Thesis (M.A. (Tourism))--North-West University, Potchefstroom Campus, 2009.

This bachelors thesis examines how av new musicfestival in Umea is communicated on the festivals website and how the communication is beeing percepted by people who have bought tickets to the festival and people who have chosen not to. The material is based on qualitative interviews with theese people and a discourse analysis of the website. The methods beeing used in this thesis are discourse analysis and qualitative interviews. The interviews focuses on two groups, people who have bought tickets to the festival and the ones who has not. The results of the analysis shows that the website uxufestival.se communicates the vision of a unique festival who brings people together. The people who have bought tickets and the people who haven't identify themselves with the targeted group. There's difference in the way that the two groups have percepted the communication, the ones that have bought tickets experience that the communication has been informative while the ones who haven't bought tickets feel that they haven't got a lot of information. The results of the analysis shows that the people who have bought tickets feel that they have the power to influence the festival in a way that they feel is refreshing. Both the people who have bought tickets and the ones who haven't identify themselves with the people who visit this kind of musicfestivals.

No description available.

Syftet med denna uppsats är att undersöka två samtida svenska filmfestivaler, Göteborg International Film Festival och Malmö Arab Film Festival, utifrån två teoretiska perspektiv på filmfestivalen med den mer övergripande målsättningen att bidra till ett spirande och stadigt växande forskningsfält kring filmfestivalen i den nationella kontexten. De aktuella festivalerna inringar i förhållandevis god mån den svenska filmfestivalflorans allsidighet; en omfångsrik historisk publik festival respektive en smalare tematisk nykomling.                       De teoretiska perspektiven innefattar festivalen betraktad som en del av ett internationellt nätverk utifrån Thomas Elsaessers och Marijke de Valcks definition, samt som en kulturell yttring av föreställda gemenskaper. Med utgångspunkt i dessa teoretiska positioner kommer festivalerna granskas med fokus på dess uppkomst, visioner och agenda, filmprogram, publik, ekonomisk beskaffenhet och liknande kontextualiserade förhållanden.                       För Göteborg International Film Festival utgör spridningen av filmkultur, de huvudsakliga fundamenten i dess målsättningar och agenda, i synnerhet med fokus på nordisk film, medan tematiken, den arabiska kulturen, utgör det bärande för Malmö Arab Film Festival. Göteborg International Film Festival uppvisar i samstämmighet med de nätverksteoretiska perspektiven på festivalen en mångfacetterad beskaffenhet av filmceremoni, marknadsplats, internationell plattform och tävlingsmästerskap, i kontrast till Malmö Arab Film Festival där festivalens textur är mer komplex än föreliggande bestämningar. Båda festivalerna har uppstått i den post-industriella staden och dess återskapande som centrum för kreativitet, kultur och kunskap.                       Malmö Arab Film Festival adresserar en uppenbar arabisk (föreställd) gemenskap i sitt tematiska fokus. Denna föreställda gemenskap kan emellertid även appliceras på Göteborg International Film Festival och dess bestämning som en internationell publik festival, med hänsyn till dess faktiska demografi med övervägande del lokala besökare.

The Festival is a form that transcends cultures, histories and regimes. It is a construct that has been utilised in a variety of ways, for a variety of purposes, but its raison d'etre is always community, sometimes as celebrated from a popularist level, at other points manipulated by the wielders of power. In its modern context, the festival has similarly been deployed as either a means of celebrating a sense of local community, or embraced by governments as a symbol of sophisticated cosmopolitanism. This research aims to contextualise a particular kind of festival practice within both an historical and contemporary context. This is structured through three key areas: at the heart of the thesis is a study of a particular kind of contemporary festival model, the boutique festival, as produced by the Programming Unit of the Queensland Performing Arts Centre. This festival construct is significant in its positioning of the audience as both producer and consumer in a playful and intelligent manner. This kind of model is different from the more conventional high arts or community arts festival models. Secondly, the research explores how current renderings of the festival can be contextualised within historical functions, so as to highlight points of connection and departure. Thirdly, the study positions the boutique festival as but one example of a range of current local festival practices that highlight the manner in which the festival construct engages with contemporary life. This portion of the study places these local renderings within Creative Industries discourse, focussing on the notion of the Creative City. The thread that ties the areas of focus together is the role of the audience in the festival. The trope of community remains central to contemporary festival practice, but it is a term that is becoming increasingly problematic and opaque, especially within an urban context. Through a variety of constructs, contemporary festivals encourage a cultural discussion about what community means in a current context, and in so doing, invite explorations of space, identity and authenticity as well.

