International Fryderyk Chopin Piano Competition and Chopin Festival in Mariánské Lázně The annual Chopin festival in Mariánské Lázně is an event of a supreme significance. Its dramaturgy and diverse selection of performers bring the listeners an interesting and extraordinary experience of Chopin's music. Chopin Festival is one of our most treasured cultural events. It became a meeting point for artists from all over the world, but the core group consists of Polish interpreters, mostly laureates of the International Chopin Piano Competition in Warsaw. Besides the time-proven compositions, the organizers include some infrequently played and unknown pieces, the works of Czech and foreign composers or contemporary artists. They also attracted the audience by inviting popular performers, amateur ensembles, holding golf and tennis tournaments, exhibitions or film projections. Lately, the festival has been getting back to its traditional image and the purpose of celebrating Chopin's music. The piano competition, interpreter seminars and musicologist seminars are still a part of the event. The Chopin Festival is the only one in Czech that has been listed by UNESCO and is widely popular. It is necessary to point out the efforts and credit of the main organizers, the Fryderyk Chopin Society in Mariánské...

The purpose of this paper is to examine how events can be successful and stay competitive.Festivals are a big part of the event world and it can be difficult to understand why certainfestivals are successful and others not. In this paper we have conducted a comparison betweentwo major festivals in Stockholm. Both of them reached success, but nevertheless one of themfailed, while the other one is still successful. With this comparison, it appeared that there aremany aspects that help a festival to reach success but also factors that can make a festival afailure. To conduct this study, a number of interviews have been carried through; these havelater been put in relation to different theories about festivals. The results of this study providesinsight into festivals ups and downs and why these happen, and can hopefully be a help toboth new and existing festivals to achieve good results.

近年來，各國政府積極推動文化創意產業，藉以帶動其他產業促進整體經濟發展，提升生活環境；其中節慶不僅能為地方或城市提供正向發展，亦屬於一文化創意展演平台，使文化商品得以於消費者面前曝光。 本研究主張，守門機制對於節慶與文化創意產業具有重要影響，檢閱相關文獻後，本研究以「2014年簡單生活節」為個案，運用「守門機制理論」作為個案分析的研究架構。本研究之研究問題為「2014年簡單生活節如何發揮守門機制功能」，為回答研究問題，本研究採用個案研究法，藉由參與式觀察與深入訪談，瞭解簡單生活節團隊如何執行其守門機制角色，並探討其守門成果對於節慶本身與文創產業的影響，得以彌補守門機制以及節慶創新理論上的文獻缺口。 本研究發現在2014年簡單生活節的守門過程中，簡單生活節團隊在劃定邊界的過程除了會受到守門專業能耐影響外，亦被牽制於可篩選的內容，導致其守門過程是一反覆修正的過程。此外，除了文獻中提及的四種守門能耐外，本研究更發現在2014年簡單生活節中最重要的守門能耐為「策展能力」，策展能力讓簡單生活節團隊能協助品牌於節慶中呈現出更適切且驚喜的內容，並提升品牌能見度。最後，本研究建議，未來節慶策展團隊都應將「守門機制」之思維納入其策展規劃，並且重視策展能力的運用，藉此能了解自身的守門類型，提升節慶的策展內容，進而協助節慶本身與產業持續創新。 / The purpose of the study is to investigate the importance of gatekeeping process in cultural festivals and the cultural and creative industries. This study uses the gatekeeping theory which is commonly discussed in the area of communications in order to understand how the festival carries out gatekeeping function in its curation by using an example of the “2014 Urban Simple Life Festival”. The research question of the study is “how the 2014 Urban Simple Life Festival uses gatekeeping in the curation?”. The study adopts case study and uses participant observations and in-depth interviews as the research tools to investigate how the gatekeeping is used in the 2014 Urban Simple Life Festival curation. In addition, this research aims to explore how the gatekeeping outcomes influence festivals themselves and the innovations of the cultural and creative industries. This research finds out that the festival organizer’s gatekeeping abilities and the gatekeeping contents do affect the gatekeeping boundary. Furthermore, the gatekeeping process is a repeated correcting process. Apart from the four gatekeeping abilities in the existed literature, the study also discovers that the most important gatekeeping ability in festivals is the “curatorial ability”. With the curatorial ability, the festival organizer would be able to help and assist the participants to present their best work in the Festival as well as to enhance their brand visibility to the market. This study suggests that the festival organizer should take the “curatorial ability” into consideration during the curation process to enhance the innovation ability of the cultural and creative industries

