<p>По истраживању Туристичке организације Србије (ТОС) догађаји&nbsp; су први&nbsp; на листи туристичких мотива за долазак страних туриста у нашу земљу. Манифестациони туризам&nbsp; је због тога истакнут у &bdquo;Стратегији развоја туризма Србије&ldquo;&nbsp; као веома значајан сегмент развоја туризма у Србији, али и као компаративна предност домаћег туризма.&nbsp; Према подацима Туристичке организације Војводине, у Војводини се годишње одржи 1382 манифестације. Једна од најважнијих манифестација је&nbsp; EXIT фестивал који се већ 15 година одржава у Новом Саду.&nbsp; Овај фестивал је уврштен у 10 најбољих европских фестивала. Маркетинг стратегија Војводине предлаже да се у развоју туризма следи пример Мађарске. У Мађарској се у току године одржи&nbsp; више<br />од 3000 фестивала који привлаче 18-20 милиона посетилаца из Мађарске&nbsp; и<br />иностранства,&nbsp; што говори о значају који туризам догађаја има на туризам Мађарске. Будимпешта је главни град Републике Мађарске. Налази се на 300&nbsp; km&nbsp; од Новог Сада и изузетно је посећена туристичка дестинација. Један од значајнијих туристичких догађаја у&nbsp; Будимпешти је музички фестивал&nbsp; SZIGET,&nbsp; који окупља велики број извођача и посетиоце из преко 70 различитих земаља, чиме доприноси позитивном имиџу Будимпеште на туристичкој мапи Европе.</p><p>Локално становништво&nbsp; је битан стејкхолдер у развоју туристиче дестинације. У&nbsp; вези са одређеним подручјем и животном средином, има много бољи осећај за то шт а су реалне потребе тог подручја, као и јаснију визију будућег развоја, него централна управа.&nbsp; Због наведеног је потребно укључити визије, жеље и потребе, потенцијале и ентузијазам локалне заједнице у планове за будући развој</p><p>&nbsp; С обзиром да&nbsp; је врло мало&nbsp; истраживања о ефектима музичких фестивала на локалну заједницу&nbsp; наших простора, анкетирани су становници Новог Сада и Будимпеште, о ефектима које&nbsp; EXIT&nbsp; и&nbsp; SZIGET&nbsp; фестивали&nbsp; остварују, применом модификоване&nbsp; FSIAS скале.&nbsp; Сакупљено је укупно&nbsp; 505&nbsp; валидних&nbsp; упитника&nbsp; који&nbsp; су даље&nbsp; коришћени&nbsp; у статистичким анализама.&nbsp; Применом експлоративне факторске анализе утврђена је&nbsp; двофакторска структура модификоване&nbsp; FSIAS&nbsp; скале, а фактори су именовани на следећи начин: Ф1&nbsp; позитивни&nbsp; ефекти&nbsp; -&nbsp; друштвене користи&nbsp; и&nbsp; Ф2&nbsp; негативни ефекти&nbsp; -друштвени трошкови фестивала.<br />Истраживањем се дошло до сазнања да локално становништво&nbsp; Новог Сада и<br />Будимпеште више перципира позитивне него негативне ефекте фестивала на локалну заједницу, при чему испитаници из Новог Сада обе групе ефеката оцењују вишим просечним оценама у односу на испитанике из Будимпеште. Такође, истраживањем је потврђено да&nbsp; фестивали доприносе развоју туризма, промоцији и имиџу дестинације. Утврђено&nbsp; је које су&nbsp; и&nbsp; јаке тачке оба фестивала, а на које ставке би менаџмет требао више утицати како би се позитивни ефекти мултипликовали, као и који&nbsp; ефекти&nbsp; могу бити занемарени&nbsp; по мишљењу локалног становништва, а да фестивал не губи на квалитету.</p><p>Социјални утицаји на локалну заједницу нису универзални, оно што има важан утицај у једној заједници може имати занемарљив утицај у другој заједници.