Cultural Events and Festivals

The present paper problematizes the dynamics of circulation of early film prints between the sixties and seventies in Italy through a specific film corpus such as the Josef Joye collection. These dynamics contributed to the creation of a climate of study that would lead to the evolution of the exhibition culture of silent cinema in Italy and, at an international level, to the historiographical change that would culminate with the FIAF conference in Brighton (1978). Through the study of the documentation of the period the contribution focuses on the exhibition of the Joye duplicates in a series of events between 1968 and 1980, prior to the acquisition of the original copies by the BFI. Starting from 1968 with the section I Primitivi italiani, statunitensi e francesi in the context of the Mostra Internazionale d'Arte Cinematografica of Venice, passing through the Settimana del Cinema di Grado and some thematic screenings, these events contributed to foster a climate of studies that will lead to the construction and evolution of the silent film exhibition culture in Italy, both with the ordinary programmes of the cinematheques and with the foundation of specialized archival festivals such as Le Giornate del Cinema Muto in Pordenone and Il Cinema Ritrovato in Bologna. Although these films were not shown in Brighton for reasons related to the technical time of preservation of the original films – acquired by the BFI only in 1976 – the article shows that already in the sixties a large community of historians and cinephiles had the opportunity to attend the exhibition of a substantial part of the silent film heritage, in the context of the new discursive regimes that will characterize the new historiography.

Cultural Musicology is not a new term, nor perhaps necessary, as many academic studies apply due cultural contextualisations in contemporary thinking about musics. Even so, academic preferences and territorialisms are culturally and socially hard-wired and continue to divide the musical fields of study, notably fields like ethnomusicology whose proponents often tend to maintain allegiance towards its particularly problematic prefix (e.g., as “musicology’s ‘Other’” (Nooshin 2008:72)), even though they commonly share with other musical fields (like musicology) the adoption of ethnographic methods, the valorization of musical performance, the acknowledgement of multiple histories of musics, and, ultimately, the interrogation of aesthetic hierarchies (Cook 2008). Yet in maintaining disciplinary separateness, ethnomusicology is at times not “ethnomusicological enough”, hence “fixed” by its own history and by its focus on “tradition” (Bohlman 2008), which is evident, for instance, by a re...

Cornwall, in the far southwest of Great Britain, is only seven miles wide at its narrowest point. Surrounded on three sides by the sea, it has among the lowest permanent population densities of the UK (Office for National Statistics 2021), and much of the region is served by a single main road. Historically, its main industries were fishing and mining; today, despite having towns and a city, Cornwall is marketed to tourists with a romanticised vision of its rural and coastal remoteness. Traditional industries would likely have left the landscape empty: with miners underground (though with 'balmaidens' smashing stones above ground) and fishermen at sea, there must have been a spaciousness, a lack of visible 'busy-ness' (Tuan [1977] 2008: 61). Yet the number of visitors in peak season clashes with the marketed image of quiet rurality that draws to some extent on this historic imaginary. Small fishing villages frequented by tourists easily become blocked by traffic. A boom in holiday rentals, plus an increase in new permanent and temporary residents, has resulted in many local people priced out of their town centres, previously the locus of the community (Duignan 2019). As Tuan observes, 'ample space is not always experienced as spaciousness' ([1977] 2008: 51), and 'for everyone a point is reached when the feeling of spaciousness yields to its opposite-crowding' (Tuan [1977] 2008: 59). The issue of space, clearly, figures prominently in the region's social dynamics. In the context of its intangible cultural heritage (ICH), crowds have traditionally been essential for the liveliness of annual gatherings: the place to meet with extended family, to cook and have an open house, to meet new people, perhaps future partners (Frears 2010). In the present day, too, cultural events are widely acknowledged to be an opportunity to build community (e.g. Duffy & Mair 2014; Arcodia &Whitford 2006) to the extent that they are the annual focal point for many local people. But of course, alongside increased tourism and other demographic changes, it is not only the local community celebrating, as may have been traditionally the case. Known and unknown participants must share space and see each other close-up. Just as there are tensions between insiders and outsiders in Cornwall as a whole, these events offer 'an arena where negotiation is forced upon us' (Massey 2007: 154). In this chapter, we consider the way space functions at two ICH events in Cornwall: both as microcosm of, and reaction to, the spatial relations that are enacted and negotiated within Cornwall's wider socio-cultural landscape.

Singkawang City is one of the potential tourism destinations that is suitable to be developed as a gastronomy tourism destination. This is due to the diversity of tourism destinations and tourism facilities in the city. The purpose of this study is the extent of the development of Singkawang City as a tourism destination and to find out the direction of city development as a gastronomy tourism destination. The research was conducted with a qualitative descriptive approach with data collection techniques such as observation and literature study. The results of this study obtained that this city has arranged well its tourism destinations, it can be seen that road access, supporting facilities and infrastructure, tourist attractions and institutions contained therein. In addition, in terms of gastronomic development, Singkawang City is suitable to be developed as a gastronomy tourism destination, this can be seen in the typical culinary served and diverse.

PhotoVisa. Catalogue of the 5th edition of the International Festival of Photography in Krasnodar, Russia. Russian and English. Several exhibitions and programs. Head of the festival; Evgeny Berezner.  Publication team: artistic director Irina Chmyreva, co-director Masha Goldman, editor Elena Firsova, designer Nadya Dorovskaya

Analisis de las diferentes tipas de experiencias esteticas antes las artes visuales actuales por medio de entrevistas y asi apoyar en la recopilacion de informacion, documental y de campo, hacia la redaccion de un cuadernillo didactico para alumnos de preparatoria y licenciatura que aborde los principales conceptos que se requieren para una adecuada experiencia estetica con obras de artes visuales actuales.