COSTA, Carlos Frederico Pedrosa da. Quando o choro canta e o chorão fala: uma análise das práticas musicais do Choro em Fortaleza. 2013. 105f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2013. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-07-12T15:16:03Z No. of bitstreams: 1 2013_dis_cfpcosta.pdf: 1690023 bytes, checksum: e9f576c41771e0bc748cf162b6c5ca74 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-07-25T13:54:36Z (GMT) No. of bitstreams: 1 2013_dis_cfpcosta.pdf: 1690023 bytes, checksum: e9f576c41771e0bc748cf162b6c5ca74 (MD5) / Made available in DSpace on 2017-07-25T13:54:36Z (GMT). No. of bitstreams: 1 2013_dis_cfpcosta.pdf: 1690023 bytes, checksum: e9f576c41771e0bc748cf162b6c5ca74 (MD5) Previous issue date: 2013 / This research seeks to build a socioanthropological reading about the choro in the city of Fortaleza, performing an ethnographic fieldwork with the practitioners of this musical genre, emphasizing the problematization of the ways in which musicians learn, execute and pass on techniques, repertoires, resources, Fundamentally, social relations. That is, the questions that guide the effort of this research revolve around the types, forms and processes of socio-cultural knowledge mobilized by the universe of these practitioners, from the symbolic conceptions on what is the cry, as their interpretative, sometimes divergent, aspects of the Place that occupies the tradition of choro in Brazilian popular music. I intend to carry out this research exploring the consequences of placing myself before this symbolic universe of the practitioners of choro as a native anthropologist, once being a musician of formation. Thus, ethnographic research will focus on observation and interlocution with my peers, with the universe of which I am also a practitioner. / Esta pesquisa busca construir uma leitura socioantropológica acerca do choro na cidade de Fortaleza, realizando um trabalho de campo etnográfico com os praticantes deste gênero musical, enfatizando a problematização dos modos como os músicos aprendem, executam e repassam técnicas, repertórios, recursos, informações e, fundamentalmente, relações sociais. Ou seja, as questões que orientam o esforço desta pesquisa giram em torno dos tipos, formas e processos de conhecimento sociocultural mobilizados pelo universo destes praticantes, desde as concepções simbólicas sobre o que seja o choro, como suas vertentes interpretativas, por vezes, divergentes do lugar que ocupa a tradição do choro na música popular brasileira. Pretendo realizar esta pesquisa explorando as consequências de me situar diante deste universo simbólico dos praticantes de choro como um antropólogo nativo, uma vez sendo músico de formação. Assim, a pesquisa etnográfica se centrará na observação e interlocução com meus pares, com o universo do qual também sou praticante.

Le travail présenté ici montre, à travers l’étude du festival du Hellfest, festival annuel de musique metal se déroulant à Clisson en Loire-Atlantique, que cette musique constitue une véritable culture. Pour comprendre la place actuelle qu’occupe le Hellfest pour la communauté metal, il est nécessaire d’en connaître l’évolution depuis sa création, d’interroger les relations qu’il favorise entre festivaliers, entre festivaliers et artistes et de questionner son rôle en tant que lieu permettant à une communauté sans ancrage géographique de se rassembler pendant un temps donné. Les sociabilités diverses qui se vivent au Hellfest ne peuvent se comprendre sans s’intéresser à l’économie particulière mise en place par les organisateurs, économie qui participe à la reconnaissance de l’événement et influe sur les sociabilités. Les organisateurs ont eu et ont le souci de prendre en compte les souhaits des festivaliers de tous les sous-genres de musique metal, les rendant acteurs et non simples consommateurs et ont su associer les acteurs économiques locaux. Le Hellfest permet dans la vie de chaque métalleux une pause dans un espace particulier, durant un temps délimité, offrant à chacun, la possibilité d’affirmer ou de réaffirmer son identité à travers différents rituels. Il est ainsi le pèlerinage de la communauté metal tout entière / The present work shows, through the study of the Hellfest Festival – an annual heavy metal music festival that takes place in Clisson, Loire-Atlantique, France – that this music is in itself a genuine culture. In order to understand how the Hellfest Festival features in the metal community, one needs to know how it has developed