</p> / <p>Po istraživanju Turističke organizacije Srbije (TOS) događaji&nbsp; su prvi&nbsp; na listi turističkih motiva za dolazak stranih turista u našu zemlju. Manifestacioni turizam&nbsp; je zbog toga istaknut u &bdquo;Strategiji razvoja turizma Srbije&ldquo;&nbsp; kao veoma značajan segment razvoja turizma u Srbiji, ali i kao komparativna prednost domaćeg turizma.&nbsp; Prema podacima Turističke organizacije Vojvodine, u Vojvodini se godišnje održi 1382 manifestacije. Jedna od najvažnijih manifestacija je&nbsp; EXIT festival koji se već 15 godina održava u Novom Sadu.&nbsp; Ovaj festival je uvršten u 10 najboljih evropskih festivala. Marketing strategija Vojvodine predlaže da se u razvoju turizma sledi primer Mađarske. U Mađarskoj se u toku godine održi&nbsp; više<br />od 3000 festivala koji privlače 18-20 miliona posetilaca iz Mađarske&nbsp; i<br />inostranstva,&nbsp; što govori o značaju koji turizam događaja ima na turizam Mađarske. Budimpešta je glavni grad Republike Mađarske. Nalazi se na 300&nbsp; km&nbsp; od Novog Sada i izuzetno je posećena turistička destinacija. Jedan od značajnijih turističkih događaja u&nbsp; Budimpešti je muzički festival&nbsp; SZIGET,&nbsp; koji okuplja veliki broj izvođača i posetioce iz preko 70 različitih zemalja, čime doprinosi pozitivnom imidžu Budimpešte na turističkoj mapi Evrope.</p><p>Lokalno stanovništvo&nbsp; je bitan stejkholder u razvoju turističe destinacije. U&nbsp; vezi sa određenim područjem i životnom sredinom, ima mnogo bolji osećaj za to št a su realne potrebe tog područja, kao i jasniju viziju budućeg razvoja, nego centralna uprava.&nbsp; Zbog navedenog je potrebno uključiti vizije, želje i potrebe, potencijale i entuzijazam lokalne zajednice u planove za budući razvoj</p><p>&nbsp; S obzirom da&nbsp; je vrlo malo&nbsp; istraživanja o efektima muzičkih festivala na lokalnu zajednicu&nbsp; naših prostora, anketirani su stanovnici Novog Sada i Budimpešte, o efektima koje&nbsp; EXIT&nbsp; i&nbsp; SZIGET&nbsp; festivali&nbsp; ostvaruju, primenom modifikovane&nbsp; FSIAS skale.&nbsp; Sakupljeno je ukupno&nbsp; 505&nbsp; validnih&nbsp; upitnika&nbsp; koji&nbsp; su dalje&nbsp; korišćeni&nbsp; u statističkim analizama.&nbsp; Primenom eksplorativne faktorske analize utvrđena je&nbsp; dvofaktorska struktura modifikovane&nbsp; FSIAS&nbsp; skale, a faktori su imenovani na sledeći način: F1&nbsp; pozitivni&nbsp; efekti&nbsp; -&nbsp; društvene koristi&nbsp; i&nbsp; F2&nbsp; negativni efekti&nbsp; -društveni troškovi festivala.<br />Istraživanjem se došlo do saznanja da lokalno stanovništvo&nbsp; Novog Sada i<br />Budimpešte više percipira pozitivne nego negativne efekte festivala na lokalnu zajednicu, pri čemu ispitanici iz Novog Sada obe grupe efekata ocenjuju višim prosečnim ocenama u odnosu na ispitanike iz Budimpešte. Takođe, istraživanjem je potvrđeno da&nbsp; festivali doprinose razvoju turizma, promociji i imidžu destinacije. Utvrđeno&nbsp; je koje su&nbsp; i&nbsp; jake tačke oba festivala, a na koje stavke bi menadžmet trebao više uticati kako bi se pozitivni efekti multiplikovali, kao i koji&nbsp; efekti&nbsp; mogu biti zanemareni&nbsp; po mišljenju lokalnog stanovništva, a da festival ne gubi na kvalitetu.</p><p>Socijalni uticaji na lokalnu zajednicu nisu univerzalni, ono što ima važan uticaj u jednoj zajednici može imati zanemarljiv uticaj u drugoj zajednici.