Arts Festival Research Articles

Structures of U.S. Fringes: An Outline for Archivists

To archive and preserve materials connected to the most widespread and fastest-growing form of arts festival in the world, it is important to understand the breadth of the fringe festival phenomenon. The very concept of “Fringe Festival” is contested—ranging from the organic growth of performance venues “round the Fringe” of the original Edinburgh Festival to, decades later, the publication of the Canadian Association of Fringe Festival’s “Fringe Ideals.” This conceptual diversity is reflected in how Fringe Festivals are organized—with some being highly centralized and others operating with a decentralized structure of independent venues. This conceptual and managerial diversity has proven to be a strength. Fringes have been the fastest-growing and most widespread form of festival for decades now, precisely because of their adaptability. But a proper understanding of both the artistic endeavors at these festivals and how the festivals are understood and operated will allow that flexible growth to continue.

African Traditional Arts and Ornamentation in the Architecture of the Cultural Centre Ibadan

Art and architecture have been intertwined throughout history. Art in its various forms has played a vital role in the lives of African people as evident in their architecture. The paper reviewed the African visual culture with respect to ornamentation in the built environment as well as the variations of cultural heritage in the anthropogenic sense. The study adopted a qualitative approach using the case study method with the selection of the Cultural Centre Ibadan. The 1977 Second World Black and African Festival of Arts and Culture (FESTAC 77) held in Lagos, Nigeria inspired the architecture of the National Theatre in Lagos, and other cultural centres in other cities in Nigeria including the Cultural Centre, Ibadan which exemplified African arts and ornamentation in its façade and spaces. The Cultural Centre Ibadan is a significant masterpiece adorned with African traditional arts and ornamentation. It embodies a bold fusion of art and architecture evident in the intricate sculptural reliefs that beautify its walls, the wooden and metal ornamentation embellishing its halls and lobbies, the luscious blend of geometrical forms and shapes in its façade, its harmony with the undulating landscape and the concrete anthropomorphic sculptural pieces that welcome guests into the entrance quadrangle. The themes of the arts and ornamentation of the Cultural Centre Ibadan reflect traditional Yoruba cultural festivals, philosophical and religious motifs that has transformed the building into a cultural heritage. Artfully embellished architecture with symbolic meanings like the Cultural Centre Ibadan affords the dividends of cultural emancipation, cultural renaissance and cultural preservation. The interweaving of art and architecture in public buildings should be promoted.

Strengthening Education and Literacy through the Transmission Process of Suzhou Pingtan Chinese Opera in Jiangsu, China

Suzhou Pingtan is a traditional Chinese opera originating from Suzhou, Jiangsu Province, known for its melodic tunes, storytelling, and expressive performances. The objective of this study was to explore the transmission process of Suzhou Pingtan Chinese Opera in Jiangsu, China, and its impact on education and literacy. This study utilizes a combination of fieldwork, interviews, and questionnaires as research tools were used to gather data from three key informants, two main informants, and three general informants. The data collected are analyzed through qualitative methods, including content analysis and thematic analysis. The research findings reveal ten main modes of transmission, including the inclusion of Suzhou Pingtan in the national intangible cultural heritage list, the establishment of inheritors, the Suzhou Pingtan Art Festival, the enhancement of performance level and frequency, the development of Suzhou Pingtan School, the establishment of Suzhou Pingtan Museum, the expansion of performance venues, the integration into primary and secondary schools and universities, international transmission, and strong government support. The study suggests the importance of continued support for educational initiatives, the preservation of performance venues, and the cultivation of young audiences to ensure the sustainability and wider appreciation of Suzhou Pingtan.

SOCIO–POLITICAL ACTIVISM IN CURATORIAL PRACTICE. THE CASE STUDY OF FESTIVAL “SURVIVAL KIT”

This article is focusing on the potential strategies that characterize the practice of socio-politically activism in curatorial practice and its potentiality to transform the visual art institutions. Socio-political activism in curatorial practice addresses the specific socio-political issues in various exhibition formats and includes in its methodology strategic decisions that have lasting impact both on the functioning of the institutions themselves and socio- political change in general. This article also examines what strategies Latvian contemporary art curators use to encourage the presence of socio-politically active discourse in the Latvian visual arts scene. The article concludes that strategically inclusive activities in the context of Latvian art institutions are mostly not part of the exhibition policy. The case study under consideration is Latvian contemporary art festival “Survival kit” that is one of the rare art events in Latvia that have engaged with the possibility of real socio-political change and have found it continually necessary to work in ways that question the social and political life of Latvia.

