The objective of this Master's thesis is to reflect personal memories of the folklore group members on ethnographic Chod festivals, which circle around the period from the fifties till the present day. As well as putting the emphasis on comparison between the memories made before and after 1989, I also focus on the component spheres of interpretation, such as topics about traveling of the Chod folklore groups before the year of 1989 or about music careers of each of the narrators. Furthermore, I observe the changes in political situations and its potential influence on Chod Festivals and its organization and the relationship of local folk groups. The primary sources of this thesis consist of interviews conducted by oral history method with former and current members of local folk groups. The text also derives from archived materials, period press and memoir literature. During the reflection on ethnographic festival the text observes not only historical and political aspect, but the musical and social aspect as well. The biggest contribution of the thesis is therefore the presentation of the topic from different points of view. Key words: Chod Festival, Folklore, bag pipers music, communism, traveling, Oral history.

Lebendiger Innovationsgeist, musikalische Dynamik und faszinierende Spielstätten prägen die einzigartige Atmosphäre des Moritzburg Festivals. 1993 gegründet, versteht sich das Moritzburg Festival als experimentelles Labor und Exzellenzstätte zugleich. Unter der künstlerischen Leitung des Cellisten und Echo- Preisträgers Jan Vogler hat es sich als eines der renommiertesten Kammermusik- festivals weltweit etabliert.Alljährlich im August treffen sich Solisten der inter- nationalen Musikszene und herausragende Nachwuchskünstler aus aller Welt im idyllischen Moritzburg bei Dresden. Hier arbeiten sie gemeinsam an neuen Interpretationen kammermusikalischer Werke und präsentieren diese in dynamisch wechselnden Besetzungen, die so nur beim Moritzburg Festival zu erleben sind. Die Programme des Festivals spiegeln die Vielseitigkeit der Kammermusikliteratur wider und widmen sich intensiv auch zeitgenössischen Kompositionen. Doch exzellente Musikalität muss auch für die Zukunft gesichert werden. Nachwuchs- förderung ist daher ein bedeutendes Anliegen des Moritzburg Festivals. Mit Gründung der Moritzburg Festival Akademie im Jahr 2006 haben junge Musiker die Möglichkeit, intensiv an gemeinsamen Programmen zu arbeiten und sich in verschiedenen Konzertformaten einem breiten Publikum vorzustellen.

Moritzburg ist für Musiker ein Ort der Inspiration und Emotion. Der Dialog mit exzellenten Solisten aus aller Welt und mit hochbegabten jungen Musikern der Akademie ist ungeheuer intensiv – und die idyllische Landschaft von Moritzburg mit der besonderen Mischung aus Natur und geschichtsträchtiger Architektur fördert die Kreativität. Alle Werke werden in dieser Umgebung einstudiert, was die Konzerte und die vorbereitende Arbeit bei den Proben so einzigartig macht.

Die aktuelle Ausgabe des Newsletter für Freunde, Absolventen und Ehemalige der Technischen Universität Chemnitz.

アジア系アメリカ人の映画制作・上映活動について、歴史、文化、労働の問題を中心とし、戦争記憶、コミュニティ形成、芸術活動について考察した。調査対象は、アメリカ合衆国、サンフランシスコのアジア系アメリカ人社会とした。これまでアジア系の芸術活動は、社会運動/芸術的抵抗運動として位置付けられてきたが、本研究では、抵抗運動の側面にとどまらず、労働の側面を再考することにより、非物質的労働についての批判的議論を展開した。 / This study examined Asian American film production and screening activities, focusing on issues of history, culture, and labor, as well as war memory, community building, and artistic activities. The field research was conducted in the Asian American community in San Francisco, California, United States. Although Asian artistic activities have been understood as a social movement/artistic resistance movement, this study developed a critical discussion of immaterial labor by reconsidering not only the resistance movement aspect but also the labor aspect. / 博士(現代アジア研究) / Doctor of Philosophy in Contemporary Asian Studies / 同志社大学 / Doshisha University

Many anthropological studies have shown the prevalence of the sacred in primitive societies, manifested primarily in significant gestures such as exchanges, rituals, festivals, and the use of time and space. Some studies, in particular those of Roger Caillois and Mircea Eliade, have demonstrated that traces of the sacred, though seemingly displaced, remain present in modern and secular societies. This thesis will examine and bring to light these remnants of sacred behavior in the contemporary settings of the stories of Gabrielle Roy, focusing primarily on food-sharing, gift-giving, and festivals. Each analysis presented will detail how different aspects of the sacred are manifested in contemporary, though fictional, society, and each will permit individuals to identify ways in which modern man, whether religious or secular, is still very connected to sacred practices.