The aim of this research project was to determine and describe the challenges and advantages presented to artists taking part in student theatre festivals as well as the challenges and advantages presented to the organisers of such festivals. A further aim of the study was to determine, address and describe the functions of a student theatre festival within the community in which it takes place and then to describe how such a festival could be most effectively organised and planned. The study is original, since very little research has been done on this topic in the past. When collecting data for the project, no documents were found describing such study projects. The findings of this study are also important, since guidelines are given aiding festival organisers and future festival organisers in the effective planning and organising of such an event. The research was conducted using three research methodologies. These were a survey of scholarship, structured and semi-structured interviews and action research. The information gathered by the first two methodologies is described in chapter 2. Information gathered by the action research methodology is described in chapter 3, which is a case study of the 2001 and 2002 Krêkvars arts festivals. After the first festival had ended, it was evaluated in terms of which methods of planning were successful and which were not. The second festival was then planned, adapting the unsuccessful methods and emphasising the successful ones. Thereafter the festival was evaluated again, formulating suggestions for the effective planning and organisation of a student theatre festival. From this research project, it can be concluded that student theatre festivals present many advantages and challenges for those involved. It is therefore necessary for the organisers to be well prepared for the task at hand and to do sufficient planning in order to most effectively organise such an event. / Dissertation (MA (Drama))--University of Pretoria, 2005. / Drama / unrestricted

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At the beginning of the twenty first century, thousands of adult Europeans are playing Scotsmen. They dress up in kilts and tartan, parade in military-style bagpipe bands, toss tree trunks at Highland Games, commemorate Scottish soldiers of the past, and re-enact their vision of Scottish history at ‘Celtic’ and medieval fairs. Their largest festivals attract more than 25 000 people each year, and their more elaborate clubs are recognised by Scottish Clan chiefs. The ‘Scots’ of Europe do not usually claim to be Scottish – neither by birth, descent, or residence. Their performances are Scottish masquerades, and openly declared so. Unlike their cousins in North America and Australasia, the European impersonators only very rarely insist that their Scottish performances express their ‘ethnic’ identity. And yet, the European masquerade is a quest for roots and ancestors, too. This study demonstrates that by playing Scotsmen, the ‘Scots’ of Europe attempt to reconnect with their Celtic, Nordic, or otherwise pre-modern heritage. They feel that their own customs, songs, games, and tribes were lost to the forces of modernisation – but that some of it survived in the Scottish periphery. They employ Scotland as a site of memory, as ersatz history. This thesis is a study of European nostalgia. It examines the many men and women who attempt to rediscover their traditions and histories. It is concerned with what Jay Winter calls the ‘memory boom’; the growing public preoccupation with history and its remembrance. It argues that Scotland – or rather, dreams of Scotland – have a special resonance in the European memory boom. This study touches upon the fields of public history, memory, and festive culture. In order to understand how the past is remembered and re-imagined in Europe today, the author left the archive and questioned the commemorators. This study relies on original fieldwork conducted in Belgium, France, Germany, Italy, the Netherlands, Switzerland, and Scotland during 2009 and 2010. The thesis’ focus is a qualitative one.

