Number Of Festivals Research Articles

Local festivals: Traditions, Innovations, Resources

Since the mid-1990s, the number of festivals has been growing globally, as has their role, place and significance in the postmodern world. Their “massification” is a typical manifestation of the lifestyle of postmodern societies, of their consumption patterns and leisure. “Festivalization” is perceived by central and local authorities, as well as by residents of local communities as an opportunity to stimulate economic development, social integration and solidarity, to form identity, to build and strengthen social capital, to preserve cultural historical heritage and its transformation into a symbolic capital of the community. This kind of “boom” of local holidays is observed in Bulgaria: along with established festivals over the years forgotten traditions are revived, new holidays are invented, which quickly become a “recognizable face” of cities, villages and neighborhoods. But at the same time, some of them are in the nature of “pseudo-events”, often ideologically and politically motivated, pursuing certain economic goals, often deprived of the authenticity and cultural tradition that they claim to be. The increase in popularity and number is undoubtedly related to the emergence and development of the phenomenon of “cultural consumption”. In the context of the Covid 19 pandemic, which spawned and deepened a series of crises, local festivals not only retain their life-affirming spirit and meaning, but something more: their significant social role as a resource for local communities to deal with crises becomes more visible.

Festivallerden Festivalizm ve Bienallere

Küreselleşme ve liberal politikanın benimsenmesi ile, özellikle 1990’lı yıllarda, tüm dünyada düzenlenen festivaller, fuarlar ve bienallerin sayısında artış yaşanmıştır. Kentlerin dünyada mega kent olması ve kentin kültür kimliğinin zenginleşmesi açısından bu etkinlikler oldukça önemli bir role sahip olmuştur. Küresel sermayeyi elinde bulunduran şirketlerin önderliğinde ve sponsorluğunda organize edilen bu etkinlikler; dünyadaki sanat ortamı, sanat piyasası ve sanatçılar açısından yeni bir dönemin habercisi olmuştur. Sanatçılar ve yapıtlar uluslararası organizasyonlarla küresel ortamda dolaşıma sokulmuş, her ülke kendi yerel sanatını tanıtma ve sergileme şansına sahip olmuştur. Festivaller, Peter Schjeldahl’ın (d. 1942) deyimi ile, festivalizme dönüşerek, küresel kapitalist sistemde farklı bir yapıda biçimlenmiştir. Türkiye’de ise, 1973 yılında festivallere yönelik bir çalışmanın olabilmesi konusunda önemli bir adım atılmış; içeriğinde klasik müziğe yer veren Uluslararası İstanbul Festivali adı altında sanat festivali düzenlenmiştir. 1980’lerde serbest piyasa ekonomisine geçilmesi ile, ilerleyen yıllarda bu festivalin daha kapsamlı ve uluslararası organizasyonlarla yeniden yapılandığı görülmektedir. Araştırma kapsamında ulaşılan ve incelenen veriler, literatür tarama yöntemi ile elde edilmiştir. Bu araştırma, bir kavram olarak festival olgusunu irdeleyerek; sanat alanında toplumsal, kültürel ve ekonomik açılımlarla tarihsel sürece konumlandırabilmeyi amaçlamıştır. Bununla birlikte, küresel dünyaya geçiş ile festivalizm nedir? sorusuna cevap aranırken, özellikle festival ve bienallerin kentleşme olgusu içinde nasıl yer bulduğuna ve çağdaş sanattaki oluşumlar ve etkileri elde edilen veriler doğrultusunda ortaya koymaktır. Türkiye’de ise; İstanbul Kültür Sanat Vakfı (İKSV)’nın kuruluşu, sanat festivallerinin bienalleşmesi, tarihsel süreç ve bienallerin farklı etkinliklerle sanat alanındaki önemli rolü üzerinde durulmuştur. Mekân ve izleyici/alımlayıcı odaklı festivaller ve bienallerin, kentleşme ve çağdaş sanattaki politik konumu/rolü üzerine bir araştırma metni ortaya konmuştur.

