx.doi.org/10.1177/1469540516684187.
Full textAbstract:
In this article, we explore the notion of freedom as a form of governance within contemporary consumer culture in a sphere where ‘freedom’ appears as a key component: outdoor music-based leisure events, notably music festivals and free parties. ‘Freedom’ is commodified as central to the marketing of many music festivals, which now form a highly commercialised sector of the UK leisure industry, subject to various regulatory restrictions. Free parties, in contrast, are unlicensed, mostly illegal and far less commercialised leisure spaces. We present data from two related studies to investigate how participants at three major British outdoor music festivals and a small rural free party scene draw on discourses of freedom, escape and regulation. We argue that major music festivals operate as temporary bounded spheres of ‘licensed transgression’, in which an apparent lack of regulation operates as a form of governance. In contrast, free parties appear to ‘achieve the impossible’ by creating alternative (and illegal) spaces in which both freedom and regulation are constituted in different ways compared to music festival settings.
8
KIGULI, SUSAN NALUGWA. "Audience Perspectives on the Music Festivals Phenomenon in Buganda." Matatu 42, no. 1 (2013): 65–78. http://dx.doi.org/10.1163/9789401210584_006.
Full text
9
Klett, Joseph. "Music/City: American Festivals and Placemaking in Austin, Nashville, and Newport." Contemporary Sociology: A Journal of Reviews 46, no. 4 (June 19, 2017): 496–97. http://dx.doi.org/10.1177/0094306117714500vv.
Full text
10
Gligorijević, Jelena. "Nation Branding in Two Major Serbian Music Festivals, Exit and Guča." Journal of Popular Music Studies 33, no. 1 (March 1, 2021): 94–120. http://dx.doi.org/10.1525/jpms.2021.33.1.94.
Full textAbstract:
This article looks into the nation branding phenomenon surrounding two major Serbian music festivals, Exit and Guča, in the post-Milošević era. The departure point of analysis is the once-dominant national identity narrative of Two Serbias, by which Exit (as a purveyor of Western-style popular music) and Guča (as the self-proclaimed guardian of the Serbian brass-band tradition) were pitted against one another as representatives of Two Serbias, one looking towards the West, and the other towards the East. Moving away from this obsolete model of interpretation, this article examines the effects that the inception of nation branding in Serbian public discourse has produced on the local perception of each festival as well as on Serbian national identity within the broader contexts of post-socialist transition, the EU integration, and globalization. It also analyzes the ways in which the principles of market economy and branding practice are being “bastardized” in both festivals, resulting in what Mladen Lazić (2003) calls normative-value dissonance. Nation branding has forged a more unified view of Exit and Guča as national brands that ostensibly improve the international image of the country but which in reality deplete both festivals of their initial cultural and political potency. Ultimately, however, the proof of normative-value dissonance in Exit and Guča supports the argument that nation branding in these two festivals feeds back into earlier Balkanist discourse on Serbia’s indeterminate position between West and East; and it does so in a way that provides little hope for alternative visions of the nation’s future.
Dissertations / Theses on the topic "Political aspects of Music festivals"
1
Stettler, Stephanie L. "Sustainable Event Management of Music Festivals: An Event Organizer Perspective." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/257.
Full textAbstract:
Sustainably managed music festivals have significant value and can provide a multitude of benefits to a healthy, sustainable and desirable society if their negative impacts are mitigated and positive impacts cultivated. To reach this great potential, sustainable event management of music festivals must become widely adopted and expanded as common practice. To drive this improvement of sustainable event management, there is a need to first understand the barriers and success factors event organizers face moving their music festivals toward sustainability. This study uses a research design of mixed quantitative-qualitative methods: a survey of thirty diverse music festival organizers across the United States and interviews with five selected survey participants. Research draws on pertinent literature from sustainability theory and practice, previous research on sustainable event management, existing strategies of sustainable events, and lessons from organizational change studies. Findings revealed seven key barriers and four success factors associated with sustainable event management of music festivals as well as three specific needs of event organizers to improve sustainable event management. With these findings, seven strategies are presented to help event organizers adopt and improve sustainable event management of music festivals. This study is significant because it fills an important gap in the academic literature on events and sustainability. Additionally, this study is immediately applicable to Untied States music festivals. The findings were drawn directly from the perspectives and experiences of event organizers, and the strategies are designed to be specifically applied to their sustainable event management work.