Art festivals in Japan: Fueling revitalization, tourism, and self-censorship

ABSTRACT This paper critically considers large-scale contemporary art festivals that have become a significant force of art tourism in Japan. While many of these projects got their start in socially conscious endeavors with a focus on machizukuri, or local community building, the increase of government-sponsored revitalization initiatives and heightened pressure from the tourism industry has shifted the output of these festivals over the years. As such, this paper aims to situate such festivals within their shifting genealogy, observe some of the ways that today’s artists and their artwork may be subject to precarious positions of instrumentalization and censorship, and raise points of critique for audiences to keep in mind around the topic of rural revitalization – i.e. what are some of the challenges that artists, curators, and organizers face today? While reflecting on factors at stake for art and cultural production in a hyper-touristic context, this paper also highlights the work of Shitamichi Motoyuki, an artist disrupting this paradigm in ways reminiscent of earlier forms of machizukuri art practices.

Art tourism and paradigms of island revitalization in Japan

ABSTRACT Art tourism in rural destinations in Japan has received attention in both media and academia. Two major regional art festivals that are conducted in a regular cycle have triggered this boom in the 21st century. However, art and cultural tourism have formed an important part of regional revitalization strategies for 30 years. This paper focuses on four island destinations in the Seto Inland Sea that have incorporated art in their branding strategies to examine how shifts in national policies for regional development are reflected in the local context. We examine trends in island research in Japan, paradigm shifts in regional development policies and the role of art tourism in rural revitalization to establish a framework for comparison. Through this framework, we analyze how art tourism is integrated into general development concepts and examine the main actors and the roles of the private sector and residents. We identified two paradigm shifts in the framework of national development plans and laws. Two of our case studies fall into the first phase, where subsidies by the national government form the core of investment for art tourism under the leadership of local mayors but result in different outcomes in terms of success as tourist destinations. On the other hand, two case studies from the latter phase feature a stronger variety of integrated art tourism policies, depending on the engagement of private sector actors and residents. In conclusion, the expansion of art tourism on rural islands reflects a complex interplay of global trends and national development paradigms on the local level.

From social issue to art site and beyond – reassessing rural akiya kominka

ABSTRACT Akiya or vacant houses are often perceived as threats to their neighborhood, as socio-political problems for local communities, and as objects of difficult decisions for their owners. However, recently there has been a reappraisal of their forgotten qualities and a revival in interest in such houses, especially when considered as sites of a special character suited to different types of cultural events. This article explores the implications of the use of akiya in rural communities in Japan, tracing the trajectory of change from irritating nuisance to local (touristic) attraction and art site. Furthermore, it analyzes how this shift has the potential to lead to their reassessment as valuable resources not only for the revitalization of local communities but also for private choices in everyday life. The article analyzes three specific art installations created within the framework of recurring art festivals and staged within the walls of old vacant dwellings, and the artists’ thoughts behind them, which hint at incentives for akiya use inspired by the sites. The artworks offer opportunities for interactions between residents, artists, and visitors, influencing insider and outsider perceptions of the local community, and they function as innovative playgrounds for local citizens’ and newcomers’ individual choices. Examples from the field show that the artist’s role as yosomono (outsider) ultimately has the potential to pave the way towards a more diverse and creative view of these community assets, changing the perception of the vacant house from being a bothersome and useless legacy into a resource.

