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This thesis discusses how the gender dynamics and religious festivals of the Yoruba people in Isaga Orile were not affected by colonialism. The study draws on various accounts, particularly from the Church Missionary Society’s journals, to attest to colonialism's restructuring of male political hegemony. Focusing on two major festivals, Gelede and Oro, the study argues that men's inclusion in Gelede reinforces female supremacy, while the Oro society shows men's hegemony and restrains women from its activities. The study found that gender dominants in these festivals played complementary roles by mirroring female and male roles within the Isaga Orile political system. The study concludes that these festivals strengthened political and gender dynamics in pre-colonial times and continued to do so during the British colonial regime, providing opportunities for women and men to assert their dominance and complement each other's roles in society, despite the restructuring of male political hegemony by colonialism.

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The Kabir Project (K.P.) was born in Bangalore, India, in 2002, after the Gujarat pogrom, which occurred in the same year. In the context of increasing divisions in Indian society, defined by religion, social class, caste and gender, this research explores how this initiative, through live concerts and documentary films, spreads the folk music traditions of the 15th century mystic poet Kabir along with his messages of unity and understanding between confronted identity groups. This study presents the context of violence between Muslims and Hindus since the Indian Partition and the reasons for gendered violence in the conflict. It focuses also on the connections between globalization and minorities’ prosecution in liberal democracies; on the colonial roots and socioeconomic reasons which led to the Gujarat massacre in 2002; and the social role of the mystic as bridging cultural and religious differences. Through two complementary methods: in-depth interviews to audiences and organizers at the K. P. festivals in Bangalore and survey questionnaires distributed to the Kabir Festival Mumbai audiences, this study tries to answer the following questions: What is the potential for social change of the K. P. in the world-views of today's Indian citizens? Are the messages presented by films and folk music capable of generating positive attitudes towards dialogue between confronted identity categories? In which ways?The research reveals the success of the K. P. to challenge audiences’ minds through communication for development events, whose objectives are reached by spreading Kabir values through artistic forms, and by creating shared spaces between confronted identity sections. Festivals in rural areas help to diminish the distance between those antagonized communities. In addition, urban festivals also generate positive attitudes in elites towards dialogue and coexistence, since that is the social profile of the audience.

Yes / As Leeds Metropolitan is a university of festivals and partnerships, the library was given the opportunity this year to host a festival to promote the library and all its services to the university. The library festival was a week of events and activities to promote the library and its space in new ways. It was a good way to remind staff and students of the value of libraries, not only as places to learn but also as places to enhance our leisure and working lives ... we chose to promote the database `Land of Lost Content'. This was because graphic design and art students are based at our campus and we also thought this database would attract a wide range of students who might otherwise think that electronic databases contain little of interest for them. Our promotion has been so successful in many ways that we would like to share our experience with other librarians.

Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2008-2009 / Le Festival du Cochon est un événement présentant une image touristique d'une municipalité du Centre-du-Québec, Sainte-Perpétue. Il est examiné comme un projet participant à la construction et à la mise en scène d'une identité régionale depuis sa création en 1978. Dans les années 1980, l'événement attire déjà plus de 10 000 festivaliers. En 2007, près de 60 000 personnes y ont assisté. L'événement ne pourrait pas se dérouler sans une organisation mettant à contribution plus de 350 personnes bénévoles et cinq employés. L'approche ethnologique privilégiée ici s' intéresse aux discours de ces acteurs, à leurs perceptions et à leurs représentations de cette manifestation et de Sainte-Perpétue. L'enquête orale auprès des bénévoles, des employés et des festivaliers met en lumière des regards différents sur le festival. Durant les années 1970, nombre de festivals populaires ont émergé au Québec, inspirés du modèle du Carnaval de Québec. Ces manifestations puisaient dans les éléments de la culture régionale des inspirations quant aux prétextes thématiques et aux activités. Le Festival du Cochon a été créé dans ce contexte de multiplication des festivals. Ce mémoire propose une analyse de son évolution au cours de ses trente ans d'existence. Il met en valeur ses transformations quant à la thématique, la programmation et la participation à la fête. Le festival est présenté en continuité et en rupture avec les fêtes locales qui l'ont précédé. La thématique choisie fait référence à une entreprise locale spécialisée dans l'abattage de porcs. Si l'abattoir a fermé en 1997, le festival, doté d'une identité propre, existe toujours. Cette étude analyse les tensions entourant la sélection de ce thème animalier, sa mise en scène au regard des autres fêtes célébrant un suidé et l'image du cochon dans la société occidentale. Au fil des années, des activités en cohérence avec le thème sont mises en place, dont des courses aux cochons, des dégustations de viande porcine et la visite d'une fermette. Ces activités réfèrent à la transformation du cochon, de l'animal vivant à la table. Dans ce mémoire, il est question de la relation entre les individus donnant de leur temps pour l'organisation de l'événement, l'espace et le Festival du Cochon. Certains expliquent leur engagement en faisant référence à la communauté, soit une volonté de s'y intégrer ou de contribuer à son développement en permettant à celle-ci de s'affirmer comme une cité du loisir. La réalisation de l'événement repose sur la construction d'infrastructures de loisirs témoignant de l'ancrage de l'événement éphémère à la municipalité. Le Festival du Cochon, par la thématique, l'esprit communautaire et l'inscription territoriale, révèle la spécificité d'un lieu, Sainte-Perpétue, et le transforme en lui donnant une identité distincte.