2
Tsang, Yik-man Edmond, and 曾奕文. "Beethoven in China: the reception of Beethoven's music and its political implications, 1949-1959." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31227892.
Full text
3
Kyser, Tiffany S. "Folked, Funked, Punked: How Feminist Performance Poetry Creates Havens for Activism and Change." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2192.
Full textAbstract:
Thesis (M.A.)--Indiana University, 2010.Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).
4
Hambridge, Katherine Grace. "The performance of history : music, identity and politics in Berlin, 1800-1815." Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283937.
Full text
5
Micic, Peter 1965. "School songs and modernity in late Qing and early republican China." Monash University, School of Asian Languages and Studies, 1999. http://arrow.monash.edu.au/hdl/1959.1/7654.
Full text
6
Reeve, Zoë Rose Louise Patricia. "Staged authenticities an exploration of the representations of AmaXhosa culture within the main programme of the National Arts Festival, 2009." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002378.
Full textAbstract:
This thesis investigates the presentation of AmaXhosa traditional dancing and music on the stages of the National Arts Festival (NAF), Main Programme, of South Africa in 2009. Four productions featuring AmaXhosa traditional dancing and music, as well as a fine art exhibition, are analysed to determine how the AmaXhosa culture is being portrayed, what is considered authentic and how these productions may affect the memory of the AmaXhosa nation. In an attempt to understand the position of these productions within the NAF the South African cultural context as well as the NAF is examined. The post-apartheid, post-rainbow nation, South African cultural context is discussed and how the NAF could contribute towards creating a more unified South African identity. Incorporated and inscribed memory categories are related to how one could determine authenticity in traditional indigenous productions. A cautionary note on incorporated memory is linked to efficacy, while a loss of incorporated memory within the AmaXhosa society may result in ritual acts being orientated towards entertainment. If the private culture is consistently displayed in the public realm then it is inevitable that the ways in which the AmaXhosa recollect their history will be altered. The contribution of the transitional spaces of theatres and proscenium arch stages to the choreography and incorporated memory of the performers relates to the collective recollection of the AmaXhosa. Bearing this in mind, this thesis suggests that the NAF is playing a dual role in the evolution of the AmaXhosa. It is both positively contributing to the economic upliftment of a sector of the population and exposing people to this rich and multilayered culture. However, it is also impacting the efficacy of the private culture and fracturing the traditional knowledge of the AmaXhosa by assisting in the inscription of their performance forms.This thesis consists of three parts (1 pdf document and two video mp4 files)
7
Shadrack, Jasmine Hazel. "Denigrata cervorum : interpretive performance autoethnography and female black metal performance." Thesis, University of Northampton, 2017. http://nectar.northampton.ac.uk/9679/.
