Festival and Events Management: An International Arts and Culture Perspective

Az év végi ünnepi asztal rendszerint akaratlanul is alkalmat ad az áttekintésre, olykor pedig hosszabb időszakok átgondolására is. A fesztiválok esetében úgy tűnik az elmúlt huszonöt év lezárt egy időszakot, rendszerváltozás dinamizáló, kapunyitó hatása révén létrejöttek azok a fesztiválok melyek meghatározzák a fesztiválszezont és piacot. Ennek megvan a maga társadalmi és gazdasági magyarázata. Milliók szórakozása-Hová tart a magyar fesztiválpiac? 2015. január első napjaiban arra kért a PORTFOLIO.HU pénzügyi és gazdasági portál hogy röviden összegezzem merre tart a magyar fesztivál piac. A cikk 2015. január 7-én jelent meg, alább a rövidített változata olvasható, a teljes cikk itt olvasható (regisztráció után). Társadalmi szempontok A cikkben szó van arról, hogy az elmúlt huszonöt évben alaposan átalakult a magyarországi fesztiválok világa, a konformitás alakításában játszott társadalmi szerepük alapján négy főbb csoportba sorolhatók ezek az események:  A hagyományos (ellenkultúra kialakulásakor már létező) műfajokat bemutató, régi konform fesztiválok(pl.-Tavaszi Fesztivál, Szegedi Szabadtéri Játékok). Ezek szervezői főleg önkormányzati vagy helyi-közművelődési-intézményi kötődésűek, ezért a szervezők

Events are becoming more complex as their range of functions grows, as meeting places, creative spaces, economic catalysts, social drivers, community builders, image makers, business forums and network nodes. Effective design can produce more successful business models that can help to sustain cultural and sporting activities even in difficult economic times. This process requires creative imagination, and a design methodology or in other words ‘imagineering’.

This book brings together a wide range of international experts in the fields of events, design and imagineering to examine the event design process. It explores the entire event experience from conception and production to consumption and co-creation. By doing so it offers insight into effective strategies for coping with the shift in value creation away from transactional economic value towards social and relational value which benefit a range of stakeholders from the community to policy makers. Mega-events, small community events, business events and festivals in eight different countries are examined providing an international view of social issues in event design.

A wide selection of current research perspectives is employed, integrating both theoretical and applied contributions. The multidisciplinary nature of the material means that it will appeal to a broad academic audience, such as art and design, cultural studies, tourism, events studies, sociology and hospitality.

▶ The book presents the role of festivals in relation to the urban spaces
▶ Provides the overview of the origins, history, and the main factors of
festival development
▶ Presents the case study of the city of Lodz, Poland
▶ Provides a model for studying the role of festivals in the
development of the city space
▶ Multidisciplinary work, intended for a wider audience
▶ Comprehensive and multifaceted publication, which covers both
theoretical and practical issues regarding festival studies
This is a multi-disciplinary scientific monograph referring to urban geography, urban
regions management, event studies, tourism geography, cultural anthropology and
sociology. It covers issues which are typically related to the most popular type of
events: festivals. This book studies the origins, history, and the main factors of festival
development, as well as the concept of a festival in the context of various scientific
disciplines. It presents the existing festival typologies as well as the author's own
comprehensive typology. The theoretical part concerns the basic research methods and
approaches used in the analysis of these events, as well as their impacts on the urban
space in the physical (festival facilities), social (a place where people may pursue their
interests, meet with family and friends) and cultural aspect. The economic aspect of
festivals (generating jobs and income from tourism, using festivals for city branding,
etc.) is also discussed. The book presents practical examples in sub-chapters, references
to literature (further reading) and the case study of the influence of festivals on urban
space management and urban development, using the example of Łódź – a Polish postsocialist
city. It may also be treated as a supplementary course book for students of urban
geography, urban regions management, tourism, event management and, to a certain
extent, anthropology of culture and sociology. 

