38 resultados para festival de música
Resumo:
This paper addresses the role of the Adelaide Fringe Festival in facilitating entrepreneurialism amongst participating artists. Tracing the discursive development of the notion of the entrepreneur, the paper identifies how entrepreneurialism has been taken up by the discourses of the creative industries. While we note that entrepreneurialism is a key strategy within the creative industries framework, it would appear for artists the concept does not necessarily connote the achievement of commercial outcomes. The paper argues that these cultural entrepreneurs are defined by self-reliance, the focus on the development of their craft, and the cultural value of their work.
Resumo:
The contemporary popularity of the writers' festival might appear something of a contradiction, given that such festivals are based around an art form that has been chiefly a solitary experience for the reader for several centuries. Taking the 2009 Eye of the Storm Writers' Festival in Alice Springs as its case study, this article examines the motivations of the audience for participating in community-based writers' festivals. Interviews with audience members suggest that the writers' festival serves a much larger cultural and social role for the audience participant than simply increasing their enjoyment of literature.
Resumo:
The existence of a positive relationship between spiritual engagement and well-being is currently based on weak correlational evidence, generally in Western contexts. This study advances understanding through a naturalist, longitudinal study of 226 people, including Malays, Chinese, and Indians, experiencing the Hindu Thaipusam festival in Malaysia. We measured the subjective well-being of people with varying levels of engagement—from nonobservance or simply observing the festival to extreme engagement. Each person was assessed 3 months before, 2 weeks before, 2 weeks after, and 4 months after the festival. We found that the subjective well-being of those with the most extreme level of engagement was permanently higher than other groups. The well-being of those with a strong, but less extreme engagement rose at the time of the festival and remained elevated. The findings are discussed in relation to homeostatic theory of well-being and the potential benefits of spiritual engagement.
Resumo:
Lake Bolac is a freshwater lake, resulting from one of the volcanic eruptions in the Western district of regional Victoria (Australia). There is an annual migration of eels to it and they have been a local indigenous food source for very many years. Since 2004 there has been a festival to celebrate this event culminating at the Lake Bolac Eel Festival (LBEF). Since 2012, the festival included creative art works and a music workshop by academics from Deakin University (Melbourne, Australia) as a regional partnership with Lake Bolac. The opportunity to exhibit, workshop and perform works as academics and practitioners brought the community together where both contemporary and traditional arts can be preserved, protected and promoted. My paper forms part of a larger creative research project called Flows and Catchments at Deakin University which started in 2011. My study situates itself in creative music making and soundscape within the larger project.
Resumo:
The Alternative Film/Video Festival in Belgrade has historically been one of a triumvirate of critical festivals, with Pula’s MAFAF (1965-1990) and Zagreb’s initiating GEFF (1963-70), servicing experimental, exploratory, avant-garde, personal film in the former Yugoslavia, at Belgrade’s Academic Film Center (AFC) within the Student City Cultural Centre (DKSG). Initiated in 1982 it was resurrected in 2003 with a dual regional and international focus after a hiatus due to the collapse of the socialist states of the former Yugoslavia. As well as a series of curated and retrospective programs each competition program is now split into international and regional halves, selected by Greg de Cuir and Zoran Saveski with production support by Milan Milosavljević. Two film workshops were also available. One on scratch film by Ivan Ladislav Galeta, the other on filming and processing led by Vassily Bourakis. Initiated by de Cuir the first Alternative Film/Video Research Forum was part of the festival this year bringing together research on alternative/ experimental/ avant-garde/ underground film and video. Although I participated in this side-bar I will concentrate here more on discussions from the festival roundtable and contextualise a small number of films, a couple from competition but mainly regional work that I would find difficult to encounter without attendance here.
Resumo:
I coordinated a series of workshops - involving researchers Merinda Kelly, Dr Jondi Keane and David Fitzsimmons - on object, space and performance which led to a major exhibition outcome for participating artists. Specifically I led a workshop with installation artist David Fitzsimmons on spatial practices.
Initiated by Courthouse ARTS and in partnership with Deakin’s School of Communication and Creative Arts Geelong hosted a fringe festival event titled 'The New Wilderness'. This is the an extract from the proposal put forward to both the board at Courthouse ARTS centre and the executive in the Faculty of Arts and Education:
Given the change in the economic foundations and demographics in the region a festival of the arts, centred in Geelong, is timely and, potentially, regenerative. In a series of workshops, events, performances and exhibitions – staged at Courthouse ARTS, open to the community and spanning the first week of September – the focus will be on risk, innovation, subversion and transformation. Incorporating each of these words as prompts one exciting project, The New Wilderness, uses the visual arts, creative writing and the performing arts to engage young people in practice and cross-disciplinary collaboration. With an emphasis on process the project will engage participants in a lab/studio environment over a week. Installation artists and Deakin staff members will facilitate an introduction and workshop on the theme, The New Wilderness, asking that participants respond: firstly in making a series of images and installations that transform space; secondly, in creative writing responses; and thirdly, in a series of short performance pieces interpreting the text, images and spaces created during the week. Participants will be on a time-line and encouraged to interpret and critically engage with the theme, each other and the issues set to transform the region – such as the disappearing manufacturing industry and the vast spaces it leaves behind.
Resumo:
Rain Table and Water Table: Delicate splashes and droplets of water act like primitive lenses bringing transparency to the diffused images of celestial bodies. These two installation pieces are inspired by the beauty of the night sky and invite the viewer to consider the cosmos in relation to ones self and to contemplate the discoveries which have changed our understanding of the universe. Water Table and Rain Table are the two works being presented as part of Periscope. Through the form of the science bench or museum cabinet, luminous and projected images play against glass and water invoking the sublime sense of wonder that we have when we look to the starry night sky. Water Table - In 1912 the astronomer, Vesto Slipher made the discovery that “Nebula” were moving at incredible velocities due to the expansion of space itself. This discovery revealed these “Nebula” to be vastly remote and independent galaxies. Water Table speculates on the understanding that when we look into deep space, we also look into deep time. Rain Table is a new work produced for the festival and makes reference to the first telescopic observations of the Moon made by the mathematician, philosopher and astronomer, Galileo Galilei in 1610. The implication of Galileo’s observations gave rise to a radical new understanding of the heavens and our place in it and the final acceptance that the Earth was not the centre of the Universe.
Resumo:
Rian Table and Water Table: Delicate splashes and droplets of water act like primitive lenses bringing transparency to the diffused images of celestial bodies. These two installation pieces are inspired by the beauty of the night sky and invite the viewer to consider the cosmos in relation to ones self and to contemplate the discoveries which have changed our understanding of the universe. Water Table and Rain Table are the two works being presented as part of Periscope. Through the form of the science bench or museum cabinet, luminous and projected images play against glass and water invoking the sublime sense of wonder that we have when we look to the starry night sky. Water Table In 1912 the astronomer, Vesto Slipher made the discovery that “Nebula” were moving at incredible velocities due to the expansion of space itself. This discovery revealed these “Nebula” to be vastly remote and independent galaxies. Water Table speculates on the understanding that when we look into deep space, we also look into deep time. Rain-Table is a new work produced for the festival and makes reference to the first telescopic observations of the Moon made by the mathematician, philosopher and astronomer, Galileo Galilei in 1610. The implication of Galileo’s observations gave rise to a radical new understanding of the heavens and our place in it and the final acceptance that the Earth was not the center of the Universe.