Submitted by Alisson Mota (alisson.davidbeckam@gmail.com) on 2015-07-14T20:03:16Z No. of bitstreams: 1 Dissertação - Inéia Simas de Souza.docx: 262218 bytes, checksum: 8a2e33677554901bf51981960e6a5987 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-07-20T15:06:37Z (GMT) No. of bitstreams: 1 Dissertação - Inéia Simas de Souza.docx: 262218 bytes, checksum: 8a2e33677554901bf51981960e6a5987 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-07-20T15:11:38Z (GMT) No. of bitstreams: 1 Dissertação - Inéia Simas de Souza.docx: 262218 bytes, checksum: 8a2e33677554901bf51981960e6a5987 (MD5) / Made available in DSpace on 2015-07-20T15:11:38Z (GMT). No. of bitstreams: 1 Dissertação - Inéia Simas de Souza.docx: 262218 bytes, checksum: 8a2e33677554901bf51981960e6a5987 (MD5) Previous issue date: 2011-06-20 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This present dissertation aims a new look at Parintins Folk Festival, that is, turning to educational and social cultural aspects of the feast, proposing a discussion around it. At first, it broaches the Festival as cultural manifestation thru social voice cause it's a way people express ways of thinking, acting and doing their day by day activities. In this way, it analyses the Festival contribuitions to improve on the sociocultural and educational condictions of the town as it has been, since the last decades, the one which makes use of denunciation to the socio environmental problems and also helps Parintins development, mainly, this has contributed towards the construction of a cultural identity by means of culture and informations, which are spread in the three days of performances. Then it approaches the historical transformations in which the boi bumbá has passed since it used to perform on streets and now inside the arena. There has been a fun spectacularization and a new symbolic significance expressed by that entertainment as well as put more emphasis on the indian figure to the Amazon Folklore. Mostly it considers the importance and contribution of this Festival in the school field, as the school daily routine has changed itself as consequence of this festivity. In a sense, the school should explore the boi bumba chants as educational instrument to help the construction of the popular and scientific knowledge. / A presente dissertação propõe um novo olhar sobre o Festival Folclórico de Parintins, isto é, volta-se para os aspectos socioculturais e educacionais da festa, propondo uma discussão acerca da mesma. Inicialmente, aborda o Festival como manifestação cultural, sendo visto como voz social, pois é uma maneira do povo expressar sua cultura, seu modo de pensar, agir, fazer e realizar suas atividades do dia a dia. Dessa maneira, analisa as contribuições desse Festival para melhoria das condições socioculturais e educacionais do município, pois é uma festa que nas últimas décadas serve de denúncias dos problemas socioambientais e também auxilia no desenvolvimento de Parintins e, principalmente, vem contribuindo para a construção de uma identidade cultural, por meio da cultura e de informações, que são divulgadas durante os três dias de espetáculo. Em seguida, aborda as transformações históricas pelas quais o boi passou, pois deixou de ser de rua e passou a ser de arena, havendo uma espetacularização da brincadeira e ressignificação simbólica, bem como inserindo com mais ênfase a figura do indígena ao folclore amazônico. Principalmente, reflete sobre a importância e contribuição desse Festival no campo escolar, pois a própria escola tem sua rotina alterada em virtude dessa festividade. Nesse sentido, aconselha-se que a escola explore as toadas do boi como instrumento pedagógico para auxiliar na construção do conhecimento científico aliado ao conhecimento popular.