Паблик-арт в историческом городе: визуализация локального культурного кода

The article analyses public art within the framework of the cultural approach – as a form of visualization of the city’s cultural code. The author examines the variants of public art comprehension existing in the Russian academic discourse and identifies the two most common approaches to the interpretation of art in the public space. According to the first approach, public art is interpreted as “commissioned” art, which is an instrument of the state’s ideological policy, and is therefore evaluated negatively. According to the second approach, public art is understood in a less evaluative and more meaningful way, emphasizing the variability of artistic practices existing within it, their focus on communication with society, participation of residents and reflection of locally significant meanings. The article emphasizes the commemorative functions of public art and comprehends its role in the actualization of the city’s cultural memory and representation of urban identity. The author explores what historical, cultural and mythological narratives are depicted on the murals in Veliky Novgorod, created within the framework of the All-Russian Street Art Festival “Pages of History” (2019– 2023). The article proposes to categorize Novgorod murals into the following thematic groups: 1) genius loci; 2) historical subjects; 3) myths and legends; 4) cultural heritage; 5) natural objects; 6) modern heroes. Art in Veliky Novgorod’s public spaces, especially located in typical Soviet districts, serve to individualize the urban environment and create new points of attraction for the city dwellers. Murals have become part of new excursion routes that run both through the symbolic city center and the city outskirts. The author argues that the subjects represented on the murals are authentic for Veliky Novgorod, contribute to the formation of local identity, enhance the imagery of the urban environment and emphasize the uniqueness of the Novgorod cultural landscape.

Contributions of Maltina Dance Reality Show to Dance Practice in Nigeria

Dance involves the totality and living experience of man from the prehistoric times till date. It was part of all his daily activities such as his work, communication and even in his worship of the gods and ancestors (Nigeria inclusive). To this extent, the Nigeria dance practice has developed greatly even in the face of multi ethnicity as it has given birth to various indigenous dances. These indigenous dances have also been the raw materials to every form of contemporary dances that has emerged over the years. Diverse platforms have also surfaced to help sustain Nigerian dances such as National Arts Festival (NAFEST), Nigeria University Theatre Arts Festival (NUTAF) and the trend of dance reality shows that has been the order of the day within recent times in Nigeria. An undoubted reality television show that has done greatly in the sustainability of Nigerian dances is Maltina Family Dance All Reality Television Show. The functionalist theory of dance is used to unveil the reality show which has been able to adjust to bridge the gap between the prehistoric era and the contemporary or modern era by using technological advances to keep the dance practice in shape. This research will examine Maltina Family Dance All Reality Television Show within the context of dance praxis and the immense contributions to dance practice and sustainability in Nigeria with a view to how it has put Nigeria indigenous dances to practice since the inception till date in the face of globalization and industrialization. It will conclude that the dance reality show has provided dance practitioners both with dance repertoires and engagement with diverse indigenous dances as well as rewards both as individuals and as professionals. Keywords: Dance, Dance Reality Show, Dance Art / Practice, Maltina Dance All Family Reality Television Show.

Mahardika Dance Creation Process

This paper aims to reveal a creative process of the Mahardika dance creation conducted in 2006. This disclosure is important to see how the concept of traditional dance development still maintains the Balinese identity. The Mahardika dance, a new creation form of Balinese dance, comes from the creative process between I Wayan Sutirtha as the dance choreographer and I Nyoman Windha as the musical composer of the dance accompaniment. Mahardika means freedom or release from worldly ties, which refers to the Sutasoma figure as the central character in the Mahardika dance. It is adapted from the main theme of the Bali Arts Festival, namely Swabawaning Idep, meaning the radiance of nobility. The process of creating dance refers to the theory of Alma M. Hawkins in the book Creating Through Dance, including exploration, improvisation, and formation. The Mahardika dance consists of four parts. The first part describes the atmosphere of meditation with a silent atmosphere, the second part depicts the meeting of the Sutasoma and Dewi Candrawati with a happy and romantic atmosphere, the third part portrays the war of the Sutasoma and Prabu Purusadha with a tense atmosphere, and the fourth part represents the consciousness of Prabu Purusada and Sutasoma sitting on a lotus flower with a serene atmosphere. In addition, the costumes are adjusted to the characters. Certainly, it does not interfere with the dancer's movements but helps and opens aesthetic spaces in the choreography of the Mahardika dance creation.

Rural Art Festivals and Creative Social Entrepreneurship

This article examines how creativity-based social entrepreneurship and entrepreneurial networks in the context of small-scale rural art festivals can advance social and regional revitalization goals in peripheral island communities. This qualitative- and action-based research explores the effects of artistic activities on rural revitalization through the analysis of four small-scale rural events: a traditional matsuri (festival), and three contemporary art, music, and film festivals. The adaptability and diversity of the festivals’ entrepreneurial networks are investigated in greater depth by combining the literatures on rural revitalization, social entrepreneurship, bricolage, and resourcefulness with the embedded and relational aspects of creative entrepreneurial networks. The study also analyzes the complex relationship between the individual actions of creative festival entrepreneurs and the socially engaged creative networks that facilitate population retention and resource exchanges in a community, and therefore rural revitalization.

