ABSTRACT Rural art festivals in contemporary China have become spatial catalysts for cultural revitalization, where temporary installations and visual systems reshape the relationship between place, heritage, and identity. This study constructs a theoretical framework for brand visual environmental graphic design within the context of the Rural Revitalization Strategy, integrating cultural continuity with spatial innovation. Grounded in theories of place spirit, spatial power, and artistic transformation, the research establishes a six-element design system – visuality, culturality, artistry, interactivity, spatiality, and communicability – to interpret how graphic design mediates spatial experience and collective memory. Through case studies of the Guanzhong Harvest Festival, Nanhai Land Art Festival, and Dianchi Folk Art Season, the model is examined across diverse rural typologies. Findings reveal that spatially embedded graphic design enhances the legibility of local culture, transforms transient art into enduring place identity, and promotes the aesthetic and emotional reconstruction of rural space. The study contributes to architectural and environmental design discourse by proposing a transferable paradigm for visual cultural regeneration, offering methodological implications for future digital adaptation and spatial assessment in rural design practice.

In this diary of Edinburgh's 2025 Festivals, Mario Relich explores some of their key themes, not least in light of the radical approaches to the truth we seek.

With a focus on iconography, identity, and digitization, this study looks at the theology of visual sacredness in modern Islamic art in the digital age. The primary focus is on how representations of calligraphy, geometry, and light are exhibited as religious symbols that draw attention to the elements of tanzīh, taqdīs, and syi'ar. Curatorial publications of global exhibitions like the Islamic Arts Biennale in Jeddah supply the primary data for this investigation; it adopts a descriptive Qualitative approach: The Sharjah Islamic Arts Festival and Letters of Light at the Louvre Abu Dhabi provide secondary information derived from scholarly papers, news coverage, and online records. Analysis uses the Miles, Huberman, and Saldana paradigm; source triangulation is used to verify validity. The results show that modern art's use of Qur'anic imagery is not just sustained but also renewed by new media including multimedia installations, augmented reality, and virtual reality. The discourse of identity shows the conflict of Muslim artists with regard to their interior faith and the demands of the worldwide art market, with Strong emphasis on this among Muslim viewers is non-Muslim audience attention on appearance. Digitalization increases accessibility to sacredness yet raises questions about the fading of the aura of holy objects in digital forms. Modern Islamic art serves as a forum for public theology, fusing tradition, belief, and modernity, according to this study.

This study aims to critically examine the potential of rural festivals as instruments for sustainable community development, using the Keiskammahoek Music and Art Festival [KMAF], a rural home-grown festival hosted in the Eastern Cape province of South Africa as a case study. The KMAF serves as a compelling case study for understanding how locally initiated festivals in rural areas can drive social and economic transformation in rural contexts. Through a quantitative research design, questionnaire surveys were administered to Keiskammahoek residents (N=326) who had previously attended the KMAF using a convenience sampling technique. The data was analysed using the Statistical Package for Social Sciences (SPSS) software. Findings demonstrate how rural festivals can be utilized to make a significant contribution to sustainable rural community development especially through leveraging the tourism, marketing and economic opportunities presented by the festival. They reveal that rural festivals such as the KMAF can play a cruicial rôle in advancing sustainable development goals by harnessing tourism, marketing, and economic opportunities generated through the event. These festivals not only attract visitors and stimulate local businesses, but they also foster cultural pride and identity, thereby reinforcing the social fabric of rural communities. However, to achieve this and realize th full potential of such festivals, enhanced collaboration among event stakeholders in rural areas is essential, particularly to strengthen their connections, enabling the events to effectively impact the local communities. The study argues that better collaboration, improved stakeholder management, and eventually, efficient leveraging are suggested for the advancement and socioeconomic growth of South Africa's rural areas. By embedding collaboration and inclusivity in the festival planning and management, rural communities can transform these cultural events into sustainable engines of growth and development. The study suggests that the KMAF exemplifies how rural festivals, when effectively managed, can serve as a catalyst for long-term development, positioning them as valuable tools for the advancement of socioeconomic resilience in rural areas.