</p> / <p>According to Tourist Organization of Serbia (TOS) research events are the first motive for<br />arrival of foreign tourists in our country. Event&nbsp; tourism is therefore one of the pillars in<br />&bdquo;Tourism Development Strategy of Serbia&quot; as a very important segment, as a comparative<br />advantage of domestic tourism. According to Tourist Organization of Vojvodina, 1382&nbsp;<br />events are annually held in Vojvodina. One&nbsp; of the most important manifestations is the<br />EXIT festival, held in Novi Sad for 15 years. This festival has been listed as one of the top<br />10 European festivals. In development of tourism Marketing Strategy of Vojvodina suggests<br />following the example of Hungary. In period of one year more than 3000 festivals are held<br />in Hungary which are attracting 18-20 million of visitors from Hungary and abroad, that fact<br />indicates importance of events in Hungarian tourism. Budapest is the capital of Republic of<br />Hungary.&nbsp; It is 300 km away from Novi Sad and it is highly visited tourist destination. One<br />of the most important tourism events in Budapest is Sziget music festival, which gathers a<br />large number of performers and visitors from more than 70 different countries. Therefore<br />Sziget festival is contributing to the positive image of Budapest on European tourist map.<br />Local population is an important stakeholder in development of tourist destinations. In<br />relation to specific area and environment local population can have better sense of what are<br />real needs, what is more sustainable and can gain more benefit in future development, than<br />the central government. As result it is necessary to include vision, desires and needs,<br />potentials and enthusiasm of local community in plans for future development.<br />As there are no studies on effects of music festivals on local community in our area, this<br />scientific research investigated local population perception on effects of music festivals. The<br />survey about effects of Exit and Sziget festival sampled residents from Novi Sad and<br />Budapest. Appropriate sampling collected total of 505 valid surveys that are used in<br />statistical analysis. Modified FSIAS scale showed positive and negative effects of festival<br />and what significance these effects have on local community.<br />The&nbsp; results of the&nbsp; study&nbsp; show&nbsp; that local population from Novi Sad and Budapest&nbsp; perceives<br />more positive effects from festivals than negative effects. Respondents from Novi Sad&nbsp; gave<br />higher average grades for both groups of effects. Also, the results confirmed that festivals<br />contibute to tourism development, promotion and image of destination.<br />Strong points&nbsp; or strengths&nbsp; of both festivals were determined as well as areas that should be<br />more influenced by management so positive effects could be multiplied. Also low priority<br />or possible overkill&nbsp; points&nbsp; are defined&nbsp; and&nbsp; can be ignored, as they are not&nbsp; influencing<br />quality of festival.<br />Social impacts on local community are not universal, those that have important impact on<br />one community may have a negligible effect on the other.</p>

We live in a globalized world that is changing rapidly. We interconnect between cultures in different ways. But what if we want to go global with a performance to go around the world, without modifying the piece? Is that possible? How to be international but without losing the here and now by reading subtitles? The diversity of sounds when speaking on stage can embrace otherness, the audience's encounter with a language that may not be familiar to them. This is my journey through creating a play to broaden the audiences I can reach as much as possible.