Les festivals de musique s'étant constitués progressivement depuis le milieu des années 1990 en un véritable phénomène de société au Maroc, cette thèse analyse, dans une perspective comparatiste, en quoi ces événements artistico-culturels et festifs favorisent des formes nouvelles, non-conventionnelles, de production du politique dans le monde arabe entre contestation et relégitimation de l'ordre établi. D'une part, les festivals de musique, appréhendés par le biais d'une analyse culturelle de l'action collective et des mouvements sociaux, révèlent un espace politique alternatif au potentiel initial fortement subversif, à l’origine d’une Nayda post-islamiste. D'autre part, les différents processus de récupération et de cooptation, directes et indirectes, dans lesquels entrent peu à peu ces événements, illustrent les ressorts de la domination et d'une politique culturelle autoritaire exercées par le makhzen. Enfin, cette politisation multiple, que permet l'ambivalence de l'artistico-culturel et du politique, est exacerbée dans le contexte du Mouvement du 20 février et du Printemps arabe entre radicalisation et saturation de la dynamique festivalière. / Musical festivals in Morocco have progressively become a social phenomenon since the mid 1990's. This study takes a comparative perspective in order to analyse to what extent these artistic, cultural and festive events promote new and unconventional forms of politics production in the Arab world, which oscillate between a contestation and a relegitimation of the established order. On the one hand, music festivals, considered through the lense of a cultural analysis of collective action and social movements, constitute an alternative political space with an initially high subversive potential leading to a post-islamist Nayda. On the other hand, these events gradually enter diverse processes of direct and indirect distortion and co-optation, which illustrate the levers of the domination and the authoritarian cultural policy exercised by the makhzen. Finally, the multiple politicization allowed by the ambivalence of artistic, cultural and political expressions is exacerbated in the context of the Arab Spring and the 20 February Movement between a radicalisation and a saturation of the festival dynamics.

The Diploma Thesis deals with the marketing activities of the Garden Food Festival Olomouc. The objective of the thesis is to design specific marketing activities for the forthcoming year of this festival on the basis of the comparison with the foreign festival and the festival´s marketing, especially the marketing mix and communication. The theoretical part is dedicated to the history and significance of food festivals in the Czech Republic; furthermore, it introduces the areas of the marketing of services where the marketing mix and communication play a leading role. The subsequent practical part presents the comparison of a domestic food festival with a foreign one. To fulfil the objectives of the thesis, analysis of the marketing mix and communication as well as SWOT analysis is selected. The conclusions drawn are supported by a questionnaire survey about the awareness of the festival and its marketing. On the basis of the analyses performed and the data collection in the questionnaire survey, the concluding part of the thesis proposes specific features that the food festival could include in its marketing activities in the future.

This diploma thesis, entitled "Marketing tools of the United Islands festival and real impacts of their use" is focused on the marketing tools suitable for marketing of musical production and is based on example of the United Islands festival. The goal of this thesis is to marginally present specifications of musical open air productions, to present in detail marketing tools used for promotion of these events and by using data from marketing research to demonstrate whether the tools used by the United Islands festival are chosen correctly or incorrectly. Theoretical part of the thesis is devoted to a definition of work related terms and to list marketing tools suitable for promotion of music productions. The following practical part gain from theoretical part and from marketing research and by using them it deduces what marketing tools are suitable for promotion of the United Islands festival and what is their cost effectiveness and efficiency.

The aim of the thesis is to characterize the environment of hip hop subculture in the Czech Republic and to define its visual manifestations for the purposes of communication with this group. The theoretical part is focused on defining the concept of subculture. Bring nearer hip hop environment with its history and address the areas of visual expression and visual style. In the practical part, these theoretical knowledge is applied to the Hip Hop Kemp Festival, which is presented in my work. In conclusion, thesis analyze the visual style of the festival and evaluation of response to visual style of subcultures.

The target of my thesis is to analyse and recommend the appropriate financial resourses for the commercial subject operating in culture. For analysing this problem I have chosen an external company, which mainly focuses on organizing the music festivals and I have used different forms of funding from not only public resources. The conclusion of the thesis should help the owner of the company to raise the potencial of the festival due to the financing from more resources.