In this photo essay, we take you on a visual journey to Akina Village in Amami Ōshima, Japan, through the work of Futoshi Hamada, an award-winning island photographer and ecologist. Based on the artist's Mura (2001) photographic work that documented the natural cycle of the village's rice cultivation and the harvest festivals associated with it, we aim to explore the concept of the island's ecocultural identity as it manifests through the artist's and the community's unique connection with the island nature and culture. As Akina is the last remaining village on the island where rice cultivation is still taking place, and linked to the harvest festivals, the visual documentation of these practices provides us a rare glimpse into what was once an integral part of Amami's natural, socio-cultural, and spiritual/animistic islandscape before sugarcane was imposed on the islanders by mainland Japanese agricultural interventions and impositions.

This paper investigated the environmental impacts of sports tourism: A case study of overcrowding, pollution and waste management during 2023 AFCON. The research design adopted for this study is descriptive and survey-based, which enabled the systematic collection of primary data through the administration of a structured questionnaire. The study focused on a sample of 150 respondents, selected from various communities within the Local Government Area. Descriptive analysis was employed to analysis the data. Result from the study revealed that There will be percentage increase in tourist influx during the hosting of AFCON competitions. The percentage increase in tourist influx will lead environmental pollution during the hosting of AFCON competitions. Increased waste generation and poor waste management will be the major sources of environmental pollution during the hosting of AFCON competitions. High-level traffic congestion and air pollution from vehicular emissions will be the major sources of environmental pollution during the hosting of AFCON competitions. Overcrowding of tourist destinations and natural reserve will be the major sources of environmental pollution during the hosting of AFCON competitions.

Il saggio offre un esame paleografico, linguistico e filologico di un nuovo testimone incompleto della novella V 9 del Decameron, il ms. London, British Library, Additional 16613. Il codice, databile alla seconda metà del XV secolo e trascritto probabilmente in area ligure, tramanda un testo caratterizzato da significativi rimaneggiamenti e contaminazioni fra i due livelli redazionali dell’opera e affine alle due copie realizzate dal senese Ghinozzo di Tommaso Allegretti all’inizio del Quattrocento.

The essay presents a palaeographical, linguistic, and philological analysis of a newly discovered incomplete witness of novella V 9 from the Decameron: ms. London, British Library, Additional 16613. This manuscript, dating to the second half of the 15th century and likely transcribed in the Ligurian region, features a text marked by significant alterations and contaminations between the two editorial levels of the work, similar to the two copies produced by Ghinozzo di Tommaso Allegretti in the early 15th century.

Vihara Avalokitesvara Pamekasan, Madura has a long history. It was build 300 years ago and able to maintain its existence until this day. The things that make this monastery interesting are this monastery is used not only for Buddhist, Taoist, and Confusianist but also used by Moslem and Hindus. Moreoverm, this monastery is a place where Majapahit’s heritage can be found. The meaning of the ornaments inside this monastery can be interesting to be analyzedbecause of the development of this monastery. To analyzed the meaning of the ornaments, the writer is using iconology method by Panofsky, where this method is a study to get the meaning of artworks throughpre-iconographical, iconographical analysis, and iconological interpretation, which all of them are continual steps. Pre-iconographical is done as the first step to find primary meaning. Meanwhile, iconographical analysis is done as further step to find secondary meaning and iconological interpretation is to find intrinsic meaning....

Am 18. Mai 2025 findet bereits zum 48. Mal der Internationale Museumstag statt, der heuer unter dem Motto »The Future of Museums in Rapidly Changing Communities« steht. Aus diesem Anlass bietet das kelten römer museum manching ein attraktives Familienprogramm im und um das Museum an. +++ Ganztägig: Historische Darstellergruppe Equites Digni, Zinnfiguren und Modellbau mit Mules of Marius sowie Kuchentisch des Keltisch-Römischen Freundeskreises Manching e.V. +++ 10:30 Uhr: Kinderworkshop »Römisches Rundmühlespiel«. +++ 11:30 Uhr: Römisches Maultier und Packpferd in Aktion. +++ 14:00 Uhr: Interaktive Führung durch die Sonderausstellung »Roms Armee im Feld«. +++ 15:30 Uhr: Römisches Maultier und Packpferd in Aktion. +++ Es gelten die regulären Eintrittspreise. Alle Programmangebote – mit Ausnahme des Kuchentischs – sind kostenfrei. +++ Postergestaltung: krm / Tobias Esch. Illustrationen: Deutscher Museumsbund · Freepik / brgfx, macrovector und storyset

Penelitian ini bertujuan untuk menganalisis persepsi masyarakat Madura dan Tuban terhadap perkembangan dekorasi tongklek yang ditampilkan melalui akun TikTok @Seputarjawatimur Dekorasi tongklek, sebagai bagian dari budaya tradisional, mengalami transformasi visual yang signifikan dalam penyajiannya di media sosial. Penelitian ini menggunakan pendekatan kualitatif. Metode yang digunakan yaitu metode analisis isi (content analysis). Teknik pengumpulan data adalah teknik dokumentasi. Data diambil dengan menangkap layar komentar-komentar yang ada pada kolom komentar akun tiktok @seputarjawatimur Hasil penelitian menunjukkan bahwa masyarakat Madura dan Tuban memiliki pandangan yang beragam terhadap inovasi dekoratif pada tongklek. TikTok sebagai media sosial visual berperan penting dalam membentuk dan memengaruhi persepsi budaya lintas wilayah. Penelitian ini menegaskan bahwa media sosial dapat menjadi ruang dialektika budaya antara pelestarian dan inovasi.

