This thesis adopts a Cultural Industries framework to examine how Queensland's arts council network has, through the provision of arts products and services, contributed to the vitality, health and sustainability of Queensland's regional communities. It charts the history of the network, its configuration and impact since 1961, with particular focus on the years 2001 - 2004, envisages future trends, and provides an analysis of key issues which may be used to guide future policies and programs. Analysis is guided by a Cultural Industries understanding of the arts embedded in everyday life, and views the arts as a range of activities which, by virtue of their aesthetic and symbolic dimensions, enhance human existence through their impact on both the quality and style of human life. Benefits include enhanced leisure and entertainment options, and educational, social, health, personal growth, and economic outcomes, and other indirect benefits which enrich environment and lifestyle. Queensland Arts Council (QAC) and its network of branches has been a dominant factor in the evolution of Queensland's cultural environment since the middle of the 20th century. Across the state, branches became the public face of the arts, drove cultural agendas, initiated and managed activities, advised governments, wrote cultural policies, lobbied, raised funds and laboured to realise cultural facilities and infrastructure. In the early years of the 21st century, QAC operates within a complex, competitive and rapidly changing environment in which orthodox views of development, oriented in terms of a left / right, or bottom up / top down dichotomy, are breaking down, and new convergent models emerge. These new models recognise synergies between artistic, social, economic and political agendas, and unite and energise them in the realm of civil society. QAC is responding by refocusing policies and programs to embrace these new models and by developing new modes of community engagement and arts facilitation. In 1999, a major restructure of the arts council network saw suffragan branches become autonomous Local Arts Councils (LACs), analogous to local Cultural Industry support organisations. The resulting network of affiliated LACs provides a potentially highly effective mechanism for the delivery of arts related products and services, the decentralisation of cultural production, and the nurturing across the state of Creative Community Cultures which equip communities, more than any other single asset, to survive and prosper through an era of unsettling and relentless change. Historical, demographic, behavioural (participation), and attitudinal data are combined to provide a picture of arts councils in seven case study sites, and across the network. Typical arts council members are characterised as omnivorous cultural consumers and members of a knowledge class, and the leadership of dedicated community minded people is identified as the single most critical factor determining the extent of an LAC's activities and its impact on community. Analysis of key issues leads to formulation of eight observations, discussed with reference to QAC and LACs, which might guide navigation in the regional arts field. These observations are then reformulated as Eight Principles Of Effective Regional Arts Facilitation, which provide a framework against which we might evaluate arts policy and practice.

Made available in DSpace on 2016-06-02T19:35:40Z (GMT). No. of bitstreams: 1 3009.pdf: 2906186 bytes, checksum: 1478ac9613bc0e97d35e8590e173e955 (MD5) Previous issue date: 2010-04-09 / The main issue in this dissertation is the process of child s cultural development in primary school (from 0 to 5 years old). We aimed at identifying whether the school and family contribute to children s cultural development, and how this process occurs, through the analysis of concepts from the children themselves, the teachers, the school director, the educational staff, school officials and students parents. The methodological procedures used were based on a qualitative approach; we collected data through semi-structured interviews and questionnaires. Cultural-Historical Theory served as the theoretical foundation for our work; therefore, we believe that cultural development results from appropriations and objectifications made by individuals from their social relations throughout life. Cultural development is a condition for individuals humanization. The data analyzed stated that the school and the family contribute to children s cultural development; however, this contribution was not so intentional or systematic. The social function of Primary School expressed by different participants in the survey was very similar and emphasized the role of school in children s preparation for Intermediate school (6-13 years old), and in the development of values and rules for living together. We realized that playing was appreciated both by children and adults, but children valued this activity by itself while adults often considered playing as a resource for learning school subjects, or simply as a way of occupying child s free time. Children s and adult s access to culture was restricted and limited, particularly to television, and that