A Case Study on Technological Convergence and Sociocultural Expansion of Street Art in the Digital Age -Focusing on Domestic and International Works Presented at the Seoul Street Arts Festival-

Folk art festivals are crucial in maintaining cultural heritage, identifying the community, and intergenerational knowledge transfer. Nonetheless, visitor behavior in such culturally saturated settings is difficult to comprehend because of shifting patterns of crowds, differing groups of participants, and different forms of involvement. The latest developments in the field of artificial intelligence (AI) provide a strong toolkit to filter and process extensive data on visitor attendance to make decisions helpful in preserving culture and managing the event in real-time. This paper examines the application of AI-based visitor analytics, namely machine learning, computer vision, and natural language processing to the planning and assessment of folk art festivals. Through mixed-methods research methodology, the paper evaluates the capabilities of AI methods to analyze visitor traffic, forecast congestion, interpret sentiment using textual and verbal responses, and divide the audience into groups by their behavioral patterns. The case studies of the chosen folk art festivals illustrate that the AI-based analytics can offer much greater operational efficiency, visitor experience, and insights, compared to the traditional manual way of observing. The results point to the idea that real-time crowd tracking is a feature that promotes security and resource distribution, the sentiment analysis performs a detailed assessment of visitor perceptions, and behavioral modeling influences specific cultural programming.

Purpose Fear of missing out (FoMO) theory is often applied in non-marketing domains and associated with negative consequences. This study considers FoMO in the marketing domain of tourism and examines whether FoMO has a positive impact on tourist behavior. Using FoMO theory, push and pull travel motivation theory and regret theory, this study considers FoMO's role in tourists’ social media check-in behavior at new and old tourist attractions. Design/methodology/approach Partial least squares analysis was applied on survey information obtained from 416 individuals (199 for new-attraction and 217 for old-attraction) regarding their views on the land art attraction of Taiwan’s East Coast Land Art Festival. Findings Fear of missing out exerted greater influence on travel motivation for recent artworks than for previous artworks. While the arts motivation drove visit intention, check-in intention also played an important role. Check-in-related variables’ effect size on visit intention was medium for recent artworks and small for previous artworks. Originality/value FoMO, in the tourism context, has a positive effect on affecting tourist behavior by stimulating travel motivations and check-in motivations. Its effect is more evident in new than in old attraction, that is, attraction newness is a moderator. The impact of check-in behavior on visit intention is higher for the new than for the old attraction.

ABSTRACT Festivals are important, especially those focused on women empowerment and environmental sustainability. It is, therefore, tragic to witness the fast disappearance of traditional festivals in many parts of the world, especially in Africa. In southeastern Nigeria, Igbo communities are presently facing lots of ecological challenges from oil pollution to erosion and soil depletion in ways that displace inhabitants and leave the soil agriculturally unyielding. Yet, indigenous festivals that celebrate the earth and empower women for environmental sustainability are fast diminishing. Studies on indigenous festivals reveal a tremendous shift from the traditional culture to the contemporary art festivals of the postcolonial experience and Eurocentric exhibitions. This paper is an ethnographic engagement of ecofeminist belonging in Egba-ala festival narrative of Nsukka Igbo, Nigeria. Focusing on women and environmental sustainability, this paper interrogates indigenous traditional festivals as an attempt towards eco-gender decolonization. From in-depth interviews and participant observation, my study reveals ecofeminist relationship as a paradoxical belonging in Egba-ala festival narrative of Opi and Lejja communities of the northern Igboland known as the Nsukka Igbo.

This study investigates the relationship between local event loyalty and destination loyalty; it focuses on identifying the characteristics of high-loyalty tourists. Data from 12,391 tourists who attended a 2022 regional art festival were analyzed comprehensively. The path analysis results indicate that event revisit intention positively influences destination revisit intention, both of which are attitudinal factors of loyalty. Furthermore, behavioral factors such as previous visits, current season visits, and overnight stays, were found to affect event loyalty significantly. The study’s model provides a composite measure of tourists’ event loyalty, whereas the χ2 tests and descriptive analyses results reveal the characteristics of high-loyalty tourists. Specifically, art-related professionals and art lovers demonstrated high loyalty to the art event, with a subsequent increase in interest in visiting other tourist spots in the same destination and a positive impression of the prefecture where the event was held. The findings suggest that the event effectively contributed to destination branding, which encompasses tourist loyalty, intention to revisit the area, and image improvement. The research outcomes emphasize the significance of the event in regional revitalization efforts, highlighting the need for a comprehensive regional branding strategy that engages the entire region and improves event quality.