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À partir du milieu des années 2010 s’observe, dans les milieux festifs de la scène musicale montréalaise, l’émergence d’initiatives pour faire face aux oppressions multiples qui ont cours dans ses espaces. La lutte contre les violences sexuelles, les discriminations et les micro-agressions sexistes, racistes, homophobes, transphobes et capacitistes devient le cheval de bataille d’activistes impliqué·es dans la scène. Cette thèse s’attèle à expliquer l’apparition et étudier la mise en œuvre de nouvelles pratiques dites anti-oppressives dans la scène musicale montréalaise à partir de deux points de vue : celui de la scène alternative de musique électronique dansante, comportant les espaces clandestins de la scène rave et les petits festivals de niche, et celui de la scène commerciale incluant les grands festivals de renom montréalais. C’est à partir de la littérature sur la sociologie des mouvements sociaux, qui offre des approches analytiques nous informant sur l’émergence de l’action collective, que je propose une étude détaillée de l’activisme sur la scène musicale. Cette étude a été rendue possible grâce à une collecte de données qualitative par entrevues auprès d’une trentaine d’acteurs et d’actrices de la scène (artistes, promoteur·rices, directeurs d’entreprises, travailleur·euses communautaires et employé·es). Dans la scène alternative, l’émergence des initiatives repose sur une alliance entre son éthos discursivement construit, ses pratiques culturelles spécifiques et la politisation radicale de quelques initié·es activistes. Ces dernier·ères souhaitent mettre en pratique leurs idéaux d’espace plus sûr (safer space) à travers une implication formelle dans deux organisations, le Collectif d’intervention contre les oppressions (CICLOP) et l’Association pour la réduction des risques (ARéR). Ces militant·es développent des savoirs qu’iels diffusent sur la scène à l’aide de techniques pédagogiques qui sont étudiées dans la thèse. Dans la scène commerciale, l’émergence des pratiques s’explique par une structure d’opportunités politiques favorable, dynamisée par le mouvement #MoiAussi et ses corollaires, conjuguée à des efforts de diffusion par des passeurs individuels, institutionnels et politiques. / Since mid-2010, we can observe on the Montreal nightlife and music scene the emergence of initiatives trying to break multiple oppressions going on in its spaces. The struggle against sexual violence, sexist, racist, homophobic, transphobic and ableist discriminations and microaggressions has become the key issue of activists acting in those spaces. This thesis wishes to explain the emergence and implementation of new anti-oppressive practices on the Montreal music scene from two perspectives: one from the alternative electronic dance music scene, including niche festivals and rave scene’s underground spaces; the other from the mainstream scene, including big festivals. The literature concerning social movements sociology, offering analytical models that inform on the emergence of collective action, helped me propose a detailed study of activism on the music scene, being possible due to a qualitative data collection with about thirty scene actors (artists, promoters, business directors, community workers, and employees). The results indicate that, on the alternative scene, initiatives’ emergence is explained by the alliance between its discursively constructed ethos, its specific cultural practices and some insiders radical politization processes. Those insiders wish to put into practice their safer space ideals through their participation into two formal organizations: Collectif d’intervention contre les oppressions (CICLOP), and Association pour la réduction des risques (ARéR). These activists develop knowledge that they diffuse on the scene through diverse pedagogical technics. On the mainstream scene, practices’ emergence is explained by a favourable political opportunities’ structure, dynamized by the #MeToo movement and its corollaries, combined with the diffusion efforts carried by individual, institutional et political brokers whose roles are closely studied in the thesis.

Arts festivals form a large part of the South African culture originally as many local communities began to share their culture with visitors by means of arts festivals. This has grown into a large industry that has tremendous financial gain for the hosting communities. With over 500 arts festivals each year in South Africa alone, visitors are certain to find a festival to satisfy their specific needs and wants. Therefore, with so many genres available, each festival has created its own niche market and loyal customer base. An extensive literature study was conducted for the purpose of this thesis and it was found that research of small to medium arts festivals has been neglected. This finding motivated the main theme of this research. As mentioned earlier, there are so many genres available that the festival organisers may experience difficulty when deciding what to offer and how many genres to offer in order to still be sustainable and attract a