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Récupérer les valeurs du passé pour orienter le futur : Sankɔfa comme principe politique des communautés akans du Ghana contemporainIsabelle, Bernard January 2014 (has links)
Comment récupérer les legs du passé pour construire le présent sur un héritage traditionnel, en s’adaptant aux nouvelles réalités du présent et orientant le futur? Ce travail se penche sur une réponse propre à ce problème, celle des communautés akans du Ghana. Nous tenterons de montrer que c’est par une évaluation normative : « quels sont les bons et les mauvais éléments du passé? » que ces communautés ont entrepris de juger quels étaient les éléments méritant d’être récupérés. Les communautés akans ont conservé cette idée (de juger les évènements du passé selon une évaluation normative) dans la tradition notamment par le biais d’un idéogramme nommé sankↄfa dans la langue locale. Elle se retrouve au cœur de la culture et notamment par le biais des pratiques et rituels.
Le politique est définit comme l’ensemble des actions humaines participant à la construction du système normatif, fondé sur une hiérarchisation collective dynamique des valeurs et canalisant les désirs et passions des êtres humains vers des possibilités d’action spécifiques. Les performances politiques (rituels et transmission de la tradition) contribuent à édifier, solidifier ou transvaluer l’autorité du système moral.
Dans ce travail, nous soutenons que les communautés akans renforcent l’autorité politique de leur tradition par le biais de performances politiques. En déterminant ce qu’est le « Bien » et le « Mal », les Akans canalisent les possibilités d’action et orientent les comportements collectifs de leur communauté.
Ce travail étudie un aspect de la relation entre culture et temps dans les communautés akans du Ghana. En analysant leur processus d’interprétation du passé, par lequel un héritage moral est récupéré pour être adapté au présent et orienter les actions futures des membres de leurs communautés, nous constatons qu’une tradition peut s’adapter à l’avenir tout en préservant les « bons » éléments du passé, et ce, comme suite d’un jugement moral continu, consistant en la discrimination morale des antécédents. Ce jugement continuel peut alors être considéré comme une pratique politique, et non seulement comme une pratique culturelle.
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De l’espace-diaspora indien à la confluence des rapports sociaux : cinéastes et héroïnes d'une communauté imaginéeMesana, Virginie January 2014 (has links)
Dans les industries filmiques majoritaires encore dominées par des voix et des regards masculins, la production des réalisatrices, notamment en diaspora, demeure souvent méconnue. Cette recherche étudie le cas des cinéastes en diaspora indienne et le regard que celles-ci portent sur leurs sociétés d’origine et hôte. L’objectif est d’examiner les mécanismes discursifs de production filmique et la circulation de leurs films en festival à l’occasion de leur premier visionnement. Nous cernons ainsi comment les réalisatrices participent de la formation de la diaspora indienne entendue comme une « communauté imaginée » et rendent compte de l’appartenance genrée à celle-ci. Notre thèse s’articule alors autour de la question suivante : comment la mise en scène d’héroïnes en diaspora contribue-t-elle à produire des récits alternatifs constitutifs d’un imaginaire de l’espace-diaspora indien? Alors que la production des réalisatrices n’appartient à aucune des industries filmiques majoritaires (Bollywood et Hollywood), tout en empruntant certains de leurs référents et influences, elle se situe dans un entredeux filmique que nous examinons à la lumière des dimensions « matérielle et idéelle » de leurs pratiques cinématographiques. Celles-ci étant comprises au titre d’« imagination comme pratique sociale », nous prêtons plus spécifiquement attention à l’exercice de monstration de rapports sociaux consubstantiels de sexe, ethniques et de classe, en et hors diaspora, au sein des sociétés hôtes nord-américaines qu’elles dépeignent. Pour ce faire, nous mobilisons une approche méthodologique qualitative articulant l’analyse de données de trois ordres : 1. l’analyse d’un corpus de dix films réalisés par des cinéastes en diaspora indienne en Amérique du Nord ; 2. une série de six entretiens semi-dirigés avec leurs auteures ; 3. une observation à dimension participative du festival de films de la diaspora indienne à New York (NYIFF) à deux reprises, en 2012 et en 2013. Notre encadrement théorique tire profit du croisement conceptuel de plusieurs contributions issues de trois champs d’étude, soit des apports théoriques en sociologie de la culture et des Cultural Studies, des contributions en sociologie des relations ethniques et des travaux féministes sur la consubstantialité des rapports sociaux. Cet encadrement théorique inusité nous permet d’analyser les pratiques des réalisatrices en diaspora indienne et d’entrevoir leurs (re)positionnements au sein de relations sociales majoritaires/minoritaires, donnant lieu à l’expression d’un « majoritaire idéalisé » en diaspora et à l’expérience d’un « entre-majoritaires ».