Penelitian ini bertujuan untuk menganalisis persepsi masyarakat Madura dan Tuban terhadap perkembangan dekorasi tongklek yang ditampilkan melalui akun TikTok @Seputarjawatimur Dekorasi tongklek, sebagai bagian dari budaya tradisional, mengalami transformasi visual yang signifikan dalam penyajiannya di media sosial. Penelitian ini menggunakan pendekatan kualitatif. Metode yang digunakan yaitu metode analisis isi (content analysis). Teknik pengumpulan data adalah teknik dokumentasi. Data diambil dengan menangkap layar komentar-komentar yang ada pada kolom komentar akun tiktok @seputarjawatimur Hasil penelitian menunjukkan bahwa masyarakat Madura dan Tuban memiliki pandangan yang beragam terhadap inovasi dekoratif pada tongklek. TikTok sebagai media sosial visual berperan penting dalam membentuk dan memengaruhi persepsi budaya lintas wilayah. Penelitian ini menegaskan bahwa media sosial dapat menjadi ruang dialektika budaya antara pelestarian dan inovasi.

Agir en intrus dans les musées n'est peut-être pas ce que l'on croit. C'est du moins l'impression que l'on peut tirer de la lecture des contributions de ce numéro thématique d'Ethnographiques.org, dont cette présentation s'efforce de rendre compte en dégageant quelques pistes de réflexion. L'exercice de synthèse s'est avéré difficile, et ne prétend pas à l'exhaustivité. Si la multiplicité des musées n'est ici qu'esquissée, sur la base d'un certain nombre d'exemples européens et plus particulièrement français, les perspectives tracées par les autrices et auteurs décrivent une variété de formes d'intrusion, dont les origines, les agents, les modalités et les effets le plus souvent diffèrent. Leur point commun ? Nous interpeller quant au caractère paradoxal de ces étranges machines que sont les musées, ces espaces de savoirs et de patrimoines institués, en butte à leurs présents indociles. Ne s'agirait-il pas de reconnaître, dans les ouvertures heuristiques et les transformations que ces intrusions induisent, une valeur pragmatique et une complexité conceptuelle ordinairement négligées ? mots-clés :

Le problème général d'une exposition est de faire voir : il consiste à assembler, mettre en évidence et en valeur ce qui est ordinairement dispersé, retiré, réservé à quelques-uns, peu accessible, et pour beaucoup véritablement inconnu. On s'ingénie à disposer dans une enceinte et à rendre le plus sensible aux regards les moyens et les résultats de quelques-unes (ou de la plupart) des formes de l'activité humaine […]. Une machine, une statue, un meuble, une espèce sélectionnée, tout ceci est visible et le problème de les exposer n'est qu'une affaire de choix et de mise en ordre et en place. Mais le principal agent de toutes ces transformations connues, voulues et accomplies par l'homme échappe à toute exhibition. Dans une Exposition, il est partout présent par ses effets : absent de partout par sa nature même. L'esprit, puissance originale de transformation, ne se révèle que par l'ordre ou le désordre qu'il introduit dans le monde des choses sensibles. Ce fut donc une grande et paradoxale nouveauté que le dessein formé par les organisateurs de l'Exposition de 1937, de […] faire apparaître aux yeux des visiteurs l'invention ellemême, auprès des choses inventées, et ce qu'on peut apercevoir ou soupçonner de la création en deçà de ce qu'elle crée 3. 1 On peut imaginer que son opinion sur un éventuel musée du cinéma eût été assez identique à celle qu'il portait sur le musée de la littérature. À la date d'écriture de ce 2 SEARCH Tout OpenEdition

Esta comunicação centra-se na análise da contribuição dos festivais
nacionais de cultura no desenvolvimento da música popular em Moçambique, e
nos esforços para a consolidação da unidade nacional e edificação da
Moçambicanidade, desde a independência nacional de Moçambique em 1975 até à
atualidade.

In this introductory essay for the anthology, Taiwan Cinema: International Reception and Social Change (eds Kuei-fen Chiu, Ming-Yeh Rawnsley and Gary Rawnsley, 2017), the editors point out the contextual and conceptual changes in the production and reception of Taiwan cinema since 2008. They analyse the paradigm shift from Taiwan New Cinema to the post-New Cinema. They suggest that For researchers of Taiwan cinema and cinephilia, this new period of moviemaking and consumption raises several questions: Did Cape No.7 usher in a new dawn of filmmaking on the island? What are the characteristics of the so-called ‘post-New Cinema’, and who are its representatives? What is the relationship between the younger generations of Taiwanese filmmakers and the renowned TNC masters? Can we claim that post-New Cinema embodies the legacies of Taiwan New Cinema, or does it demonstrate their complete rupture? Moreover, how do these new Taiwan-based filmmakers maintain their presence on the international film festival circuit, and are their films reaching global audiences? This volume tries to answer these questions and brings insight into Taiwan’s position in the ever-evolving global cinema landscape.