Full textAbstract:
I am concerned with the performance of subversive ... narratives ... the performance of possibilities aims to create ... a ... space where unjust systems and processes are identified and interrogated. (Madison 280). If a woman cannot feel comfortable in her own body, she has no home. (Winterson, J; The Guardian 29.03.2013). Black metal is beyond music. It exceeds its function of musical genre. It radiates with its sepulchral fire on every side of culture [...] Black metal is the suffering body that illustrates, in the same spring, all the human darkness as much as its vital impetus. (Lesourd 41-42). Representation matters. Growing up there were only two women in famous metal bands that I would have considered role models; Jo Bench from Bolt Thrower (UK) and Sean Ysseult from White Zombie (US). This lack or under-representation of women in metal was always obvious to me and has stayed with me as I have developed as a metal musician. Women fans that see women musicians on stage, creates a paradigm of connection; that representation means something. Judith Butler states ‘on the one hand, representation serves as the operative term within a political process that seeks to extend visibility and legitimacy to women as political subjects; on the other hand, representation is the normative function of language which is said either to reveal or distort what is assumed to be true about the category of women’ (1). Butler references de Beauvoir, Kristeva, Irigaray, Foucault and Wittig regarding the lack of category of women, that ‘woman does not have a sex’ (Irigaray qtd. in Butler 1) and that ‘strictly speaking, “women” cannot be said to exist’ (Kristeva qtd. in Butler 1). If this is to be understood in relation to my research, my embodied subjectivity as performative text, regardless of its reception suggests that my autoethnographic position acts as a counter to women’s lack of category. If there is a lack of category, then there is something important happening to ‘woman as subject’. This research seeks to analyse ‘woman as subject’ in female black metal performance by using interpretive performance autoethnography and psychoanalysis. As the guitarist and front woman with the black metal band Denigrata, my involvement has meant that the journey to find my home rests within the blackened heart of musical performance. Interpretive performance autoethnography provides the analytical frame that helps identify the ways in which patriarchal modes of address and engagement inform and frame ‘woman as subject’ in female black metal performance.
8
Schneider, William Steven. "Music and Race in the American West." PDXScholar, 2017. https://pdxscholar.library.pdx.edu/open_access_etds/3674.
Full textAbstract:
This thesis explores the complexities of race relations in the nineteenth century American West. The groups considered here are African Americans, Anglo Americans, Chinese, Mexican Americans, and Native Americans. In recent decades historians of the West have begun to tell the narratives of racial minorities. This study adopts the aims of these scholars through a new lens--music. Ultimately, this thesis argues that historians can use music, both individual songs and broader conceptions about music, to understand the complex and contradictory race relations of the nineteenth century west.
Proceeding thematically, the first chapter explores the ways Anglo Americans used music to exert their dominance and defend their superiority over minorities. The second chapter examines the ways racial minorities used music to counter Anglo American dominance and exercise their own agency. The final chapter considers the ways in which music fostered peaceful and cooperative relationships between races. Following each chapter is a short interlude which discusses the musical innovations that occurred when the groups encountered the musical heritage of one another.
This study demonstrates that music is an underutilized resource for historical analysis. It helps make comprehensible the complicated relations between races. By demonstrating the relevance of music to the history of race relations, this thesis also suggests that music as a historical subject is ripe for further analysis.
9
Tsai, Tsung-Han. "Hearing Forster : E.M. Forster and the politics of music." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4424.
Full textAbstract:
This thesis explores E. M. Forster's interest in the politics of music, illustrating the importance of music to Forster's conceptions of personal relationships and imperialism, national character and literary influence, pacifism and heroism, class and amateurism. Discussing Forster's novels, short stories, essays, lectures, letters, diaries, and broadcast talks, the thesis looks into the political nuances in Forster's numerous allusions and references to musical composition, performance, and consumption. In so doing, the thesis challenges previous formalistic studies of Forster's representations of music by highlighting his attention to the contentious relations between music and political contingencies. The first chapter examines A Passage to India, considering Forster's depictions of music in relation to the novel's concern with friendship and imperialism. It explores the ways in which music functions politically in Forster's most ‘rhythmical' novel. The second chapter focuses on Forster's description of the performance of Lucia di Lammermoor in Where Angels Fear to Tread. Reading this highly crafted scene as Forster's attempt to ‘modernize' fictional narrative, it discusses Forster's negotiation of national character and literary heritage. The third chapter assesses Forster's Wagnerism, scrutinizing the conjunction between Forster's rumination on heroism and his criticism of Siegfried. The chapter pays particular attention to Forster's uncharacteristic silence on Wagner during and after the Second World War. The fourth chapter investigates Forster's celebration of musical amateurism. By analysing his characterization of musical amateurs and professionals in ‘The Machine Stops', Arctic Summer, and Maurice, the chapter discusses the gender and class politics of Forster's championing of freedom and idiosyncrasy.
10
Antrobus, Richard Roy. "The advent of the 'Festivore' an exploration of South African audience attendance in the performing arts at the National Arts Festival." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002362.