The study enhances the understanding of how rural cultural festivals in China can effectively strengthen local resilience through supporting the development of their social, cultural, and human capital. The authors employ a qualitative research method, utilizing in-depth case study alongside interviews with key actors and participant observation to gather, identify, and analyze main research points. Using the example of Gejia Village art festival, the authors demonstrate that rural cultural festivals, to be used as a means to enhance the community’s potential to contribute to local resilience and sustainable development, should simultaneously foster social, cultural, and human capital, and be integrated within the specific local socio-cultural context. The study’s findings have limited applicability due to its singular focus on the festival organized in one village, and its reliance on a qualitative methodology. Future research should examine the implications of this study across diverse contexts. This research provides valuable insights for local governments and leaders, as well as rural residents organizing community-based events, emphasizing the importance of sustainable development.

Ekaterinburg Academy of Contemporary Art has a unique collection of books on street art. The relevance of describing the collection in the university library is due to the growing interest in street art, public art, street art as a significant phenomenon of modern urban culture, which attracts the attention of both researchers and the general public. An important resource for understanding, analyzing and critically understanding this art is a specialized library collection, which currently includes 39 publications covering key areas of street art development and related genres in Russia and abroad. The collection was formed thanks to cooperation with the international street art festival “Stenograffia”, donations from leading experts and an active search for new publications, including both domestic and foreign publications. The purpose of the study is to comprehensively analyze the history of the formation, current state and functional purpose of the collection of books on street art in the university library, identify its role in the cultural representation of street art, critical understanding of the visual and social aspects of street art, as well as the use of the collection in the educational processes of various educational programs. Research methods: quantitative and thematic analysis of the library collection taking into account the structure, subject matter, language and country diversity of publications, as well as content analysis of the functional use of the collection through the prism of educational programs, public events and analytical publications. Three key functions of the collection are identified and characterized: 1) cultural representation of Russian and foreign street art, 2) critical understanding of street art based on the analysis of book materials, 3) use of the collection for educational purposes. The scientific significance of the study is in expanding theoretical understanding of the role of library collections as tools for supporting youth and urban cultural movements, as well as their contribution to humanitarian research in the field of cultural studies and art management. The practical significance lies in the possibility of using the results to improve methodological approaches to organizing specialized media resources in libraries, museums and educational institutions, which ultimately contributes to improving the quality of education in the field of culture, developing intercultural dialogue.

In contemporary society, where the experience and emotion economy is increasingly prominent, street festivals have become key forms of cultural practice, uniting diverse audiences within urban spaces. Under these conditions, systematic description and analysis of such events are essential for a comprehensive understanding of their nature and for effective management. This article aims to provide an in-depth analysis of the unique urban light art festival «Ne Temno» (Еkaterinburg), which has evolved over 15 years from a small-scale initiative by enthusiasts into a sustainable cultural phenomenon with a distinct mission and specific organizational principles. The case of «Ne Temno» demonstrates how the combination of an artistic vision—rooted in a multidimensional understanding of light art as a language of images and symbols—and principles of self-organization can create a resilient, inclusive, and communication-rich project. The festival deliberately maintains an intimate and welcoming character, consciously avoiding commercialization, which ensures equal opportunities for artists of varying professional backgrounds and fosters an atmosphere of open dialogue and audience engagement. Analytical findings highlight the importance of recognizing light as a heterogeneous medium with multiple artistic and technical dimensions, as well as documenting the festival’s transition from an initial grassroots movement to an institutionalized cultural event that includes international cooperation and educational programs. Practical conclusions address the specifics of interaction with clients and sponsors, where a differentiated approach is required, including the alignment of creative and organizational objectives, flexibility, and the development of partnership relations. The festival’s budget is formed not only through grants but also via diverse sponsorship packages, including support for individual installations and team catering. The organizational structure is based on the principle of professional interchangeability, ensuring operational efficiency and high management quality. Volunteer motivation is multifaceted, ranging from the desire to participate in an innovative cultural project and professional development to social incentives and mutual support. Special attention is paid to ethical engagement with the public, as organizers strive to balance artistic freedom with respect for residents’ interests, taking into account potential conflicts and the specifics of art perception in the public sphere.