La cultura popular, a través de les tradicions festives, reflecteix la consciència col·lectiva i els valors de la comunitat celebrant, així com la seua adaptació als diferents canvis socials, polítics i econòmics al llarg del temps. Aquest estudi analitza les festes majors de l’Horta de València en els darrers dos segles, identificant quins elements han perdurat, s’han adaptat o s’han perdut en eixe transcurs. I ho fa prenent com a fil conductor la tasca de la històrica roberia Insa, que va vestir aquestes celebracions durant cinc generacions. A través dels arxius de la roberia i altres fonts documentals, s’ha traçat la història de les processons, les cavalcades, les danses rituals, personatges i altres elements visuals característics de les festes patronals de la comarca. El present treball no només pretén documentar el passat, sinó que invita a reflexionar sobre el significat i la rellevància actual del patrimoni festiu en la cultura popular valenciana.

Municipal Education Directorate from 2009 -2019, Ghana The culture of reviewing national programs or events has received little attention from researchers, although recommendations from such reviews assist in strengthening the programs for the development of the nation as a whole. The purpose of a program review is to determine the viability and effectiveness of that program or event (Hanover Research, 2012). The National Cultural Festival for basic schools in Ghana which started in 1989 is one such event that requires review. Culture provides the knowledge needed to adapt to our surroundings to harness resources from the natural environment (Nannyonga-Tamusuza, 2003) and to solve problems of living in a particular place. It gives people the skills they need to produce the tools, shelter, clothing and other objects they use to service the community (Gbadegbe & Mensah, 2013; van der Borg & Russo, 2005). As they grow up, children socially learn skills for tracking game, gathering wild plants, making gardens, herding livestock or finding jobs, depending on how people make their living in a particular society. The National Cultural Festival is run alternatively between basic and the second cycle schools. Hence it is an event that is held biennially for each category of schools (basic and second cycle). The year 2018 saw the 12 th edition of second cycle school's cultural festival which was held at Koforidua in the Eastern Region of Ghana. The year 2019 saw the 16 th edition of the basic school's cultural festival held at Cape Coast in the Central Region of Ghana. The rationale for holding the National Cultural Festival is to inculcate into the pupils the habit of positively contributing to national development aspirations. The National Cultural Festival has two (2) main disciplines, which are performing and visual arts. Under the performing arts discipline are the performance ofchoral music, sight singing, drum language, poetry recital, dance and drama in English. The visual arts category usually takes the form of exhibitions showcasing painting, still life drawing, sewing, paper craft, and cook art. Each competing year there is a theme, compulsory song and dance that guides activities of the National Cultural Festival taking into consideration the host region. For example, Asafo and Osoode were chosen for the 16th edition of the basic schools' cultural festival held in Cape Coast in 2019. Due to the limited reviews of events of this nature, it has become imperative to take a critical look at the event as it is held in the Effutu Municipal area. The study investigates the success of the event, its strengths and challenges and finally offers suggestions for similar future events. The Effutu Municipal is one of the seven (7) Municipalities in the Central Region of Ghana, having Winneba as its capital. The Municipality has forty-two (42) government basic and Junior High Schools (Effutu Municipal Education Directorate, 2019). In the arena of Education, the Effutu Municipal Education Directorate covers Winneba township and some villages dotted around Winneba, comprising Ateitu, Osubonpanyin,

Szlaki dziedzictwa kulturowego -praktyka zarządzania. Refleksje po audycie śląskiego Szlaku Zabytków Techniki Słowa kluczowe: szlaki dziedzictwa kulturowego, zarządzanie szlakami kulturowymi, profesjonalizacja produktów turystycznych, audyt śląskiego Szlaku Zabytków Techniki Artykuł powstał jako podsumowanie doświadczeń zdobytych przez autora podczas audytu prowadzonego na śląskim Szlaku Zabytków Techniki. Mimo że punktem wyjścia niniejszego tekstu jest określone badanie konkretnego produktu turystycznego, starano się zawrzeć w nim wnioski i refleksje istotne z punktu widzenia zarzadzania szlakiem dziedzictwa kulturowego, jako takim. W artykule zaprezentowano m.in. różne perspektywy spojrzenia na szlaki kulturowe (w kontekście wyznaczanych im celów), jak również możliwe do zastosowania w polskich warunkach rozwiązania w zakresie kreowania struktury zarządzającej szlakiem (ze wskazaniem mocnych i słabych stron poszczególnych podmiotów). Odnosząc się bezpośrednio do Szlaku Zabytków Techniki, zaprezentowano proponowany schemat kategoryzacji obiektów oraz wymagania, jakie powinny być stawiane poszczególnym grupom zabytków. Ponadto zdefiniowano obszary zmian, które muszą być wprowadzone w celu autentycznej profesjonalizacji tego szlaku. Niniejszy artykuł jest efektem doświadczeń zdobytych podczas audytu przeprowadzonego na śląskim Szlaku Zabytków Techniki (SZT). Poniżej zamieszono główne założenia audytu, przedstawiono również sposób prowadzenia badania. Sam artykuł nie skupia się jednak na prezentowaniu wyników tego konkretnego działania czy ocenie odwiedzonych miejsc, ale ma za zadanie prezentacje spostrzeżeń o charakterze ogólnym, mających istotny wpływ na praktykę zarządzania szlakami dziedzictwa kulturowego. Cultural heritage routes -the practice of management. Reflections of the audit of the Industrial Monuments Route of Silesia

