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Relevant bibliographies by topics / Theatre festivals

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Academic literature on the topic 'Theatre festivals'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 July 2024

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Journal articles on the topic "Theatre festivals"

1

YEGANEH, FARAH. "Iranian Theatre Festivalized." Theatre Research International 30, no. 3 (2005): 274–83. http://dx.doi.org/10.1017/s0307883305001525.

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This article explores contemporary Iranian theatre festivals and their relation to the whole structure of theatrical playing in the country. It examines in particular the role of the most important decision-making centre for theatre and theatre festivals: the Dramatic Arts Centre (DAC), the theatrical branch of the Ministry of Culture. The main framework of the article is based on Willmar Sauter's model of the theatrical event. Two of his four elements have been selected to develop the concept of festivals as theatrical events. The section titled ‘Organization and cultural context’ will discus

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Rodriguez, Chantal. "Is One Octopus Enough?" Theater 49, no. 1 (2019): 6–21. http://dx.doi.org/10.1215/01610775-7253739.

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Likening Latinx theater to many octopuses with many legs, Chantal Rodriguez reflects on the 2017 Encuentro de las Américas Festival, hosted in Los Angeles by the Latino Theater Company, which included the first international convening of the Latinx Theatre Commons. Rodriguez describes current and emerging trends in Latinx theater across the Americas as expressed over the course of two panel discussions and among small-group participants. Recounting how these geographically diverse conveners responded to questions concerning Latinx aesthetics, political activism, funding, festivals, and inclusi

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

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

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Filewod, Alan. "Popular Theatre." Canadian Theatre Review 53 (December 1987): 3. http://dx.doi.org/10.3138/ctr.53.fm.

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Only recently has the phrase “popular theatre” won acceptance in Canada to describe theatre for social action and community development. Ever since Kam Theatre’s Bread & Circuses Festival in Thunder Bay in 1981, where representatives of a dozen companies founded the Canadian Popular Theatre Alliance, the idea of theatre as a tool of development has made increasing inroads among educators, development agencies, and of course, in the theatre profession itself. Three successive CPTA festivals (Bread & Roses, Edmonton 1983, Bread & Dreams, Winnipeg 1985, and Standin’ the Gaff, Sydney 1

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Hauptfleisch, Temple. "Eventifying Identity: Festivals in South Africa and the Search for Cultural Identity." New Theatre Quarterly 22, no. 2 (2006): 181–98. http://dx.doi.org/10.1017/s0266464x0600039x.

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Festivals have become a prominent feature of theatre in South Africa today. More than forty such annual events not only provide employment, but constitute a socio-cultural polysystem that serves to ‘eventify’ the output of theatre practitioners and turn everyday life patterns into a significant cultural occasion. Important for the present argument is the role of the festivals as events that foreground relevant social issues. This is well illustrated by the many linked Afrikaans-language festivals which arose after 1994, and which have become a major factor not only in creating, displaying, and

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Gomez-Casero, Gema, Carol Angélica Jara Alba, Tomás López-Guzman, and Jesús Claudio Pérez Gálvez. "Theatre festival as a tourist attraction: a case study of Almagro International Classical Theatre Festival, Spain." International Journal of Culture, Tourism and Hospitality Research 14, no. 4 (2020): 599–617. http://dx.doi.org/10.1108/ijcthr-04-2019-0061.

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Purpose Researchers have become aware of the importance of festivals as a phenomenon worthy of studying, but in-depth studies of cultural festivals are lacking. The purpose of this study is to describe the attributes of cultural festivals, specifically theatre festivals and examine the motivations to organise them. Similarly, this study seeks to discover the type of tourist that attends these types of festivals. Design/methodology/approach A questionnaire was applied to a representative sample of tourists who visited one of the most prestigious festivals in the international panorama: Almagro

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Đurica, Radmilla. "Imaginative Anarchy." Maska 31, no. 177 (2016): 102–9. http://dx.doi.org/10.1386/maska.31.177-178.102_1.

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Like numerous other festivals, the PUF festival in Croatia got its start as an experiment, in this case following the war and disintegration of Yugoslavia. In an era of great crisis in the Croatian theatre scene, this international festival introduced a new dramatic vocabulary. It was founded in 1994 by the directors of three non-institutional theatres: Branko Sušec (PUF), Nebojša Borojević (the Daska Theatre in Siska), and Roman Bogdan (the Čakovec Pinklec). In the war-torn 90s, the founders decided that the festival was to take place in Pula and not Dubrovnik because the war had largely spar

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RENIHAN, COLLEEN. "Pitching Opera: Innovating New Music Theater at Banff and Stratford, 1970–1990." Journal of the Society for American Music 14, no. 1 (2020): 33–50. http://dx.doi.org/10.1017/s1752196319000531.