Professional and personal strategies of documentary filmmakers in Brazil: the case of the State of Rio de Janeiro and Minas Gerais.


 
 
 Between 2012 and 2019, this qualitative sociological research was part of a documentary "boom" moment in Brazil, in terms of production and international recognition. Faced with a bottleneck in terms of their distribution, a growing number of festivals have opened up for documentaries, not counting the historical festival "É tudo Verdade" (São Paulo). This period also corresponds to a time when attempts at policies in favor of documentary films were made by the Federation and the Ministry of Culture (MinC) – public channel TV Brasil, TV Cultura, Doc.TV... These various advances have allowed the expression of a "black" cinema (Joel Zito Araujo), LGBT concerns (Karla Holanda), women’s rights (Helena Solberg and Susanna Lira) and the possibility for indigenous people to seize digital tools to reflect their own realities (Vincent Carelli, Video nas aldeias). Thus, while the Brazilian authorities were carrying out unfinished policies facing the weight of the private oligopolistic sector, it was interesting to analyze how documentary filmmakers developed their professional strategies. From this perspective, fourteen directors were the subject of semi-structured interviews in the state of Rio de Janeiro and three in Minas Gerais. In addition, producers and festival managers were also contacted. But the arrival of the Bolsonaro government caused a real rift. Against a backdrop of cultural war, fake news aimed at discrediting artistic circles, the takeover of the National Cinema Agency (ANCINE) and the abandonment of the São Paulo film library, cuts from major corporate sponsors, and beyond, Brazilian documentary filmmakers have found themselves strangers in their own country.
 
 

About the Contributors

About the Contributors

Changes of Flower Festivals and Plants Usage for Scenery by Period and Region in Korea

This study was conducted to provide basic data for future landscape flower research by analyzing changes in flower festivals and plant usage for scenery in regional festivals with the theme of scenery flowers held from 2006 to 2019 in Korea. Among the 10,800 regional festivals held from 2006 to 2019, the number of festivals related to landscape flowers by period and region, and the types of plants and their production status were analyzed. Flower festivals were held at an average of 94 events annually, with 1,312 cases, accounting for 12.1% of local festivals. Regional festivals declined from the peak in 2008 and have been increasing since 2014, whereas the rate of flower festivals decreased slightly from 2008 to 2010 and continued to increase, accounting for 15.5% in 2019. By season, the average hosting rate was 66.7% in spring, 25.7% in autumn, 6.8% in summer, and 0.8% in winter. By region, Jeon-nam has an average of 18 events per year, and the number of events has been increasing since 2010, while Gyeong-nam has an average of 10 events per year, which has continuously decreased since 2010 and has increased since 2016. In addition, approximately nine events were held annually in Gangwon-do, Gyeonggi-do, Seoul, Jeon-buk, and Chung-nam, followed by three to four events in Chung-buk, Gyeong-buk, Jeju-do, and Daegu, and two cases in Incheon, Ulsan, Busan, Gwangju, and Daejeon. Overall, there were few flower-related festivals in metropolitan cities except Daegu. The number of events held in 2019, including small-scale festivals searched online, was Gyeonggi-do (49), Jeon-nam (40), Seoul (28), Jeju-do (25), Chung-nam (25), Gyeong-nam (24), Gangwon-do (17), and Gyeong-buk (12). For landscape flowers, woody plants were used as theme plants in an average of 51 flower festivals yearly, followed by annuals (11 cases), grasses (9 cases), perennials (8 cases), aquatic plants (3 cases), and bulbous plants (3 cases). Twenty-six species were used as main plants, including woody plants (12 species), annual plants (4 species), grass (4 species), perennial plants (3 species), and bulbous plants (3 species), and most plants except bulbs were used repeatedly in two to four festivals. Flower production for scenery creation was in the order of Gyeong-nam, Jeon-nam, Ulsan, Gyeong-buk, Jeon-buk, Gangwon, Gyeong-gi, Choong-buk, and Choog-nam. By species, chrysanthemum and marigold were produced for more than 1 million pots, pansy and petunia were produced more than 500,000, and cauliflower, begonias, crape myrtle, Dianthus spp., scarlet sage, and cockscomb were produced for more than 100,000 pots.