since it was created, to question how it supports relationships among the festival-goers, as well as between festival-goers and artists, and to examine the part it plays as a place where a community devoid of any geographical anchorage can meet during a specific period of time. To be understood, the various socializing behaviors displayed during the festival must be reviewed in association with the particular economics implemented by the organizers, which are a part of the acknowledgement of this event and have impacts on the socializing behaviors. The organizing team has had and still has a view to take into account the festival-goers’ wishes in terms of metal music sub-genders, making them actors and not only consumers, and has been able to include the local economic players. The Hellfest festival offers each and every metalhead a break within a specific space, during a defined period of time, and the opportunity to assert or reassert his or her identity through various rituals. It is a pilgrimage for the whole metal community

I ett samhälle där eventindustrin är växande är det av stor vikt att få förståelse för vad som motiverar individer till att arbeta volontärt. Många evenemang skulle inte gå att genomföra utan volontär arbetskraft. Syftet med denna studie är att få förståelse för hur de instrumentella (yttre) och intrinsikala (inre) motivationsfaktorerna påverkar individer till att arbeta volontärt. Studien genomfördes med en kvalitativ metod och data samlades in genom sju semistrukturerade intervjuer. Studiens respondenter bestod av individer som tidigare arbetat volontärt. Vidare ska samtliga av respondenterna arbeta volontärt för EuroPride 2018. Resultatet påvisade mer skilda upplevelser gällande de instrumentella motivationsfaktorerna och fler enstämmiga svar gällande de intrinsikala faktorerna. Gemenskap var dock ett återkommande tema som samtliga respondenter belyste. Det framgick tydligt i studien hur de intrinsikala motivationsfaktorerna fanns väl förankrade och djupt rotade hos respondenterna, medan de instrumentella motivationsfaktorerna mer sågs som en bonus som förgyllde tillvaron. / In a society where the event industry is growing, it is of importance to understand what motivates individuals to work voluntarily. Many events would not be possible to accomplish without the work of volunteers. The purpose of this study is to gain knowledge of how the instrumental (external) and intrinsic (internal) motivational factors influence individuals to work voluntarily. The study was conducted with a qualitative method and data was collected through seven semi- structured interviews. The study's respondents consisted of individuals who previously have worked as volunteers. Furthermore, all of them will volunteer at EuroPride 2018. The result demonstrated different experiences regarding the instrumental motivation factors and more unanimous answers regarding the intrinsic factors. However, belonging to a community was a recurring theme highlighted by all respondents. It was clear in the study how the intrinsic motivation factors were well-rooted within the respondents, while the instrumental motivational factors were more viewed as a bonus that embellished life. This study will be presented in Swedish.

Submitted by Izabel Franco (izabel-franco@ufscar.br) on 2016-10-05T17:47:15Z No. of bitstreams: 1 DissJMC.pdf: 3069445 bytes, checksum: 30f0a8030fcaf9c746e889fa99d8c3e6 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T14:00:53Z (GMT) No. of bitstreams: 1 DissJMC.pdf: 3069445 bytes, checksum: 30f0a8030fcaf9c746e889fa99d8c3e6 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T14:01:02Z (GMT) No. of bitstreams: 1 DissJMC.pdf: 3069445 bytes, checksum: 30f0a8030fcaf9c746e889fa99d8c3e6 (MD5) / Made available in DSpace on 2016-10-20T14:01:10Z (GMT). No. of bitstreams: 1 DissJMC.pdf: 3069445 bytes, checksum: 30f0a8030fcaf9c746e889fa99d8c3e6 (MD5) Previous issue date: 2016-02-29 / Fundação de Amparo à Pesquisa do Estado do Amazonas (FAPEAM) / In Brazil, since the outbreak of the Modern Art Week in 1922, has been drawing a quest to discover which are the characteristic points that make the subject is Brazilian, feel belonging to a Brazilianness. It is true that throughout history, with its discontinuous points (Foucault, 1995), emerge speeches that make this identification is aflore in different ways. One would be the intense mass media of the manifestations of popular culture, this has increasingly been seen as an