THE IMPACT OF PROFESSIONALISM ON ORGANISATIONAL EFFECTIVENESS: A Case Study of Notting Hill Carnival, 1989 to 2002

This research concerns professionalism in management, an approach towards achieving organisational effectiveness and goals. It aims to demonstrate the importance and value of professionalism and how through the integration of effort, capability and expertise, new knowledge can be produced to make a success of a failing organisation.

The research addresses the practical side of professional management and is conducted within the context of a major urban festival, the Notting Hill Carnival, London, 1989 to 2002.

According to academic literature and industry reports, non-professionalism or mis-management is a serious issue plaguing both public sector and private sector management. It is argued that professionalism in management needs serious consideration because the societal costs and damage of managerial amateurism are huge and considerable.

This research has been undertaken to raise awareness about the importance of professionalism in management in revitalising failing organisations.

The research goals are to be achieved using a qualitative case study methodology and techniques to conduct an illustrative, in-depth study and analysis of the system that was designed and implemented for the introduction of professional management and the revitalisation of the Carnival.

Its main findings are that the key component of professionalism in management works if it is organised and directed properly; and that professional bodies have a leading role to play because of their approaches towards the development of professionalism. These are “specialised knowledge”, “specialised training” and their “codes of conduct and ethics”.

Given that the professionalisation of the management of the Notting Hill Carnival was successful, it is deemed necessary to study the nature and characteristics of the elements and level of that professionalisation. In particular, the definition of professionalism through the agency of the professional management bodies whose members were the key drivers of the successful revitalisation of the management of the Notting Hill Carnival.

Audience: management practitioners and educators

Key words:
management, amateurism professionalism, organisational effectiveness, stakeholder management.

An essay on a series of independent art festivals held in the 1990s in northern Thailand. A case is made for these and similar festivals as the crucibles of contemporaneity in Southeast Asia, and for them to be historicised in that regional context. The essay opens an edited volume (also called 'Artist-to-Artist') in Afterall's Exhibition Histories series.

In this study, we present Practices and Communication Strategies of European Photo Festivals. The aim is to understand the communication policy, which should be followed to achieve the objectives of a well-structured cultural event. Through the detailed presentation of the practice which followed from five photographic festivals in Europe for their communication, we try to realize the most proper communication practices should follow homologous events. The selection criteria for those festivals is that they are organized in cities with a population less than 120,000 with great success.

This case study is based on interviews with local policy makers and a major survey undertaken at la Mercè, the major annual fiesta (Festa in Catalan) in Barcelona, the Catalan capital. The paper describes La Mercè and identifies some of the major issues that arise in terms of the relationship
between tourism and cultural production and consumption.

The touristic importance of music festivals is increasing throughout Europe. More than a thousand festivals of international interest exist on the continent, and their creative concepts are also increasingly important. Only events with a program including unique elements of
international interest can stand out from the crowd. In addition to the creative concept, determinant factors include accommodation options,
accessibility, price level, and country/city image. The organizational background of these events is also important: programming, marketing,
sponsorships, technological/technical and fi nancial divisions all play an important role in the international character of a festival. What is more, internationalism also needs to appear in the corporate structure. The authors address this topic not only through an analysis of international literature, but also through a case study based on an indepth interview research performed with the management of the Sziget Festival. The aim of the study is to show music festival organisers and future festival organizers how to build and operate an international festival and enrich the relevant literature, creating a solid theoretical base.

Experiences are becoming increasingly important in events and festivals, which are prime manifestations of the experience economy. However, research on event experiences has generally been concerned with economic impacts and visitor motivations (Gursoy, Kim, & Uysal, 2004). Few studies have attempted to operationalize and quantitatively analyze experiences, and there is no consensual definition regarding the essence of experiences (Walls, Okumus, Wang, & Kwun, 2011). This article develops an Event Experience Scale (EES), for event experiences. In this exploratory study the item generation and selection for this scale are presented in three phases: specifying the domain of construct and generation of items, item selection, and scale purification. An 18-item scale, comprised of 4 dimensions: affective engagement, cognitive engagement, physical engagement and experiencing newness, with satisfactory values for Cronbach’s alphas (.83, .86, .86, and .87), emerged. Implications for theoretical and practical research are discussed.