Segmentation of Tourists in Cultural Events: The Case of The International Classical Theater Festival of Almagro

Due to the appearance of a large number of festivals in recent years, the competition for attracting the audience is ever increasing, and therefore segmenting the audience attending the festivals is essential. It is a valuable marketing tool for the promotion and understanding of the characteristics of the segments based on motivations. This article reports on a study performing a segmentation of the tourists who attended a cultural event, namely the Almagro International Festival of Classical Theater. The statistical analysis of the data was done using the SPSS v. 23 computer program. After a factorial analysis and taking the extracted motivational dimensions as reference, the multivariate technique of grouping the cases was used, obtaining three clusters. Among the motives that attract the spectators, the cultural reasons, such as the search for new theatrical experiences or watching one's favorite actor and/or live theater company, stand out. The spectators indicate a relative satisfaction with their experience at the festival, determining the visitors' motivations and their experience. With respect to the loyalty variable, the results reveal that 3 out of every 10 tourists show full loyalty.

Semiautomated Device for Plucking of Flower Buds

Indians are celebrating more number of festivals than any other country. In festival celebrations, flowers are used as a prime element. Without flowers we will not celebrate even single festival. Most popular flowers in south India is Nerium oleander, jasmine, rose, etc. These flowers are demanded high among the flowers due to its fragrance. Another added advantage is its less cost. Though it has many advantages, certain drawbacks limit the business. One major problem is plucking flower at the right time. It is very difficult task because the workers must pluck the flowers before its blossom. So, they have to pluck early morning around 4’o clock under weak light condition. At weak light condition workers may not able to identify the insects and snakes. Because of this workers efficiency is reduced as well as some of them died. To overcome this problem, we proposed a device for plucking and packing of flower buds. The proposed device can able to move forward, backward and rotate. Camera with light is used to capture the image of the flower bud. Image processing technique is used to match the image of the bud. Robot arm is used to pluck the bud. Container is used to pack the buds. The proposed device is a waterproof device.

Semiautomated Device for Plucking of Flower Buds

Indians are celebrating more number of festivals than any other country. In festival celebrations, flowers are used as a prime element. Without flowers we will not celebrate even single festival. Most popular flowers in south India is Nerium oleander, jasmine, rose, etc. These flowers are demanded high among the flowers due to its fragrance. Another added advantage is its less cost. Though it has many advantages, certain drawbacks limit the business. One major problem is plucking flower at the right time. It is very difficult task because the workers must pluck the flowers before its blossom. So, they have to pluck early morning around 4’o clock under weak light condition. At weak light condition workers may not able to identify the insects and snakes. Because of this workers efficiency is reduced as well as some of them died. To overcome this problem, we proposed a device for plucking and packing of flower buds. The proposed device can able to move forward, backward and rotate. Camera with light is used to capture the image of the flower bud. Image processing technique is used to match the image of the bud. Robot arm is used to pluck the bud. Container is used to pack the buds. The proposed device is a waterproof device.

An Empirical Study on the Effect of Local Festivals on Consumption Expenditure

This paper investigates the effect of local festivals on consumption expenditures. We utilize the relationship between number or days of local festivals and consumption expenditures to estimate how local festivals affect the consumption expenditures. For estimation, we use regional panel data with the 16 large cities and provinces in Korea during the period of 2004-2014. With the estimation results, we find as follows. First, the estimated relationship between the local festivals and consumption expenditures appears non-linear and inverted-U shaped. There are optimal numbers and days of local festivals to maximize regional aggregate consumption expenditures. Second, the transportation expenditure also has a inverted-U shaped relation with number and days of local festivals. Third, the expenditure for entertainment & culture has a inverted-U relation to number of local festivals, but is not related to days of local festivals. Fourth, the expenditure for foods and accommodations has a inverted-U shaped relation with the number of festivals but increases with the days of local festivals.