emblem of Brazilianness, as forms of identification of a people, starting from regional to a national identity (CRUZ, 2005). The 1990s will break in the Amazon making emerging parties like Ciranda in Manacapuru-AM; Çairé in Alter do Chão-PA; Bumba-meu-boi in São Luís, the Parintins Folklore Festival etc., to be seen and "potentiated" a local setting regional identity representations and, why not say, part of the national identity diversity. The identities before seen as solid, are now placed with malleable identities (Bauman, 2005). In particular, the Parintins Festival, now FFP, entering the field of visibility, we are moving in many more mídiuns, numerous shapes and positions on this folkloric manifestation, causing disputes, influencing saying, representations and memories. Put another way, it begins to be seen and constructed as a spectacle, in the sense that Debord (1997) gives this concept. The year 2013 emerges as a discursive event, with regard to the centenary of bumbás Parintins, celebrated on the 48th Festival of Parintins, in which we see the refresh memories, producing different effects of meaning. Therefore, believing that the identity and memory worked at the party are made, molded to the show, we made the following question: to what extent can see a resistance discourse amid the spectacle of the 48th Folkloric Festival of Parintins? Thus, we used a discourse analysis entitled French from Pêcheux (1998; 2007; 2009; 2010; 2012), which gives us the theme, mainly to reflect about ideological processes, materiality, linguistics, contradiction, which in our view is an important step to realize the strength of speech, as the speech another with which the subjects (for / against) identify which emerges in the official discourse, is marked on the tongue, causing updates , repetitions, silences. We bring to this dialogue, Michel Foucault (1995; 1999; 2004; 2010; 2014), especially regarding the perception of utterance, enunciation function, discursive formation, file, power relations which are the basis of its archaeological phase, showing -We do not the representation of discourse, but as the statements constitute speeches. It is this dialogue between Pêcheux and Foucault we build our analysis base. Another author important for our research is Courtine, which mobilized mainly their formulations about discursive memory both in his 1981 text, as its current reflections (2008, 2014) on the mobilization of memory and discursive formation. During the research, we found that: i) the effects of meaning production processes, about the ox-bumbá, are regulated by silences imposed by social relations involving the party today, as requirements of the cultural industry; ii) the feast of the manifestation of space, followed by the production and handling of identity and memory, gives rise to discourses of resistance, which show the spectacle of folkloric festival of Parintins; iii) the marginalized voices (Indian and black, above) existing power relations in the party auto start from the same place and are taking different paths due to the agency on the valuation of a culture on the other, making a reach upward as focus and the other being relegated to carnivalization; iv) space and be the party are built in this relationship between the assemblages in which the party is immersed and the constitution of these as objects of history; v) as memory production space, documentaries, media reports and advertisements glosses of a molded memory, producing not only a history of the horse, but also an identity connected to this memory. Understanding this folkloric manifestation by discursive bias, it was necessary, therefore, to see it as building speech taken as true at a time, in the area of your body, in the succession of events that brings out the speech / memory and not another ( a) instead of that subject, identity and memory are in a relationship of power, knowledge and strength being (re / in) meanings within the FFP. / No Brasil, desde a eclosão da Semana de Arte Moderna em 1922, vem se desenhando uma busca por descobrir quais são os pontos característicos que fazem o sujeito ser brasileiro, se sentir pertencente a uma brasilidade. É certo que no decorrer da história, com seus pontos descontínuos (FOUCAULT, 1995), emergem discursos que fazem com que essa identificação se aflore de diversas formas. Uma delas seria a intensa massificação midiática das manifestações da cultura popular, esta que tem cada vez mais sido vista como