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Papírové divadlo jako specifická součást české loutkářské tradice / Paper theatre as a specific part of the Czech puppet traditionVedralová, Hana January 2013 (has links)
The aim of the diploma thesis is to describe foreign tradition of paper theatre, history and presence of its Czech counterpart and to set this theatrical genre in the context of Czech puppetry. First part is dedicated to the history of the foreign paper theatre, its festivals and current trends. Second part focuses on the history of Czech family theatre and a paper theatre as its element. The last part introduces Czech puppet players and theatre companies who reflect this tradition in their art.
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Cultural identity and ethnic representation in arts education : case studies of Taiwanese festivals in CanadaLin, Patricia Yuen-Wan 11 1900 (has links)
This study is about why and how Taiwanese immigrants construct their cultural
identity through public festivals within Canadian multicultural society. The study stems
from intrigue with prevailing practices in art education, both those characterizing Chinese
as a homogeneous ethnic group and those viewing Chinese culture as a static tradition.
Analyzing cultural representation organized by the Taiwanese community, I argue that
ethnic cultural festivals are not only a site where immigrants inquire into cultural identity,
but also a creative response to the receiving society's social context.
This study does not ask what Taiwanese culture is, but how it is constructed in
Canada. The Taiwanese studied are immigrants who came with a colonial history and a
particular political experience. Two of their cultural festivals demonstrate how the
selectivity of cultural production reveals the immigrants' view of themselves, and how
they wish to be seen. The Taiwanese Cultural Festival and the Lunar New Year Festival
reflect identity construction achieved through the dynamics of choosing and naming
cultural elements which are important to them. Interview data provided by the festivals'
organizers and participants suggest that cultural identity is a creative response to the
multicultural context. In order to justify their place in the Canadian mosaic, the
Taiwanese emphasize their differences from other Chinese descendants. Difference is a
signifier for Taiwanese to select from a variety of ethnic markers and to interpret their
colonial past. The Taiwanese Cultural Festival asserts Taiwanese particularity, congruent
with a socio-political consciousness of the native land. The traditional Lunar New Year
Festival is a cultural statement that reflects immigrant parents and children reaching out
to other Canadians. Both festivals intend to promote cross-cultural understanding among
the general public and the festivals' end products are a showcase of ethnic
representations. For the immigrants themselves, I find that education happens during the
process of constructing the festivals, thereby interpreting cultural heritage through
inquiring into their past. In a multicultural society, festivals are intensive sites raising
questions about cultural identity and social place.
Canada, largely composed of immigrants, is a place where ethnic groups from
different parts of the world coexist. It is a global village in miniature, where ethnic and
cultural identities are becoming a heated topic. The case of Taiwanese festivals in Canada
demonstrates the selective process establishing cultural traditions and the complexities of
identity formation. Particularity is emphasized in order to become a member of a
multicultural society. The assertion of differences allows post-colonial subjects to find
their past and search for means to live in the present. For North American multicultural
educators, this suggests a range of post-colonial issues and the need for an awareness
amongst educators of the evolving nature of cultural tradition at the nexus of Western
cultural impact and irnmigration experiences. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate
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Význam festivalů a soutěží v oblasti gastronomie ČR / The importance of food festivals and competitions in the Czech RepublicGrossová, Jana January 2011 (has links)
The thesis describes importance of food festivals and competitions in the Czech Republic and their current status in Czech tourism. The aim is to provide a comprehensive view on the issue of organizing of food events and based on analyze to characterize current structure of Czech market of food festivals and competitions. The first two chapters are dedicated to presentation of related terms and to explanation of the theory of event marketing and management. The practical part includes the aforementioned market analysis and its important part is a presentation of chosen food events undertaken in 2011. One chapter is also devoted to the introduction of expected future development and provides an overview of current trends.