Significance ofAranFestival for Rodent Management byAdiTribes of Arunachal Pradesh

Arunachal Pradesh is a tribal state inhabitant by 28 major tribes and 110 of subtribes. The Adi is one of the prominent communities which covers the central part of Arunachal Pradesh. The Adis have unique socio-cultural entity among other tribes of the state. They celebrate a number of festivals; in particular, their prime festivals are Aran, Solung and Etor. Trapping and hunting is a part of their culture and they use different indigenous traps and methods for hunting the rodents during Aran festival. The study was aimed to know the different rodent traps and importance of Aran festival in relation to rodent control. The Adi tribal community has invented their own indigenous traditional traps and methods to control the rodents. Four indigenous traps namely, Etku, Odde, Uju and Middu mainly made-up of bamboo and one traditional method that is Buroo were commonly used for rodent trapping by the Adi people. The Aran festival is celebrated during March of every year and rodent trapping is the main activity of the festival. It helps in controlling the rodents before growing the main crop of rice, side by side they have got ethnical importance being the exchangeable gift item during the engagement of bride and groom. The rodent meat is used during the worship of various benevolent god, goddess, deities and spirits for the well being of human kind.

Putting out the chairs

When I was invited to consider contributing an essay to this performance-themed issue of Stedelijk Studies, I was, at the time, deep into a rather intensive summer spent visiting a number of festivals—annuals and biennials mostly, dedicated to theater and performance, or to visual arts—largely around Europe. The experiences were, as might be imagined, highly diverse; but what has remained consistent through these travels—across the range of work I was encountering, but also in my own motivation to encounter it, to attend, and then to think with and through the various theaters and anti-theaters, shows and performances, exhibitions and installations, and what have you—was a sustained sense of the work itself as a source (indeed, a wealth of sources) of what we might be bound these days to refer to as “knowledge production.”

Esquisse d’une sociologie des réseaux festivaliers. Le cas du Festival TransAmériques de Montréal

Depuis le milieu des années 1970, on assiste à la multiplication du nombre de festivals et de diffuseurs saisonniers dont tout ou partie de la programmation est consacrée au théâtre étranger. Ces festivals et diffuseurs—qui se comptent aujourd’hui par centaines—sont principalement concentrés en Europe de l’Ouest et forment de vastes circuits informels que privilégient les artistes du théâtre québécois depuis les années 1980 lorsqu’ils tournent à l’extérieur de leurs frontières. Montréal appartient en propre à ces circuits internationaux depuis la fondation du Festival de Théâtre des Amériques (1985-2006) et celle de son successeur, le Festival TransAmériques (2007), dont l’étude sera au coeur du présent article. Inspirée de la sociologie des réseaux, cette étude explore les réseaux internationaux (personnels, de diffusion ou de coproduction) auxquels participent ce festival et ses représentants, de même que son rôle de médiateur entre l’ici et l’ailleurs.

Scratching the surface of local history: Encountering the republished works of Ken Cooper

Abstract The pamphlets of local amateur historian Ken Cooper were unearthed at a car boot sale by artists Bristow & Lloyd and subsequently republished for new audiences at a number of festivals, exhibitions and institutions. The work playfully speculates on historical knowledge, weaving the imaginary persona of Ken and his ability to misinterpret, with information drawn from social and archival sources. By presenting a re-interpretation of local history it was hoped that readers would reflect on how they know what they know and in so doing, encourage discussions around ways in which we remember, forget, construct or share knowledge. Placing the work in the public realm and within heritage contexts raised a number of issues around how such a strategy worked.