Jak powinna być rozwijana w Polsce struktura szlaków dziedzictwa kulturowego? dr Łukasz Gaweł, UJ, Kraków "Jak powinna być rozwijana w Polsce struktura szlaków dziedzictwa kulturowego? Czy -jak dotychczas -powinna to być działalność realizowana na różnych szczeblach i przez różne podmioty, czy też przydałby się system certyfikowania szlaków kulturowych (co wiązałoby się ze spełnieniem określonych wymogów i zapewnieniem ściśle określonej jakości tego typu inicjatywom)." Odpowiedzi: dr hab. Dariusz Dąbrowski, prof. UKW, Bydgoszcz Pytanie uważam za bardzo ciekawe, dotyczące ważnego zagadnienia. Odpowiedź na nie jednak nie może być jednoznaczna. Owszem, upowszechnianie istniejących kryteriów oceniania szlaków dziedzictwa kulturowego (podstawę do czegoś takiego stanowić może między innymi waloryzacja zaproponowana przez dr. Armina Mikos v. Rohrscheidt) lub opracowanie nowych byłoby przydatne, podobnie jak wspieranie przez środowiska eksperckie różnorodnych inicjatyw, mających na celu powołanie do życia takich szlaków. Moim zdaniem, taka działalność oceniająca i klasyfikująca (nie są przecież te rzeczy tożsame) powinna jednak być zadaniem grup fachowców, najlepiej o mieszanej proweniencji akademicko -turystycznej (często zresztą te kręgi w mniejszym lub większym stopniu się pokrywają). Przybierałaby więc postać recenzowania (podkreślania walorów i wytykania usterek). Mogłaby się rozgrywać na łamach branżowej literatury lub też w postaci ekspertyz. Jednak -mam pełną świadomość tego faktu -bez istnienia sankcji co do spełnienia przez twórców danego szlaku postulatów recenzentów. Chodzi tu więc o tworzenie atmosfery dobrych praktyk i -z drugiej strony -o edukację w duchu upowszechniania norm, choćby jakościowych. Jestem zaś przeciwnikiem certyfikacji rozumianej jako powstanie oficjalnego organu (znając polską praktykę, zapewne centralnego,umieszczonego w Warszawie), mającego poprzez "przyznawanie punktów" decydować o losach społecznych inicjatyw w zakresie tworzenia szlaków dziedzictwa kulturowego. Istnieje niebezpieczeństwo, że taki organ szybko opanowaliby nie fachowcy lecz urzędnicy, którzy dążyliby do pełnej uniformizacji ocen i stworzenia systemu wygodnego przede wszystkim dla siebie. Byłoby to z oczywistą stratą dla działań oddolnych, bowiem -istnieje taka obawa -tego typu certyfikacja mogłaby na przykład nie uwzględniać wszelkiego rodzaju uwarunkowań lokalnych, budujących specyfikę konkretnych inicjatyw. Jestem więc głęboko przekonany, że tworzenie szlaków dziedzictwa kulturowego jest bardzo potrzebne, bo jest ich w Polsce zdecydowanie za mało. Niech jednak będą to inicjatywy oddolne, tworzone lub przynajmniej wspomagane przez ekspertów, a nie poddawane w imię istnienia jakiejś jednolitej punktacji (po w ogóle co ona?) ocenom przez "centralę", tym bardziej ocenom mogącym decydować o być albo nie być danego szlaku. Cieszy mnie to pytanie -bo zawiera w sobie sporo istotnych, a nie rozwiązanych, moim zdaniem problemów. W Polsce istnieje pokaźna grupa różnorodnych szlaków kulturowych o różnym zasięgu, promocji, zainteresowaniu, oznakowaniu etc. Jedne szlaki są ogólnie znane, choć różnie interpretowany jest ich przebieg (!), inne "istnieją" w grupie niewielkiej ilości odbiorców; jedne mają opracowaną literaturę, inne nie; na jednych trasach obiekty są otwarte

Over the last few decades, there has been a remarkable increase in the number and type of cultural festivals (e.g. theatre, music, dance, circus, cinema, video, book, literature, arts). Cultural festivals are essential in contemporary society, acting as platforms for artistic expression, cultural exchange, social wellbeing and social interaction. These events attract diverse audiences, fostering community cohesion, creating innovative spaces for participation and inclusion, and encouraging active citizenship.

This paper deals with a common but not thoroughly researched sociopsychological phenomenon, the post-event blues. Post-event blues is a sudden drop in mood, a feeling of lethargy and sadness after a long-awaited, happy event. Many psychological websites and blogs refer to this phenomenon by various names, but a common name and definition have yet to be developed. This article aims to fill this gap, based on a short empirical survey among participants of a Hungarian festival (Fekete Zaj) and the collection of mentioned blogs and websites. It also explores some of the sociopsychological reasons behind the blues in the Hungarian setting, its characteristics and effects, and presents the coping mechanisms suggested in these sources, with the aim of bringing this topic into scientific discussion.

Drawing on the recent debate on transformational tourism, this paper presents a territorial analysis of the boutique festival's experience, based on the evaluation of satisfaction of a sample of participants of three Sicilian festivals with the attributes which mostly define the significance of their transformational potential on the touristic territoriality. The high level of visitor satisfaction with the principal dimensions and the socio-spatial attributes of the transformational experience seems to confirm the potentials of this model in terms of tourism innovation. Nevertheless, some critical concerns emerge with respect to the incorporation of the global model in the local contexts, and even the need for future research is underlined concerning the festival effect, with particular reference to the production of a new sense of place and to the reconfiguration of the relations between festival collectivities and local communities.