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AbstractThe Banff Summer Festival of the Arts and the Stratford Summer Music Festival have been unrecognized sites of operatic innovation in Canada. Indeed, the flourishing of what might be termed “new music theater” in Canada is imbricated with the history of these two festivals. Archival research reveals that the inventive, often revolutionary, approaches to music theater honed at Stratford and Banff from 1970–1990 ultimately defined the course of Canadian new music theatre in the decades that followed. Founded in 1953 as a Shakespeare festival, the Stratford Festival eventually became renow

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Paterson, Erika. "Exploring the Fringe / 1: The Self-Determined Audience." Canadian Theatre Review 67 (June 1991): 49–53. http://dx.doi.org/10.3138/ctr.67.009.

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The Canadian Fringe Festivals are a uniquely new form of theatre within the realms of “fringe” theatre, other Fringe Festivals, and Canadian theatre in general. As a theatre event the Fringes are unique in terms of their actual and ideological relationship to institutionalized theatre; their economical and philosophical relationship with artists and audience, and most significantly, their neglect or rejections of “normally” imposed artistic value / criteria. As a festival event the Fringes are uniquely situated somewhere between official celebration and popular celebration. And the audience, w

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Harbuziuk, Maiia. "“We Could Have Ventured in the Opposite Direction”: Exploring the Legacy of Polish Theatre on the Festival Map of Independent Ukraine." Pamiętnik Teatralny 72, no. 4 (2023): 57–80. http://dx.doi.org/10.36744/pt.1550.

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This article examines the representation of Polish theatre on the Ukrainian festival map. This study includes key stages, events, and trends, and aims to uncover both positive developments and underlying problems. The research is based on sources such as published material, information resources, and my experience as a theatre critic. The periods of individual “breakthroughs” (1992–2000), “local encounters” (2001–2011), and “dramaturgical and performative landing forces” (from 2011) are identified and briefly characterized. The article outlines a broad geographical and genre-specific range of

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Dissertations / Theses on the topic "Theatre festivals"

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Le, Grange Rene. "Effective planning and organisation of a student theatre festival." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-08112004-100939.

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Piola, Catherine. "Le "Dublin Theatre Festival", analyse, rôle et impact, de 1957 à 1992." Paris 3, 1994. http://www.theses.fr/1994PA030192.

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L'objectif de cette thèse est d'analyser le rôle et l'impact du festival de théâtre de Dublin depuis sa création en 1957. Une période de trente-cinq années est étudiée, soit, en fait, trente-deux festivals, le dernier pris en considération étant celui de 1992. Pour cela, trois aspects sont successivement abordés : d'une part, l'analyse s'articule autour de la genèse de la manifestation, en rappelant le contexte culturel de l'Irlande des années cinquante et en s'attachant à définir la forme festivalière, dans différentes disciplines artistiques et dans le cas spécifique des festivals d'art dram

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Vedralová, Hana. "Papírové divadlo jako specifická součást české loutkářské tradice." Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-198428.

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The aim of the diploma thesis is to describe foreign tradition of paper theatre, history and presence of its Czech counterpart and to set this theatrical genre in the context of Czech puppetry. First part is dedicated to the history of the foreign paper theatre, its festivals and current trends. Second part focuses on the history of Czech family theatre and a paper theatre as its element. The last part introduces Czech puppet players and theatre companies who reflect this tradition in their art.

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Read, Richard. "Revitalizing New Orleans theatre community: a report on an Arts Administration internship with DramaRama New Orleans, Louisiana, Summer and Fall, 1997." ScholarWorks@UNO, 1999. http://scholarworks.uno.edu/aa_rpts/38.

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What follows is a play-by-play account of my work with DramaRama 5, followed by an explanation of my precise duties at the festival, my assessment of DramaRama 5, and my thoughts on the organization's future and what lessons I will take with me as I progress in my career.

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Ruano, Jessica. "Impressions of 'Newness' in English Canadian Theatre The role of festivals in the consecration and distribution of new work." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28790.

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In English Canadian theatre, there exists a significant divide between established works produced in the mainstream and new work that has traditionally been relegated to the margins of institutional practice. Seeking to bridge this divide are a number of festivals committed to fostering and showcasing plays by Canadian theatre artists and companies and to attracting presenters interested in programming new works for future seasons. In order to succeed in the festival circuit, independent companies must, to a certain extent, cater to the expectations of organizations that value performance that

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Golisano, Alice. "Les festivals internationaux de théâtre comme médiateurs culturels dans la construction de la cohésion européenne et leur rôle dans Diplomatie culturelle." Electronic Thesis or Diss., CY Cergy Paris Université, 2024. http://www.theses.fr/2024CYUN1275.

