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It's party time in Europe! Bestselling author Rick Steves explores the best festivals in Europe, from the Running of the Bulls in Spain to Carnival in Venice. There will be no museums! And no art galleries! Just Europeans having lots of fun. Across Europe, festival traditions go back centuries and are filled with time honored pageantry and ritual. Entire communities hurl themselves with abandon into the craziness. We'll careen all over Europe: the Palio horse races in Siena, the Highland games near Edinburgh, the colorful masquerade of Carnival in Venice, Slovenia, and Luzern, Easter festivities in Andalucía, Tuscany, and Greece, the springtime April Fair in Sevilla, Bastille Day in Paris, the Running of the Bulls in Pamplona, Oktoberfest in Munich, and Christmas markets and traditions in Nurnberg and Switzerland. With fascinating insights, rich history, and vivid photos, this great gift book captures the spirit of Europe's rich and fun-loving heritage. Hang on to your party hats!
Festivals is a must-have guide to the world’s best and most memorable music festivals – a list of all those you need to know and those you should experience. Discover the compelling stories behind the most significant and exciting events around the world which shape music and festival culture. This inspirational global guide showcases 50 bucket list festivals with photographs, posters, facts and figures, and draws attention to hundreds more to explore. Highlighting festival giants and jazz classics, pop powerhouses and indie favourites to dance scene darlings and punk rock adventures, we travel from Woodstock, Glastonbury, Coachella and Roskilde to Fuji Rock, Tomorrowland, Burning Man and Afro Punk. Here, the unique experience of a music festival is evocatively captured and an overview of the rise of the wonderful world of festival culture as we know it today revealed. Music journalist and DJ Oliver Keens writes with expertise, having played across Europe, from Glastonbury to the top of a Bulgarian mountain, and he guides us through these special and truly unique cultural gatherings with insight, bringing the vibrant scenes recounted in these pages to life.
With a history now stretching back four decades, Pacific festivals of Aotearoa assert a multicultural identity of New Zealand and situate the country squarely within a sea of islands. In this volume, Jared Mackley-Crump gives a provocative look at the changing demographics and cultural landscape of a place frequently viewed through a bicultural lens, Pākehā and Māori. Taking the post–World War II migrations of Pacific peoples to New Zealand as its starting point, the story begins in 1972 with the inaugural Polynesian Festival, an event that was primarily designed as a Māori festival, now known as Te Matatini, the largest Māori performing arts event in the world. Two major moments of festivalization are considered: the birth of Polyfest in 1976 and the inaugural Pasifika Festival of 1993. Both began in Auckland, the home of the largest Pacific communities in New Zealand, and both have spawned a series of events that follow the models they successfully established. While Polyfests focus primarily on the transmission of performance traditions from culture bearers to the young, largely New Zealand–born generations, Pasifika festivals are highly public community events, in which diverse displays of material culture are offered up for consumption by both cultural tourists and Pacific communities alike. Both models have experienced a significant period of growth since 1993, and here, the author presents a thought-provoking and wide-ranging analysis to explain the phenomenon that has been called a “Pacific renaissance.” Written from an ethnomusicological perspective, The Pacific Festivals of Aotearoa New Zealand incorporates lively first-person observations as well as interviews with festival organizers, performers, and other important historical figures. The second half of the book delves into the festival space, uncovering new meanings about the function and role of music performance and public festivity. The author skillfully challenges accounts that label festivals as inauthentic recreations of culture for tourist audiences and gives both observers and participants an uplifting new approach to understand these events as meaningful and symbolic extensions of the ways diasporic Pacific communities operate in New Zealand.
This volume compares the religious and social functions of the Ancient Egyptian festivals of Opet, the Valley, and the New Year. Until now, detailed study of the New Year Festival has only been carried out with reference to the Greco-Roman period; this study turns its attention to the New Kingdom.
