This paper calls for a broad conception of sacrifice to be developed as a resource for cultural sociology. It argues the term was framed too narrowly in the classical work of Hubert and Mauss. The later approach of Bataille permits a maximal understanding of sacrifice as non-utilitarian expenditures of money, energy, passion and effort directed towards the experience of transcendence. From this perspective, pilgrimage can be understood as a specific modality of sacrificial activity. This paper applies this understanding of sacrifice and pilgrimage to the annual Bayreuth “Wagner” Festival in Germany. Drawing on a multi-year mixed-methods study involving ethnography, semi-structured interviews and historical research, the article traces sacrificial expenditures at the level of individual festival attendees. These include financial costs, arduous travel, dedicated research of the artworks, and disciplines of the body. Some are lucky enough to experience transcendence in the form of deep emotional experience, and a sense of contact with sacred spaces and forces. Our study is intended as an exemplary paradigm case that can be drawn upon analogically by scholars. We suggest that other aspects of social experience, including many that are more ‘everyday’, can be understood through a maximal model of sacrifice and that a rigorous, wider comparative sociology could be developed using this tool.

This thesis examines the history of the Folk Festival of the Smokies, which sought to preserve old-time music as an expression of southern Appalachian regional culture. The study uses qualitative methods, including personal interviews with one of the founders and significant festival participants, supplemented with archival and historical research into photographs, festival performances and literature regarding the festival. Since the festival operated for thirty-three years as a small festival in a relatively isolated location in eastern Tennessee, this case study serves as an example of the role of festivals in intangible cultural heritage preservation in relatively rural settings. The legacy of the festival is examined, along with its impact on succeeding festivals. The thesis concludes with a discussion of the role and future of music festivals in the old-time music community.

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<p>“IN MY HEART I AM PORTUGUESE”: PERSPECTIVES ON PORTUGUESE MIGRATION, IDENTITY AND RELIGION IN HAMILTON, ONTARIO</p> <p>Stephanie Da Silva Advisor:</p> <p>McMaster University, 2013 Dr. Ellen Badone</p> <p>This thesis is an investigation into migration, identity and religion among Portuguese migrants to Hamilton, Ontario. It is an ethnographic exploration of how Portuguese migrants identify themselves within the migrant setting and how migration has impacted their religious beliefs and practices. I focus on the Portuguese religious patron saint festivals, known as <em>festas </em>and the significance of these cultural performances for the future of a distinct Portuguese identity in Canada. This inquiry has implications for the study of migration, transnationalism and Portuguese religious traditions, and expands our understanding of the struggles and successes of Portuguese immigrants within the particular historical and cultural contexts they have lived their lives.</p> / Master of Arts (MA)

Utilizing archival research from Berea College's Appalachian Sound Archives and Appalachian State University's Belk Special Collection, more than 45 survey results, 15 extensive interviews, and participant observations from 15 festival field sites, I examine bluegrass festivals as sites of identity production through feminist methodologies and a participatory ethnographic approach. This requires careful analysis of the nature of the genre's audience and audience members' investments in the process of framing the performance of bluegrass music's history through a shared historical narrative. More broadly, this analysis clarifies the nuanced role of bluegrass festivals in constructing generalizations about place-based identities, race, and gender within the performative space of festivals. In this assessment, the political and economic actions generated as a result of bluegrass performances are explored as temporal and spatial organizers for the (re)production and consumption of generalized ideals which are projected onto both literal and figurative southern stages. I perform this research utilizing the conceptual frameworks of theories of space and place, politics of culture, and feminist methods, combined through critical regionalism. My hypothesis is that bluegrass festivals serve as spaces to perform white patriarchal capitalist desires while relying on marginalized and hidden cultural productions and exchanges. My findings reveal that in order to gain a fuller understanding of politics culture, the stage must be subverted and the researcher's gaze must go beyond that which is typically traditionally framed to encompass the festival in its entirety. This requires seeking out not merely that which is intentionally framed but also narratives that create the stage or are omitted by dominant ways of interpreting the festival space. Ultimately, I find the significance of temporary physical sites for identity construction and the potential for dynamic social change within these spaces relies on the ability of scholars and participants alike to re-historicize and retell dominant narratives. / Ph. D. / The fantasized rural Appalachian region and greater south—a social construct, constantly created and recreated by social desires, political needs, and economic trends—has been a space of cultural production and experimentation, notably since the reconstruction era. One result has been the stereotypically regional genre of bluegrass music. This project asks how bluegrass music festivals began, for whom, and to what end. More importantly, it turns an eye towards research methods and power structures within the community. Research was conducted at Berea College’s Appalachian Sound Archives, at Appalachian State University’s Belk Special Collection, and through online surveys, participant observations, and interviews. In this dissertation, I carefully examine the role(s) of bluegrass festivals, specifically those envisioned and enacted by Carlton Haney (notably, in Fincastle, Virginia, in 1965). My findings illuminate how bluegrass festivals serve as sites where widely accepted generalizations about place (specifically, Appalachia and the rural American south) and specifically the bluegrass community are formed. Further, I address the role of gender within these spaces and the symbiotic relationship between female labor and bluegrass. The history of bluegrass festivals is approached with the intention of broadening discussions of gender, labor, and historical narratives beyond the festival grounds.