impoverished their possibilities of cultural development. Artistic and cultural activities were interpreted as didactical and pedagogical resources, and were rarely associated with leisure, fun, broadening of worldview, and thus, with cultural development. We hope, with the analysis undertaken in this research, to contribute to the thinking on the democratic and revolutionary dimension of the school in what concerns its role as an institution that should offer opportunities of access to increasingly sophisticated knowledge and experience, so that all children perform appropriations and objectifications that could result in their growing and continuous cultural development aimed at building a fairer and more equitable society. / O problema central desta tese é o processo de desenvolvimento cultural da criança na Educação Infantil. Buscamos identificar se a escola e a família contribuem para o desenvolvimento cultural das crianças e de que forma esse processo ocorre, a partir da análise das concepções das próprias crianças, das professoras, da diretora, das agentes educacionais, dos funcionários da escola e dos pais de alunos. Os procedimentos metodológicos utilizados se fundamentaram em abordagem qualitativa, coletamos os dados por meio de entrevistas semiestruturadas e questionários. A Teoria Histórico-Cultural serviu de fundamentação teórica para nosso trabalho, deste modo, concebemos que o desenvolvimento cultural resulta das apropriações e objetivações realizadas pelos indivíduos a partir das relações sociais que estabelecem ao longo de sua vida. O desenvolvimento cultural é condição de humanização dos indivíduos. Os dados analisados enunciaram que a escola e a família contribuíam para o desenvolvimento cultural das crianças, todavia, essa contribuição ocorria de forma pouco intencional e sistematizada. A função social da Educação Infantil expressa pelos diferentes participantes da pesquisa foi bem semelhante e enfatizava o papel de preparação da criança para o Ensino Fundamental e o desenvolvimento de valores e regras de convivência. Verificamos que a brincadeira era valorizada tanto pelas crianças como pelos adultos, porém, as crianças valorizavam essa atividade por ela mesma e os adultos, muitas vezes, consideravam a brincadeira como um recurso para a aprendizagem de conteúdos escolares ou simplesmente uma forma de ocupar o tempo livre da criança. O acesso das crianças e dos adultos aos bens culturais era restrito e limitado, em especial à televisão, e isso empobrecia as possibilidades de desenvolvimento cultural deles. As atividades artísticas e culturais eram interpretadas como recurso didático-pedagógico e raramente se vinculavam ao lazer, ao divertimento, a ampliação da visão de mundo e consequentemente ao desenvolvimento cultural. A partir das análises empreendidas nesta pesquisa, esperamos contribuir para a reflexão sobre a dimensão democrática e revolucionária da escola no sentido de que cabe a essa instituição oferecer oportunidades de acesso a conhecimentos e experiências cada vez mais sofisticados para que todas as crianças realizem apropriações e objetivações que resultem em seu crescente e continuo desenvolvimento cultural com vistas à construção de uma sociedade mais justa e igualitária.

MELO, Lis Albuquerques. Entre se dizer e ser dito criança: significados e sentidos construídos pelas crianças acerca da ação de participação. 2012. 119f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Psicologia, Fortaleza (CE), 2012. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-11-25T17:16:11Z No. of bitstreams: 1 2012-DIS-LAMELO.pdf: 1826489 bytes, checksum: 492f897e3b59ff080aef642a9cc7eedb (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2013-11-26T10:57:33Z (GMT) No. of bitstreams: 1 2012-DIS-LAMELO.pdf: 1826489 bytes, checksum: 492f897e3b59ff080aef642a9cc7eedb (MD5) / Made available in DSpace on 2013-11-26T10:57:33Z (GMT). No. of bitstreams: 1 2012-DIS-LAMELO.pdf: 1826489 bytes, checksum: 492f897e3b59ff080aef642a9cc7eedb (MD5) Previous issue date: 2012 / This study aimed to understand the significances and meanings constructed by children regarding the action of participation. From the many places that children occupy in Brazilian society, it appears that, among the discourses and social practices that enhance their right to participation and voice in social and political life, consistent with the fact that rights and duties are assigned to the children, it coexists those that claim a place of inadequacy and inferiority in the course of development of the rational subject of an eminently adultocentric society. From a historical-cultural perspective of the human constitution, it is understood that children are constructed as such by the context characteristics tensions. Participation in this study is understood as an action that is realized in the interaction with the other (s) in cultural and social contexts filled with values, focusing on everyday situations, with their diversity of possible ways to participate. This qualitative research was developed with a group of children and adolescents aged between 7 and 17 years, participants in a social project in northeastern Brazil. As techniques for generating data, we used the methodology of the