ANALISA PENGGUNAAN LAMPU SPOT LIGHT PADA PAGELARAN SENDRATARI MAHABRATA GUGURNYA BISMA DI OPEN STAGE, ART CENTRE, WERDI BUDAYA, DENPASAR, BALI

ABSTRACT:
 The series of Bali Arts Festival (PKB) activities are activities that the Balinese people have been waiting for, one of which is the Sendatari Performance which takes place on the open stage, Werdi Budaya, Art Center, Denpasar, Bali. The Mahabrata Ballet episode of the Fall of Bhishma which takes place on the open stage at the Art Center can be watched by the public directly at the location and broadcast live by the local television broadcaster TVRI Bali Station. The performance takes place at night so lighting is a very important factor in supporting the performance. With the correct placement of the lights, a clear image will be produced so that it can be viewed comfortably by viewers at home. The aim of the research is to analyze the types of lights and their placement in ballet performances. This research uses a qualitative research method by analyzing the data descriptively. The analysis was carried out via YouTube media on the Nurai Production Channel link with the content of the Mahabrata Ballet episode, The Fall of Bhishma, specifically regarding the use of lighting, including the types of lights used in the performance. The results of this research were that the lighting used utilized several types of spot lights, with 16 tungsten light units. The lights are directed to several areas, including the ballet area in the middle of the open stage as the main area, the area for traditional musical instruments and stringers, the audience and VIP areas as well as the building part of the open stage
 

Constructing multiculturalism and national identity in Penang, Malaysia

This study focuses on examining how multiculturalism is constructed in public spaces in Penang, Malaysia. In doing so, we argue for the significance of murals in constructing multiculturalism symbolically. Data consist of 10 photos of murals displayed during the 2020 Penang International Container Art Festival in both urban and rural areas in Penang, a state with a long history of multiethnic communities living together. The analysis shows that multiculturalism is portrayed according to specific themes – occupation, living culture, and imagination – which are marshalled to create a sense of identity and belonging. Such sense is deeply imbricated in the making process of Penang’s national identity in which a series of compromises and accommodations is much needed to achieve the vision of multiculturalism. The findings contribute to the current discussion of finding a balance between studies related to urban- and ruralscapes and offer a creative sociolinguistic perspective on understanding multiculturalism.

Online festival experiences, eventscapes and cultural value: insights on the dilemmas faced by two South African festivals during COVID-19

ABSTRACT As in many countries, lockdown measures to control the COVID-19 pandemic in South Africa resulted in the large-scale cancellation of cultural festivals. To preserve business continuity, many festivals shifted to online events to continue providing value for audiences, sponsors and artists. This paper focuses on the experiences of two of the oldest and largest mixed festivals in the country: The National Arts Festival and the Klein Karoo Nationale Kunstefees. Both festivals adapted by shifting online, necessitating significant programme, business model, and management innovation. Using the framework provided by the literature on visitor leisure experiences and e-eventscapes, the paper questions how arts festivals have achieved new e-eventscapes alongside providing online cultural programming. The paper uses a mixed methods research approach to analyse the experiences of festival managers and audiences in the differing approaches developed by the two festivals. Theoretical and practical implications from the study are discussed in the conclusions.

The Existence of The Dance Piriang Pijak di Ateh Galeh in Nagari Unggan, Sumpur Kudus District, Sijunjung Regency

The purpose of this research is to find and explain the existence of Piriang Pijak Dance in Ateh Galeh, which is located in Nagari Unggan, Sumpur Kudus District, Sijunjung Regency. In this case, the researcher used qualitative data as a research tool. Data were collected through literature studies, observation, interviews, and documentation studies. The data analysis technique consisted of the process of organizing, finding patterns, and developing themes that emerged from the data. The analysis was conducted inductively to gain an understanding of the meaning and interpretation of the data. The results showed that Piriang Pijak Dance exists in Ateh Galeh in Nagari Unggan, Sumpur Kudus District, and Sijunjung Regency. The government and the community use it for circumcision events, weddings, niniak mamak events, and other cultural arts festivals. Piriang Pijak dance in Ateh Galeh is a tradition of the Nagari Unggan community in Sumpur Kudus District, Sijunjung Regency, which is recognized for its existence.