I denna uppsats undersöks krishantering vid svenska musikfestivaler. Studien fokuserar på hur dessa evenemang förbereder sig för och hanterar potentiella kriser. Denna uppsats har använt sig av sex kvalitativa semistrukturerade intervjuer med projekledare, säkerhetsansvariga, sakkuninga och andra personer med relevant kunskap och erfarenheter samt en dokumentstudie. Studien använder sig av ramverket Krishanteringens livscykel kompletterat med MSB:s fyra principer mot antagonistiska hot för att göra det mer tillämpat på musikfestivalbranschen. I resultatet framgår det att musikfestivalorganistationer lägger vikt vid utbildad personal, välutformade och tydliga krishanteringsplaner samt effektiv kommunikation för att säkerställa en säker musikfestivalmiljö. Som slutsats ser vi att svenska musikfestivalorganisationer ständigt måste vara förberedda för att kunna möta och planera inför nya kriser och hot. Genom tydliga och heltäckande krishanteringsplaner kan organisationerna ta an förebyggande åtgärder mot bland annat antagonistiska hot, trängselolyckor och sexualbrott. Vi har sett att säkerhetsarbetet är en kontinuerlig process som hela tiden måste utvärderas och förändras för att möta nya yttre faktorer som kan påverka musikfestivalorganisationer och dess deltagares trygghet. Denna studien är skriven på svenska. / This thesis explores crisis management at Swedish music festivals, focusing on how these events prepare for and manage potential crises. The study employs six qualitative semi-structured interviews with project leaders, security managers, experts, and other individuals possessing relevant knowledge and experience, as well as a document study. It utilizes the Crisis Management Lifecycle framework, enhanced with the MSB's four principles against antagonistic threats, to apply it specifically to the music festival industry. The results indicate that music festival organizations emphasize trained personnel, well-designed and clear crisis management plans, and effective communication to ensure a safe festival environment. In conclusion, we can see that Swedish music festival organizations must constantly be prepared to meet and plan for new crises and threats. Through clear and comprehensive crisis management plans, organizations can take preventive measures against, among other things, antagonistic threats, crowd accidents, and sexual assaults. We have seen that security work is a continuous process that must constantly be evaluated and adjusted to meet new external factors that may affect the safety of music festival organizations and their participants. This study is written in Swedish.

This study examines the Oba of Benin Royal Ugie ceremonies, which is an annual religious and cultural event celebrated by the Benin speaking people of Edo State, Nigeria. As a communal and spiritual activity, the Oba and people of Benin kingdom mark the Ugie festivals with Musical and dance performances. Within this context, the study adopts the historical and participant approaches as its method of contending that some events during the Oba of Benin Royal Ugie festival ceremonies are colorful theatrical performances. The organizational structure of the Oba of Benin Palace as it relates to the observance of Ugie festival ceremonies is also discussed in this research. This study also examines the role Ewini music plays in the various Oba of Benin Royal Ugie festival ceremonies, thereby looking at its origin, socio-cultural context, formation procedure, instrumentation, and organizational set-up. This research also recommends different ways in which music practitioner can benefit by applying a theatrical approach to the study of these royal Ugie ceremonies and its music and also the ability of the festival ceremonies to continue to act as an instrument of stability and unity for the people of Benin kingdom, by bringing people from different walks of life together during the performance at Ugie ceremonies. For clarity, all non-english words are defined in the glossary section on page 73. / Art History, Visual Arts & Musicology / M.Mus.

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