Festivals are at the heart of British music and at the heart of the British music industry. They form an essential part of the worlds of rock, classical, folk and jazz, forming regularly occurring pivot points around which musicians, audiences, and festival organisers plan their lives. Funded by the Arts and Humanities Research Council, the purpose of this report is to chart and critically examine available writing about the impact of British music festivals, drawing on both academic and ‘grey’/cultural policy literature in the field. The review presents research findings under the headings of:

- economy and charity;
- politics and power;
- temporality and transformation;
- creativity: music and musicians;
- place-making and tourism;
- mediation and discourse;
- health and well-being; and
- environmental: local and global.

It concludes with observations on the impact of academic research on festivals as well as a set of recommendations for future research. To accompany the review, a 170-entry, 63,000-word annotated bibliography has been produced, which is freely accessible online via the project website.

In modern tourism, events play an important role. Events are a vital part of human
culture as well as one of the most critical aspects of tourism. This is a worldwide
phenomenon that is gaining in importance in the event industry.
The aim of this paper is to present the roles of events in contemporary tourism and
to use Baku 2015 I European Games (BEG 2015) to classify them, determine their
tourist importance, and determine their effects and consequences for the host
country.
Three different research methods were used for the research. Initially, a wide
range of literature was reviewed to determine the theoretical part of the study.
Then, online surveys and interviews were conducted to collect primary data. With
these research methods, all participants answered the questions. BEG 2015 was
examined in the context of international events, and its consequences and
importance for the host country, Azerbaijan, were determined. In addition, it was
found that planning, recruitment of qualified personnel, improvement of transport,
and study of tourists' impressions play an important role in the field of tourism.
Also, the experts interviewed are very pleased with the benefits of the events to
the tourism industry, although some improvements are needed. In general, for the
country, which has achieved many successes in the field of tourism in recent
years, the holding of events brings positive results in the tourism industry.
Keywords: event, tourism, BEG 2015, host country, improvements.

PhotoVisa. Catalogue of the 10th edition of the International Festival of Photography in Krasnodar, Russia. Russian and English. Several exhibitions and programs. Publication team: artistic director Irina Chmyreva, co-director Masha Goldman, editor Elena Firsova, designer Nadya Dorovskaya

The growth in arts festivals that has taken place since the 1990s has changed the structure of the cultural market place. Based on interviews and discussions with festival directors and arts producers, participant observation as a producer and audience member, primarily in the UK, together with examples from the literature, this paper explores the question of whether festival aesthetics and the particularities of festival production and exhibition are changing the nature of the work that is being produced in response to festivalisation. It identifies a number of dimensions of the festival experience, commissioning, spectacularisation, thematic programming, immersion and participation, that are increasingly prevalent in the performing and visual arts being produced for non-festival settings. This festivalisation of culture poses new challenges and offers different opportunities to artists, producers and audiences to make innovative kinds of work that wouldn't have been possible within the hitherto standard production models.

Festivaller, kentlerin ekonomik, turistik, kültürel ve sosyal yaşamında büyük bir öneme sahiptir. Son yıllarda İstanbul, Ankara, İzmir ve Eskişehir gibi kentlerde çağdaş sanatların çeşitli alanlarında düzenlenmeye başlanan uluslararası katılımlı festivaller sanata değişik yaklaşımları bir araya getirmesinin yanında, yerele uluslararası değerleri taşıyarak kentlerin kültürel dönüşümlerine önemli katkılar sağlamaktadır. Bu çalışmada Nevşehir‟in Mustafapaşa yöresinde beş yıldır düzenlenen Uluslararası Fabrikartgrup Çağdaş Sanatlar Festivali incelenecektir. Festivalin katılımcılarına ve yöre halkına etkilerini ortaya çıkarmak için festivalin organizatörleri, festivale katılan sanatçılar ve yöre halkından kişilerle görüşmelere yapılmış, festivalin olumlu ve olumsuz yönleri ortaya koyulmuştur.

