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Since 1992, the Egyptian Ministry of Tourism has established an annual special events agenda to achieve a cluster of social, economic and political aims. Over a ten-year period, the special events involved have not demonstrated clear success; a situation partly attributed to managerial problems and the lack of a good practice model of special events management applicable to the Egyptian context. Thus, this study focuses upon developing a model for managing cultural special events, which is potentially applicable in an Egyptian context. The issues related to special event managements were examined via an extensive literature review, which culminated in the development of a theoretical model of special events management. The theoretical model was then used as a projective instrument to stimulate the presentation of a multiple case study of three Welsh cultural special events. Utilizing semi-structured interviews, the Welsh cases resulted in three reasonably similar managerial models, which were then unified in a Welsh best practice model through the use of the Delphi technique. Three Egyptian cultural special events were analysed, via document analysis, which enabled the exploration of the managerial models currently applied to these cultural special events. The three Egyptian models were then compared against the Welsh best practice model resulting in the identification of eight dissimilarities. Following discussions with Egyptian practitioners, via semi-structured interviews, these dissimilarities were reduced to six managerial problems to which the failure of some of the Egyptian events can be attributed: the absence of SMART objectives; the absence of initial financial study; the unjustified decision-making regarding launching special events; the insufficient lead-time for the planning activities, notably promotion the absence of market research; and the absence of outcome evaluation. Consequently, a theoretical guide for managing these six problem areas was developed out of the literature. Semi-structured interviews with the Welsh practitioners were utilized again leading to the development of the theoretical guide into a Welsh best practice guide. Finally, both the Welsh best practice model and guide were discussed with the Egyptian practitioners, via semi-structured interviews associated with the Delphi technique, resulting in the development of a suggested model and guide potentially applicable in an Egyptian context.

Whilst dance culture and 'clubbing' has exerted a huge influence on worldwide youth culture in recent decades, academic engagement with this leisure phenomenon has been limited both in scope and in methodological approach. In this thesis I adopt an interpretive, auto-ethnographic research approach to exploring contemporary dance culture with the aim of furthering alternative interdisciplinary approaches to leisure research. I also seek to broaden our understanding of the area by shifting the focus of attention to new areas of enquiry (specifically clubbers' motivations and preferences and the role of the dance music media), In addition, I examine the usefulness of the performance metaphor in understanding dance culture and argue for the conceptualisation of dance events as liminal spaces. Informed by a constructionist epistemological perspective, the thesis investigates the social realities of the dance culture participants and attempts to reveal the many and varied influences which shape the socio-cultural construction of dance culture. As would be expected in an auto-ethnographic approach, the thesis begins with an account of my own involvement in dance culture, followed by a contextualisation of contemporary dance culture which examines its development from illegal raves and warehouse parties into a highly structured/ commercialised leisure activity. This overview of the nature of dance culture also provides a critique of the academic literature on the topic and assesses work which has discussed its evolution and 'legitimacy' as an authentic youth subculture. The study approach is then outlined and the methods (namely auto-ethnography, participant observation, semi-structured interviews, focus groups, online conversations and textual analysis) presented and discussed in detail, The thesis reveals the many and complex influences which attract clubbers to particular dance events and analyses contemporary dance culture under the themes of: the significance of travel; visual spectacle and the role of crowds; dress and performance; altered states; dance culture as youth culture; dancing, acceptance and belonging; the role of the media; and the influence of DJs. It emerges that issues of identity development, performance and self-fulfilment are central to participation in dance culture and I suggest that there are numerous parallels between immersion in dance culture and religious experiences. Participants described their travel to major dance events as spiritual journeys and notions of pilgrimage, visual spectacle, congregation and collective 'worship' imbue their accounts of their experiences. Analysis of the dance music media focusing on the role of DJs in dance culture also revealed powerful discourses of originality, authenticity and performance, Such discourses not only position these individuals as 'high priests' of dance music but also affirm the construction of dance sites as spaces of hedonism, liminality and the performance of alternative identities, Whilst the thesis attempts to provide an insight into the world of contemporary dance culture, it does not offer definitive conclusions; indeed, I would argue that it would be inappropriate to do so. Thus my final chapter is more of an epilogue and it considers the potential offered by incorporating diverse methodologies into the study of leisure and outlines an agenda for future research into dance culture and cognate areas.