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Pour le but de mon projet, j'ai choisi de me concentrer sur trois festivals de théâtre européens: le Festival d'Avignon, le Festival international de théâtre de Belgrade (BITEF) et le Festival international de théâtre de Sibiu (FITS), qui représentent diverses cartographies européennes aux trajectoires géopolitiques et culturelles complexes. La thèse montre comment ces festivals ont réagi aux ferments historiques de l'Europe d'après-guerre, et comment les allégeances politiques et les politiques culturelles de leurs pays ont affecté leurs approches curatoriales. J'avais l'intention d'explorer

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Narciso, Teresinha Corrêa. "MOSTRA DE TEATRO DE MONTES CLAROS: Registro e reflexão sobre uma organização teatral na cidade de Montes Claros, Minas Gerais." Escola de Teatro, 2011. http://repositorio.ufba.br/ri/handle/ri/27287.

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Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-31T16:19:32Z No. of bitstreams: 1 DISSERTAÇÃO COMPLETA - TERESINHA CORRÊA NARCISO.pdf: 1689443 bytes, checksum: 3d3bec726d4efcc5aae9aa43f10fc7b5 (MD5)<br>Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-11T13:15:52Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO COMPLETA - TERESINHA CORRÊA NARCISO.pdf: 1689443 bytes, checksum: 3d3bec726d4efcc5aae9aa43f10fc7b5 (MD5)<br>Made available in DSpace on 2018-09-11T13:15:52Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO COMPLETA - TERESINHA CORR

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Schoone-Jongen, Terence G. "Tulip time, U. S. A. staging memory, identity and ethnicity in Dutch-American community festivals /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1172255860.

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Blasenak, Andrew Michael. "Six Companies in Search of Shakespeare: Rehearsal, Performance, and Management Practices by The Oregon Shakespeare Festival, The Stratford Shakespeare Festival, The Royal Shakespeare Company, Shakespeare and Company, Shakespeare’s Globe and The Ame." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354047834.

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Batchelder, Xela. "The world's largest arts festival, The Edinburgh Festival Fringe: mechanics, myth and management." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1149104422.

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Books on the topic "Theatre festivals"

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Festivals & folk theatre of Odisha. Shubhi Publications, 2016.

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Bitef: Pozorište, festival, život. Altera, 2010.

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Dijalog s tradicijom: BITEF 1967-2006. Službeni glasnik, 2012.

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Sunil, Kothari, Karlekar Ranjita, Crafts Council of West Bengal., India. Office of the Development Commissioner (Handicrafts), Eastern Zonal Cultural Centre (India), and Festival of Traditional Theatre & Theatre Crafts of Eastern India., eds. Damaru, Festival of Traditional Theatre & Theatre Crafts of Eastern India. Published by the Council and the Centre, 1989.

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1964-, Wilson Peter, ed. The Greek theatre and festivals: Documentary studies. Oxford University Press, 2007.

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Adjudicating theatre performance: Responding to competitions and festivals. Dramatic Publishing, 2010.

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Chiriac, Constantin. Festivalul Internaţional de Teatru de la Sibiu. Dialoguri culturale: Sibiu International Theatre Festival. Cultural conferences. Editura Junimea, 2020.

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Chiriac, Constantin. Festivalul Internaţional de Teatru de la Sibiu. Aleea celebrităților: Sibiu International Theatre Festival. Walk of fame. Editura Junimea, 2020.

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Theatre Festival (1998 Kathmandu, Nepal). Theatre Festival 12-18 June 1998, Kathmandu. The School, 1998.

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Harding, Bill. York Film Theatre: The first 25 years. York Film Theatre, 1993.

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Book chapters on the topic "Theatre festivals"

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Falconer, Karl. "Festivals." In Starting a Theatre Company. Focal Press, 2023. http://dx.doi.org/10.4324/9781003281726-11.

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White, Willie. "Festivals and Curation: What Is a Festival For?" In The Palgrave Handbook of Contemporary Irish Theatre and Performance. Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-58588-2_44.

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Arfara, Katia. "Festivals and curation." In The Routledge Companion to Contemporary European Theatre and Performance. Routledge, 2023. http://dx.doi.org/10.4324/9781003082538-76.

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McIvor, Charlotte, and Ian R. Walsh. "Introduction." In Contemporary Irish Theatre. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-55012-6_1.

