Throughout the world festivals are growing - in numbers, in size, in significance - and serve as spaces where aesthetic encounters, religious and political celebrations, economic investments and public entertainment can take place. In this sense, festivals are theatrical events. Exploration of the theoretical frames of reference for the discussion about the present festival culture. Survey of 14 festival events throughout the world.
The Festivalization of Culture explores the links between various local and global cultures, communities, identities and lifestyle narratives as they are both constructed and experienced in the festival context. Drawing on a wide range of case studies from Australia and Europe, festivals are examined as sites for the performance and critique of lifestyle, identity and cultural politics; as vehicles for the mobilization and cementation of local and global communities; and as spatio-temporal events that inspire and determine meaning in people's lives. Investigating the manner in which festivals are no longer merely periodic, cultural, religious or historical events within communities, but rather a popular means through which citizens consume and experience culture, this book also sheds light on the increasing diversity of contemporary societies and the role played by festivals as sites of cohesion, cultural critique and social mobility. As such, this book will be of interest to those working in areas such as the sociology, consumption and commodification of culture, social and cultural geography, anthropology, cultural studies and popular music studies.
The recent proliferation of events as a subject of study in its own right has signalled the emergence of a new field – event studies. However, whilst the management-inspired notion of planned events, which strives for conceptual slenderness, may indeed be useful for event managers, the moment we attempt to advance knowledge about events as social, cultural and political phenomena, we realise the extent to which the field is theoretically impoverished. Event studies, it is argued, must transcend overt business-like perspectives in order to grasp events in their complexities. This book challenges the reader to reach beyond the established modes of thinking about events by placing them against a backdrop of much wider, critical discourse. Approaches and Methods in Event Studies emerges as a conceptual and methodological tour de force—comprising the works of scholars of diverse backgrounds coming together to address a range of philosophical, theoretical, and methods-related problems. The areas covered include the concepts of eventification and eventual approaches to events, a mobilities paradigm, rhizomatic events, critical discourse analysis, visual methods, reflexive and ethnographic research into events, and indigenous acumen. Researchers and students engaged in the study of events will draw much inspiration from the contributions and from the volume as a whole.
This is an original book, covering all the past areas of research anyone would need to know about festivals and ‘event-based culture’. It is based on academic research but written in a way relevant for cultural professionals – uniquely explaining the cultural power of festivals, and with original empirical research, the realities of organisation and management, and social and economic value. Dr Jonathan Vickery, Reader in Cultural Policy Studies and Director: Centre for Cultural and Media Policy Studies, Univeristy of Warwick. This book discusses music festivals in the context of the specific values they convey. Today, music festivals are a permanent feature of national, regional and local cultural policies, a valuable asset in the tourism industry and a significant source of income for an industry that has been adversely affected by the steady decline in physical sales of music. For the audience, on the other hand, it is an opportunity to escape from everyday life, multi-sensory contact with art, an activity that stands for “full-body participation”– a cultural phenomenon that drags people out of their homes like no other. There is one common denominator linking the above-mentioned features of contemporary music festivals – namely the world of values. This is evident from the non-accidental locations, festivals spaces’ design, planning and the line-ups created consciously, with great care. The organisers’ “missions”, logos, and other symbolic organisational artefacts communicate specific values. These values are explicitly mentioned by artists and audiences: they can be easily identified in online forums and media reports; participant behaviour, festival “rituals” and additional festival programs are shaped on the basis of values, and cooperation is built between the festival and the local community. As the reader will quickly realize, numbers and statistics sit alongside descriptions and quotations in this book, and the organisers’ statements are accompanied by the opinions of academics, but above all the festival audience is given a voice – both through quotations and their drawings. This voice is by no means uniform, as it turned out that research into values was often transformed into a pretext for spinning tales about one’s life situation, one’s political preferences, and one’s understanding of freedom and responsibility. Memories were mixed with declarations, joy with regret, curses with dreams, prose with poetry. Thomas Pettitt was not wrong in noting that “Social history has learnt to appreciate festival as a valuable window on society and its structures”. The authors have tried to open all the windows available. Students and researchers in the fields of cultural anthropology, social psychology, folklore studies, comparative religion, sociology of culture, cultural policy, cultural history, and cultural management will find this book highly interesting.
The Festival Cities of Edinburgh and Adelaide examines how these cities’ world-famous arts events have shaped and been shaped by their long-term interaction with their urban environments. While the Edinburgh International Festival and Adelaide Festival are long-established, prestigious events that champion artistic excellence, they are also accompanied by the two largest open-access fringe festivals in the world. It is this simultaneous staging of multiple events within Edinburgh’s Summer Festivals and Adelaide’s Mad March that generates the visibility and festive atmosphere popularly associated with both places. Drawing on perspectives from theatre studies and cultural geography, this book interrogates how the Festival City, as a place myth, has developed in the very different local contexts of Edinburgh and Adelaide, and how it is challenged by groups competing for the right to use and define public space. Each chapter examines a recent performative event in which festival debates and controversies spilled out beyond the festival space to activate the public sphere by intersecting with broader concerns and audiences. This book forges an interdisciplinary, comparative framework for festival studies to interrogate how festivals are embedded in the social and political fabric of cities and to assess the cultural impact of the festivalisation phenomenon.