This study explores the significant contributions of traditional Manipuri dance
(Jagoi) and Pung drumming to the socio-cultural development of Manipur, a northeastern
state of India. Manipuri dance, characterized by its lyrical grace, lasya movements, and
spiritual themes, encompasses key forms such as Raas Leela, Lai Haraoba, and ThangTa. Pung drumming, or Pung Cholom, integrates complex rhythms with vigorous dance
movements, emphasizing musicality, rhythm, and physicality. These traditional arts play
a crucial role in preserving Manipur's cultural heritage, fostering community cohesion,
and providing educational value. They also contribute to the local economy through
cultural tourism and have garnered national and international recognition, enhancing
cultural pride and encouraging the preservation of unique traditions. By examining the
multifaceted impact of these art forms, the study highlights their essential role in enriching
Manipur's social and cultural landscape

Modele zarządzania bibliotekami od lat ewoluują. Coraz więcej tych instytucji odchodzi od dominującego wcześniej rozwiązania, w którym kluczowym celem jest gromadzenie i udostępnianie zbiorów. Ponieważ wiele zasobów dostępnych jest już w Internecie, placówki te w inny sposób zachęcają do odwiedzin w swoich murach. Coraz popularniejsza staje się koncepcja biblioteki jako miejsca spotkań, przestrzeni społecznej, która integruje ludzi, oferując im możliwość aktywnego uczestnictwa w życiu kulturalnym, społecznym i naukowym. Zbiory nadal pozostają ważnym zasobem bibliotek, jednak dostrzegana jest również potrzeba aktywizacji lokalnej społeczności. Społeczności te dzięki wydarzeniom organizowanym przez biblioteki stają się bardziej otwarte, aktywne kulturalnie, dążą do samorozwoju, są bardziej zaangażowane, chętne do pomocy, częściej ufając innym ludziom i wspierając swoich członków. W związku z tym omówione zostanie zagadnienie event marketingu, sprzyjającego integracji i aktywizacji, którego celem może być promocja biblioteki, książki i kultury poprzez organizację różnego rodzaju imprez.

Using the Winnipeg Fringe Theatre Festival in Manitoba, Canada as the context, the purpose of this paper is to examine the relationship between personal values and motivations for attending a festival. More specifically the work had two primary research questions. First, what are the dominant tourist values and tourist motivations for visitors to the Winnipeg Fringe Festival? Second, what is the relationship between visitors' values and their motivations for attending the festival? Visitors rated self-respect (M = 6.30), fun and enjoyment in life (M = 6.26), warm relationship with others (M = 6.19), and self-fulfillment (M = 6.15) as the top personal values based on LOV scale. Strongest motivations for attending the festival were: to be entertained (M = 6.45), to learn something new (M = 5.31), to go to the Fringe to be with others who enjoy the same thing (M = 5.19), to spend time with friends (M = 5.03), and to attend a cultural event not normally having an opportunity to go to (M = 4.93). Treating the top five motivation items as separate dependent variables, a series of stepwise regression analyses were conducted. The nine personal value items explained between 8% and 13% of the variance in the five motivation items. Belonging explained the most variance across the five regression analyses. Implications for the festival as well as future research endeavors are highlighted in the closing of the paper.

Using the Winnipeg Fringe Theatre Festival in Manitoba, Canada as the context, the purpose of this paper is to examine the relationship between personal values and motivations for attending a festival. More specifically the work had two primary research questions. First, what are the dominant tourist values and tourist motivations for visitors to the Winnipeg Fringe Festival? Second, what is the relationship between visitors' values and their motivations for attending the festival? Visitors rated self-respect (M = 6.30), fun and enjoyment in life (M = 6.26), warm relationship with others (M = 6.19), and self-fulfillment (M = 6.15) as the top personal values based on LOV scale. Strongest motivations for attending the festival were: to be entertained (M = 6.45), to learn something new (M = 5.31), to go to the Fringe to be with others who enjoy the same thing (M = 5.19), to spend time with friends (M = 5.03), and to attend a cultural event not normally having an opportunity to go to (M = 4.93). Treating the top five motivation items as separate dependent variables, a series of stepwise regression analyses were conducted. The nine personal value items explained between 8% and 13% of the variance in the five motivation items. Belonging explained the most variance across the five regression analyses. Implications for the festival as well as future research endeavors are highlighted in the closing of the paper.

Il CISU collabora con l'ANVUR per la valutazione del sistema universitario e della Ricerca Tutti i diritti sono riservati. Questo volume non può essere riprodotto, archiviato o trasmesso, intero o in parte, in qualunque modo (digitale, elettronico, ottico, meccanico o registrato). Le fotocopie per uso personale del lettore sono consentite nei limiti del 15% di ciascun volume solo dietro pagamento alla SIAE del compenso previsto dall'art. 68, comma 4 della legge 22 aprile 1941 n. 633 e in base all'accordo stipulato tra SIAE, AIE, SNS e CNA, Confartigianato, CASA, CLAAI, Confcommercio, Confesercenti il 18 dicembre 2000. Le riproduzioni per uso differente da quello personale, per un numero di pagine non superiore al 15% del presente volume, necessitano dell'autorizzazione scritta dell'Editore.