The Current Condition and Possibilities of Development of Festival Tourism in the Lublin Region

Abstract Introduction . The number, range, and diversity of events with a character of festivals have been growing in the Lublin Region over the last several years. The events are organised by various entities and institutions. Information about them is largely dispersed. No study has been conducted so far determining the spatial distribution of festivals at the regional scale, and analysing their offer in the context of possibilities of development of festival tourism. Therefore, a study in the scope was undertaken with consideration of the cultural conditionings of some of the events. Material and methods . In periods from July to December 2010 and from September to December 2013, secondary information was analysed (statistics, records, and scientific studies), and original material was collected (field inventory, interview, and diagnostic survey) regarding the current condition of festival tourism in the Lublin Region. Results . The collected data on festival tourism offers suggest that the number of festivals in the Lublin Region has been continuously increasing from year to year. According to the obtained data, festivals with a duration of 3 and 5 days are dominant. The majority of festivals are held in summer months, usually on weekends. Music and interdisciplinary festivals with international, national, and regional range are prevalent. Some of them already have a history of 47 years. The analysis of the spatial distribution of the festivals subject to the inventory suggests that the majority of them are organised in the largest cities of the region, namely Lublin, Zamośæ, and Kazimierz Dolny. Conclusions . Due to the very diverse offer of festivals, and the manner of their promotion, they play an important role in the promotion of the Lublin Region. The offer, spatial distribution, and dynamics in the scope of organisation of festivals provide good perspectives for the development of festival tourism in the Lublin Region.

Emerging Professionalism in the Event Industry: A Practitioner's Perspective

Since the 1980s the event industry has seen unprecedented growth in the number of festivals and events that are staged. Parallel to this growth has been a rapid growth and development in the number of researchers and practitioners investigating and writing about festivals and events. This article is an exploration (and an Australian practitioner's perspective) of the dynamics of the contemporary event industry as it strives to be recognized as a profession and the influences, impacts. and barriers that face the event practitioner seeking to professionalize. These influences, impacts and barriers include: the shift from an event management-predominant to an event design-predominant paradigm; the increasing priority for economic event outcomes; the advent of an overarching risk assessment and management regime; and the role of the practitioner academic.

Cracker craic: the politics and economics of Scots-Irish cultural promotion in the USA

A growing number of festivals celebrate ‘Scots-Irish’ heritage in the USA, spreading out of the southern highlands traditionally associated with the eighteenth-century settlement of migrants from Ulster. Myths and confusion still abound with respect to Scots-Irish identities, yet the newfound visibility is undeniable. Does this cultural revival represent a consequence of the genealogy boom or an attempt to capitalize on it? Is it part of a turn in depressed regions toward cultural heritage tourism as an economic development strategy? Does it represent an outgrowth of multiculturalism or white ethnic backlash against ridicule and ‘reverse’ discrimination? State tourism offices and the National Trust for Historic Preservation, supported by federal government grants, have played a central role in encouraging commemoration of Scots-Irish culture. Heritage, genealogy, and economic development have come together in these projects, with implications for both the cultural legacy of Ulster Scots migrants to the USA and cultural policy more generally.

Information Source Preferences and Associated Expenditure of First-Time and Repeat Visitors at a South African Wine Festival

Growth in the number of festivals urges festival organizers and researchers alike to find ways to effectively identify and attract visitors. The reason for this is an increase in competition due to an increase in the number of events as well as a greater need for festivals to contribute to the economic well-being of communities where these events/festivals are hosted. One such approach is segmentation by means of information sources, associated expenditure, and frequency of visitation. The Wacky Wine Festival in Robertson, South Africa is one of the country's largest wine festivals. This wine festival is unique in that it takes place on an existing wine route where 48 wine farms actively participate in the festival. This article presents the results of a survey that was conducted during the festival in June 2009 when visitors to the festival completed 424 questionnaires. The aim of this exploratory research was to determine first-time and repeat visitors' information source preference at the festival as well as the associated expenditure. Correspondence analysis, as well as ANOVAs, was used to analyze the data. The results revealed that visitors to the Wacky Wine Festival have specific preferences for certain information sources and that visitors' expenditure at the festival also varies. The results also revealed valuable information concerning the design and implementation of marketing strategies aimed at both first-time and repeat visitors at the festival.