Submitted by Maria de Lourdes Ferreira da Silva (malusilferreira@gmail.com) on 2018-11-29T19:35:17Z No. of bitstreams: 4 DISSERTAÇÃO MARIA DE LOURDES FERREIRA DA SILVA PPGSCA.pdf: 1292491 bytes, checksum: b6046fced321d14e8529aca7b5f4c288 (MD5) ATA DE DEFESA DE DISSERTAÇÃO.pdf: 993504 bytes, checksum: b7fb04a97d53e2e6086061f9de632571 (MD5) Termo de Autorização para Publicação Digital Maria de Lourdes.pdf: 429925 bytes, checksum: 4bdca7106493dd544dd76308603e5737 (MD5) doc 1.pdf: 280596 bytes, checksum: 60e45a82d9b341170f7e7832d013799d (MD5) / Rejected by PPGSCA Sociedade e Cultura na Amazônia (secppgsca@gmail.com), reason: Prezada, a carta de encaminhamento e o termo de autorização foram substituídos por um único documento "A carta de encaminhamento para autodepósito" que pode ser localizada tanto no site do PPGSCA na área de normas e formulários ou no próprio site do TEDE. Além disso você precisa encaminhar a cópia da ata de defesa. Em resumo, são apenas três documentos para encaminhar: 1. Trabalho Final; 2. Carta de Encaminhamento para Autodepósito; 3. Ata de defesa. Espero tê-la ajudado. on 2018-11-29T21:03:02Z (GMT) / Submitted by Maria de Lourdes Ferreira da Silva (malusilferreira@gmail.com) on 2018-12-03T12:28:45Z No. of bitstreams: 4 DISSERTAÇÃO MARIA DE LOURDES FERREIRA DA SILVA PPGSCA.pdf: 1292491 bytes, checksum: b6046fced321d14e8529aca7b5f4c288 (MD5) ATA DE DEFESA DE DISSERTAÇÃO.pdf: 993504 bytes, checksum: b7fb04a97d53e2e6086061f9de632571 (MD5) Termo de Autorização para Publicação Digital Maria de Lourdes.pdf: 429925 bytes, checksum: 4bdca7106493dd544dd76308603e5737 (MD5) doc 1.pdf: 280596 bytes, checksum: 60e45a82d9b341170f7e7832d013799d (MD5) / Approved for entry into archive by PPGSCA Sociedade e Cultura na Amazônia (secppgsca@gmail.com) on 2018-12-03T18:39:42Z (GMT) No. of bitstreams: 4 DISSERTAÇÃO MARIA DE LOURDES FERREIRA DA SILVA PPGSCA.pdf: 1292491 bytes, checksum: b6046fced321d14e8529aca7b5f4c288 (MD5) ATA DE DEFESA DE DISSERTAÇÃO.pdf: 993504 bytes, checksum: b7fb04a97d53e2e6086061f9de632571 (MD5) Termo de Autorização para Publicação Digital Maria de Lourdes.pdf: 429925 bytes, checksum: 4bdca7106493dd544dd76308603e5737 (MD5) doc 1.pdf: 280596 bytes, checksum: 60e45a82d9b341170f7e7832d013799d (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2018-12-04T13:02:20Z (GMT) No. of bitstreams: 4 DISSERTAÇÃO MARIA DE LOURDES FERREIRA DA SILVA PPGSCA.pdf: 1292491 bytes, checksum: b6046fced321d14e8529aca7b5f4c288 (MD5) ATA DE DEFESA DE DISSERTAÇÃO.pdf: 993504 bytes, checksum: b7fb04a97d53e2e6086061f9de632571 (MD5) Termo de Autorização para Publicação Digital Maria de Lourdes.pdf: 429925 bytes, checksum: 4bdca7106493dd544dd76308603e5737 (MD5) doc 1.pdf: 280596 bytes, checksum: 60e45a82d9b341170f7e7832d013799d (MD5) / Made available in DSpace on 2018-12-04T13:02:20Z (GMT). No. of bitstreams: 4 DISSERTAÇÃO MARIA DE LOURDES FERREIRA DA SILVA PPGSCA.pdf: 1292491 bytes, checksum: b6046fced321d14e8529aca7b5f4c288 (MD5) ATA DE DEFESA DE DISSERTAÇÃO.pdf: 993504 bytes, checksum: b7fb04a97d53e2e6086061f9de632571 (MD5) Termo de Autorização para Publicação Digital Maria de Lourdes.pdf: 429925 bytes, checksum: 4bdca7106493dd544dd76308603e5737 (MD5) doc 1.pdf: 280596 bytes, checksum: 60e45a82d9b341170f7e7832d013799d (MD5) Previous issue date: 2017-02-06 / FAPEAM - Fundação de Amparo à Pesquisa do Estado do Amazonas / This research was born of the anxieties provoked from several events witnessed in the city of Parintins, in the Amazon. This municipality gained visibility in every country because of the realization of the Folk Festival that involves the contest of the Folk Associations Boi-Bumbá Caprichoso and Boi-Bumbá Garantido, in the last weekend of the month of June. The apogee of the Festival of Parintins took place in the mid-90s, above all, from the incorporation of cultural elements of the Amazonian imagination such as legends, myths, malfeasible creatures, as well as the representation of the caboclo and the indigenous, Represented more emphatically. In this sense, the objective of this work was to understand in what sense the indigenous representation produced by the Parintins Folk Festival, as well as the perception of indigenous people in the municipality of Parintins, Amazonas, about this representation. We used a qualitative methodology through the ethnographic method, seeking to describe the views of the research informants. Such informants refer to Sateré-Mawé and Hiskaryana Indians who maintain a leadership relationship with their ethnicities or who in some way maintains a relationship with the Parintins Festival. Another category of informants refers to members of the Bois Council and Art Commission, responsible for the intellectual representation of indigenous images in the show. We emphasize that the representations of indigenous and non-indigenous people are divergent between them and what the Festival has treated of a "fanciful", "stylized" indigenous. On the other hand, the Indian recognizes the importance of the Festival, but considers that a realistic image of the Indians of Brazil should be promoted. / Esta pesquisa nasceu de inquietações provocadas a partir de vários acontecimentos presenciados na cidade de Parintins, no Amazonas. Esse município ganhou visibilidade em todo país por conta da realização do Festival Folclórico que envolve a disputa das Associações Folclóricas Boi-Bumbá Caprichoso e Boi-Bumbá Garantido, no último final de semana do mês de junho. O apogeu do Festival de Parintins se deu em meados da década de 90, sobretudo, a partir da incorporação de elementos culturais do imaginário amazônico como as lendas, mitos, criaturas malfazejas, assim também como a representação do caboclo e do indígena, sendo este último representado de forma mais enfática. Nesse sentido, este trabalho teve como objetivo compreender em que sentido ocorre a representação do indígena produzida pelo Festival Folclórico de Parintins, bem como a percepção de indígenas no município de Parintins, Amazonas, sobre essa representação. Utilizamos uma metodologia de cunho qualitativo por meio do método etnográfico, buscando descrever as visões dos informantes da pesquisa. Tais informantes dizem respeito a indígenas Sateré-Mawé e Hiskaryana que mantém relação de liderança com suas etnias ou que de alguma forma mantém relação com o Festival de Parintins. Outra categoria de informantes se refere a membros do Conselho e Comissão de Arte dos Bois, responsáveis pela representação intelectual de imagens de indígenas no espetáculo. Destacamos que as representações de indígenas e não indígenas são divergentes entre si e o que o Festival tem tratado de um indígena ―fantasioso‖, ―estilizado‖. Por outro lado, o indígena reconhece a importância do Festival, mas considera que deveria se promover uma imagem realista dos índios do Brasil.