The purpose of this study is to investigate the impact of small-scale arts festivals on creating a sense of place among festival visitors through various placemaking practices. Arts festivals are a vital component of a destination's cultural tourism offerings. However, by adapting to the tourism market, they are often subject to uniformity and blandness, much like the places that host them. To avoid this, it is essential to actively consider the role of sense of place in the design and planning of festivals and cultural events. The qualitative research methodology employed in this study comprises 40 semi-structured interviews with visitors to five arts festivals in smaller rural towns and communities in Croatia (Grožnjan, Motovun, Ogulin, Zagvozd, Ernestinovo). The results of the study show that the interviewees' perception of the festival locations has changed significantly compared with their previous experiences of the same places. All visitors agree that the festival has had a positive influence on their perception of the place where it is organised and that it has become a defining feature of the place's identity, distinguishing it from other similar settlements in the area. Most foreign visitors indicated that they would not have visited the location were it not for the festival, as they would have been unaware of its existence. Meanwhile, local visitors had previously viewed it as merely a brief stopover on the way to other attractions. The practical implications of the research focus on understanding and enhancing the visitor experience to inform better planning and management of arts festivals. The originality of this research lies in its aim to address the literature gap concerning the importance of arts festivals in creating a distinct sense of place of festival locations in the Croatian context.

The purpose of this study is to examine how the art festival organized by students participating in the Community Service Program (KKN) of the State Islamic University of North Sumatra in Nagori Bukit Rejo serves to enhance social interaction, promote diversity, and encourage the development of the village community. This research was conducted using qualitative methods with a Participatory Action Research (PAR) approach, which involved observation, interviews, and documentation during the Art Festival activities. The results of the study show that the art festival not only serves as a place of entertainment, but also as a social and educational tool that can help strengthen solidarity among residents across age, ethnicity, and religion. Overall, the art festival helps preserve local culture, foster a sense of community, and raise awareness of the importance of diversity in social life.

Pantomime arts development in elementary schools plays a crucial role in fostering students' creativity, self-confidence, and expressive abilities. This study examines the transformation of pantomime development at SDN 1 Beureunuen, a school that hosts the National Student Arts Festival and Competition (FLS3N) in Mutiara Timur District, Pidie Regency. Using an active qualitative approach through participant observation, informal interviews, and documentation of participant development from 2019 to 2025, this study examines how creative pedagogy practices, constructivist approaches, and strengthening cultural identity are applied in the development process. The results show a significant increase in school participation in pantomime competitions, from only three groups in 2019 to twelve groups in 2025. SDN 1 Beureunuen's success in winning the gold medal at the national level in the FLS3N has been a driving factor in the paradigm shift of teachers, which in turn has encouraged the creation of a competitive arts ecosystem at the sub-district level. These findings confirm that the implementation of creative pedagogy and tiered development can improve the quality of arts learning and strengthen the capacity of teachers and students in areas with minimal resources.

Since its establishment in 2011, the Chale Wote Street Art Festival has evolved into a dynamic cultural movement in Accra, Ghana, reshaping the urban environment of Jamestown via artistic expression, performance, and community engagement. Notwithstanding these recognized advantages, there is a scarcity of empirical research that carefully investigates the socio-economic changes prompted by the festival. This study therefore analyzes the socioeconomic impacts of the festival on local livelihoods and communal advancement. The study utilized a quantitative research design that surveyed 307 residents and stakeholders, investigating alterations in economic activities, job creation, cultural identity, and community participation resulting from the festival. Findings indicate substantial economic stimulus, characterized by heightened income and recognition of employment opportunities associated with the festival. Moreover, the festival enhances cultural identification and social cohesiveness, despite ongoing issues including waste management, traffic congestion, and noise pollution. The study indicates that although the Chale Wote Festival serves as a significant instrument for economic and cultural rejuvenation, strategic measures are necessary to improve its sustainability and alleviate adverse community effects.