emblema de brasilidade, como formas de identificação de um povo, partindo do regional para uma identidade nacional (CRUZ, 2005). A década de 1990 irá romper na Amazônia fazendo emergir festas como a Ciranda, em Manacapuru-AM; Çairé, em Alter do Chão-PA; Bumba-meu-boi, em São Luís-MA, o Festival Folclórico de Parintins etc., para serem vistas e “potencializadas” de um cenário local a representações de identidade regional e, porque não dizer, fazer parte da diversidade identitária nacional. As identidades antes vistas como sólidas, agora são postas com identidades maleáveis (BAUMAN, 2005). Em particular, o Festival Folclórico de Parintins, doravante FFP, entrando no campo da visibilidade,vemos circularem nos mais diversos mídiuns, inúmeras formas e posições acerca dessa manifestação folclórica, provocando litígios, influenciando dizeres, representações e memórias. Dizendo de outro modo, começa a ser vista e construída como um espetáculo, no sentido que Debord (1997) dá este conceito. O ano de 2013, emerge como acontecimento discursivo, no que diz respeito ao centenário dos bumbás de Parintins, comemorado no 48º Festival de Parintins, em que vemos a atualização de memórias, produzindo diferentes efeitos de sentido. Diante disso, acreditando que a identidade e memória trabalhadas na festa são fabricadas, moldadas para o espetáculo, fizemos a seguinte pergunta: em que medida pode-se ver um discurso de resistência em meio à espetacularização do 48º Festival folclórico de Parintins? Dessa forma, lançamos mão de uma Análise de Discurso intitulada francesa, a partir de Michel Pêcheux (1998; 2007; 2009; 2010; 2012), o qual nos dá o mote, principalmente, para refletir acerca de processos ideológicos, materialidade, linguística, contradição, o que a nosso ver é um passo importante para percebemos o discurso de resistência, uma vez que o discurso outro com os quais os sujeitos se (de/contra)identificam, que emerge no discurso oficial, é marcado na língua, provocando atualizações, repetições, silenciamentos. Trazemos para esse diálogo, Michel Foucault (1995; 1999; 2004; 2010; 2014), especialmente no que tange a percepção de enunciado, função enunciativa, formação discursiva, arquivo, relação de poder os quais estão na base de sua fase arqueológica, mostrando-nos não a representação dos discursos, mas como os enunciados se constituem em discursos. É nesse diálogo entre Pêcheux e Foucault que construímos nosso base de análise. Outro autor importante para a nossa pesquisa é Courtine, do qual mobilizamos, principalmente, as suas formulações acerca de memória discursiva tanto em seu texto de 1981, quanto suas atuais reflexões (2008; 2014) acerca da mobilização da memória e da formação discursiva. No decorrer da pesquisa, pudemos constatar que: i) os processos de produção de efeitos de sentido, a respeito do boi-bumbá, são regulados por silenciamentos impostos pelas relações sociais que envolvem a festa na atualidade, como exigências da indústria cultural; ii) o espaço de manifestação da festa, seguido pela produção e manipulação de identidade e memória, faz com que surjam discursos de resistências, que colocam em evidência a espetacularização do festival folclórico de Parintins; iii) as vozes marginalizadas (índio e negro, sobretudo) existentes nas relações de poder no auto da festa partem do mesmo lugar e vão tomando percursos diferentes, devido ao agenciamento sobre a valorização de uma cultura sobre a outra, fazendo uma alçar-se como foco e a outra ficando relegada à carnavalização; iv) o espaço e o ser da festa são construídos nessa relação entre os agenciamentos, nos quais a festa está imersa e a constituição destes como objetos da história; v) como espaço de produção de memória, os documentários, as reportagens e as propagandas servem de mote para uma memória moldada, produzindo não só uma história dos bois, mas também uma identidade ligada a essa memória. Nesses mesmo lugares, também, pudemos ver, diante de todo esse processo, como a resistência emerge em meio à memória que é construída para ser a memória oficial. Compreender essa manifestação folclórica pelo viés discursivo, mostrou-se necessário, portanto, para percebê-la como construção do discurso tomado como verdadeiro numa época, no domínio de sua instância, na sucessão de acontecimentos que faz emergir esse discurso/memória e não outro(a) em seu lugar, de que sujeito, identidade e memória estão numa relação de poder, saberes e força sendo (re/in)significados no espaço do FFP.