The thesis deals with international festivals 'and the ways in which they are organised and delivered in their host communities. By taking two case studies, the fmx•Festival de Mexico 2010 (fmx) and the Festival Internacional de Teatro de la Habana 2011 (FITH), I propose to analyse festivals in the light of local, national and transnational forces and show how these forces and the agendas that attend them become visible in festival practices. I argue that those agendas unfold and materialise at festivals through strategically employed symbols, content programming and particular uses of space. My objective is to uncover the ways in which local, national and transnational forces operate, embody artistic trajectories and structure social relationships. The dissertation works from the global to the national and the local and includes the hybrid processes and outcomes resulting from the realisation of the FITH and the fmx. The theoretical approach is eclectic, drawing from fields such as performance studies, cultural geography, sociology, psychology, anthropology and tourism studies. The combination of theories allows me to propose the term 'festivalscapes' as a tool to explore the materialisation of the various agendas at international festivals. I approach both festivals as multi-layered events that unfold in a dynamic relationship with social and political forces that are manifested in particular spatial, visual, organisational and symbolic elements at each event.

Events management education (EME) is an area of education that has seen considerable growth since it first appeared in the UK twenty years ago. This in-depth review is centred on the perspective of the four main stakeholders, namely the lecturers, employers, graduates and students (LEGS). Conducted between 2011 and 2016 using mixed methods research, the thesis follows a grounded theory interpretative approach and contributes to the progress and direction of future EME awards. A central concern of this thesis is to investigate the supposed gaps that exist between education and industry and challenges many of the perspectives that bring into question the quality of EME in the 21st century that have dominated much of the EME debate. It highlights concerns from within the teaching environment that are central to the design and delivery of EME awards. By doing so, this thesis sets up a new research agenda focusing more specifically on issues of real concern to EME and the relationships of those involved in managing the expectations of each of the main stakeholders. This thesis provides value by presenting an account of the challenges facing EME and the experiences of graduates entering the events industry today. It draws together insights from EME literature and fieldwork, industry and academic professionals, students and graduates, and provides a strong basis from which further research can be developed.

Small-scale festivals, as occasions for communal gathering and celebration, have long held a place in the respective local calendars of many towns and villages throughout the United Kingdom. By their nature, they are sites for social interaction, performance and participation on many levels. Some have an historic precedent going back several centuries, while a great many arose post 1980 as a result, in part, of the burgeoning tourism and heritage industries and the regeneration policies and development strategies of the pre-millennium era. The proliferation of the UK festival field raises questions of sustainability, purpose and effectiveness and of the need for greater social evaluation in response to a perceived over-emphasis on economic outcomes. While some cultural and developmental strategies do acknowledge the potential social impact of small-scale festivals, to date the emphasis has been predominantly upon the economic contribution with research into festival impact taking a particularly urban focus. This research project examined the contribution of small-scale festivals to the social sustainability of their host communities within a rural context through a case study approach in Northumberland. A comprehensive overview of the dynamic of festivals within the county between 1980 and 2012 allowed for the selection of the four case studies. The mixed-method approach combined a review of the literature, archival and field research with a range of semi-structured interviews with festival and community stakeholders. Four principle indicators were identified through which to measure the contributions of the festivals to community social sustainability. These indicators are: contribution to community pride and localness, enhancement of knowledge and understanding, contribution to the continuity of local culture, and enablement of networks of connectivity. By examining these events through a lens of social sustainability, the thesis presents an argument, as outlined in the conclusion, which supports the potential for small-scale, rural festivals to make a positive contribution to their communities. The findings within the thesis suggest that small-scale, rural festivals make a significant contribution to the social sustainability of their host communities through the networks of connections they enable temporally (with heritage), spatially (with place) ii and socially (with the individuals and groups which interact with the event). In order for these festival connections to contribute to sustainability, these events must demonstrate a balance within these connections of both consistency and innovation and an accessibility and openness within the locale. It is this accessibility and the balance of consistency and innovation which ultimately determines the festival’s contribution to the social sustainability of its host community.