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AbstractThis Introduction outlines the structure of the book as it surveys contemporary Irish theatre from 1957 to the present in a two-part structure. Part I: Histories, situates the theatrical activity of twentieth- and twenty-first-century Ireland within its social and political contexts, identifies key practitioners, landmark productions, institutions, festivals and seminal revivals. Part II: Theories, offers five key theoretical frameworks—nation, language, body, space and interculturalism—to examine contemporary Irish theatre practices in the Republic and Northern Ireland. The deliberate decentralising of the play text and playwright as the most important nodal points for understanding the progression of contemporary Irish theatre is argued and the decision to foreground the contributions of artistic directors, scenographers, actors, directors, activists and administrators justified.

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Varney, Denise, Peter Eckersall, Chris Hudson, and Barbara Hatley. "Cultural Exchange, Arts Festivals and Markers of Modernity." In Theatre and Performance in the Asia-Pacific. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137367891_14.

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Kitchen, Jennifer. "Shakespeare Youth Performance Festivals as Spaces for Postcolonal Restorying." In The Routledge Companion to Theatre and Young People. Routledge, 2022. http://dx.doi.org/10.4324/9781003149965-7.

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"3.4 Curating Theatre / Theatre Curating." In Curating Contemporary Music Festivals. transcript-Verlag, 2020. http://dx.doi.org/10.14361/9783839452431-013.

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"3.4 Curating Theatre / Theatre Curating." In Curating Contemporary Music Festivals. transcript Verlag, 2020. http://dx.doi.org/10.1515/9783839452431-013.

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Slater, William. "Deconstructing Festivals*." In The Greek Theatre and Festivals. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199277476.003.0003.

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Abstract A Seleukid king tells his bureaucrats to ensure that a cult of Artemis is established on an island in the Persian Gulf, and that there should be gymnic competitions; the surviving inscriptions testify to the footdragging that this insensitive missive produced for those on the spot. Cultural intrusions into the Gulf are no new thing, but this example serves to remind us that the Greek world, unlike ours, was a militant festival culture. A composite picture of a festival can certainly be drawn. A recent inscription from Kos tells us usefully that a festival comprised thusia (sacrifice), panegyris, theorodokia (festival ambassadors), and competitions. But some Hellenistic festivals did not have a real panegyris, if that means a market fair as well as a festival, let alone an expensive theorodokia, which we could translate as a marketing strategy.

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Winkelhorn, Kathrine. "The Enchanted City, Holstebro Festive Week, an experiential and social cultural space." In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2651.

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In 1989 Odin Teatret established the Holstebro Festive Week (Denmark), and did so by involving the entire city and its inhabitants. The Festive Week promptly became an on-going event, which takes place every three years in June. What characterises the Holstebro Festive Week in particular? And how has this event influenced the city and its citizens in the longer run? In other words, how can an event like the Festive Week contribute to enriching a city for more than just a week? When I interviewed the Mayor about the Festival and the theatre’s role in the event, he said: “What the theatre brings us is popular and I think it is crucial that we get common experiences in which we can mirror ourselves – in the selfish society we are currently living in. In Holstebro we have become dependent on Odin Teatret, which makes us take part and which has become a common denominator for the entire city. It is a gift that we have Odin Theatret” (interview with the author, June 2011). 1 It is a rather unusual statement for a mayor to make that a theatre is a gift for a city and that it has become a ‘common denominator’ 2 for the city – and, what is more that the city has become dependent on the theatre. In this chapter I will reveal and explore how Odin Teatret involves the entire city. I will try to give a clear answer as to why the Mayor described the theatre as a ‘common denominator’. In my investigation of the theatre’s approach to the Festive Week I use my personal experience and knowledge from my time as assistant manager at the theatre (1987-88). Most of my research has been carried out in the form of field studies conducted during the Festival Weeks in 2008 and 2011. During both festivals I spent one week in Holstebro and the surrounding villages watching and observing how the local audience responded to the activities. In addition I carried out a series of semi-structured interviews with representatives from Holstebro: the head of police, the Deputy Mayor, the director of a travel agency, a librarian, a policeman, the Chairman of the Cultural Affairs Committee of the City Council, the head of city planning, the project leader from the Odin Theatre and a senior lecturer living in Holstebro and working at Aarhus University and finally the Mayor.

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Conference papers on the topic "Theatre festivals"

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Jara Calabuig, Aaron. "Urban stages: when cities and architecture become a theatre." In 3rd Valencia International Biennial of Research in Architecture, VIBRArch. Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/vibrarch2022.2022.15109.