Anahtar Sözcükler: Çağdaş Sanat, Festival, Fabrikartgrup, Fabrikartgrup Uluslararası Çağdaş Sanatlar Festivali, Kapadokya

Festivals have an important role on the economic, touristic, cultural and social life of cities. International participated festivals which are held in various spheres of contemporary art in big cities such as İstanbul, Ankara, İzmir, and Eskişehir gathers various approaches to art, beside this those festivals provide important additives on cultural transformations of cities by carrying international values to local people. In this study, The International Fabrikartgrup Contemporary Arts Festival, which was being held for five years in the Mustafapaşa region of Nevşehir, is examined. To expose the additives of the festival on participant artists and local people, interviews was made with artists and local people, and positive and negative sides of the festival is introduced.

Key Words: Contemporary Art, Festival, Fabrikartgrup, Fabrikartgrup International Contemporary Arts Festival, Cappadocia

Experiences are becoming increasingly important in events and festivals, which are prime manifestations of the experience economy. However, research on event experiences has generally been concerned with economic impacts and visitor motivations (Gursoy, Kim, & Uysal, 2004). Few studies have attempted to operationalize and quantitatively analyze experiences, and there is no consensual definition regarding the essence of experiences (Walls, Okumus, Wang, & Kwun, 2011). This article develops an Event Experience Scale (EES), for event experiences. In this exploratory study the item generation and selection for this scale are presented in three phases: specifying the domain of construct and generation of items, item selection, and scale purification. An 18-item scale, comprised of 4 dimensions: affective engagement, cognitive engagement, physical engagement and experiencing newness, with satisfactory values for Cronbach’s alphas (.83, .86, .86, and .87), emerged. Implications for theoretical and practical research are discussed.

This conceptual paper argues for a broader view of the role of events in social systems. When analysed as social phenomena, events can be seen as social actors that have the potential to both sustain and transform social systems. The maintenance of social systems is often reliant on iterative events, regularly occurring celebrations that tend to confirm social structures. In contrast, pulsar events have the potential to transform social structures. In this sense events can be seen as actors that have important influences on social systems, particularly in linking localised small world networks with the global space of flows. These ideas are explored through the case of Barcelona, which illustrates the interplay between these different types of events in their total portfolio, and how the extension of ritual in the sense of Collins (2004) can also contribute to the generation of new relationships and practices in the contemporary network society.  Barcelona is examined as an eventful city in which the alternation of continuity through iterative events and change through pulsar events contributes to increasing the network effects of events.

This thesis explores the interactions occurred during dance floor experience at after-parties involving the consumption of electronic music during DJ performances. This exploration is focused in the house music scene in the city of Oporto, Portugal, especially at the Lottus After-Hours, and it took place between the years 2016 and 2018. Resorting to ethnographic methods, such as participatory observation and interviews, this thesis discusses the dance floor experience as an act of mutual implication between different social, technological, and material aspects. Furthermore, the scope of this research explores the potential of design as the discipline capable to mediate between those aspects.
Through the thematic analysis of the data, this thesis disentangles relations and interactions among those aspects into seven themes: music, venue, audience, abilities, enthusiasm, stances, and journey. Subsequently, these themes are reassembled in four theoretical models: the material assemblage, the social assemblage, the performative assemblage, and the experiential assemblage. These four theoretical assemblages constitute our effort to explore the process of shared agency among social, material and technological aspects involved in the design of the dance floor experience. Finally, the four assemblages are operationalised, resulting in the proposal of a Dance Floor Model Canvas as an instrument for the analysis of the different factors involved in the design of dance floor experience. The aim of this model is to help other designers to understand, modify, and design similar club experiences and performances.
Keywords: After-Hours; Clubbing; Dance Floor; Design; DJ; Experience; Urban Ethnography.