The Šaṣt-šeši festival is held annually in the village of Siān near Isfahan, beginning on the 66th day after Nowruz. This timing exactly matches the ancient Khordādagān festival, celebrated on the sixth day (Khordād) of the month of Khordād, a day dedicated to the divinity Khordad. (Months had 30 days in the past.) Since no similar festivals are reported elsewhere, Jarquya appears unique in preserving this ancient Iranian tradition.
The central rite involves bathing in a pool once fed by the now-dry Shah-Chashma spring. Other rites include visits to Dar-e Behesht grotto, the Oven of Fatima, and the Cave of Forty Girls, all related to Khordad, the female divinity (yazata) and guardian of water. The festival, drawing thousands from nearby settlements, lasts two weeks or more, with a fair hosted by dozens of vendors from near and far. Although held at the shrine (emāmzāda) of Shāhzāda ʿAbd-al-Moẓaffar, the festival is largely secular.

Bullfighting among the Luhyia of Western Kenya can be a big event pitting a village, or a collection of friendly villages against a competing village or collection of villages that are related, either as communities, or as a geographical region. At a smaller scale, the duel could be between “my” bull and “your” bull. Unlike la fiesta (the festival) in Spain which involves a fight between a bull and a matador (a human fighter), the Kenyan bullfighting festival is a meeting between bulls. Human beings in this context only play to catalyze the bulls, to cheer and to celebrate the winning animal(s). Characteristic of the often well publicized festival is that before, during and after the actual bullfight, there is extensive singing and verbal exchanges between the “bull drivers” from the opposing sides. The very fanfare that accompanies this fete leaves one wondering what is really in it. The thesis of this paper is that the bullfighting engagement is a social projection leading to a ps...

Koncepcja zrównoważonego rozwoju jest sposobem na szybszy wzrost gospodarczy, postęp i ewolucję współczesnych społeczeństw, przy uwzględnieniu potrzeby wyrównywania nierówności między gospodarkami o różnym stopniu rozwoju, bez naruszania równowagi ekologicznej. Rozwój zrównoważony może dokonywać się na różnych poziomach − globalnym, międzynarodowym, krajowym, regionalnym czy lokalnym. Jednak każdy z tych poziomów wymaga uwzględnienia innych priorytetów w procesie podejmowania decyzji inwestycyjnych w zakresie ochrony środowiska oraz działań proekologicznych. Celem artykułu jest próba identyfikacji wyzwań, przed którymi stają regiony Polski w zakresie godzenia rozwoju regionalnego z wymaganiami w zakresie ochrony środowiska oraz próba odpowiedzi, w jaki sposób aspekt ten jest używany dla celów promocji. W świetle badań literaturowych wydaje się, iż regiony znajdują się w korzystnej sytuacji, ponieważ mogą rekompensować straty ekonomiczne i społeczne ponoszone w wyniku zabezpieczenia walorów ekologicznych i środowiskowych w jednym z geograficznych obszarów regionu, wzrostem inwestycji gospodarczych w innym miejscu. Takie substytutywne traktowanie elementów potencjału regionu pozwala na wypełnienie przesłanek zrównoważonego rozwoju i ekologiczną promocję obszaru.

Cultural heritage is one of the most important drawcards for tourism globally. The African continent is rich in cultural heritage, but few studies have given attention to the authenticity of the African cultural tourism industry and cultural festivals, in particular. This investigation contributes to understanding the authenticity of cultural festivals from the host community's perspective. Our study employs a qualitative approach, conducting semi-structured interviews with 30 residents who live in and around the Komjekejeke cultural village in the Gauteng Province of South Africa, where the annual Komjekejeke Cultural Festival is held. The findings reveal that most respondents viewed the festival and the cultural products as an authentic representation of the Ndebele culture. The findings also underscore the importance of considering host communities' cultural contexts when evaluating the authenticity of cultural events. The findings can be valuable for festival organisers, policymakers, and researchers interested in cultural authenticity and its impact on the perception and success of cultural festivals.

The text brings a selected activity of „Harmonia”, a University of Silesia Choir between 1998 and 2013, currently active under the supervision Izabella Zielecka-Panek. The origin of the singing association “Harmonia” dates back to the beginning of the 20th century or, more specifically, 1908. Its over 100-year activity caused that it belongs to the most important choirs in Silesia. The history of the band proves its activity under the supervision of many outstanding musicians, enthusiasts of a vocal art and community workers. It is still characterized by a considerable artistic activity, variety of repertoire and a high performance level. The hardships of an artistic work resulted in many prestigious awards in Poland and abroad. An outline of the singing activity presented in the text was enriched with pictures from selected artistic events

In existing studies on the relationship between cultural events and urban transformation, neoliberalism narratives of urban entrepreneurship have been prominently emphasised. As this paper argues, discussions of the cultural economy rarely pay sufficient attention to the agency of the creative class, and often fail to consider that those modes of urban governance may differ. This paper draws on a study of the geographical factors involved in developing the FIRST International Film Festival, which was held in the city of Xining on the Tibetan Plateau. It explores the reasons for the relocation of the FIRST International Film Festival from Beijing to Xining, and the purposes and ways in which Xining employs the FIRST International Film Festival. From these findings, the study suggests that the geographical expressions of cultural industries themselves, as well as the diversity of development interests and considerations in a particular place, are essential to gain a comprehensive understanding of the connections between cultural events and the city.