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O Festival do Folclore de Olímpia, São Paulo : uma festa imodesta / Olímpia's Folklore Festival, São Paulo : an immodest partyReis, Estêvão Amaro dos, 1971- 02 June 2012 (has links)
Orientador: Lenita Waldige Mendes Nogueira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T01:38:53Z (GMT). No. of bitstreams: 1
Reis_EstevaoAmarodos_M.pdf: 36404177 bytes, checksum: 4ea065e275a729d0f8f42fca8368d111 (MD5)
Previous issue date: 2012 / Resumo: O Festival do Folclore de Olímpia - São Paulo (FEFOL) o maior evento do gênero no país, completou em 2011 quarenta e sete anos de existência. Em seu espaço são encontradas manifestações folclóricas ou tradicionais de todas as regiões brasileiras. A partir do pressuposto de que para alguns grupos folclóricos o FEFOL tornou-se o principal espaço de realização das suas atividades e considerando que o deslocamento dos seus locais de origem para outro espaço geográfico e social provoca transformações nas suas práticas, o presente trabalho investiga a relação entre estas manifestações e o novo contexto em que estão inseridas. A pesquisa realizada busca conhecer e compreender quais os motivos que levam os grupos a percorrer centenas de quilômetros todos os anos para participar do FEFOL, a influência do Festival do Folclore de Olímpia nesse processo e suas implicações para os ritos e para os integrantes destes grupos. O trabalho dedicou especial atenção aos grupos Batalhão de Bacamarteiros de Carmópolis (Sergipe), Terno de Congo Chambá (Minas Gerais), Terno de Congada Chapéu de Fitas (São Paulo) e o grupo Sabor Marajoara (Pará) e foram utilizadas, ao lado da bibliografia existente, entrevistas semi-estruturadas com os integrantes dos grupos e organizadores do FEFOL em épocas distintas, bem como o material audiovisual produzido em trabalho de campo e pelo próprio Festival / Abstract: Olímpia's Folklore Festival - São Paulo [Festival do Folclore de Olímpia (FEFOL)], the largest event of its kind in the country, completed forty-seven years of existence in 2011. Folkloric or traditional expressions from all regions of Brazil can be found there. Starting from the assumption that FEFOL became the main place for some folk groups to carry out their activities and considering that the displacements from their original places to another geographic and social area causes changes in their practices, this work investigates the relationship between these expressions and their new insertion context. This research intends to get to know and understand the reasons why those groups travel hundreds of miles every year to participate in the FEFOL, the Festival's influence in this process and its implications for the rites and the members of these groups. A special attention was dedicated to the groups "Batalhão de Bacamarteiros de Carmópolis" (from Sergipe), "Terno de Congo Chambá" (from Minas Gerais), "Terno de Congada Chapéu de Fitas" (from São Paulo) and the group "Sabor Marajoara" (from Pará); alongside the existing bibliography, semi-structured interviews with group members and with FEFOL's organizers at different moments were used, as well as audiovisual material produced in the field research and by the Festival / Mestrado / Fundamentos Teoricos / Mestre em Música
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Beer Festival and Place Identity : An Analysis of Munich Oktoberfest And Qingdao International Beer FestivalWang, Rucheng January 2022 (has links)
As microcosms of German and Chinese societies, Munich Oktoberfest and Qingdao International Beer Festival are important manifestations of local culture. This study intends to answer the following question: to which extent are beer festivals in Germany and China related to local history and the local sense of place? A historical overview of the beer festivals in Munich and Qingdao is provided, as well as an analysis of how people seeking a sense of belonging creatively combine cognitive schemata of modernity with local cultural systems on a symbolic level. Through textual analysis and interviews, this study attempts to explore the historical development of beer festivals in Germany and China and provide an analysis case of place identity through beer symbols and tourist experience based on a historical and geographical framework regarding uniqueness, authenticity, liminality and local identity. Originating in local history, Oktoberfest has evolved from a folk festivity to a globally known tourist spectacle. Faced with modernisation, "Heimat" helps Germany in smoothing the tension between the traditional sense of place and the modern nation-state identity. As a former German colony, Qingdao celebrates its beer festival emphasising recreation and enjoyment above traditions. The local beer-related customs such as plastic bags and drinking with seafood reflect the cultural hybridity of Qingdao in which consumerism and nostalgia are combined in reaction to the vast tourism generated by globalisation and modernisation. It remains a challenge for beer festivals both in Germany and China facing homogenisation and commercialisation to maintain a genuine connection with people, especially the locals. Future work on beer festivals could explore a variety of beer events in other historical, national and contextual settings, different perspectives as well as genderisation, which will enrich the study on festival tourism and place identity.