Wot Do U Call It?
This is no longer a question. We call it grime.
With the leading names now regulars on the festival circuit and capable of packing Wembley or The O2, grime has verified its credentials. Live shows have also transformed ideas about the audience, often seen jostling and bumping into each other in response to the performance. Historically this activity would be described as aggressive and potentially violent. But today, it’s more likely to be described as moshing. The tide has definitely changed. Or has it?

For grime, 2017 could well be its most significant year to date. Between this award season and the last, the genre has attracted more red carpet appearances, awards and accolades than any other. Not to mention the embrace by sections of the political elite. We’ve also witnessed the usual attire of baseball caps and designer tracksuits become even more interchangeable with DJs and bow ties. And why not if you can have your brand enhanced by Emporio Armani in the case of Dizzee Rascal, or feature on the front cover of GQ magazine, as did Stormzy.

Sidy DIOP

890 Crestview Drive
Millbrae, CA 94030
rapandarproductions@gmail.com
Tel: 0016506446149

Education

Diplôme de fin d'études secondaires Lycée Charles de Gaulle, St. Louis, Sénégal
(High School diploma)

Monterey Peninsula College English as a Second Language
Monterey, CA - USA Completed Beginner – Adv. Intermediate (Level 4)
2009-2011

Brandon College Super-Intensive English course
San Francisco, CA Low-advanced Certificate of Completion

College of San Mateo Associate Degree in Business Administration
San Mateo, CA (in-process)



U.S. Employment

July 2014 - Sept 2014 Vehicle Transporter at Fleetlogix
Drove vehicles to and from various locations throughout the SF
Bay Area, tracking mileage, location and time of transports

Aug 2013 – Sept 2013 Temporary Retail Associate at Notre Dame de Namur University
Bookstore - cashier, restocking, inventory, customer service

Nov 2012 – Dec 2012 Seasonal Driver Assistant at United Parcel Service (UPS)
Responsible for on-time, accurate deliveries

June 2010 – June 2011 Retail Sales Associate at IZOD Outlet in Pacific Grove, CA
Customer service, re-stocking, inventory, cashier

Nov 2008 – Jan 2009 Warehouse Associate at Empire Merchants, Brooklyn, NY
Inventory management, order picking, truck loading and delivery


International Projects and Employment

Sept 2012 Founder and CEO of Rapandar Productions, LLC
Music event productions, international musician exchange with
African and European countries

Feb 1996 President of L'Association 10,000 Problèmes
Successfully produced international music and cultural event for 8 consecutive year leading to increased social awareness and greatly impacting the economic and social stability of the St. Louis, Senegal region.

Jan 2008 Official liaison to the United States for St. Louis International
Jazz Festival in Senegal. www.saintlouisjazz.com

November 2006 Program Director - HIP HOP MOVEMENT in Louga, Senegal
Managed cultural events in collaboration with the Cultural Department of the US Embassy in Dakar.

Languages
English Advanced
French Native
Wolof Native
Bambara Intermediate


Computer Skills
MS Word, Excel and Powerpoint
MAC OS X
Audio engineer software – recording, editing, mastering
Internet - email, web-based research


Hobbies
Team Ecuador – San Francisco Adult Soccer League
Composing music & cooking

At this juncture, it is still too soon to determine the longer-term implications for
the Irish arts festival ecology of the public health restrictions introduced to
mitigate the spread of Covid-19 during 2020 and 2021. However, research
and analysis of the sector over this time has revealed that operational
changes, introduced to enable festivals to function while social distancing
measures were in place, are becoming imbedded into organisations’
operating systems and post-pandemic strategic planning. In particular, this
study indicates that festival organisations envisage maintaining a significantly
increased level of dependence on digital technologies in both the creation
and delivery of festival programmes. There is also evidence of a growing
commitment to sustaining a commitment to longer-form creative
collaborations outside the public facing festival period. The paper concludes
by exploring some implications these sectoral transformations present Irish
arts policy, and argues for the need for ongoing research. In particular, it
highlights the importance of developing a greater understanding of the
public’s engagement with online festival programming