I denna uppsats undersöks habitus påverkan på vilken slags festival människor väljer att besöka och varför. Med dagens stora utbud av festivaler och det nya festivallandskapet som har växt fram de senaste åren finns det något för alla som är intresserade. Syftet är att med hjälp av kvalitativa intervjuer försöka definiera vad det är som gör en festival intressant för vissa och helt ointressant för andra och hur detta kan kopplas samman med Bourdieus teori om habitus. För att stärka teorin används även två av Bourdieus andra teorier inom det sociologiska fältet, symboliskt kapital och det sociala fältet. Studien har visat att informanternas intresse för musik och för att besöka festivaler startade när de var unga. Med åren har deras habitus förändrats och vad man vill få ut av en festival i vuxen ålder skiljer sig från vad som ansågs viktigt när man var yngre. Tydliga exempel är att man vill sova gott och att man inte vill ”vara fast” på ett festivalområde. Därför har stadsfestivalerna blivit ett alternativ för många. Dock finns det grundläggande syftet till varför man besöker en festival kvar även i vuxen ålder; man vill höra musik och njuta av stämningen. Detta är något som inte är begränsat till vilken festival man besöker utan styrs av smak och sociala grupper. När det finns både campingfestivaler och stadsfestivaler ges individen möjlighet att välja och det finns något för alla som vill besöka festivaler. Uppsatsen ligger inom det musiksociologiska forskningsområdet och tar upp frågor gällande interaktionen mellan personer, deras habitus och deras festivalupplevelser. Tillsammans bildar de ett forskningsområde som inte har berörts tidigare.

Cette thèse est une analyse de la transformation des pratiques festives quotidiennes, considérées comme traditionnelles, qui sont devenues des manifestations spectaculaires, dans le contexte actuel de la mondialisation. Ce chemin d'évolution entre la fête et le festival nous appelons le processus de festivalisation.Pour cette analyse, nous avons deux objets d'étude: le Festival Interceltique de Lorient, en Bretagne, qui est l'un des plus grands festivals d'Europe, et les fêtes du Congado Mineiro, une célébration religieuse qui se passe dans l'état du Minas Gerais, au Brésil. Le Festival Interceltique de Lorient, considéré comme une « entreprise du folklore », donne à la Bretagne une musique référante , exportable, adapté à la société moderne, et en même temps liée à la tradition. En parallèle, les fêtes du Congado Mineiro révèlent un processus déjà concrétisé dans le Festival Interceltique de Lorient: comme une fête quotidienne, familière, religieuse et civile devient peu à peu un spectacle, où l'authenticité et visibilité sont des critères conditionnels pour l'existence de la fête. Par le biais du Treze de Maio, l'un des groupes représentants du Congado Mineiro, nous comprendrons comment les processus de transmission du patrimoine musical sont passés, et comment la mise en scène de la tradition prend forme.Comme méthode d'analyse, nous nous sommes inspirés par la médiologie de Régis Debray, qui nous fournit des façons de voir et de réfléchir sur les éléments symboliques qui déterminent la dynamique des fêtes et festivals, et la relation de ces éléments avec la technique de transmission des idées, des valeurs et des croyances. / This thesis is an analysis about the process of transformation of the festive quotidian practices, considered as traditional, in spectacular manifestations, in the present context of globalization. This evolutionary way between the feast and the festival is what we call the festivalization process.To make this analysis, we have studied two objects: the Festival Interceltique de Lorient, one of the biggest festivals in Europe, and the feasts of Congado Mineiro, a religious celebration that happens in the state of Minas Gerais, Brazil.The Festival Interceltique de Lorient, the “professional business of folklore” in Brittany, produces a music 'model', exportable, adapted to modern society, and at the same time connected with the “tradition”. In parallel, the feasts of Congado Mineiro expose a process already settled by the Festival Interceltique de Lorient: How a daily, family, religious and civil party is reworked gradually to become a spectacle, where authenticity and visibility become a conditional criterion for the existence of the feast and festival. With the Treze de Maio group, one of the representatives of Congado Mineiro, we realise how the processes of transmission of the musical heritage are transmitted, and how the mise en scène of tradition takes shape.As a method of analysis, we look to the “mediology” of Regis Debray, which offers us ways to look and reflect about the symbolic elements that determine the dynamics of the feast and festivals, and the relations of these elements with the technical transmission of ideas, values and beliefs. / Esta tese de doutorado é uma análise do processo de transformação das práticas festivas cotidianas, tidas como tradicionais, em manifestações espetaculares, no atual contexto da globalização. Este trajeto evolutivo da festa e o festival, é o que chamamos de processo de festivalização.Para esta análise temos dois objetos de estudo: o Festival Interceltique de Lorient, na Bretanha, que é um dos maiores festivais das Europa, e as festas do Congado Mineiro, um celebração religiosa que acontece no Estado de Minas Gerais, Brasil.O Festival Interceltique de Lorient , uma "empresa do folclore" da à Bretanha uma música « modelo », exportável, adaptada à sociedade moderna, e vinculada ao mesmo tempo à tradição. Paralelamente, as festas do Congado Mineiro nos revelam um trajeto já percorrido pelo Festival Interceltique de Lorient: como uma festa cotidiana, familiar, religiosa e cível se reelabora pouco a pouco, tornando-se em espetáculo, onde a autenticidade e a visibilidade tormam-se critérios condicionais para a existência da festa. Através do grupo Treze de Maio, um dos representante do Congado Mineiro, percebemos como os processos de transmissão da herança musical e performática são repassados, e como a mise en scène da tradição ganha forma. Como método de análise, nos inspiramos na mediologia de Regis Debray, que nos fornece caminhos para olhar e refletir sobre os elementos simbólicos que determinam a dinâmica das festas, e a relação entre esses elementos e as técnicas de transmissão de ideias, valores e crenças.