Full textAbstract:
In South Africa, the performing arts have contributed to enhancing national identity and distinctiveness despite coming up against weak legislation, policy and infrastructure to support their growth and proliferation (Fredericks, 2005: 9). Coupled with a decline in both government and consumer support and the contradictory disparity between valuing the arts and the funding of the arts, theatre companies can no longer rely on the comfort of external subsidies and financial support. In order to be economically viable and sustainable to ensure their survival, there is an increasing demand for theatre companies to look to novel ways of increasing audience demand for theatre and improving audience attendance. However, instead of risking artistic integrity and the performance product to satisfy the market, this research suggests that promotion and development of theatre at arts festivals provides a platform to access a wider theatre-going public, which therefore facilitates a change in the market focus toward appreciation of the product (production). It explores leading arguments pertaining to the attendance of arts and cultural events, namely, Peterson and Simkus (1992), later updated by Peterson‟s (2005)„omnivore-univore‟ argument. The argument purports cultural consumption as binary in nature: either significant and diverse or limited, if not absent altogether. Supported by a number of case-studies, including Chan and Goldthorpe (2005) and Montgomery and Robinson (2008) and Snowball et al. (2009), the investigation challenges Bourdieu‟s (1984) theory on cultural distinction as well as the homology and individualisation argument. In determining the factors that influence cultural taste and consumer behaviour, including motivators and inhibitors of attendance and a predominant emphasis on audience risk and information asymmetry, the research was placed in a local context, providing an overview of the socio-economic theatre environment in South Africa. It investigated the nature, structure and impact of local festivals (as events) in changing audience demand and theatre attendance. With specific reference to the South African National Arts Festival (NAF) the research notes the effects of Hauptfleisch‟s „eventification‟ phenomenon on univore attenders and therefore expands the omnivore-univore theory to include a new breed of attender: the “Festivore”. A case study explored the “Festivore” hypothesis through empirical research, surveys and face-to-face qualitative interviews and on-seat questionnaire responses by festival attenders. Personal interviews and communication was also carried out with leading experts in the field. The data was then analysed using SPSS 13 electronic statistical analysis programme to determine the socio-demographics and the factors that affect theatre attendance of existing, as well as potential target, theatre audiences at the National Arts Festival The study concluded that South African theatre attenders are generally omnivorous consumers and that, more importantly, there seems to be a shift towards „festivorous‟ consumption. Furthermore, evidence supports the development and proliferation of festivals as a means not only to support and promote the arts in South Africa but, more importantly, to generate new theatre audiences and entrench theatre attendance into South African culture.
Books on the topic "Political aspects of Music festivals"
1
Unverhau, Henning. Gesang, Feste und Politik: Deutsche Liedertafeln, Sängerfeste, Volksfeste und Festmähler und ihre Bedeutung für das Entstehen eines nationalen und politischen Bewusstseins in Schleswig-Holstein 1840-1848. Frankfurt am Main: P. Lang, 2000.
Find full text
2
1946-, Connell John, ed. Music festivals and regional development in Australia. Burlington, VT: Ashgate, 2011.
Find full text
3
Gebhardt, Winfried. Fest, Feier und Alltag: Über die gesellschaftliche Wirklichkeit des Menschen und ihre Deutung. Frankfurt am Main: P. Lang, 1987.
Find full text
5
Kötzing, Andreas. Kultur- und Filmpolitik im Kalten Krieg: Die Filmfestivals von Leipzig und Oberhausen in gesamtdeutscher Perspektive, 1954-1972. Göttingen: Wallstein, 2013.
Find full text
6
Las liturgias del poder: Celebraciones públicas y estrategias persuasivas en Chile colonial, 1609-1709. Santiago, Chile: DIBAM, 2001.
Find full text
7
Freed, Gwendolyn. Musician's resource: The Watson-Guptill guide to workshops, conferences, residential programs, academic programs, festivals, masterclasses. New York: Watson-Guptill Publications, 1997.
Find full text
8
Noise: The political economy of music. Minneapolis: University of Minnesota Press, 1989.