L’Association 10000 problèmes
Afrique  Siège Sociale Sor Leona
Angle Cassama près de l’école Saer Seye
Saint-Louis  Sénégal.
Phone: +1-650-644-6149  /  00221775968281
Email: sidydiop@rapandarproductions.com
rapandarproductions@gmail.com
www.rapandar.com or www.10000problemes.com 
www.rapandarproductions.com

This paper reviewed the event and festival tourism held in Cirebon the last few years very heavily promoted. Cirebon as the gate of secret and as a metropolitan city has many tourist attractions and facilities adequate infrastructure as one of the tourist traffic in Indonesia. With the review of documents and trend analysis, the shariah marketing mix approach in the promotion of events and festivals in Cirebon, both in the field of religious and traditions, art and culture, culinary, natural beauty, and the local economy offers a new concept in marketing tourism products which emphasize aspects locality and uniqueness noticed preservation, and also principles of shariah ensure their halal products and values of business ethics in marketing.

Keywords: event, festival, halal tourism, shariah marketing mix
JEL Classification: L83, M31, O18, Z32, Z33

The purpose of this paper is to highlight the Art of gastronomic tourism in Italy. The uniqueness and quality both locally and nationally in combination with its cultural heritage and natural beauty, are a pole of attraction for visitors from all over the world. It is considered as a successful gastronomic tourism destinations as it has "invested" in this genre through the gastronomic and oenological festivals as well as the wine routes that take place in different cities of Italy. One of the first Ice Cream Museum in the world is evidence as a case study for our research.

As a group the women came together to celebrate their relationship to the spiritual energy that animates all life, even though they expressed this in diverse ways. The festival was a place which bought together disparate groups that had a common resistance to global processes of destroying the local and relationships to place and community. The women and their partners, friends and family by participating in the festival renegotiated what community meant for them and in the process they renegotiated global process of neoliberalisation and standardisation.

Festivals are a rapidly developing phenomenon, which is why they are frequently studied in different sciences. They play a major role in the development
of tourism; therefore it is important to conduct a comprehensive study of festivals within the framework of tourism geography. Travel to visit a festival may be treated as a separate type of tourism called festival
tourism. It has a substantial influence on the tourist space. If the impacts are positive, they are referred to as functions. There are also negative impacts described as the dysfunctions of festival tourism. The aim of this article is to compensate for the shortage of geographical works concerning
festival tourism. The author’s intention is to present festivals as
an object of study in tourism geography, to provide the definition of festival tourism, as well as to establish its main impacts on the tourist space (tourism functions and dysfunctions).

At the turn of the 21st century, Brazil gained ground within the international scene due to its new outward facing stance. Cultural plurality became the flagship of Brazilian foreign policy, designed to achieve positions of prestige internationally. By taking the theoretical concepts of cultural diplomacy, this case study analyses the strategies deployed in international events for cultural diffusion promoted by Lula da Silva’s (2003-2011) & Dilma Rousseff’s (2011-2016) administrations, especially the Year of Brazil in France, 2005. The policy processes within the Ministry of Foreign Affairs, Ministry of Education and the Ministry of Culture supported the emergence of a particular decision regarding the development of Brazilian cultural internationalisation. Therefore, the active role of Brazil in the field of cultural diplomacy could be considered as a benchmark for governments, practitioners and policymakers from 2003 to 2016.

Arts festivals have been on the ascendant since the 1980s. However, while these are proliferating, it remains unclear as to whether they are also flourishing. The present narrow construction of festivals for marketing and economic purposes tends to disregard the festivals’ social and cultural potential, i.e. in terms of functioning as urban laboratories where new and alternative urban and cultural strategies can be tested and developed. In order to address these imbalanced conceptualizations of arts festivals within urban policy frameworks, the article is based on a comparative case study of festivals that try to function as urban laboratories.
By examining how these festivals are integrated in or marginalized by
the urban regime, and how this influences their operational conditions, the
research elucidates the need to create new and more holistic policy frameworks to chart an equitable path for the future development of arts festivals.

