Festivals, art and mentoring : disseminating knowledge, enhancing skills and developing networks in regional Victoria

Many regional festivals use art as a vehicle to engage with a broader cross-section of the community; highlight the artistic talent of their region; introduce art to their region; and to distinguish theirs from others. Regional Arts Victoria and Arts Victoria recently piloted a mentoring program, Directions, for regional festivals that indicated an interest in developing their artistic direction. Three experienced artistic directors were selected to participate in the program as mentors, and each of these mentored two festival directors whose festivals are located in Regional Victoria. The aim of this paper is to highlight the potential of mentoring within the context of festival management by exploring the outcomes of Directions. A case study approach is used, and although this limits the generalisability of the results to other festivals, the information gained provides insights into managing festivals within the context of artistic direction. A number of themes emerged from the study that appear to have broadened the perspective of 'art' in those festivals participating in the program. Furthermore, the program has highlighted that while festivals and artistic directors in regional locations experience varying degrees of isolation, they have a great deal of creativity and skill. Directions provided organisers of the festivals with the confidence to make decisions that enable them to capitalise on their extant creativity and skills. Festivals are then able to be marketed against their competitors with unique selling positions, which is important for sustainability. The results obtained through the evaluation of this pilot program provide Regional Arts Victoria and Arts Victoria opportunities to effectively assess the need for such programs for festivals in regional Victoria in the future.

Space : the final frontier : festivals, community and place in Darwin Northern Territory, Australia

The ethnographies of two festive public events are used to analyse some aspects of community and place in Darwin, Northern Territory, Australia. Place entails layers of physical and imaginal geographies and involves local and extra-local factors. Discourses about place among those who lived in Darwin are interwoven with discourses about community. A framework of border spaces and intersections are used to look at tensions and accommodations in presenting sometimes conflicting versions/visions of Darwin.

Festivals and music : negotiating culture, identity and place

It is noted in the introduction to this book that ' Festivals are believed to recreate and emphasize relationships that are normally submerged; of being built in structures whilst following unstructured codes, of creating a separate world with its own rules, personnel and expectations; of encompassing contradictory ideas and practices while involving formal and informal institutions: So what is this 'separate world'? What relationships, normally unseen or unnoticed, are made apparent within the space of the festival? While the origins of festivals lie in the close relationship of the quotidian and ritual aspects of traditional communities, how do contemporary festivals relate to the diversity of multicultural societies? Conversely, how are they inflected by the forces of globalization, by the festivalization of culture that in recent years has become a widespread tactic for the promotion of cities and regions? While many traditional festivals still exist, increasing urbanization, improved communications and diversified migration have meant that many contemporary festivals are of recent origin, the products of what Giddens refers to as the post-traditional state of present societies (Giddens 1994). This description highlights the self-conscious nature of dealing with culture in a world of competing and overlapping world views. While cultural identity and authenticity are still used to infer the existence of qualities intrinsic to communities, ethnicities or nations, the fragmentation and interconnectedness of contemporary societies have long made assertions of essence untenable. Meanings have become dependent on performativity and context. Cultural identity, while traditionally applied to those sharing a particular geographic, linguistic, ethnic or religious background, has become extended to other senses of belonging, to communities based on sexuality, physicality or simply shared experience and taste. The notion that festivals might create separate worlds suggests that part of the reason for their recent proliferation in recent times is that they provide the ideal medium for both performance and participation in this diffuse and shifting environment.

Festivals as a tool to integrate cultural identities in the city of Belfast

During the past few decades Belfast has witnessed a growing interest in festivals celebrating local cultural and historical traditions. In order to understand the context of festival development in Belfast an understanding of the city's history is essential. Belfast has around half a million inhabitants of two ethnic backgrounds, Irish nationalist (predominately Catholic) and British Unionist (predominately Protestant) (Russell 2005). Ethnicity in Northern Ireland mainly refers to the Catholic and Protestant populations. The people of Northern Ireland are predominantly white, with only o.8s per cent of them having non-Irish backgrounds. This percentage increases slightly to 1.3 per cent in Belfast, with 29 per cent of these being of Chinese origins.

Festivals, artists and entrepreneurialism : the role of the Adelaide Fringe Festival

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.