Find full text
9
Attali, Jacques. Noise: The political economy of music. Minneapolis: University of Minnesota Press, 1985.
Find full text
10
Parades and the politics of the street: Festive culture in the early American republic. Philadelphia, Pa: Penn, University of Pennsylvania Press, 1997.
Find full textBook chapters on the topic "Political aspects of Music festivals"
1
Kallio, Alexis Anja. "Doing Dirty Work: Listening for Ignorance Among the Ruins of Reflexivity in Music Education Research." In The Politics of Diversity in Music Education, 53–67. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_5.
Full textAbstract:
AbstractRecent research in music education has emphasized the importance of reflexive approaches in unsettling the concept of a neutral, objective researcher and critically considered the ways in which cultural others are represented in research texts. Seen to enhance both the rigor and ethical dimensions of research practice, reflexivity has emerged as a hegemonic virtue, highlighting the inherently political aspects of research practice. In this chapter, I interrogate the politics of inquiry involved in reflexive research, considering the ways in which reflexivity may afford the researcher methodological power and hinder relational and responsible work. Reflexivity is thus positioned as a ruin: perpetually reaffirming the benevolence of the already-privileged researcher while doing little to disrupt the structures that keep such privileges at the center of academic practice. However, rather than abandoning such practices altogether, I suggest that reflexivity might be better considered as a way to listen for ignorance and direct attention toward ontological or epistemological difference. In this way, reflexivity serves as an invitation to engage in the politics of diversity through the transformation of researchers themselves.
2
Frith, Simon, Matt Brennan, Martin Cloonan, and Emma Webster. "The political economy of music festivals." In The History of Live Music in Britain, Volume 3, 1985–2015, 83–96. Routledge, 2021. http://dx.doi.org/10.4324/9781315557168-6.
Full text
3
Jakelski, Lisa. "A Raucous Education." In Making New Music in Cold War Poland. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520292543.003.0004.
Full textAbstract:
Chapter 3 considers the effects that festival performances had on Warsaw Autumn audiences, as well the work these audiences performed through their listening practices. Public response was what demonstrated the Warsaw Autumn’s legitimacy as a socialist education project. Concertgoers’ uninhibited behaviors had additional meaning as forms of political action and strategies to accrue social and cultural prestige. Drawing on political scientist Michael Chwe’s theory of common knowledge formation, the chapter further argues that scandals were an important aspect of public education and taste formation at the Warsaw Autumn. The public contributed to the genre-making that took place via festival events, for their concert-hall behavior suggested that, in addition to various compositional styles and techniques, “contemporary music” entailed certain modes of audience response.
4
"Introduction : Some Aspects of Methodology." In The Politicized Muse: Music for Medici Festivals, 1512-1537, 1–8. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400872732-005.
Full text
5
Norton, Jacqui. "The Diggers’ Festival, Organising a community festival with political connotations." In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2631.
Full textAbstract:
This chapter examines the organisation of a community festival from an ethnographic perspective drawn from the festival organiser’s viewpoint. It will provide some context on the reasons for founding the Diggers’ Festival and examine key issues and difficulties surrounding the launch and development of a small festival that relates to historical political activities in the market town of Wellingborough, Northamptonshire, UK. As we shall see, most current political festivals in the UK tend to be events launched to commemorate historical milestones that have a political resonance. The chapter will make specific reference to the festival’s funding, audiences and branding, concluding with recommendations on how to move the festival forward. During 2010 the author was asked by the Independent Socialists of Wellingborough (ISW) to organise an evening event to commemorate the 17th century radicals known as the Diggers. As an individual with socialist leanings, the author agreed to promote the first event, which was held during March 2011, and was launched and branded as the Wellingborough Diggers’ Festival. Even though it was in its infancy arguably only an evening event with two professional performers, Ian Saville, a magician who promotes himself as ‘Magic for Socialism’ (Saville, n.d.), and well-established local folk and Americana band The Old Speckled Men, booked, it was felt necessary to launch the festival name and the branding, with the aim being to produce a steady growth into the fourth or fifth years. It was essential to raise awareness of the identity and purpose of the festival amongst like-minded individuals, the local community and people from surrounding areas. The fourth festival grew from being organised solely by the author to having a committee of an additional five volunteers who coordinated an afternoon fringe event based in a town centre public house with three live music artists/bands, including punk/poet Attila the Stockbroker. A writer who had written historical fiction for teenagers, including one that takes its inspiration from Gerrard Winstan- ley and the Diggers, was invited as a guest speaker to present her work in the local library. The local museum hosted a week long display on the Diggers including a copy of the declaration and a copy of a field map dated 1838 identifying the location of the Bareshanks field (the site of the Wellingborough digger community). The programme for the evening event commenced with a local author Alan Moore (V for Vendetta, Watchmen) as a key speaker, followed by performances by two professional live bands with ‘left’ tendencies. In addition to the general considerations of organising a festival, for instance audience, budget, funding, licensing, entertainment and promotion, coordinating a festival with such strong socialist values was going to be a challenge because of the political connotations.