The article explores the problems of art market through the prism of philosophical and cultural aspets of the phenomenon of the event. Vising art fairs and biennials has become an important part of cultural life of contemporary people, so a cultural study of these events makes it possible to identify them as a factor in the development of contemporary art and a tool to expand the understanding of current art trends in the 21st century. The author investigates the phenomenon of the
event in the context of the art market as a value-semantic factor of the development of contemporary culture. Developing the proposition on the meaningful aspect of the art market event, the event is considered as a unit of cultural experience and the factor of cultural development.
The art has long been instrumental in providing the meaning and the value to group gatherings, so a cultural study of the event as a value and semantic factor in the development of the art market will help us to understand visitors’ values and definitions. The conceptualization of the event becomes possible thanks to cultural anthropology, which is the source of knowledge about the culture, including holidays, customs and rituals. The analysis of the biennials and the art fairs as the
events will help to understand the essence of the art market, its gravitas for the development of modern society.
Keywords: art market, event, cultural experience, cultural development, art fair, biennale, art exhibition.

СОБЫТИЕ КАК ЦЕННОСТНО-СМЫСЛОВОЙ ФАКТОР РАЗВИТИЯ АРТ-РЫНКА
Событие как ценностно-смысловой фактор развития арт-рынка
Аннотация. В статье исследовано проблематику арт-рынка сквозь призму культурологического понимания феномена события. Посещение художественных ярмарок и биеннале превратилось в важную составляющую культурной жизни современного человека, поэтому такой ракурс исследования событий дает возможность определить их как фактор развития современного искусства и инструмент для расширения понимания актуальных направлений искусства ХХI века. Событийный характер арт-рынка способствует обобщению и осмыслению тенденций и смыслов современного искусства. Кроме того, события способствуют интеграции людей со схожими интересами и свободному обмену идеями. Автор исследует феномен события в контексте арт-рынка как ценностно-смысловой фактор развития современной культуры. Обосновывая и развивая тезис о смыслотворческом аспекте события арт-рынка, само событие исследуется как единица культурного опыта и фактор культурного развития. Искусство с давних времен способствовало предоставлению содержания и значения коллективных собраний людей, поэтому культурологическое исследование события поможет понять ценности и смыслы, которые возникают у посетителей.
Концептуализация событий возможна благодаря культурной антропологии, которая является источником знаний о
культуре, в частности о праздниках, обрядах и ритуалах. Изучение биеннале и художественных ярмарок как событий поможет понять сущность арт-рынка, его многозначность для развития современного общества.
Ключевые слова: арт-рынок, событие, культурный опыт, культурное развитие, художественная ярмарка, биеннале, выставка искусства.

A study of the development of the Festival of Stara Planina “Balkan Folk” and its impact on the processes of preserving the Living Cultural Heritage in Bulgaria and the world.

Keywords: Stara Planina Fest "Balkan Folk", festivals, intangible cultural heritage

Much of the research into the evolution of Irish cultural policy has concentrated on the decade of change that took place during the 1960s.  Tom Garvin, Brian Girvin, Timothy McCarthy and others have argued that the economic challenges of the 1950s served as the catalyst of change that took place in the 1960s.  However, Enda Delaney, Terence Brown, Tom Garvin, Brian Fallon and Joe Lee argue for a fuller exploration of the cultural influence on the paradigm shift present that took place in post-war Ireland. 

The Arts Council of Ireland has been a critical player in the development of culture since 1952. As a consequence of An Tostal, towns and villages throughout the country established numerous festivals of Irish culture and amateur drama that were supported by the Arts Council.  Despite a perception that Irish culture was in decline a plethora of literary output, coupled with evidence from the Arts Council archive, demonstrates that communities looked to culture as a means of creatively addressing that which “could not be spoken of in official Ireland.”    Clair Wills has argued that these communities engaged in political criticism through the plays performed on the amateur drama circuit of the time. 

This paper will argue that the post-war paradigm change was part of a continuum of modernisation that stretches further back in the development of Irish society. It will also argue that, as Wills claims, communities challenged government policy through the embrace of critical performance at amateur drama festivals throughout the country.