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Throughout history, the theatre has played a decisive part in urban space configuration, not only because of the location of theatre buildings within the city. Outdoor performances in squares, streets and community facilities have also assumed an essential role in the organisation of public space. In this sense, touring theatre must be understood as a resource for transforming and revitalising cities. Festivals such as Avignon, Bilbao and Tàrrega are clear examples of how theatre can appropriate the urban or architectural context and generate new atmospheres. The study of these three cases aim

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Khalil-Butucioc, Dorina. "Stimulating dramaturgy in the Republic of Moldova: from art education to theater festivals." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.22.

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Starting with the 90s, realizing the need to support and promote the new national drama, at the Writers’ Union was set up a Drama Section, AMTAP introduced the Dramaturgy and Screenwriting specialty, the Ministry of Cultures and UNITEM initiated a National Drama Competition. In this context, Dramaturgy Workshops were created at the „Luceafărul” and „M. Eminescu” Theaters, at the Center for Contemporary Dramaturgy (CDC) (2012—2013), at the School of Contemporary Dramaturgy of the Center for Cultural Projects „Arta Azi” (2017, 2018, 2020); Dramaturgy camps were organized at the „Codru” Sanatoriu

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Fischer, Andre. "New transmedia design for traditional film festivals." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.121.

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The disruptive transformations process in the audiovisual sector were unexpectedly accelerated after the covid-19 pandemic. This caused a rearrangement in the chain of the distribution, exhibition and circulation, thus restructuring the whole design of film festivals, once considered the launching point of this entire industry and strongly based on specific physical locations. Streaming has become the main way in which image and sound content are distributed. Entertainment became multiplatform and interactive, changing the way in which narratives are structured, and these contents are produced

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Foster, Frank, and Joan Collins. "Computer animation festival/electronic theatre." In ACM SIGGRAPH 95 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '95. ACM Press, 1995. http://dx.doi.org/10.1145/216037.225466.

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Grant, Darin. "Computer animation festival trailer." In ACM SIGGRAPH 2003 video review on Electronic theater program. ACM Press, 2003. http://dx.doi.org/10.1145/1006032.1006055.

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HASLAM, LG. "THE ACOUSTIC DESIGN OF THE EDINBURGH FESTIVAL THEATRE." In Opera and Concert Hall Acoustics 1995. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/20026.

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SWIFT, PB. "THE ELECTRO-ACOUSTIC ENHANCEMENT OF THE ADELAIDE FESTIVAL THEATRE - A RE-SOUNDING SUCCESS?" In Auditorium Acoustics 2002. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/18329.

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POLACK, JD, and M. RETBI. "WAGNER AND THE CINEMA: A COGNITIVE APPROACH TO THE ACOUSTICS OF THE BAYREUTH FESTIVAL THEATRE." In Auditorium Acoustics 2011. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16841.

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CONDURACHE, Dumitriana. "A Diverse Beauty: Amore, by Pippo Delbono." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0015.

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To consider something or someone different is to discriminate. Objectively, this term has no moral connotation. You take a category and relate to it by choosing different references. Pippo Delbono manages to synthesize the beauty inside the difference; an intense, painful, even tough beauty. For him, contrast is not a method, but an acceptance of identity: marginalization as an existential condition. He places himself in both seats: in the audience – and inside the show. Spectator and actor, director, he changes the perspectives because he embraces them all, thus indicating that each of our ro

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Mardari, Elena. "Vlad Burlea – portrait of creation." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.05.

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Vlad Burlea is a prominent personality of the local musical culture. He is prodigiously active in the field of musical creation, signing works of great artistic value. He is involved in the musical life of the Republic, both by organizing various events, concerts, and directly participating in them. He manifests himself prodigiously in the sphere of musical pedagogy, educating generations of young musicians within the Ștefan Neaga Center of Excellence in Artistic Education and the Academy of Music, Theater and Fine Arts. The works of composer Vlad Burlea are successfully performed in concert h

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Reports on the topic "Theatre festivals"

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Ma

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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals act

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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Albury-Wodonga. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206966.

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Albury-Wodonga, situated in Wiradjuri country, sits astride the Murray River and has benefitted in many ways from its almost equidistance from Sydney and Melbourne. It has found strength in the earlier push for decentralisation begun in early 1970s. A number of State and Federal agencies have ensured middle class professionals now call this region home. Light industry is a feature of Wodonga while Albury maintains the traditions and culture of its former life as part of the agricultural squattocracy. Both Local Councils are keen to work cooperatively to ensure the region is an attractive place

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation an

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