Workshops, characterizing an intervention research, and participant observation. The registers adopted were the field diary and video recording of meetings, followed by transcription. The constructed data was analyzed from the reference of Network of Significations and the microgenetic analysis by the historical-cultural matrix. The children and the adolescents created participatory strategies to deal with the tension between the instituted and the experience, producing meanings around shared hegemonic significances about their participation. Thus, the participation of these subjects happens in their daily lives, on most simple interaction, in micro-spaces of relations, as participatory practices socially recognized for this process to take place. However, images of children present in practices with children often end up formatting the experience of being a child and to participate, disregarding the contexts, needs and possibilities of a time that is always being undone, redone and built. / O presente trabalho objetivou compreender os significados e sentidos construídos pelas crianças acerca da ação de participação. Dos diversos lugares que crianças ocupam na sociedade brasileira constata-se que junto aos discursos e práticas sociais que enaltecem seu direito à participação e à voz na vida social e política, coerentes com o fato de as crianças serem facultados direitos e deveres, coexistem aqueles que a afirmam em um lugar de incapacidade e inferioridade no percurso de desenvolvimento do sujeito racional de uma sociedade eminentemente adultocêntrica. Desde uma perspectiva histórico-cultural da constituição humana, compreende-se que as crianças se constroem como tais nas tensões características desse contexto. A participação é compreendida no presente trabalho como uma ação que se concretiza na interação com o(s) outro(s), em contextos social e culturalmente carregados de valores, sendo focadas as situações cotidianas, com sua diversidade de modos possíveis de participar. A pesquisa, de caráter qualitativo, foi desenvolvida junto a um grupo de crianças e adolescentes, com idades entre 7 e 17 anos, participantes de um projeto social no nordeste brasileiro. Como técnicas de geração de dados, foram utilizadas a metodologia das Oficinas, caracterizando uma pesquisa-intervenção, e a observação participante. As formas de registros adotadas foram o diário de campo e a gravação dos encontros em vídeo, seguida de transcrição. Os dados construídos foram analisados a partir do referencial da Rede de Significações e de uma análise microgenética na matriz histórico-cultural. As crianças e os adolescentes criaram estratégias participativas para lidar com a tensão entre o instituído e a experiência, produzindo sentidos em torno de significados hegemonicamente compartilhados acerca de sua participação. Assim, a participação destes sujeitos acontece em seu cotidiano, nas situações mais simples de interação, nos microespaços das relações, assim como, em práticas participativas socialmente reconhecidas para que esse processo se concretize. Entretanto, as imagens de infância presentes nas práticas com crianças muitas vezes acabam por (for)matar as experiências de ser criança e de participar, desconsiderando os contextos, as demandas e as possibilidades de um tempo que está sendo sempre desfeito, refeito e construído.

Trata do processo de criação e desenvolvimento do Centro Cultural da Juventude Ruth Cardoso (CCJ) e do impacto causado por suas ações junto à comunidade, particularmente junto ao seu público-alvo, utilizando para esta reflexão os conceitos de desenvolvimento cultural e de direitos culturais. O CCJ foi criado em 2006 com objetivo de atender as demandas dos jovens moradores das regiões de Brasilândia, Cachoeirinha, Freguesia do Ó e de toda a cidade de São Paulo. Partiu da criação de um equipamento cultural que tem como público-alvo os jovens entre 18 a 29 anos, que em geral não são o foco principal dos outros equipamentos mantidos pela prefeitura da cidade de São Paulo. Foi analisada a relação entre a cultura e a cidade, a partir da presença e distribuição dos equipamentos culturais no âmbito da Secretaria de Cultura da cidade de São Paulo, descritos aqui como pano de fundo. Apresenta o histórico do CCJ, sua criação, suas redes, objetivos, propostas e funcionamento, tendo como fonte de informação depoimentos colhidos junto aos gestores do CCJ, documentos e observação. Para analisar o público-alvo do CCJ, aborda-se o conceito de juventude, seus valores e suas expectativas. Traz uma pesquisa de usuários do CCJ que ajuda a traçar seu perfil, analisar o uso que fazem do equipamento e avaliar sua satisfação com as atividades e os acessos oferecidos. Os resultados obtidos demonstraram mudanças no perfil cultural destes jovens, a partir da freqüência ao CCJ, podendo-se admitir que espaços culturais próximos à comunidade contribuem de forma eficaz para o desenvolvimento cultural de seu público e para a democratização do acesso aos bens culturais. / This dissertation aims to analyze the process of creation and development of the Cultural Center for Youth Ruth Cardoso (Centro Cultural para a Juventude Ruth Cardoso, CCJ) and the impact caused by the actions of the CCJ in the