Rural Festivals and Rural Cultural Spaces Creation: A Case Study of the “Yim Tin Tsai Arts Festival”

The “Yim Tin Tsai Arts Festival”, a three-year artistic program, represents a pioneering effort to revitalize rural areas using art as a catalyst. This initiative is designed to explore and address various social issues arising from urbanizing. While rural festivals, including the “Yim Tin Tsai Arts Festival”, play a pivotal role in promoting regional economic development through the creation of cultural spaces, they face the challenge of homogenizing their tourism destination image. This article applies design strategy concepts to explore the impact of rural festivals and cultural spaces on the cultural benefits of the host region, using the “Yim Tin Tsai Arts Festival” in Hong Kong as a case study. Utilizing methods such as desk research and data analysis, this study examines and discusses the significant issues within the field of research regarding the influence of rural festivals and cultural space development. Furthermore, we present the following research focus and development directions for the study of the impact of rural festivals and cultural space development.

Arts festivals as polysystems: a case analysis of Morocco music and film festivals

ABSTRACT In today’s fluid culture, fluid economy and fluid tourism, arts festivals fulfil various and sometimes conflicting functions, but surprisingly little scholarly attention has been paid to this issue. The concern of this note is consequently to fill in this void by specifically providing, exploring and critically examining the multifaceted culture of festivalisation in the urban context. In so doing, the current study draws on two case studies namely Mawazine Festival Rhythms of the World (MFRW) and Marrakech International Film Festival (MIFF). Accordingly, while this research note brings into focus how the concept of polysystem is useful for understanding the complex interactions between different cultural systems, it also argues that a polysystemic approach can help shed light on the complex dynamic interactions between systems and subsystems; and identify the various actors and forces that shape the production and reception of cultural events in the urban milieu.

Participation in the Setouchi Triennale and the Health of Residents in Naoshima: A Cross-Sectional Study.

Arts festivals have become increasingly popular in various parts of Japan in recent years. The purpose of this study was to investigate the relationships between arts festival activities participation at the Setouchi Triennale and the health of residents in the town of Naoshima. This was a cross-sectional study. Questionnaires were distributed to all residents of Naoshima who were 20 years old or older (n=2,588). We analyzed responses from 708 people. The associations between arts festival activities participation and health (measured by self-rated health) were analyzed using logistic regression analysis as the primary outcome. Kessler's psychological distress scale scores were also analyzed in the same manner as the primary outcome. The participating group had an adjusted odds ratio of 1.86 (95% confidence interval: 1.03-3.33) for higher self-rated health compared with those who did not participate. Kessler's psychological distress scale results showed that the participating group had an adjusted odds ratio of 3.23 (95% confidence interval: 1.19-8.81) for lower psychological distress compared with those who did not participate. In conclusion, arts festival activities participation was associated with higher self-rated health and lower psychological distress. However, caution must be taken in regard to generalizability and causality when interpreting these results.

Bioengineered Living Entities in Art: Aliveness, Duration, and Movement in Bricolage

Abstract Bricolage is a kinetic biological artwork first exhibited at the Perth International Arts Festival in 2020. The artists used stem cell technologies to create bioengineered living entities from donated human heart muscle cells. These living entities are suspended in an incubator from the ceiling and are made visible to gallerygoers, who watch the performance of cells generating and moving independently. This paper considers how the assemblage, animation, and performance of cells embedded in Bricolage highlight questions around the conceptualizations and perceptions of life, duration, animation, and aliveness.

Exploring the perceptions and attitudes of residents at modern art festivals: The effect of social behavior on support for tourism

This study examines the extent to which residents' perceptions and attitudes regarding a modern art festival influence their support for the event. Tourism events can affect residents' quality of life and lead to diverse levels of support among the local population. Few studies have used residents' social behavior as a variable. Exchange-based variables, such as the interaction between residents and visitors and their involvement in events, have rarely been employed in Social Exchange Theory-based research. The study identifies four clusters depending on diverse levels of exchange and support for a tourism event using exchange variables and the perceived regional revitalization, perceived impact of proximity, and support for continuing the event, as well as a variable for thought change which is specific to this study. Data were collected from residents of the twelve islands in the Seto Inland Sea of Japan where the art festival took place. The quantitative data was complemented by text-mining analysis to investigate the reasons for residents’ perceptions and attitudes.