sufficient number of visitors. Furthermore, the large number of arts festivals organised each year makes it increasingly difficult for festivals to build a loyal client base. First-time visitors can be converted into repeat visitors if the marketing strategy is precise. Repeat visitors, as stated in the literature, results in a sustainable income for each festival. Another question that motivated the research was the location of the three arts festivals (Innibos, Vryfees, and Kierieklapper). Three arts festivals in three provinces makes an interesting study to determine whether there is a difference in the three types of visitors that they attract and the spending patterns at each festival. While addressing the problems stated above, this study produced the following three articles: * Article 1: ―Determinants of spending at Vryfees with a focus on genres‖. * Article 2: ―First-time versus repeat visitors at Innibos Arts Festival‖. * Article 3: ―Role of location in the attendance and spending of festinos‖. Article 1 investigates spending determinants that influence visitor expenditure on the different genres offered at the Vryfees Festival in Bloemfontein, based on a survey conducted in 2011. The research is based on the notion that different genres have different spending patterns. Article 2 focuses on the differences and/or similarities between first-time and repeat visitors at the Innibos Arts Festival as an alternative approach to market segmentation. Lastly, the third article focuses on three different arts festivals in three different locations in South Africa. The research was conducted by means of a visitor survey at the three arts festivals during the same year with questionnaires administered at Innibos (428), Vryfees (336), and Kierieklapper (202) respectively. The most significant contributions of this study can be summarised as follows: * the tourist spending behaviour in regards to the difference between first-time and repeat visitors is significant and can be considered an important spending determinant; * the tourist spending behaviour in terms of length of stay between first-time visitors and repeat visitors is significantly different, suggesting that familiarity with the destination (as the repeat visitors are) has an important impact; * different locations attract their own type of tourists and certain locations receive a higher economic injection than other provinces do because of the type of festival held. All three arts festivals attract mainly Afrikaans speaking attendees; and for the first time, a comparative study has been conducted on three arts festivals targeting the Afrikaans speaking community. Additionally, this is the first time a comparative study was conducted on three small to medium arts festivals located in three different provinces; and * the developed spending model described in the last chapter of this thesis can assist the festival organisers with future festival marketing to improve their income and marketing strategy. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2014

Arts festivals form a large part of the South African culture originally as many local communities began to share their culture with visitors by means of arts festivals. This has grown into a large industry that has tremendous financial gain for the hosting communities. With over 500 arts festivals each year in South Africa alone, visitors are certain to find a festival to satisfy their specific needs and wants. Therefore, with so many genres available, each festival has created its own niche market and loyal customer base. An extensive literature study was conducted for the purpose of this thesis and it was found that research of small to medium arts festivals has been neglected. This finding motivated the main theme of this research. As mentioned earlier, there are so many genres available that the festival organisers may experience difficulty when deciding what to offer and how many genres to offer in order to still be sustainable and attract a sufficient number of visitors. Furthermore, the large number of arts festivals organised each year makes it increasingly difficult for festivals to build a loyal client base. First-time visitors can be converted into repeat visitors if the marketing strategy is precise. Repeat visitors, as stated in the literature, results in a sustainable income for each festival. Another question that motivated the research was the location of the three arts festivals (Innibos, Vryfees, and Kierieklapper). Three arts festivals in three provinces makes an interesting study to determine whether there is a difference in the three types of visitors that they attract and the spending patterns at each festival. While addressing the problems stated above, this study produced the following three articles: * Article 1: ―Determinants of spending at Vryfees with a focus on genres‖. * Article 2: ―First-time versus repeat visitors at Innibos Arts Festival‖. * Article 3: ―Role of location in the attendance and spending of festinos‖. Article 1 investigates spending determinants that influence visitor expenditure on the different genres offered at the