6
Silvanto, Satu. "How to Flow." In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2647.
Full textAbstract:
The Flow Festival, which began in 2004, is a rhythm music festival that takes place every August in Helsinki, the Finnish capital. It started out as a small event organised by a group of friends. Ten years later its audience figures have multiplied, the festival organisation has professionalised and the Flow Festival is now one of the biggest arts festivals in Finland. In this paper, I describe the development of the festival, how it uses/plays with urban space and why it is especially popular with well-educated young and early-middle-aged local audiences. Furthermore, I discuss key factors that have contributed to the success of the Flow Festival: the urban nature of the festival, its strong use of and presence in social media, the role of the festival as an after-holiday meeting point and, last but not least, its artistic quality (Klaić 2007a). Flow is certainly an artistic festival. However, commercial aspects have gained importance as the festival has grown. Without commercial knowhow, such a big event would not be viable, no matter how ambitious it is artistically. The paper is based on several data sources: the festival’s user studies conducted by Cantell in 2005 (Cantell 2007) and by the festival organisers in 2007 and 2010–2012; an internet survey on festival participation conducted among the residents of Helsinki Metropolitan area in 2006 (Linko and Silvanto 2011); articles about the festival published in Helsingin Sanomat (the main newspaper in Helsinki and Finland) since 2004; and interviews with the Managing Director of the festival.
7
Narang, Gopi Chand. "The Rhetorical Aspects of the Urdu Ghazal." In The Urdu Ghazal, translated by Surinder Deol, 197–232. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0005.
Full textAbstract:
The Urdu ghazal is truly an Indian invention. Although initially it borrowed themes and legendary references from the Persian and Arab cultures, with the passage of time it became the mirror-image of blended Indian culture. The chapter explains how the ghazal incorporates Indian mythologies like the Ramayana and the Mahabharata, social and geographical features like rivers, festivals, customs and rituals, flowers and flowering trees, birds and animals, seasons and climate, cities and places, and finally music and ragas.
8
Maughan, Christopher, and Ljiljana Radošević. "Are You Having a Laugh, Comedy and Festivals in the 21st Century." In Focus on World Festivals. Goodfellow Publishers, 2016. http://dx.doi.org/10.23912/978-1-910158-55-5-3005.