No description available.

Bakgrund & problem: Säkerhet utgör en stor del av arbetet på musikfestivaler eftersom det finns risk för såväl mindre som dödliga incidenter. I förhållande till besökarens festivalkänsla finns det dock risk för att säkerhetsarbetet upplevs som otillräckligt respektive överdrivet. Problemformulering: Hur påverkas festivalkänslan av säkerhetsarbetet på musikfestivaler?  Syfte: Syftet med undersökningen är att beskriva balansen mellan vad som anses vara otillräcklig respektive överdriven säkerhet i relation till besökarnas festivalkänsla. Metod: Studiens syfte besvaras utifrån en kvalitativ, induktiv metod. Insamling av empiri har skett genom intervjusamtal med totalt nio informanter som antingen har varit involverade i arbetet med en musikfestival eller besökt flertalet musikfestivaler. Tematisk analys har använts som tillvägagångssätt i analys av empirin. Slutdiskussion: Studiens resultat visar på att säkerhetsarbetet och dess utförande har en stor påverkan på besökarens festivalkänsla i många fall. Festivalbesökaren visar i regel förståelse och acceptans för arrangörens säkerhetsåtgärder och säkerhetsarbetet är en förutsättning för att besökaren ska känna sig trygg. Festivalbesökare känner sig ofta som mest otrygga utanför festivalområdet och där är det svårt att avgöra hur stort ansvar festivalarrangören kan/bör ta för sina besökare. / Background & problem: Security constitutes a significant part of the production of music festivals, since there is a risk for both minor and fatal incidents. However, in relation to the visitor’s “festival-feeling” there is a risk for the security work to be viewed as insufficient as well as excessive. Problem statement: How is the “festival-feeling” affected by the security work at music festivals? Purpose: The purpose of the study is to describe the balance between what is considered to be insufficient as well as excessive security in relation to the attendees “festival-feeling”. Method: The purpose of the study is fulfilled through a qualitative, inductive method. In order to collect the empirical data, nine interviews were carried out with people who have either been involved in the work at music festivals or have been to a lot of music festivals. Thematic analysis was used as the approach to analyze the empirical data. Conclusion: The result of the study indicates that security-work and how it’s executed has a significant impact on the attendees’ “festival-feeling” in many cases. The attendees show understanding and acceptance of the security-work, and that security measures are a prerequisite for the attendees to feel safe. Festival attendees feel more unsafe outside the festival area, which makes it difficult to determine how much the festival organizer is responsible for in regard to the attendees.

In a fragmented media landscape, the Melody Festival (Melodifestivalen) is one of the few Swedish media productions that still gathers audiences for ritual media consumption. Despite its position as one of the largest media institutions in Swedish society, research regarding the event is limited and this bachelor study aims to counteract this. The aim of the study is to investigate what values and ideological assumptions about interpersonal relationships that are discursively constructed in the song lyrics performed at the Melody Festival. The study is based on critical discourse analysis, and Eva Illouz's sociological theories concerning relationships, as a theoretical framework. Every winning entry from every even year between 2002-2023 (a sample of 11 song lyrics) has been analyzed using critical discourse analysis. In line with previous research on pop music, the results of the study show how the most common type of relationship in the material is of a romantic nature. Love is frequently depicted metaphorically as an all-consuming force in accordance with Illouz. However, love as work (à la Illouz) is not represented in the material. The results also show how the private is prioritized over the societal where the relationship between “I” and “you” is the most prominent.

No description available.