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In April 1966, thousands of artists, musicians, performers and writers from across Africa and its diaspora gathered in the Senegalese capital, Dakar, to take part in the First World Festival of Negro Arts (Premier Festival Mondial des arts nègres). The international forum provided by the Dakar Festival showcased a wide array of arts and was attended by such celebrated luminaries as Duke Ellington, Josephine Baker, Aimé Césaire, André Malraux and Wole Soyinka. Described by Senegalese President Léopold Sédar Senghor, as 'the elaboration of a new humanism which this time will include all of humanity on the whole of our planet earth', the festival constituted a highly symbolic moment in the era of decolonization and the push for civil rights for black people in the United States. In essence, the festival sought to perform an emerging Pan-African culture, that is, to give concrete cultural expression to the ties that would bind the newly liberated African 'homeland' to black people in the diaspora. This volume is the first sustained attempt to provide not only an overview of the festival itself but also of its multiple legacies, which will help us better to understand the 'festivalization' of Africa that has occurred in recent decades with most African countries now hosting a number of festivals as part of a national tourism and cultural development strategy.--

Art festivals --- Arts festivals --- Festivals --- World Festival of Negro Arts --- Festival mondial des arts nègres --- Premier Festival mondial des arts nègres

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Through a nuanced interdisciplinary engagement with cultural geography and theatre and performance studies, and a detailed comparative transnational analysis that goes beyond conventional Euro-American focuses, Festival Cities of Edinburgh and Adelaide shows why we urgently need to pay attention to festivals' profound cultural and political impacts on contemporary urban life. ---Jen Harvie, Queen Mary University of London In this thoroughly researched interdisciplinary study Sarah Thomasson explores the mutually constitutive relationship between the Edinburgh and Adelaide Festivals and the cities that host them. Located at the intersection of Cultural Geography and Theatre and Performance Studies, The Festival Cities of Edinburgh and Adelaide provides a detailed materialist analysis of the place-making function of festival cultures that extends beyond the city to the nations they come to represent. ---Ric Knowles, author of International Theatre Festivals and 21st-Century Interculturalism The Festival Cities of Edinburgh and Adelaide examines how these cities' world-famous arts events have shaped and been shaped by their long-term interaction with their urban environments. While the Edinburgh International Festival and Adelaide Festival are long-established, prestigious events that champion artistic excellence, they are also accompanied by the two largest open-access fringe festivals in the world. It is this simultaneous staging of multiple events within Edinburgh's Summer Festivals and Adelaide's Mad March that generates the visibility and festive atmosphere popularly associated with both places. Drawing on perspectives from theatre studies and cultural geography, this book interrogates how the Festival City, as a place myth, has developed in the very different local contexts of Edinburgh and Adelaide, and how it is challenged by groups competing for the right to use and define public space. Each chapter examines a recent performative event in which festival debates and controversies spilled out beyond the festival space to activate the public sphere by intersecting with broader concerns and audiences. This book forges an interdisciplinary, comparative framework for festival studies to interrogate how festivals are embedded in the social and political fabric of cities and to assess the cultural impact of the festivalisation phenomenon. Sarah Thomasson is Lecturer in Theatre at Te Herenga Waka - Victoria University of Wellington in Wellington, Aotearoa New Zealand. Her research interests include international arts festivals, space and place in performance, contemporary feminist performance, and digital research methods for theatre.

Sociology of cultural policy --- Environmental planning --- Theatrical science --- Social geography --- cultureel erfgoed --- performances (kunst) --- ruimtelijke ordening --- theater --- geografie --- Art festivals --- Adelaide (S.A.) --- Edinburgh (Scotland) --- Politics and government. --- Social life and customs.

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In the summer of 2008, nearly fifty thousand people traveled to Nevada's Black Rock Desert to participate in the countercultural arts event Burning Man. Founded on a commitment to expression and community, the annual weeklong festival presents unique challenges to its organizers. Over four years Katherine K. Chen regularly participated in organizing efforts to safely and successfully create a temporary community in the middle of the desert under the hot August sun. Enabling Creative Chaos tracks how a small, underfunded group of organizers transformed into an unconventional corporation with a ten-million-dollar budget and two thousand volunteers. Over the years, Burning Man's organizers have experimented with different management models; learned how to recruit, motivate, and retain volunteers; and developed strategies to handle regulatory agencies and respond to media coverage. This remarkable evolution, Chen reveals, offers important lessons for managers in any organization, particularly in uncertain times.

Art festivals --- Arts festivals --- Festivals --- Management. --- Black Rock City, LLC --- Burning Man Project --- Black Rock City Limited Liability Company --- Burning Man (Festival) --- Black Rock Arts Festival --- Festivals artistiques --- burning man, community, art, self expression, united states of america, american culture, sociology, sociological, black rock desert, countercultural arts, management models, unconventional, recruitment, motivation, volunteers, managers, festivals, nevada, media coverage, regulation, regulatory organizations, criticisms, legitimacy, radical inclusion, decommodification, communal effort, civic responsibility, participation, immediacy.

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This research follows the history of the Acco Festival for Other Israeli Theatre from 1980-2012, chronicling it as a site of celebration as well as confrontation. The Acco Festival is presented as a borderland that brings together established mainstream directors and actors, alternative artists from the fringes, and Acco's Jewish and Arab residents. The book explores the festival's artistic direction; repertoire; organization, budget, and infrastructure; reception; and the Acco host community.

Festivals. --- Performing arts festivals --- Performing arts --- Art festivals --- Days --- Manners and customs --- Anniversaries --- Fasts and feasts --- Pageants --- Processions --- Festivals --- Israel --- Dawlat Isrāʼīl --- Država Izrael --- Dzi︠a︡rz︠h︡ava Izrailʹ --- Gosudarstvo Izrailʹ --- I-se-lieh --- Israele --- Isrāʼīl --- Isŭrael --- Isuraeru --- Izrael --- Izrailʹ --- Medinat Israel --- Medinat Yiśraʼel --- Stát Izrael --- State of Israel --- Yiselie --- Yiśraʼel --- Ισραήλ --- Израиль --- Государство Израиль --- Дзяржава Ізраіль --- Ізраіль --- מדינת ישראל --- ישראל --- إسرائيل --- دولة إسرائيل --- イスラエル --- 以色列 --- Palestine --- Acre.