Vryfees Festival in Bloemfontein, based on a survey conducted in 2011. The research is based on the notion that different genres have different spending patterns. Article 2 focuses on the differences and/or similarities between first-time and repeat visitors at the Innibos Arts Festival as an alternative approach to market segmentation. Lastly, the third article focuses on three different arts festivals in three different locations in South Africa. The research was conducted by means of a visitor survey at the three arts festivals during the same year with questionnaires administered at Innibos (428), Vryfees (336), and Kierieklapper (202) respectively. The most significant contributions of this study can be summarised as follows: * the tourist spending behaviour in regards to the difference between first-time and repeat visitors is significant and can be considered an important spending determinant; * the tourist spending behaviour in terms of length of stay between first-time visitors and repeat visitors is significantly different, suggesting that familiarity with the destination (as the repeat visitors are) has an important impact; * different locations attract their own type of tourists and certain locations receive a higher economic injection than other provinces do because of the type of festival held. All three arts festivals attract mainly Afrikaans speaking attendees; and for the first time, a comparative study has been conducted on three arts festivals targeting the Afrikaans speaking community. Additionally, this is the first time a comparative study was conducted on three small to medium arts festivals located in three different provinces; and * the developed spending model described in the last chapter of this thesis can assist the festival organisers with future festival marketing to improve their income and marketing strategy. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2014

A website with a good e-commerce design will positively influence a customer’s attitude, strengthen the trust of the customers towards the organisation, increase the satisfaction of the customer, draw consumers, and bring forth purchases/repeat purchases from them. The purpose of this study was to determine viable e-commerce opportunities for the Ficksburg Cherry Festival website. The study endeavoured to ascertain how the Ficksburg Cherry Festival could improve its website by identifying e-commerce opportunities for the Ficksburg Cherry Festival website. In this study a non-random self-administered survey approach was used where attendees were intercepted at the venue of the Ficksburg Cherry Festival and the exhibitors in their stalls. The existing Ficksburg Cherry Festival website was analysed for e-commerce features that are present and opportunities for further implementation of e-commerce features were identified with help from the attendees and exhibitors. The findings of this study presented a demographic profile and attendance characteristics of both the attendees and exhibitors, which the management team of the Ficksburg Cherry Festival can use to better market the festival using traditional and online communication for both attendees and exhibitors. The recommendations will assist the management of the festival to improve the website and to progress from a straightforward information-only website to a fully-developed e-commerce site, with positive effects for all the stakeholders. Similar South African festivals could find the research findings and recommendations of value for their own website development as well. / Business Management / M. Com. (Business Management)

Made available in DSpace on 2016-04-25T20:22:44Z (GMT). No. of bitstreams: 1 Silvio Pinto Ferreira Junior.pdf: 5191715 bytes, checksum: 477c96bf67d93cba205dcc1a3eb673e3 (MD5) Previous issue date: 2009-04-23 / Universidade Suor Orsola Benincasa / The register of popular festivals as immaterial heritage, in this dissertation in particular the festivals of Italian origins in the city of Sao Paulo, represents much more than the recognition of the important cultural influence of immigrants. The attempt to reconstruct the history of the festivals Nossa Senhora de Casaluce, Nossa Senhora Achiropita, São Vito, São Francisco de Paola and São Gennaro, permitted to discover other questions that are not limited to the description or recovery of a tradition. In search of the origin of these festivals in Italy, the field of study broadened, providing an analysis of today s much discussed issues like citizenship, identity, diversity and multiculturalism. These issues did not just complete the initial proposition, but opened ways to a more far-reaching discussion than it could have been imagined in the beginning / O registro das festas populares como Patrimônio Imaterial, neste trabalho especificamente as festas de origem italiana na cidade de São Paulo, representa muito mais do que um reconhecimento da importante influência cultural dos imigrantes. A tentativa de reconstruir a história das festas de Nossa Senhora de Casaluce, Nossa Senhora Achiropita, São Vito, São Francisco de Paola e São Gennaro, permitiu descobrir outras questões que não se limitam só a uma descrição ou recuperação de uma tradição. Ao buscar a origem destas festas na Itália, o campo de estudo se alargou, proporcionando uma análise sobre temas muito discutidos hoje como cidadania, identidade, diversidade e multiculturalidade que não só completa a proposta inicial como abre caminhos para uma discussão muito mais ampla do que a princípio se poderia imaginar