Full textAbstract:
Humour and comedy are emergent topics for academic researchers whose work is illuminating our understanding of the power and purpose of humour and comedy for people and society (Lockyer and Pickering, 2005; Jeffries, 2014). However, much of this output discusses the impact of humour and comedy itself and little has been written about it in the context of a festival. This chapter takes as its focus two established and successful festivals: the International Festival of Comics (FIBD) in Angoulême, France; and Dave’s Leicester Comedy Festival (DLCF) in England. 2 This choice reflects several factors. The first is that the authors have had personal experience of both, Radosevic with FIBD, and Maughan with DLCF. These personal insights have been aligned with selected theoretical perspectives to provide an analysis which seeks to draw out factors of relevance to those studying and/ or working in a festival, in particular how a festival and its management culture need to change through time and with time (life cycle theory); the relationship of a festival to its artistic and cultural roots (liminal/liminoid effects); and the impact of commercial culture on both. Comedy and the desire to laugh are universal. The cartoonist Robert Makoff discussed the distinction between humour and comedy in the following way: “all comedy has humour, but not all humour is comedy. Humour is the much broader category of anything that may make us laugh, such as a loud fart at a funeral, which is funny but not comedy. Comedy is a form of professional entertainment, consisting of jokes and sketches intended to make people laugh” (Mankoff, 2014). The works of Aristophanes, born in 446 B.C., are noted for their political satire and abundance of sexual innuendo, features that we easily recognise today in humour based comics and stand-up comedy. The history of contemporary comics is traced back to artists such as Hogarth and subsequently to satirical magazines of the nineteenth century. Comedy as a feature of performance has a special place in theatre, dance and music, and of course in the UK within the music hall tradition. However, whole festivals devoted to comics or performed comedy feature less prominently in the festival culture tradition.
9
Ruiz, Teofilo F. "Noncalendrical Festivals: Life Cycles and Power." In A King Travels. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691153575.003.0009.
Full textAbstract:
This chapter discusses noncalendrical celebrations, that is, those high moments in the life cycle—birth, coming of age, coronation, marriage, and death—and the celebratory, almost ritualized, aspects of events organized to mark such important moments in the life cycles of kings and their close families. Celebrations often served as an extension of kingly and noble hegemony. In this regard, how other contending centers of authority—cities, noblemen, ecclesiastical authorities, and others—reacted to, shared in, or ignored these celebrations provides telling signs that none of these feasts were innocent affairs undertaken “just for fun.” They were always rife with wider political intent and meaning.
10
Whitmore, Aleysia K. "Experiencing Pleasure." In World Music and the Black Atlantic, 177–206. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083946.003.0007.
Full textAbstract:
This chapter explores how audiences experience these musics and why they are drawn to them. The chapter shows how politics and pleasure intertwine for audiences at performances. Audiences find pleasure in “exotic” sounds and in the politics these musics allow them to express and experience. Festivals and concert halls offer fleeting spaces in which audiences express and experience their aesthetic and political imaginations in pleasurable ways. They create new dance moves, meet Greenpeace volunteers, and listen to musicians promote African children’s charities. Audiences’ experiences of pleasure, unconstrained by (yet made possible by) Western culture and politics, is paramount as they develop a particular kind of connoisseurship and love of world music in which the depth of their fandom does not emerge from profound knowledge of a band but rather from a commitment to the cultural and political world they see on stage and experience off stage.
Conference papers on the topic "Political aspects of Music festivals"
1
Aliel, Luzilei, Rafael Fajiolli, and Ricardo Thomasi. "Tecnofagia: A Multimodal Rite." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10454.
Full textAbstract:
This is a concert proposal of Brazilian digital art, which brings in its creative core the historical and cultural aspects of certain locations in Brazil. The term Tecnofagia derives from an allusion to the concept of anthropophagic movement (artistic movement started in the twentieth century founded and theorized by the poet Oswald de Andrade and the painter Tarsila do Amaral). The anthropophagic movement was a metaphor for a goal of cultural swallowing where foreign culture would not be denied but should not be imitated. In his notes, Oswald de Andrade proposes the "cultural devouring of imported techniques to re-elaborate them autonomously, turning them into an export product." The Tecnofagia project is a collaborative creative and collective performance group that seeks to broaden aspects of live electronic music, video art, improvisation and performance, taking them into a multimodal narrative context with essentially Brazilian sound elements such as:accents and phonemes; instrumental tones; soundscapes; historical, political and cultural contexts. In this sense, Tecnofagia tries to go beyond techniques and technologies of interactive performance, as it provokes glances for a Brazilian art-technological miscegenation. That is, it seeks emergent characteristics of the encounters between media, art, spaces, culture, temporalities, objects, people and technologies, at the moment of performance.