Events provide opportunities for communities to socialise, interact and to enjoy a sense of mutual celebration. However, special interest events offer other opportunities for recreation, and for the development of skills, identities and knowledge. Events such as car shows, Sci-fi conventions and Elvis festivals have large numbers of participants, as well as spectators, who have specialised needs and characteristics. This thesis uses a series of five published studies to examine the participants at special interest events and further to understand their characteristics and behaviours. The studies employ a mixed method approach to explore participants at a total of eleven events in Australia. In the first of these studies a spectrum of events is developed to explain the diversity of events in a region, as related to the special interest of participants. The study used a mixed method methodology to examine the differences between audiences at nine events in the Tweed Valley of NSW. The results were used to focus the study more on events that target serious participants.The second study was published as a conceptual paper, providing a comprehensive theoretical framework for the study of serious participants of leisure, recreation and events. The paper posits a model of serious participants (SerPa) for use and refinement in subsequent studies. Papers 3 and 4 explore serious participants at two feature events in Australia, the Wintersun Festival in Coolangatta, and the Elvis Revival Festival in Parkes. Drawing on the serious leisure framework proposed by Stebbins (2001), and other leisure and tourism research, the study explored the characteristics and behaviours of serious participants at these events. Ethnographic methods were used to gain insight into behaviours, through participant observation at the events. The findings further develop the SerPa model, but also identify other themes that are relevant to leisure and event management and marketing. Paper 5 explores the social connections of serious participants made on the Internet, and identifies their relationship to travel planning and events. The study utilised ethnographic methods adapted to the Internet, to identify and discuss the social characteristics of serious participants as fans of Lord of the Rings, and the processes used to collaborate toward travel planning.The study demonstrates the significance of serious participants as a segment of audiences at events, highlighting their contributions to the events themselves. As participants, they make the event happen, and are perhaps more important than consumers (Getz, 2007). They are defined by what they do in their leisure time, more than who they were born as, or by their profession. They have a leisure identity that defines them, and can find support and security in the fanatical system that they subscribe to. This system is usually found in special interest clubs, on-line networks and at events. These social systems help sustain their beliefs, and provide a leisure world where they feel a sense of ‘we’. From their serious devotion and social connectivity, serious participants receive social and personal rewards, which in turn provide more stimuli to develop their skills and/or knowledge. These psycho/social characteristics result in participants searching for new challenges and new destinations, which can facilitate their needs. These are found at events that are designed specifically with serious participants in mind. The study demonstrates that identification of these market segments has important implications for the design and sustainability of events in Australia, and overseas. Additionally, it also has implications for planners and practitioners in leisure and tourism in understanding the extant links between recreation, travel and events.