Responding to a lack of studies on the film festival’s role in the production of cultural memory, this book explores different parameters through which film festivals shape our reception and memories of films. By focusing on two Asian American film festivals, this book analyzes the frames of memory that festivals create for their films, constructed through and circulated by the various festival media. It further establishes that festival locations—both cities and screening venues—play a significant role in shaping our experience of films. Finally, it shows that festivals produce performances which help guide audiences towards certain readings and direct the film’s role as a memory object. Bringing together film festival studies and memory studies, 'Asian American Film Festivals' offers a mixed-methods approach with which to explore the film festival phenomenon, thus shedding light on the complex dynamics of frames, locations, and performances shaping the festival’s memory practices. It also draws attention to the understudied genre of Asian American film festivals, showing how these festivals actively engage in constructing and performing a minority group’s collective identity and memory.
This is an open access book. This edited collection aims to document the effects of Covid-19 on film festivals and to theorize film festivals in the age of social distancing. To some extent, this crisis begs us to consider what happens when festivals can’t happen; while films have found new (temporary) channels of distribution (most often in the forms of digital releases), the festival format appears particularly vulnerable in pandemic times. Imperfect measures, such as the move to a digital format, cannot recapture the communal experience at the very core of festivals. Given the global nature of the pandemic and the diversity of the festival phenomenon, this book features a wide range of case studies and analytical frameworks. With contributors including established scholars and frontline festival workers, the book is conceived as both a theoretical endeavour and a practical exploration of festival organizing in pandemic times.
This book on events-related research marks a watershed in the development of a "Nordic School" of festival and event research. Each of the chapters presents a new and interesting approach to the study of events, in terms of methods, perspectives or content. It is mostly rooted in management theory but also incorporating other perspectives that enhance our understanding of the phenomena. Implications for real-world applications in tourism, hospitality, and community development are also at the fore. The scholarship is comprehensive, not focused on only tourism or economic aspects. Management theory, including stakeholder management, social networks, and institutionalization processes is being applied. Attention is being given to the multiple roles festivals and events play in society, and to evaluation of their worth and impacts. Innovative methods are being developed to examine event experiences, innovation processes, and success factors. There is now a critical mass of scholars in the Nordic countries that share a strong interest in event studies, and they are engaged in collaborative research, making it an appealing and innovative region for other event students and researchers to visit. It can be expected that the Nordic school will take an increasingly important place in the development of event studies, which is now truly global in terms of scholarship and university degree programs. This book was originally published as a special issue of Scandinavian Journal of Hospitality and Tourism.
This is the first book to offer an in-depth examination of the history, operation, and growth of film festivals as a cultural phenomenon within Australia. Tracing the birth of film festivals in Australia in the 1950s through to their present abundance, it asks why film festivals have prospered as audience-driven spectacles throughout Australia, while never developing the same industry and market foci of their international fellows. Drawing on over sixty-years of archival records, festival commentary, interviews with festival insiders and ephemera, this book opens up a largely uncharted history of film culture activity in Australia.
The guerrilla guide to marketing and selling an indie film. Some people are just there for the loot bags. But most of the people at a film festival are trying to market and sell an independent film. Don’t be just one of the horde. Use Chris Gore’s Ultimate Film Festival Survival Guide to help your indie film stand out! Entertainment Weekly loves Gore’s book, calling it a “treatise on schmoozing, bullying, and otherwise weaseling one's way into the cinematic madness known as film festivals.” The newly revised and updated fourth edition includes full listings for more than 1,000 film festivals, with complete tips and contact information, plus in-depth analysis of the Big Ten festivals. With detailed, fresh how-tos for marketing, distributing, and selling a film and using websites to build buzz, plus interviews with top festival filmmakers, step-by-steps on what to do after your film gets accepted, and explanations of how to distribute a film, Chris Gore’s guide tells filmmakers exactly how to become a player in the indie world. Chris Gore’s Ultimate Film Festival Survival Guide includes complete listings for more than 1,000 festivals—find the best for indie, documentary, short, student, digital, and animation, and a CD-ROM!