Typography and the branding of culture: a methodological investigation into the way typography is used to brand cultural festivals in Australia

The observance of and participation in festivals and celebratory events is an increasingly significant aspect of the contemporary experience (Picard & Robinson, 2006). With the prestige that comes from holding culturally relevant and socially acceptable festivals that serve the discourses of “city branding” and the “creative industries” in a competitive global context; significant government, community and private funding is allocated to such events. Festivals have become a central figure of not only the political economy of tourism but also of urban regeneration and cultural tourism. Cultural festivals possess the hallmarks of destination branding or place branding and inadvertently share some of the attributes that influence visitors’ decisions to visit such destinations (Blain, Levy, & Ritchie, 2005; Cooper, 2005; Esu & Arrey, 2009; Jayswal, 2008). Branding is a vital part of this festival space and relies on typography to establish the symbolic values and representations of urban freedoms; rich histories, cultured places, playfulness and stimulation that seek to subvert our daily existence while performing the task of engaging local, national, and international visitors and participants. However, professional practices demonstrated in the design, media and arts industries have far outpaced the extent to which this phenomenon has been written about in the academic or public realm. What this paper intends is to interrogate appropriate semiotic approaches in an effort to analysing the discursive practices of typography as it performs in service to branding cultural festivals in Australia. The intention is to establish a methodology suited to the significant role typography performs within this context and to offer a contribution to design research that not only engages with the artefacts of design but with the conceptualization of designed meaning in 21st century visual culture.

Typography and the branding of culture: a systemic functional analysis of typography’s performance in branding cultural festivals in Australia

This paper offers a social semiotic analysis of logotypes used to brand cultural festivals in 21st century Australia. A contemporary method is explored that suits the significant role typography performs within this context and offers a contribution to design research and the festival scape that not only engages with the artefacts of design but with the conceptualization of designed meaning in visual culture. Branding is a vital part of the festival space and relies on typography to establish the symbolic values and representations of urban freedoms; rich histories, cultured places, playfulness and stimulation that seek to subvert our daily existence while performing the task of engaging local, national, and international visitors and participants. However, professional practices demonstrated in the design, media and arts industries have far outpaced the extent to which this phenomenon has been written about in the academic or public realm. This paper addresses this shortfall and offers the foundation for a systemic functional method in the decoding of typography in visual culture

From crystals to pixels: new technology in the documentary work of John Hughes

Film technology, in the broadest sense, embraces a vast array of knowledge, skills, tools, and systems. These include the codes and conventions of screen representation at the centre of much screen scholarship. The electro-mechanical tools of filmmaking are less often the focus of academic study than these codes and conventions, but they are central to them and to the daily work of artists and educators in the field of screen production. This paper traces the scope and significance of technical change, for independent film making, over the past four decades. Melbourne documentary filmmaker John Hughes provides a varied and expansive oeuvre through which to arrange an historical equipment list.

The 10th Greek Festival of Sydney : a stakeholder analysis

In response to the demand for the adoption of a corporate culture by not-for-profit festivals, festival organizations increasingly identify strategic planning process and stakeholder management as crucial components for successful events. The purpose of this article is to present a framework developed for categorizing ethnic festivals stakeholders from a functional role (i.e., marketing, administration, and production) and an ethnic origin (i.e., Greek, Greek-Australian, and non-Greek origin) orientated perspective. The proposed framework was developed and applied to the 20th Greek Festival of Sydney (GFS), which was held in 2002, by identifying, categorizing, and examining the role of its stakeholders in the management and delivery of the event. The identification of the type of stakeholders, the ways they influence the GFS organization, and the strategic implications that derived from their involvement are addressed. The methodology utilized to develop the stakeholder framework was qualitative in nature. It combined triangulated data that derived from a number of interviews with representatives from the GFS administration, participant observations, and content analysis of internal documents and reports. The GFS stakeholder analysis offered an understanding of the several marketing-, administration-, and production-related strategic implications to the organization and running of the festival, such as the impact on its content, participants, and future development. The proposed framework derives from the GFS case study, yet it has the potential to be used for the examination of stakeholders' strategic implications to other ethnic festivals.

Mentoring volunteer festival managers : evaluation of a pilot scheme in regional Australia

Festival managers in regional locations often have limited access to didactic experiences in their field. As such, developing strategies that enhance the skills of festival management in regional locations can be challenging. This paper, set within the context of the Australian regional arts festival sector, evaluates a pilot mentoring scheme developed by Regional Arts Victoria and Arts Victoria to assist volunteer festival managers to enhance the management, and focus the artistic direction, of their festivals. The results of the evaluation, based on six case studies, indicate that mentoring is highly suited to this scenario. Recommendations are made with regard to the future application of mentoring within this context, particularly in relation to communication and formalisation.