community, particularly among its target audience, using in this reflection the concepts of \"cultural development\" and \"cultural rights\". The CCJ was established in 2006 in order to meet the demands of the young residents of the regions of Brasilândia, Cachoeirinha, Freguesia do Ó and of the city of São Paulo as a whole. The CCJ involved the creation of differentiated cultural facilities, focusing on the population aged 18 to 29 years, the general public that is not the main focus of the other facilities maintained by the Municipal Government of São Paulo. We analyze initially the relationship between culture and cities, focusing specially on the presence and distribution of cultural facilities within the Department of Culture (Secretaria de Cultura) of São Paulo, in order to achieve an overview of the characteristics of each of them. Subsequently we present the history of the CCJ, its creation, its networks, objectives and operation. These information were obtained from testimonies collected from the managers of the CCJ, documents and observation. Afterwards we make a discussion on the concept of youth and its expectations, and finally we deal with the analysis of the interviews applied to users of the CCJ, checking its characteristics, the uses of the facilities, and the evaluation of satisfaction, which indicates changes in the cultural profile of these young people in relation to their attendance of the CCJ. The results showed that differentiated cultural spaces and decentralization contribute effectively to the cultural development of its public and to the democratization of the access to cultural goods.

The mysterious Sea Peoples are groups thought to have entered the Orient towards the end of the Late Bronze Age time period. Their impact on the region was seemingly influential and one of the contributing factors leading to the decline of the societal status quo in the region leading up to 1200 BCE. Their origins, cultural identity and long term impact on the area are all factors which have been difficult and complex to research. The challenges with regard to these peoples and any research concentrated upon them include a definitive lack of physical evidence of their material culture, specifically in the northern regions thought to have been inhabited by them. Further south the situation differs slightly as the Philistines (thought to be a Sea Peoples group) did settle into a sophisticated society with material remains to prove it. In the north however, Sea Peoples are known to have settled but their impact is less clear but not necessarily non-existent in all regards. The Phoenicians as an Iron Age civilisation date back to the transitional period of 1200 BCE (Late Bronze Age to Early Iron Age) and have often been regarded as simply the cultural descendants of the Late Bronze Age Canaanites. This is true in many ways but in certain instances the Phoenicians achieved feats and undertook cultural practices that may diverge from this idea of complete continuity. In terms of maritime activity, the Phoenicians were able to accomplish feats never before seen in the region. The time period in which these maritime activities started to take place on such an expansive level corresponds with the settlement of northern Sea Peoples in Phoenicia and just outside its southern borders. Although the physical evidence regarding these Sea Peoples is by no means available in abundance, perhaps one can find their impact in the cultural makeup and actions of the Phoenicians. It may be plausible that groups of people that had such a significant influence on an area through their migrations, as the Sea Peoples did, could have had more long term influences on the occupants of the area than has been credited to them before. One possible manifestation of this influence may be the unique maritime character of the Phoenicians which can be compared with the Sea Peoples, who have not been given their name coincidentally. Their affinity to the sea is well known through textual and pictographic records and can in some instances be favourably paralleled with the Phoenicians. Ship design alterations going into the Phoenician age is possibly, at least in part, due to Sea Peoples influence. Furthermore the actual undertaking of Phoenician expansion across the sea and following early forms of maritime expansion which was, to a degree, unknown in the area before seems to have started in a time period contemporaneous with Sea Peoples settling in Canaan. Apart from the settlement in itself, these peoples did so after migrating en masse across the Mediterranean and this must surely be worthy of additional attention. The Sea Peoples’ constant affiliation with all things ship and sea orientated must add some impetus 9 to this argument. Any other similarities between the Sea Peoples and Phoenicians can also be used as an indicator of cultural mergence. Cultural and societal divergences uncovered between the Late Bronze Age and Early Iron Age inhabitants also may illuminate ideas of decisive outside influences after 1200 BCE. The primary thread of this research is dedicated to dealing with the possibilities mentioned and perhaps presenting alternative theories to those currently accepted. / Dissertation (MA)--University of Pretoria, 2014. / gm2014 / Ancient Languages / unrestricted