As pesquisas em Turismo na sua relação com a cultura popular no Brasil possuem basicamente dois enfoques: um em que o turismo é tido como o responsável pela descaracterização das artes populares, e outro em que a atividade turística é vista como instrumento de potencial de valorização, resgate e dinamização da cultura popular de uma comunidade. Esta dissertação visa ponderar criticamente esses dois enfoques a partir do contexto particular da formação das políticas públicas de cultura e turismo, assim como avaliar os desdobramentos dessas políticas junto a cultura popular. No intuito de avançar nas discussões sobre as repercussões do turismo junto a cultura popular, toma-se como objeto de análise os ´Festivais de Ciranda` (de 1970 a 1986), realizados em Pernambuco pelos órgãos de fomento do Turismo do Estado, em especial a Empetur e a Emetur. Como técnica de pesquisa foi utilizada a Historia Oral: uma interlocução com os funcionários dos órgãos de fomento ao turismo. Prezamos igualmente a trajetória de vida dos mestres cirandeiros e, como técnica complementar recorremos à pesquisa documental junto aos acervos dos dois maiores jornais de Pernambuco, o ´Diário de Pernambuco` e o ´Jornal do Commércio` bem como do Diário Oficial de Pernambuco da década de 60. As entrevistas foram feitas com dez sujeitos, divididos em três administradores dos órgãos públicos e sete mestres cirandeiros. / Submitted by Marcelo Teixeira (mvteixeira@ucs.br) on 2014-05-20T20:36:54Z No. of bitstreams: 2 Dissertacao Tamisa Ramos Vicente.pdf: 6251729 bytes, checksum: 12d207148b983d297721036d395ef668 (MD5) Dissertacao Tamisa Ramos Vicente.pdf: 6251729 bytes, checksum: 12d207148b983d297721036d395ef668 (MD5) / Made available in DSpace on 2014-05-20T20:36:54Z (GMT). No. of bitstreams: 2 Dissertacao Tamisa Ramos Vicente.pdf: 6251729 bytes, checksum: 12d207148b983d297721036d395ef668 (MD5) Dissertacao Tamisa Ramos Vicente.pdf: 6251729 bytes, checksum: 12d207148b983d297721036d395ef668 (MD5) / Research on Tourism with focus on Folk Culture in Brazil have basically two approaches: one in which tourism is seemed as responsible for adulteration of folk arts, and another one in which tourism is conceived as a force that could enhance and revigorate the folk culture of a community. This dissertation aims to understand the formation of public policies on Culture and Tourism, as well as their influence on folk culture. In order to advance discussions on the impact of tourism in Folk Culture we take as an object the festivals of ´ciranda` in Pernambuco from 1970 to 1986 organized by local agencies of Tourism of the state - Empetur and Emetur.

A festa caracteriza-se como um fenômeno universal, produto da ação coletiva da vida humana que promove determinada cultura. A festa em estudo é o Festiqueijo, Festival Gastronômico do Queijo ou Festa do Queijo, que ocorre anualmente no mês de julho no município de Carlos Barbosa/RS/Brasil desde 1987 e que em 2008 realizou a décima nona edição. Reúne diversas queijarias e vinícolas da Serra Gaúcha em um ambiente fechado. A festa costuma ser visitada por turistas oriundos de várias localidades do estado, do país e, inclusive, do exterior. O objetivo deste estudo consiste em descrever a trajetória histórica do Festiqueijo com registro do surgimento do evento e das modificações que ocorreram ao longo dos anos. O estudo identificou também as características do Festiqueijo como atrativo turístico e os elementos que promovem a cultura, as empresas e o turismo, considerando ser um evento que atrai visitantes e turistas e, ainda, que não havia registro da trajetória histórica. O referencial teórico está centrado nas questões referentes à festa, cultura, lazer, evento e gastronomia como patrimônio cultural. Utilizou-se análise documental, entrevistas, observações e notas de campo como estratégias de coleta de informações do estudo. A análise documental permitiu o resgate da trajetória histórica do festival e, a partir disso, os demais instrumentos complementaram a coleta de informações. Por meio da análise e da interpretação das informações coletadas, pôde-se constatar que o Festiqueijo surgiu como um evento paralelo de uma festa maior, a Festa do Leite, que acontecia no município e que, com o passar dos anos, deixou de acontecer, dando lugar à realização do Festiqueijo como evento principal do município. O estudo revelou que o Festiqueijo promove a cultura, as empresas e o turismo, além de se constituir em patrimônio cultural do município. / Submitted by Marcelo Teixeira (mvteixeira@ucs.br) on 2014-05-29T17:17:10Z No. of bitstreams: 1 Dissertacao Melissa Baccon.pdf: 4428685 bytes, checksum: 098589141b42ab4464d614aa26a7c4ac (MD5) / Made available in DSpace on 2014-05-29T17:17:10Z (GMT). No. of bitstreams: 1 Dissertacao Melissa Baccon.pdf: 4428685 bytes, checksum: 098589141b42ab4464d614aa26a7c4ac (MD5) / The party is characterized as a universal phenomenon, a product of collective action of human life that promotes particular culture. The party in question is the Festiqueijo, Gastronomic Festival of Cheese and a Cheese Festival, held annually in July in the municipality of Carlos Barbosa/RS/Brazil since 1987. So in 2008 was the eighteenth time it was held. It brings together several dairies and wineries of the Sierra Gaucha in a closed environment. The festival is usually visited by tourists from various parts of the state, country and even abroad. The aim of this study is to describe the history of Festiqueijo record with the emergence of the event and the changes that occurred over the years. The study also identifies the characteristics of Festiqueijo as a tourist attraction and the factors that promote the culture, business and tourism, considering it is an event that attracts visitors and tourists, and besides this, there was no record of the historical trajectory. The theoretical framework focuses on issues concerning the party, culture, leisure, event and food and cultural heritage. We used document analysis, interviews, observations and field notes and strategies for collecting information from the study. Document analysis allowed the rescue of the historical background of the festival and, as appropriate, other instruments complemented the collection of information. Through analysis and interpretation of information collected, we could see that the Festiqueijo emerged as a parallel event to a bigger party, the Party of milk, which happened in the city and that over the years, has not occurred, giving rise to the creation of Festiqueijo as the main event of the municipality. The study revealed that the Festiqueijo promotes culture, business and tourism, in addition to being in the cultural heritage of the city.