Festivals and events are of enormous significance to many communities around the world. They can have historic, religious, cultural and traditional significance, and they are also important parts of community building. This book focuses on these small-scale, non-metropolitan events (i.e. rural, regional and peri-urban) to explore the complex relationships between place, community and identity and the ways in which festival events bring these into being. By drawing on the notion of ‘encounter’, this book examines how festivals and events can be seen primarily as spaces where different people meet. This notion of encounter helps us to understand how conviviality and social relations are developed, and what this then means in terms of social cohesion and social justice. It also draws on current theoretical and methodological approaches that can tell us about the role of festivals in contemporary life, and it includes the sensual approach, the geographies of affect and emotion, the notion of the right to the city and nonrepresentation theory. The book brings together these perspectives and examines their relevance in the community events context, identifying and discussing theoretical frameworks drawn from (including but not limited to) human geography, sociology, anthropology, leisure studies and urban planning, as well as tourism and event studies. For these reasons, Festival Encounters will be a valuable read for students and academics working on a wide range of disciplines.
Festivals have always been part of city life, but their relationship with their host cities has continually changed. With the rise of industrialization, they were largely considered peripheral to the course of urban affairs. Now they have become central to new ways of thinking about the challenges of economic and social change, as well as repositioning cities within competitive global networks. In this timely and thought-provoking book, John and Margaret Gold provide a reflective and evidence-based historical survey of the processes and actors involved, charting the ways that regular festivals have now become embedded in urban life and city planning. Beginning with David Garrick’s rain-drenched Shakespearean Jubilee and ending with Sydney’s flamboyant Mardi Gras celebrations, it encompasses the emergence and consolidation of city festivals. After a contextual historical survey that stretches from Antiquity to the late nineteenth century, there are detailed case studies of pioneering European arts festivals in their urban context: Venice’s Biennale, the Salzburg Festival, the Cannes Film Festival and Edinburgh’s International Festival. Ensuing chapters deal with the worldwide proliferation of arts festivals after 1950 and with the ever-increasing diversifycation of carnival celebrations, particularly through the actions of groups seeking to assert their identity. The conclusion draws together the book’s key themes and sketches the future prospects for festival cities. Lavishly illustrated, and copiously researched, this book is essential reading not just for urban geographers, social historians and planners, but also for anyone interested in contemporary festival and events tourism, urban events strategy, urban regeneration regeneration, or simply building a fuller understanding of the relationship between culture, planning and the city.
In recent times, festivals around the world have grown in number due to the increased recognition of their importance for tourism, branding and economic development. Festivals hold multifaceted roles in society and can be staged to bring positive economic impact, for the competitive advantage they lend a destination or to address social objectives. Studies on festivals have appeared in a wide range of disciplines, and consequently, much of the research available is highly fragmented. This handbook brings this knowledge together in one volume, offering a comprehensive evaluation of the most current research, debates and controversies surrounding festivals. It is divided into nine sections that cover a wide range of theories, concepts and contexts, such as sustainability, festival marketing and management, the strategic use of festivals and their future. Featuring a variety of disciplinary, cultural and national perspectives from an international team of authors, this book will be an invaluable resource for students and researchers of event management and will be of interest to scholars in the fields of anthropology, sociology, geography, marketing, management, psychology and economics.
The global rise of festival culture and experience has taken over that which used to merely be events. The Cambridge Companion to International Theatre Festivals provides an up-to-date, contextualized account of the worldwide reach and impact of the 'festivalization' of culture. It introduces new methodologies for the study of the global network of theatre production using digital humanities, raises questions about how alternative origin stories might impact the study of festivals, investigates the festivalized production of space in the world's 'Festival Cities', and re-examines the social role and cultural work of twenty-first-century theatre, performance, and multi-arts festivals. With chapters on festivals in Africa, Asia, Australia, the Arab world, the francophone world, Europe, North America, and Latin America it analyses festivals as sites of intercultural negotiation and exchange.
Most early social research into planned events had the effect of broadcasting narratives of dominant cultures and privileged groups. More recently, however, convergences of gender, sexualities, ethnicities, age, class, religion, and intersectional analyses and events studies have started to drive new critical understanding of the impacts of events on non-mainstream, non-majority communities around the globe. This timely book addresses current gaps in the literature surrounding issues of accessibility, inclusion, and diversity in various event landscapes. Structured into four parts covering the main types of events, the chapters present original topics using innovative methodological approaches. Each chapter employs a case study to illustrate the key intertwining issues in these various experiential realms. Further, the chapters are all cross- or interdisciplinary, drawing on gender, sexualities, cultural, race/ethnicity studies as well as multiple literatures that feed into critical events studies and exploring a variety of global examples. This significant book opens the path to further research on the role and importance of accessibility, inclusion, and diversity in events environments worldwide. It will be of interest to academics and researchers of critical event studies as well as a number of related social science disciplines.
