This thesis considers the relationship between practices, communities and continuity in intermittent organisational arrangements. Cultural festivals are argued to offer one such particularly rich and nuanced research context; within this study their potential to transcend intermittent enactment emerged as a significant avenue of enquiry. The engagement of organisation studies with theories of practice has produced a rich practice-based corpus, diverse in both theoretical concerns and empirical approaches to the study of practice. Nevertheless, continuity presents an, as yet, under-theorised aspect of this field. Thus, the central questions of this thesis concern: the practices that underpin the enactment of festivals; the themes emerging from these practices for further consideration; and relationships between festivals and the wider context within which they are enacted. These issues were explored empirically through a qualitative study of the enactment of a community-centred film festival. Following from the adoption of a ‘practice-lens approach', this study yielded forty-eight practices, through which to explore five themes emerging from analysis: Safeguarding, Legitimising, Gatekeeping, Connecting and Negotiating Boundaries. This study revealed an aspect of the wider field of practice that has not yet been fully examined by practice-based studies: the cementing or anchoring mechanisms that contribute to temporal continuity in intermittent, temporary or project-based organisations. The findings of this thesis suggest a processual model, which collectively reinforces an organisational memory that survives periods of latency and facilitates the re-emergence of practice, thus potentially enabling organisations to endure across intermittent enactment and, ultimately, transcend temporality and ephemerality. The themes examined and insights offered in this thesis seek to contribute to: practice-based studies and film-festival studies; forging a new path linking these two disciplines; and generating both theoretical and practical insights of interest to festival organisers and stakeholders of project-based, temporary or intermittent organisational arrangements.

As a link between past and present, ruins play for human  groups an active role intheir reality representation, leaving their perceptions rationalized under a triple psycho­ social conflict of cultural identity, spatial ubiquity and temporal continuity. From this proposal, we broach in this paper the tourism incidence on heritage revalorization among Lípez Highland rural communities (Department of Potosí, Bolivia). Taking the communities of Santiago K and Santiago Chuvica and the Lakaya archaeological site as study case, we analyze heritage-tourism relationship from a local point of view, falling into the emic lecture of the progress concept that sees in the past a potentialcultural consumer good to be exploited from tourism = economical development equation. Considering different glances on ruins that are perceived by communities as of their own, we try to grasp the logic that guide its transformation in a tourist­ heritage product, where aesthetic, identity, mythic, psychosocial, spatial, and strategic points of view come together. / En tanto que nexo entre pasado y presente, las ruinas juegan para los grupos humanos un papel activo en la representación de la realidad, con lo que queda su percepción racionalizada desde un triple conflicto psicosocial de identidad cultural, ubicación espacial y continuidad temporal. Partiendo de esta premisa, en el presente trabajo se aborda la incidencia del turismo en la revalorización del patrimonio entre las comu­ nidades rurales del altiplano de Lípez (departamento de Potosí, Bolivia). Tomando como caso de estudio las comunidades de Santiago K y Santiago Chuvica, así como el yacimiento arqueológico de Lakaya, se analiza la relación patrimonio-turismo desde un punto de vista local, con incidencia en esa lectura emic del concepto de progreso que, a partir de la ecuación turismo = desarrollo económico, ve en el pasado un potencial bien de consumo cultural que se puede explotar. Considerando distintas miradas sobre unas ruinas sentidas como propias por las comunidades, se trata de penetrar la lógica que guía su transformación en producto turístico-patrimonial, en la cual confluyen puntos de vista psicosociales, de identidad, estéticos, míticos, estra­tégicos y espaciales.