Made available in DSpace on 2016-04-26T14:57:35Z (GMT). No. of bitstreams: 1 Silvio Pinto Ferreira Junior.pdf: 5191715 bytes, checksum: 477c96bf67d93cba205dcc1a3eb673e3 (MD5) Previous issue date: 2009-04-23 / Universidade Suor Orsola Benincasa / The register of popular festivals as immaterial heritage, in this dissertation in particular the festivals of Italian origins in the city of Sao Paulo, represents much more than the recognition of the important cultural influence of immigrants. The attempt to reconstruct the history of the festivals Nossa Senhora de Casaluce, Nossa Senhora Achiropita, São Vito, São Francisco de Paola and São Gennaro, permitted to discover other questions that are not limited to the description or recovery of a tradition. In search of the origin of these festivals in Italy, the field of study broadened, providing an analysis of today s much discussed issues like citizenship, identity, diversity and multiculturalism. These issues did not just complete the initial proposition, but opened ways to a more far-reaching discussion than it could have been imagined in the beginning / O registro das festas populares como Patrimônio Imaterial, neste trabalho especificamente as festas de origem italiana na cidade de São Paulo, representa muito mais do que um reconhecimento da importante influência cultural dos imigrantes. A tentativa de reconstruir a história das festas de Nossa Senhora de Casaluce, Nossa Senhora Achiropita, São Vito, São Francisco de Paola e São Gennaro, permitiu descobrir outras questões que não se limitam só a uma descrição ou recuperação de uma tradição. Ao buscar a origem destas festas na Itália, o campo de estudo se alargou, proporcionando uma análise sobre temas muito discutidos hoje como cidadania, identidade, diversidade e multiculturalidade que não só completa a proposta inicial como abre caminhos para uma discussão muito mais ampla do que a princípio se poderia imaginar

Par leur histoire, les villages jouent un rôle important dans la société de la minorité Jaraï. Dans la longue histoire du développement urbain sur les Hauts Plateaux au Nord de Tay Nguyen, la relation entre la ville et les villages a contribué à créer les caractéristiques de ses Hauts Plateaux. C’est une relation organisée qui a été créée et s’est adaptée pour chaque village en particulier.Par le rôle très important des villages pour préserver les valeurs traditionnelles, dans les schémas directeurs de chaque période en général, les villages ont été présentés comme les éléments de la structure urbaine. En particulier, dans le schéma directeur suivant : « Plan général pour Pleiku – 2020 et la vision stratégique de développement jusqu'en 2050», les villages existants présents dans ce projet sont indiqués en légende comme des « villages à conserver dans l’aménagement urbain », ils sont considérés comme des éléments moteurs de l’urbanisation de leur environnement proche. Toutefois, dans de nombreux schémas directeurs, les villages n’ont pas été nommés ou ont totalement disparu dans la zone de projet. En particulier, dans le processus de réalisation de l’extension de la ville, les villages n’ont été présentés dans presque aucun des grands projets d’extension urbaine. Cette position a indirectement créé des conflits dans le processus de rattachement des villages à Pleiku.La recherche commence par une analyse des textes existants afin de dessiner un cadre théorique pour comprendre l’identification des éléments des caractères des villages à travers la recherche de la conception traditionnelle des minorités Jaraï dans la province du Tay Nguyen au Vietnam et son étude de la conception patrimoniale, ainsi que les analyses des textes et rapports concernant les différents types d’aménagement des minorités. En analysant la structure socioculturelle et la structure spatiale des villages, les éléments patrimoniaux villageois vont être caractérisés avec un point de vue imbriquant les conceptions des différents éléments du caractère des villages. La seconde partie vise à l’évaluer de la transformation du patrimoine villageois face à l’urbanisation avec le cas des deux villages de Plei Kép et de Plei Ốp à Pleiku ville. La logique dans la relation entre la transformation morphologique et la transformation spatiale est analysée pour éclairer la permanence et la rupture des éléments du patrimoine villageois. Cette recherche s’efforce à décrire la gestion du patrimoine villageois, en analysant les mécanismes, la coordination des acteurs, les règlements de conservation établis par l’État et par le village, et surtout l'application de ces règlements dans les villages. / Throughout its history, the villages have played an important role in the society of minority Jaraï. During the long history