No Abstract Provided / Thesis / Bachelor of Arts (BA)

Cette version de la thèse a été tronquée de certains éléments protégés par le droit d’auteur. Une version plus complète est disponible en ligne pour les membres de la communauté de l’Université de Montréal et peut aussi être consultée dans une des bibliothèques UdeM / Cette thèse traite de la musique dans le contexte d’une diaspora émergente comme moyen privilégié de favoriser l’appartenance et la convivialité ; elle porte sur les associations culturelles montréalaises fondées par des immigrants en provenance des Grassfields. À travers l’histoire de cette région densément peuplée du Cameroun, les arts musicaux menés au sein des associations locales ont constitué un mécanisme important dans la construction de la cohésion sociale et dans l’expression d’une culture commune, façonnée par des relations interculturelles et par le déplacement continuel de sa population entre les nombreuses chefferies. La division coloniale des Grassfields entre zones linguistiques anglophones et francophones mène à la fusion des conceptions endogènes de l’« unité dans la diversité » caractérisée par le projet d’intégration nationale de l’État camerounais postcolonial ; ce dernier cherche toujours à gérer sa diversité ethnique considérable à travers des initiatives de « développement culturel ». Depuis l’indépendance du pays, la croissance d’une diaspora Grassfields à Montréal a favorisé l’organisation d’activités musicales dans le cadre d’associations et de leurs événements culturels. Ceci a permis de souder les liens entre mondes rurale et urbain, de poursuivre des idéaux de pluralisme et de solidarité, et de négocier les héritages divergents issus à la fois de conflits et de coopérations ayant marqué cette zone historiquement marginalisée. Comme les migrants venant des Grassfields des deux côtés de l’ancienne frontière coloniale constituent un pourcentage important d’immigrants récents à Montréal, leur héritage musical commun continue d’être exploité au sein des associations comme moyen d’aborder de nouvelles relations interculturelles au profit de leur adaptation aux idéologies pluraliste des sociétés québécoises et canadiennes. En reliant cette participation historique aux associations musicales à des exemples spécifiques tirés des communautés Grassfields anglophones et francophones de la diaspora camerounaise de Montréal, nous démontrons comment la participation aux associations continue d’encourager des rôles de leadership parmi ses membres mélomanes grâce à leurs capacités à faciliter des expériences de solidarité et de convivialité à travers les festivals et rituels de cycles de vie, solidifiant ainsi leur statut et la réappropriation des idéaux locaux et nationaux d’unité, tout ceci dans un contexte culturellement validé. / This thesis looks at the musical activity of Montréal’s Cameroonian Grassfields cultural associations as a favoured means of fostering belonging and pursuing conviviality in an emergent diaspora. In the history of this densely populated area of Cameroon the musical arts in the context of associations have been a central mechanism in the mediation of social cohesion and a defining characteristic of a common culture shaped by intercultural relationships and the constant movement and exchange of its population between its many constituent chiefdoms. The subsequent colonial division of the area into Anglophone and Francophone linguistic regions would ultimately lead to the merging of an indigenous conception of “unity in diversity” with the post-colonial Cameroonian State’s national project that continues to be defined by a preoccupation with the integration of its considerable ethnic diversity through “cultural development” initiatives. With the growth of a “domestic” Grassfields diaspora since Cameroon’s independence, the organization of musical activity in the context of associations and their cultural events has continued to provide Grassfielders the means to maintain rural-urban linkages, pursue ideals of pluralism and solidarity and navigate the divergent legacies of conflict and cooperation that have marked this historically marginalized area. As Grassfields migrants from both sides of the former colonial border have made up a significant percentage of recent Cameroonian immigrants to Montréal, they have continued to harness their shared history of participation in musical associations as a means of consolidating new intercultural relationships and adapting their activity to fit the ideologies of pluralism of Québecois and Canadian society. By linking the history of Grassfields musical association in Cameroon to specific examples from both the Anglophone and Francophone Grassfields communities of Montréal’s Cameroonian diaspora, we demonstrate how musical associations have continued to afford leadership roles to their most musical participants through their capacity to facilitate the solidarity and conviviality of life cycle rituals and festivals, recreating culturally validated modes of status acquisition by deploying their musical skill and experience in the pursuit and reappropriation of local and national ideals of unity.