Live music has moved center stage in the contemporary music industries. While the music business in general has been severely hit in the last decades by the effects of digitalization, resulting in the plummeting revenues from recorded music, recovery has set in slowly but gradually since the turn of the century. This recovery came from two developments. The first was the newly found profitability of digital sales and streaming of recordings, which has taken some time to develop into a viable business model. The second came from another segment of the music industries: live music. According to Naveed et al (2017) the revenues from live performances account for the majority of the overall revenues of the music industries between 2010 and 2015 (Naveed, Watanabe & Neittaanmaki 2017). Consultancy firm Ernst & Young (EY 2014) likewise showed in 2012 that across the EU, half the revenues of the music industries was from live music. While we are certainly not the first to signal this trend (Frith 2007; Holt 2010; Mortimer, Nosko & Sorensen 2012), it indicates how crucial live music performance has become for the business models of the music industries (Mazierska, Gillon & Rigg 2020; Williamson & Cloonan 2007). It is critical to ask who has benefited from this development and how it affects the music business as an institution, but also the practices of musicians and bands. Recent research suggests that it is mainly the 1 Erik Hitters is Associate Professor of Media and Cultural Industries in the Department of Media & Communication of Erasmus University Rotterdam. He has co-founded and is managing director of ERMeCC, the Erasmus Research Centre for Media, Communication and Culture. He lectures for the MA programme in Media Studies and IBCoM, the International Bachelor in Communication and Media. He is project leader of the POPLIVE project (www.poplive.nl)

Zum Tag des offenen Denkmals am 11. September 2022 lud das kelten römer museum manching zu Familienangeboten der besonderen Art ein. +++ Im Außenbereich erweckten zwei historische Römergruppen die Armee der Cäsaren erneut zum Leben und präsentierten unter anderem antike Geschütze und eine römische Schreibstube. Während sich die Legio VIII Augusta aus Baden-Württemberg dem Militärleben der frühen Kaiserzeit widmete, stellte die Legio III Italica pia fidelis aus dem Raum Ingolstadt eine Truppe des 3. Jahrhunderts n. Chr. dar. +++ Im Museum wartete die Erlebnisausstellung »Im Dienste Roms – Legionen und Hilfstruppen« mit einer Führung und einem interaktiven Workshop: Kinder und Jugendliche konnten sogenannte Phalerae, also römische Militärorden, anfertigen. Und Thomas Kurtz von Mules of Marius tauchte mit den Besucherinnen und Besuchern in die faszinierende Welt des Zinngusses und Modellbaus ein. +++ Sagenhaft spannend wurde es auch mit der Geschichtenerzählerin und Musikerin Ulrike Mommendey. Sie entführte kleine und große Gäste in das Universum irischer Märchen und antiker Mythen. +++ Eine Radführung zu wichtigen Landmarken im keltischen Oppidum von Manching rundete das reiche Angebot ab. +++ Für das leibliche Wohl sorgte ein Kuchentisch des Keltisch-Römischen Freundeskreises – Heimatverein Manching e.V.

WTTO has identified tourism as one of the major economic activities of the 21st Century. Experiences of the visitors at different purpose levels often result in multiple outcomes including revisit intention, word of mouth and so on. Memorable Cultural Experience shall dwell a new path to understand the emotional connections of the visitors with cultural events. The present study undertakes a scale development and validation of the same at the famous Chempai Music Festival held at Guruvayur Temple, Thrissur, Kerala. A sample of 530 visitors were made part of the study, and data collected were analysed using EFA, CFA and validity measures. Visitor's perceived authenticity, novelty, emotional connections, cultural learning and values contributes to the total experience. Thus, this research endeavors to provide insights into the intricate interplay between cultural heritage, emotional engagement, and tourism dynamics, thereby enriching our understanding of visitor experiences and informing strategic initiatives for sustainable tourism development.

Increasingly, Brazilian experts of capoeira-an Afro-Brazilian combat game-travel to African cities for an imagined return to the sites of capoeira's origins, as well as to train African students. Focusing on a cultural festival in Abidjan, I analyze capoeira cultural exchange events across West Africa through the anthropological lenses of expertise and racial analysis. These exchanges feature displays of Brazilian nationalism embodied by West African capoeira students, while they also reveal West Africans' creative endeavors, such as constructing new capoeira songs in African languages. I demonstrate how the diasporic position to protect "Afro" cultural forms ironically gives way to policing creative work by continental Africans, capoeira's most recent recruits in the contemporary moment. I examine the racial hierarchies that proliferate within Black performance worlds through my concept of diasporic chauvinism to argue that diasporic returns can marginalize Africans and their innovations.

WTTO has identified tourism as one of the major economic activities of the 21st Century. Experiences of the visitors at different purpose levels often result in multiple outcomes including revisit intention, word of mouth and so on. Memorable Cultural Experience shall dwell a new path to understand the emotional connections of the visitors with cultural events. The present study undertakes a scale development and validation of the same at the famous Chempai Music Festival held at Guruvayur Temple, Thrissur, Kerala. A sample of 530 visitors were made part of the study, and data collected were analysed using EFA, CFA and validity measures. Visitor's perceived authenticity, novelty, emotional connections, cultural learning and values contributes to the total experience. Thus, this research endeavors to provide insights into the intricate interplay between cultural heritage, emotional engagement, and tourism dynamics, thereby enriching our understanding of visitor experiences and informing strategic initiatives for sustainable tourism development.

Wersja elektroniczna publikacji jest wersją podstawową Dostępna na stronie: piz.san.edu.pl 3 Wstęp Część I Uwarunkowania zarządzania konkurencyjnością regionów Iwona Żukowska | Turystyka jako czynnik rozwoju regionalnego w Unii Europejskiej Renata Seweryn | Demograficzno-geograficzne determinanty oceny bezpieczeństwa w turystyce (na przykładzie badań uczestników ŚDM Kraków 2016