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IRL to URL: Digitalization in the live music scene during and post-COVID-19 : A platform-driven study of the live music scene and its approachesFernández, Valeria, Gerasimova, Boyana January 2022 (has links)
As the strict lockdowns during the global COVID-19 pandemic made the world more digital, nearly every industry was affected. The music industry in particular had already been going through many changes, though maybe none of them as big so far—musicians were restricted from performing "in real life" and had to think out of the box. Thus, coming to life virtual concerts and festivals. The purpose of this paper is to investigate how the transition to a digital live scene has been handled in the live music industry during the pandemic, and what the experiences of Generation Z and Millennials have been with specific video streaming platforms. To find the answers to these questions, a mixed-methods approach was taken, combining semi-structured qualitative interviews and an online questionnaire. The study provides an insight into what approaches music industry professionals took in handling different aspects of the changing world of concerts, both in terms of technical aspects and in the general shift that the music community experiences. Moreover, it provides an insight into users' preferences for streaming platforms, together with their respective advantages and flaws. More generally, a deeper understanding of what people perceive as gains and losses from the digitization of live events is also provided, with a look into the potential future of concerts.
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The effect of European festivals on American entertainmentVeall, Florence 01 January 1938 (has links) (PDF)
The selection of the subject "The effect of European Festivals on American Entertainment" was prompted by an assignment in a College of the Pacific Summer School course, "Supervision in the Elementary School."
The project was the planning of a patrictic program in an immigrant community. Each nationality represented in the class was to provide a national impression of the homeland of his ancestors, by means of costume, song, and dance typical of the country. After an hour of very interesting entertainment which gave an introduction to the background of the foreign members of the class, all lustily sang "America," led by the Spirit of Freedom, whose lineage could be traced back to the Fathers of the American Revolution.
That imaginary class, composed of many nationalities, was really a miniature of our nation which is referred to as "The melting Pot." In order to keep this thesis within bounds, investigations have been limited to six European countries --- namely, Greece, Rome (and modern Italy), England, Germany, France, and Spain.
We in America have a tendency to hold a satisfied opinion of things American, forgetting that the basis for many of our so-called "American" customs comes from distant shores. Therefore it is rather enlightening to take such a universal celebration as Christmas and learn that very little of our "American" Christmas really originated here.
In regard to the adaptations of the ancient festivals found in the United States and their influences on both the native and foreign population here, it has been a revelation to me to see how varied and numerous have been the references to them. Without the investigation and study which I have made on the subject, allusions made to its various phases on the radio, in lectures, in conversations, in current literature, and in advertising, would have passed by un-noticed.
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“Take a solo”: An analysis of gender participation and interaction at school jazz festivalsSteinberg, Ella Nora Parks 01 January 2001 (has links) (PDF)
This study documented participation at school jazz festivals according to gender and instrument and explored interaction patterns between clinicians and students to determine if participation patterns in jazz education resemble those in math and science, where females have been found to be underrepresented in high-level courses. This study analyzed data collected at two middle and high school jazz festivals with male and female students participating in stage performances and in post-performance clinics. Out of a total student population of 556 performers, males were found to represent a disproportionate percentage of the population (males = 70% and females = 30%). Significantly more males were found on all instruments, with the exception of piano, where females represented the majority (male pianists = 42.5% and female pianists = 57.5%). Solo patterns revealed that even though there were more female pianists, male pianists were featured as a soloist a total of 17 times, in contrast to 5 total solos for female pianists. Categorical data from solo patterns for all instruments showed that males were featured significantly more often as a soloist on saxophone and piano. Given the research on sex-stereotyping of instruments, where saxophone and piano are considered as less “masculine” instruments, this research noted that no significant difference in solo patterns were found between males and females who perform on the more “masculine” instruments (trumpet, trombone, drums, and bass). Overall, males did solo significantly more often than girls, based on the proportion of boys to girls in the total sample. Interaction analysis, using a modification of the INTERSECT observation form utilized by researchers Sadker & Sadker, of post-performance clinics found that males dominated all interactions. Males raised their hands more often, were called on and called-out more often and were asked to play at a higher rate than female performers. Results suggest that jazz education might benefit from intervention strategies similar to those implemented in math and science education to narrow the participation and interaction gap between males and females.
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