Cette recherche consiste en un examen du rôle du festival dans une communauté linguistique en contexte minoritaire confrontée à des enjeux spécifiques tels que l’assimilation, l’exogamie, la diglossie, l’inégal accès aux services dans sa langue, de même que l’accès limité aux produits culturels de son groupe linguistique. Le cas des festivals francophones en milieu minoritaire sert à interroger concrètement et empiriquement les possibilités, les conditions, les limites et les contraintes de cette forme particulière d’événement en tant que vecteur de la vitalité culturelle d’une communauté minoritaire. Le festival est aussi exploré en lien aux grandes finalités de développement culturel et de démocratie culturelle, soit des mécanismes culturels à la source des politiques culturelles modernes, ainsi qu’en lien à son rôle aux niveaux de l’affirmation et de la consolidation identitaires. Une étude de cas multiples a été menée afin de comparer et d’analyser trois festivals francophones en milieu minoritaire ontarien qui sont mis sur pied dans différentes régions, et ont des objectifs à la fois similaires et différenciés : 1) La Nuit sur l’étang (Sudbury) ; 2) le Festival franco-ontarien (Ottawa) ; et 3) le Festival du Loup (Lafontaine-Penetanguishene). En focalisant sur chaque cas étudié, nous sommes en mesure de donner une vue d’ensemble du phénomène « festival » dans un tel contexte. Cette recherche présente, par le biais de sources documentaires, d’observations sur le terrain et d’entretiens auprès des organisateurs, des festivaliers et des artistes de ces événements, les perceptions qu’en ont et l’utilisation qu’en font ces différentes catégories d’acteurs impliqués. Elle fait plus précisément état de la contribution du festival au niveau des mécanismes culturels proposés ci-dessus. En outre, elle permet de déterminer si les acteurs directement impliqués dans ce type d’événement le perçoivent comme un enjeu important pour la francité. Bref, l’ensemble des contributions qu’apportent les festivals francophones en Ontario montrent en quoi ces événements agissent comme des vecteurs de la vitalité culturelle d’une communauté minoritaire. / This dissertation examines the role of the festival in a linguistic community in a minority context confronted with assimilation, exogamy, diglossia, unequal access to services in their mother tongue, as well as limited access to cultural products of their linguistic group. The case of francophone festivals in a minority situation serves as a way to verify concretely and empirically the possibilities, the conditions, the limits and the constraints of this particular form of event as a vector of cultural vitality of a minority community. The festival is also explored in regard to cultural development and cultural democracy, that is, two cultural mechanisms related to modern cultural policy. The role of the festival in relation to identity affirmation and identity consolidation is also explored. A multiple case study was conducted in order to compare and analyze three francophone festivals in minority communities in Ontario that take place in different regions, and that have similar and different objectives: 1) La Nuit sur l’étang Sudbury); 2) the Festival franco-ontarien (Ottawa); and 3) the Festival du Loup (Lafontaine-Penetanguishene). By focusing on each of these cases, we are able to give a broader view of the festival phenomenon set in this particular context. This research presents, through the use of documentary sources, fieldwork observations and interviews with festival organizers, audience members and artists, the perceptions they have and the use they make of the festival. It also sheds light on the contribution of the festival pertaining to the aforementioned cultural mechanisms and if the actors directly implicated in this type of event perceive them as being an important issue for Frenchness. In sum, the various contributions of francophone festivals in Ontario studied in this research demonstrate how these events act as vectors of cultural vitality of a francophone minority community.