This study aims to explore the efforts of students from the Community Service Program (KKN) at the State Islamic University of North Sumatra (UINSU) in fostering religious moderation and tolerance in Besadi Village through the Creative Arts Festival (Gebyar Kreasi dan Seni). Religious moderation is seen as a crucial foundation for building a harmonious community amidst religious and cultural diversity. KKN students act as agents of social change, introducing the values ​​of religious moderation through creative activities such as art performances, cultural competitions, and interfaith dialogues, presented in an educational and inclusive manner. This study used a qualitative approach with descriptive methods, collecting data through interviews, participant observation, and documentation. The results indicate that the Creative Arts Festival (Gebyar Kreasi dan Seni) successfully raised awareness among the Besadi Village community about the importance of religious moderation and strengthened tolerance among residents. This activity also served as an effective means of strengthening social ties between residents through diverse artistic and cultural expressions. However, challenges such as differing views and a lack of community participation still require attention. This research is expected to serve as a reference in developing diverse moderation programs based on arts and cultural activities in rural areas.

This study aims to analyze the role and forms of preservation of the Kiprah Glipang Dance carried out by the Andhika Jaya Studio in Pendil Village, Probolinggo Regency, from 1980 to 2024. This research uses a qualitative method with a historical approach. Data collection techniques were carried out through observation, in-depth interviews with key informants, and document studies. The results show that Sanggar Andhika Jaya carries out comprehensive preservation through three main forms: (1) structured regular training with age grouping and a dancer regeneration system, despite facing challenges such as student discipline and the lack of regeneration for singers and musicians; (2) active participation in various art festivals from local to national levels, which functions as cultural promotion and education; and (3) contribution to government policy that establishes the Kiprah Glipang Dance as a local content subject in schools. The studio's existence also has positive implications for the community, such as strengthening social bonds and boosting the local MSME economy, and for the local government as a strategic partner in preserving cultural heritage and building the region's image. It is concluded that Sanggar Andhika Jaya has not only succeeded in maintaining the authenticity of the dance but has also innovated it into a therapeutic and cultural promotion medium.

The subject of this study is the Tavrida.Art festival of young art, the central event in the Tavrida creative cluster (Sudak, Crimea). Based on an analysis of the festival's structure, content, concepts, and functions, the authors examine the specifics of Russian creative industries, which are expressed in the use of modern technologies and forms as tools that contribute to the actualization of cultural heritage, its preservation, and the strengthening of traditional spiritual and moral values. The goal of the study is to identify and substantiate the essential features that determine the potential for the further development of creative industries in Russia as a form of actualization of cultural heritage. This article is devoted to one of the central issues determining Russia's integration into the global creative economy: the role of cultural heritage and traditional values in the context of the innovative and modernization vector of cultural policy. Methodology: structural functionalism and axiological approach. Research methods: functional analysis, structural analysis, comparative analysis, case study, participant observation. The key findings outline the distinctive development path of creative industries in Russia. These industries are distinguished by their reliance on tangible and intangible cultural heritage, the cultural diversity of Russia's peoples and ethnic groups, and the unity of cultural and historical processes. The study's novelty lies in its identification of the specific characteristics of Russian creative industries. An analysis of one of the activities of the Tavrida.ART creative cluster—the creation of souvenirs and representative products based on the interpretation and reinterpretation of the visual and value-semantic codes of Russian culture—is presented. Examples of the successful implementation of this concept in merch products developed by the Tertsia Center for Contemporary Art (Moscow) and presented by porcelain jewelry designer Anna Loginova under the ALCHIMIA brand (Moscow) are examined in detail.

The article explores the potential of locally oriented learning for national and patriotic education. Comprehending the foreign experience of locally oriented learning in the aspect of patriotic education has shown that the authors focus on the importance of locally oriented learning for preserving cultural diversity in the era of globalization, involving students in socially important projects, aimed at community development, and the importance of choosing texts for reading from the literature of their native land. The typological features of locally-oriented learning are highlighted, namely: focus on the local context, involvement of students in civic activity by establishing strong ties with the territorial community, practical orientation of learning (work on projects relevant to the community), formation of personal responsibility for the development of their community, native land, and hence the whole country. The forms of locally oriented learning are highlighted, which include project activities, participation in circles, electives, clubs, movements and other associations of interest (creative, local history, volunteer, environmental, etc.), interactive lessons, excursions to the native land, participation in various community events: sports competitions, art festivals, clean-ups, folk festivals, etc. The article emphasizes that the main educational effects of locally oriented education are raising the level of national consciousness, strengthening ties with the native land, forming an active civic position, developing national dignity and respect for the native land - its nature, culture, history and art. We see the prospects for further research in the analysis of the main methods of locally oriented education and the study of the didactic system of locally oriented education of students of basic secondary education