Published Article / The contribution of tourism to the development of local regions is prolific, as it creates jobs and stimulates the economy (Lopez-Bonilla & Sanz-Altmira 2010; O'Sullivan & Jackson 2010; Saayman & Rossow 2011; Visser 2005). Events are an important motivation for tourists to travel. In this sense, there are three types of events: business events, sport events and festivals (Getz 2007). Festivals and festival tourism is a booming form of event tourism and the importance of festivals are recognized in both national and international spheres (Yang, Gu & Cen 2011). With this in mind, it is imperative that festival organisers have adequate information pertaining to the demographics and service delivery expectations of festival goers. The data for this investigation was collected during the 2013 Bloemfontien Vryfees and the findings report on the demographic composition of the festival goers and their service delivery expectations.

In addition to temple rituals performed for the god by the king, festivals incorporated a broader domain, where a wider public had access to the divine. The participants in feasts ranged from the royal, officials and priests to the non-elite and the dead. Theoretically and ideologically, individuals would have received fruits of the divine power through the king by taking part in celebrations to variable extent. This functioned a vehicle for the god and the king to maintain their authoritative credibility and, by extension, the world order. The circulation of the divine force formed a different appearance at each festival, such as material supplies, promotions, and juridical decrees. These divine conveyances would have more or less met people’s social and religious needs. By embracing modality, periodicity, and publicness, festivals provided participants and audiences with a public setting and a formal means, whereby they were able to seek their identity as part of society. This may or may not have been relevant to personal piety, allegiance, responsibilities, and goodness, but public celebrations at least brought the king’s subjects together to common grounds for official beliefs and social decorum. In order to demonstrate such socio-religious functions of festivals, I will attempt to focus on and examine three Theban celebrations in the New Kingdom, namely, the Festivals of Opet, the Valley, and the New Year, about which a wealth of information has survived. The examination can hardly be possible without exploring the history of these feasts because their development from earlier times, to which part of this thesis is also devoted, shows the continuity of elements essential to Egyptian cult practices, particularly those associated with the mortuary cult.