Start making sense: Live audio-visual media performance

ABSTRACTWhile being shown footage recently of a live audio-visual performance of mine — an abstract visualization of a piece of electro-acoustic music — a colleague asked me the fateful question, ‘Yes, but what is it about?’ He was asking, essentially, ‘What does it mean that these images and sounds are occurring before me, what is the status of this audio-visual material, and what kind of spectator am I, how can I read this, how can I make sense of this?’ Despite a complex and interrelated set of artistic traditions and technological lineages, there is still little scholarship on the current state of live audiovisual production and performance. Writings on ‘VJ’ culture are beginning to appear in various forums, and the number of festivals dedicated to this art form is steadily increasing, yet live media performance remains under-theorized, in part because it sits eternally in between traditional modes of production and performance and there is conjecture as to how to understand it, and in part, perhaps, simply because it remains a relatively ‘new’ form of new media. In this article I will synthesize some of the existing writings on live media and VJ culture. My overall aim through this is to suggest some answers to the question of how live media performances can be understood to make sense: not only how live media performances make sense as meaning, as conceptual sense, but also how live media performances make a new kind of perceptual sense.

A picture of the contemporary combined arts festival landscape

The last 10–15 years has seen the rapid growth of festivals in Britain and overseas. This article examines the current situation of combined arts festivals in the UK in an effort to understand what the British festival environment looks like in the early years of the new millennium. A number of questions present themselves regarding the history and development of the current festival structure, the number of festivals, their size, distribution, audiences, geographical locations, programming content, duration, seasonality, influences, objectives, future plans and so forth. Combined arts festivals are defined as those containing more than one genre of arts, e.g., Edinburgh International Festival. Research methods include a survey questionnaire sent to 117 UK combined arts festivals (56 per cent response rate) to discern audience demographics, programming history, funding and future plans. In-depth interviews were also conducted with festival organizers. Based on survey data, it is argued that a homogeneous combined arts festival “type” is developing and replicating across the country. This argument is supported by the similarity in programming choices and festival format of a majority of the festivals surveyed. One of the main reasons for the increasing formulaic approach to festival programming and design is the increasing competition for funding as public and private funding sources expect combined arts festivals to achieve socio-economic targets and become more sustainable from one year to the next. This can be seen to be contributing to the increasing professionalism of combined arts festival organization, which has resulted in the majority of combined arts festival directors favouring “safe” content options that emulate the successes of several large, long-established festivals. Such an approach has had detrimental effects on the creativity of the arts festival landscape on the whole and may also be altering the symbolic meanings of festivals for communities and places.

Market segmentation of visitors at three selected arts festivals in South Africa

Purpose: The purpose of this article is to examine the market segmentation of visitors at three Arts Festivals in South Africa. The Arts Festivals were Innibos, Oppikoppi and Volksblad.Problem investigated: The literature review clearly shows that, in order for marketers of festivals to use scarce resources effectively and efficiently, it is paramount to do market segmentation. The advantages of market segmentation lie in an increase in visitor numbers, better image, and by creating a competitive advantage to name but a few.Method of research: The research was conducted by means of structured questionnaires at the three arts festivals. The data was used to compile a profile of each Festival. The significance of the correlation between the three Festivals and their profiles were tested by using effect sizes and Chi-square. A sample size of 452 questionnaires for Volksblad, 573 questionnaires for Innibos and 201 for Oppikoppi was used.Findings: The results show that the visitor profile variables that are significant for market segmentation purposes include:language; the province in which Festival attendees reside; days spent at the Festival; and the size of the travelling group.These results confirmed but also contradicted a number of similar studies conducted. The results also clearly showed the different profiles of each of the three arts festivals.Value of research: This was the first time such research was undertaken at smaller Arts Festivals in South Africa and is useful for planning and marketing purposes.Conclusion: Due to the increase in the number of festivals and events in South Africa as well as competition in general,marketers and organisers of these events and festivals are required to understand and target the right markets. Hence, this type of research is important and necessitates marketers and event organisers to follow a more scientific approach.