Cette recherche consiste en un examen du rôle du festival dans une communauté linguistique en contexte minoritaire confrontée à des enjeux spécifiques tels que l’assimilation, l’exogamie, la diglossie, l’inégal accès aux services dans sa langue, de même que l’accès limité aux produits culturels de son groupe linguistique. Le cas des festivals francophones en milieu minoritaire sert à interroger concrètement et empiriquement les possibilités, les conditions, les limites et les contraintes de cette forme particulière d’événement en tant que vecteur de la vitalité culturelle d’une communauté minoritaire. Le festival est aussi exploré en lien aux grandes finalités de développement culturel et de démocratie culturelle, soit des mécanismes culturels à la source des politiques culturelles modernes, ainsi qu’en lien à son rôle aux niveaux de l’affirmation et de la consolidation identitaires. Une étude de cas multiples a été menée afin de comparer et d’analyser trois festivals francophones en milieu minoritaire ontarien qui sont mis sur pied dans différentes régions, et ont des objectifs à la fois similaires et différenciés : 1) La Nuit sur l’étang (Sudbury) ; 2) le Festival franco-ontarien (Ottawa) ; et 3) le Festival du Loup (Lafontaine-Penetanguishene). En focalisant sur chaque cas étudié, nous sommes en mesure de donner une vue d’ensemble du phénomène « festival » dans un tel contexte. Cette recherche présente, par le biais de sources documentaires, d’observations sur le terrain et d’entretiens auprès des organisateurs, des festivaliers et des artistes de ces événements, les perceptions qu’en ont et l’utilisation qu’en font ces différentes catégories d’acteurs impliqués. Elle fait plus précisément état de la contribution du festival au niveau des mécanismes culturels proposés ci-dessus. En outre, elle permet de déterminer si les acteurs directement impliqués dans ce type d’événement le perçoivent comme un enjeu important pour la francité. Bref, l’ensemble des contributions qu’apportent les festivals francophones en Ontario montrent en quoi ces événements agissent comme des vecteurs de la vitalité culturelle d’une communauté minoritaire. / This dissertation examines the role of the festival in a linguistic community in a minority context confronted with assimilation, exogamy, diglossia, unequal access to services in their mother tongue, as well as limited access to cultural products of their linguistic group. The case of francophone festivals in a minority situation serves as a way to verify concretely and empirically the possibilities, the conditions, the limits and the constraints of this particular form of event as a vector of cultural vitality of a minority community. The festival is also explored in regard to cultural development and cultural democracy, that is, two cultural mechanisms related to modern cultural policy. The role of the festival in relation to identity affirmation and identity consolidation is also explored. A multiple case study was conducted in order to compare and analyze three francophone festivals in minority communities in Ontario that take place in different regions, and that have similar and different objectives: 1) La Nuit sur l’étang Sudbury); 2) the Festival franco-ontarien (Ottawa); and 3) the Festival du Loup (Lafontaine-Penetanguishene). By focusing on each of these cases, we are able to give a broader view of the festival phenomenon set in this particular context. This research presents, through the use of documentary sources, fieldwork observations and interviews with festival organizers, audience members and artists, the perceptions they have and the use they make of the festival. It also sheds light on the contribution of the festival pertaining to the aforementioned cultural mechanisms and if the actors directly implicated in this type of event perceive them as being an important issue for Frenchness. In sum, the various contributions of francophone festivals in Ontario studied in this research demonstrate how these events act as vectors of cultural vitality of a francophone minority community.

This study is concerned with the roles and relationships between artists-in-residence, community audiences, and program coordinators/art educators as they engage together in community arts programs. This study takes place at Project Row Houses (PRH), a community arts organization located in Houston, Texas and focuses on the artist-in-residence program, which commissions a group of national and international artists for a 6-month period to create art installations in relation to the community and its African-American heritage. This ethnographic case study is based on the activities and events surrounding the 2008 PRH exhibition, Round 29, Thunderbolt Special: The Great Electric Show and Dance, after Sam Lightnin’ Hopkins and employed qualitative data gathering methods of participant-observation, conducting semi-structured, open-ended, in-depth interviews, and through document collection, and contextual information. Observations were recorded through field notes, photographs, and video. Interviews were conducted with 3 artists-in-residence, 3 community audience members, and 3 program coordinators or staff members involved with the program, regarding their experiences at the site and experiences with each other. My analysis presents the roles of artist, community audience, and program coordinator/art educator through three sections on cultural work. Within these sections I discuss topics related to the power of voice, situatedness, and creativity, as it relates to the artists and community audiences. For the role of program coordinator/art educator, I focus more closely on her role in the process of mediation. Topics of power, social dynamics, identity, and representation are also framed within these discussions.