of urban development of the highlands in the north of Tay Nguyen, the relationship between the city and the villages was involved in creating the characteristics of the plateau. This is an organized relationship which was created and adapted for each specific village.The very important role of villages is to preserve traditional values in the master-plans of each period in general. Then, the villages were presented as elements of the urban structure. In particular, the following master-plans: «General Plan for Pleiku – 2020 with a vision for further development to 2050», the existing villages presented in this project are given in the legend as « villages to maintain in the urban development » and are considered as driving elements in the urbanization of their nearby environment.However, in many master-plans, the villages have not been called “Respect” or have completely disappeared in the project area. In particular, in the process of achieving expansion of the city, the villages have not been presented in almost no urban extension large projects. This position has indirectly created conflicts in the process of connecting villages in Pleiku.The research begins with an analysis of existing texts to draw a theoretical framework for understanding the identification of elements of the characters of villages through research of traditional design of Jaraï minorities in the province of Tay Nguyen of Vietnam and its study of the heritage design and analysis of texts and reports concerning the different types of development of minorities. By analyzing the socio-cultural structure and the spatial structure of villages, the villagers’ heritage elements will be characterized with a based on the specificities of each village. The second part aims to evaluate the transformation of the village heritage in the face of urbanization with the case of the village Pleiku. The logic in the relationship between morphological transformation and spatial transformation is analyzed to illuminate the permanence and the break of the elements of villagers’ heritage.This research is used to describe the management of the villagers’ heritage, by analyzing the mechanisms, the coordination of actors, the conservation regulations established by the state and the village, and above all the way these regulations in the villages are enforced in the village. / Trải qua hàng nghìn năm lịch sử, văn hóa làng bản đóng một vai trò quan trọng trong xã hội của tộc người thiểu số Jaraï. Trong suốt quá trình lịch sử phát triển đô thị của vùng cao nguyên phía bắc của Tây Nguyên, mối quan hệ giữa các không gian thành phố với không gian làng bản đã kiến tạo nên các đặc điểm riêng của vùng đất cao nguyên. Đây là một mối quan hệ có tổ chức mà đã được tạo ra và áp dụng cho mỗi làng bản dân tộc cụ thể.Vai trò rất quan trọng của buôn làng là bảo tồn các giá trị văn hóa truyền thống, trong quá trình phát triển chung của đô thị, quy hoạch qua từng thời kỳ, Các làng bản dân tộc được giới thiệu như là các yếu tố cấu thành nên cấu trúc của từng đô thị. Đặc biệt, trong các dự án quy hoạch chi tiết: « Quy hoạch chung đô thị Pleiku đến năm 2020 tầm nhìn chiến lược phát triển đến năm 2050», các bản làng dân tộc đã được liệt kê danh sách và bảo tồn là một phần trong dự án quy hoạch phát triển chung đô thị « Bảo tồn làng trong phát triển quy hoạch đô thị » được coi là những yếu tố thúc đẩy đô thị hóa với môi trường xung quanh.Tuy nhiên, trong nhiều dự án quy hoạch trước đây, các bản làng dân tộc đã không được coi trọng hay đã hoàn toàn lù mờ, biến mất trong kế hoạch của các dự án. Đặc biệt, trong quá trình sự mở rộng thành phố, các yếu tố bản làng không được chú ý trong hầu hết trong các dự án mở rộng đô thị. Điều này đã gián tiếp tạo ra các mâu thuẫn, xung đột trong quá trình kết nối giữa các làng ở đô thị Pleiku.Nghiên cứu được bắt đầu bằng việc phân tích các văn bản hiện có để tạo ra một khung lý thuyết, để hiểu và xác định các yếu tố mang những đặc tính, bản sắc văn hóa của bản làng thông qua các nghiên cứu thiết kế quy hoạch truyền thống của dân tộc Jaraï thiểu số ở các tỉnh Tây Nguyên của Việt Nam, nghiên cứu các di sản của họ, cũng như các bản báo cáo, bản vẽ quy hoạch khác nhau trong sự phát triển các bản làng dân tộc. Bằng cách phân tích về cấu trúc văn hóa xã hội và di sản không gian của các bản làng, các yếu tố di sản của bản làng dân tộc truyền thống với những yếu tố đặc trưng, với một quan điểm được lồng ghép với các khái niệm khác nhau về bản sắc, đặc tính khác nhau của từng ngôi làng.Phần thứ hai của nghiên cứu là đánh giá sự thay đổi, biến đổi của các di sản bản làng trong quá trình đô thị hóa với các trường hợp các bản làng trong đô thị Pleiku. Nghiên cứu logic trong mối quan hệ giữa sự biến đổi về hình thái và biến đổi không gian được phân tích để hiểu rõ hơn và sự phá vỡ cấu trúc giữa các yếu tố của di sản làng bản.Công trình nghiên cứu này được hiểu, mô tả, ứng dụng để quản lý các di sản bản làng dân tộc, bằng cách phân tích các cơ chế, phối hợp các yếu tố khác của nó, các quy định bảo tồn được thiết lập quản lý bởi nhà nước và người dân làng, với các ứng dụng, các quy định đối với các di sản bản làng dân tộc thiểu số.