Ce présent travail aborde le carnaval de Cayenne en tant que phénomène festif issu du fait colonial et interroge les mécanismes d'ajustement qui ont amené esclaves et "gens de couleur libres" à retourner une fête religieuse, au service d’une coercition imposée par l’ordre colonial et esclavagiste, en une pratique subversive. Il s'inscrit dans le champ des études théâtrales et aborde le carnaval à travers sa dramaticité. L'histoire du carnaval, des premiers temps de la colonie jusqu’à à la période contemporaine, montre une mise en place d'esthétiques originales qui autorisent toutes les subversions. La tradition dramatique carnavalesque est fortement marquée par la pratique du Détour pouvant se définir par l'exacerbation du caractère dérisoire de l'être créole. Le grotesque européen se mêle à la dérision militante créole offrant un héritage théâtral pouvant exprimer une digne rage, une humanité perdue, une utopie nouvelle. La danse des bals, populaires autant que ceux de la bourgeoisie noire, quant à elle, est un art de la fuite et convoque le marronnage créateur en construisant un espace-temps différent où l'être renaît dans un sentiment d'enthousiasme. Cet art de la fuite au sein des vidé participe à une immense transe collective où la violence jaillit devenant un moyen de déstabiliser l'ordre en place et d'aborder une nouvelle sociabilité. Le carnaval contemporain tente de résoudre les problématiques de l'histoire et devient l'inverse du Détour. L'être sort de l'ombre pour manifester sa valeur d'exposition manifestant un hédonisme générale. La théâtralité y est brillante et manifeste une hypervisibilité de soi. C'est l'ère de l'exacerbation de la valeur de l'être cayennais. / This present work approaches the carnival of Cayenne as a festive phenomenon which has developed from the colonial fact. It examines the mechanisms of this adjustment by which slaves and "free people of color" have converted a religious feast reinforcing colonial order and slavery, and subverted it into a manifestation of pride in identity and expectation of a better future. As such this falls within the field of theatrical studies, i.e. evaluating the carnival as drama. The history of the carnival, from the colony's earliest days until the present, shows how new aesthetics have, year after year, changed its original role. The dramatic traditions of the carnival were strongly marked by the practice of "Détour", best defined as stressing the derisory character of the Creole being. European grotesque was mixed with Creole militant mockery, offering a theatrical inheritance expressing dignified rage, a lost humanity, a new utopia. The dance of balls, as popular as those of the black bourgeoisie, is an art of the flight, and summons creative marronnage by building a different space-time in which the being is reborn in a feeling of liberation and enthusiasm. This art of flight within the "vidé" occurs in an immense collective trance, where violence erupts, destabilizing an old order, encouraging a new. The contemporary carnival tries to solve the problems of history and becomes the opposite of the "Détour". The being comes out of darkness displaying its exhibition value, showing a general hedonism. Its theatricality is brilliant and manifests a hypervisibility. The true value of the Cayennais being is recognised.

L’analyse d’une culture se fait aussi à partir de l’analyse de la religiosité. Nous traiterons donc ici des fêtes de la Semaine Sainte dans deux villes du monde lusophone : São João del Rei et Braga, en nous appuyant à la fois sur l’histoire et sur l’anthropologie. La teneur culturelle de ces fêtes a représenté une véritable motivation qui nous a poussés à chercher à en comprendre la dimension contemporaine mais aussi à retracer leur parcours historique en tant que manifestations culturelles. Nous présenterons ces fêtes catholiques dès leur implantation dans ces deux sociétés influencées par la culture baroque qui s’est développée au XVIIIème siècle, jusqu’à leur réalisation de nos jours. La Semaine Sainte a été pensée comme un espace de sociabilité, de représentation sociale et d’affirmation d’une identité de ces deux villes. La fête sera traitée ici comme un texte rempli de significations. Notre analyse est principalement axée sur la recherche de la signification de la persistance d’éléments culturels dans ces moments festifs qui concentrent relations et processus social dans la société contemporaine. Nous tenterons de constater avec le maximum d’objectivité, les ruptures qui se sont opérées dans la pratique des ces fêtes et de définir les nouvelles significations de ces solennités en tant que documents qui ont traversé les temps sous forme d’une pratique sociale fortement enracinée. / This research is about the Holy Week’s religious celebrations wich have been practiced in São João del-Rei (Brazil) and Braga (Portugal), two Lusophone world’s cities, relying on both Anthropology and History. We intend to present the catholic celebration in these two societies which are influenced by the baroque culture from XVIII century till nowadays. In our research the Holy Week is comprehend as a social representation space as well as an identity assertion of these two societies. Our analysis focuses primarily on searching the cultural elements persistence in these celebrations that condense the social processes in contemporary society. We have tried to observe, in an objectivity way, the ruptures and the ceremonies constructions that have occurred in these celebrations practices and which are supposed to define new ceremonies meanings as a proof beyond the time seen as a deeply rooted social practice.