A festa caracteriza-se como um fenômeno universal, produto da ação coletiva da vida humana que promove determinada cultura. A festa em estudo é o Festiqueijo, Festival Gastronômico do Queijo ou Festa do Queijo, que ocorre anualmente no mês de julho no município de Carlos Barbosa/RS/Brasil desde 1987 e que em 2008 realizou a décima nona edição. Reúne diversas queijarias e vinícolas da Serra Gaúcha em um ambiente fechado. A festa costuma ser visitada por turistas oriundos de várias localidades do estado, do país e, inclusive, do exterior. O objetivo deste estudo consiste em descrever a trajetória histórica do Festiqueijo com registro do surgimento do evento e das modificações que ocorreram ao longo dos anos. O estudo identificou também as características do Festiqueijo como atrativo turístico e os elementos que promovem a cultura, as empresas e o turismo, considerando ser um evento que atrai visitantes e turistas e, ainda, que não havia registro da trajetória histórica. O referencial teórico está centrado nas questões referentes à festa, cultura, lazer, evento e gastronomia como patrimônio cultural. Utilizou-se análise documental, entrevistas, observações e notas de campo como estratégias de coleta de informações do estudo. A análise documental permitiu o resgate da trajetória histórica do festival e, a partir disso, os demais instrumentos complementaram a coleta de informações. Por meio da análise e da interpretação das informações coletadas, pôde-se constatar que o Festiqueijo surgiu como um evento paralelo de uma festa maior, a Festa do Leite, que acontecia no município e que, com o passar dos anos, deixou de acontecer, dando lugar à realização do Festiqueijo como evento principal do município. O estudo revelou que o Festiqueijo promove a cultura, as empresas e o turismo, além de se constituir em patrimônio cultural do município. / The party is characterized as a universal phenomenon, a product of collective action of human life that promotes particular culture. The party in question is the Festiqueijo, Gastronomic Festival of Cheese and a Cheese Festival, held annually in July in the municipality of Carlos Barbosa/RS/Brazil since 1987. So in 2008 was the eighteenth time it was held. It brings together several dairies and wineries of the Sierra Gaucha in a closed environment. The festival is usually visited by tourists from various parts of the state, country and even abroad. The aim of this study is to describe the history of Festiqueijo record with the emergence of the event and the changes that occurred over the years. The study also identifies the characteristics of Festiqueijo as a tourist attraction and the factors that promote the culture, business and tourism, considering it is an event that attracts visitors and tourists, and besides this, there was no record of the historical trajectory. The theoretical framework focuses on issues concerning the party, culture, leisure, event and food and cultural heritage. We used document analysis, interviews, observations and field notes and strategies for collecting information from the study. Document analysis allowed the rescue of the historical background of the festival and, as appropriate, other instruments complemented the collection of information. Through analysis and interpretation of information collected, we could see that the Festiqueijo emerged as a parallel event to a bigger party, the Party of milk, which happened in the city and that over the years, has not occurred, giving rise to the creation of Festiqueijo as the main event of the municipality. The study revealed that the Festiqueijo promotes culture, business and tourism, in addition to being in the cultural heritage of the city.