Festival

This paper explores arts festivals in terms of their relationship to local economic development within the rural island region of Orkney in Scotland. Fourteen qualitative, semi-structured interviews were conducted with arts festival organisers, tourism representatives and local volunteers during the summer festival season. The findings offer new insights into the factors affecting how arts festivals impact the local economy; the areas of the local economy that are affected by arts festivals; and the implications of funding from awarding bodies on the endogenous development of arts festivals. For instance, it is concluded that supporting the cultural values of locals is vital to the economic success of rural arts festivals through a strategic design in the combined integration of minimised paid staff and maximised volunteers. Furthermore, it is revealed how in certain cases the initial retention of funding may benefit start-up arts festivals in terms of strategic development of their...

Though Gurus have been an integral part of ancient Hinduism, the celebration of a specific purnima in their honour in the month of Ashadha is a contribution of Buddhism and Jainism. Gurus and their ashramas or pathshalas have served as boarding schools or even for day-time education of students for the entire period of their childhood and early youth that covered the Brahmacharyya phase of their life, but there is no unanimity  on the exact date of entry. Those Gurus who taught specific skills, like Dronacharya did to the young Kauravas and Pandavas, did not mention any specific entry date for their academic year or semesters, while other adult- life spiritual Gurus were and are rather open ended on their admission policies. Buddhists, however, were quite clear  that Guru Punima marked the beginning of the season of Varsha or Vassa as it is called in  Pali, when both young and old monks had to leave human habitations and huddle together in distant caves and monasteries. Some courses were  open to other devotees who were interested in pursuing courses in theology, scholastic disciplines or even in pure meditative discipline for the benefits of naturopathPopularly known as the 'Rains Retreat', this full moon was the definitive day for the monsoons to have reached all parts of India, even though the coastal areas receive their rains earlier than others. It was the day for the flock of teachers and students to get together and begin the mandatory thirty-six week Trimester courses. Contemporary Jainism also began their Chaturmaas or four month period of piety and both religions continue to do so even today rather strictly. They believe that it was on this very purnima that Tirthankara Mahavira ordained his first disciple, Gautama Swami of Gandhara as his first disciple and this reminds us of the strong Buddhist tradition that a month after receiving his 'enlightenment', the Buddha delivered his first sermon to his five former companions, which is called the Dhamma-Cakkappavattana Sutta on the full moon day of Ashadah at Sarnath and that he spent the first four-month Vassa at Mula- gandha-kuti. It was the period for all followers of Buddhism and Jainism to give up meat, fish and certain other food items.....

Following the conclusion of the Mexican-American War and continuing through the first half of the twentieth century, the ethnically Mexican population in Texas suffered discrimination and ethno-racial segregation from the dominant, Anglo-Texan community. This systemic structure induced the Texas-Mexican community to create separate, Spanish-speaking social spaces. Tejano and conjunto musics were created in response to these inequitable policies. Separate performance outlets, with distinct priorities and procedures, maintained a musical community outside of mainstream recording practices. This Texas-Mexican musical community– separate and distinctive from the hegemonic industry– has been maintained in contemporary practices, as demonstrated by the absence of Texas-Mexican artists at the annual South by Southwest Festival (SXSW) in Austin, Texas. From its beginnings in 1987, SXSW has drawn a diverse assortment of record labels, booking agents, promoters, managers, artists, and audiences. Although the festival started with a regional focus, billed as a means to bring together Texas music and the rest of the world, Tejanx participation is sparse, indicating a continuing separation between these two communities. Yet, SXSW has strategically attracted international artists and historically Black American genres. This paper uses numeric and ethnographic evidence to examine this selective absence of Tejano musics at SXSW.

Ce volume invite à réfléchir autant sur les anthologies de littérature mondiale que sur la place de la littérature africaine de langue française dans celles-ci. Par anthologie de littérature mondiale, nous entendons toutes sortes d’anthologie ayant la prétention de regrouper l’ensemble des textes issus du monde ou de la planète. On pourra par exemple être attentif à la mention des étiquettes (monde, autour du monde, monde entier, planète, planétaire, international, mondial, Tout-Monde, littérature-monde, etc.) dans les titres.

In the article, the author analyzes a specific type of mega-event, the festival. The purpose of the study is to compare two disparate types of opinion on the social, economic and cultural meaning and function of festivals. These opinions are expressed, on one side, by supporters of festivals, who attribute to them many culture-forming elements, and, on the other side, by criticisms based on allegations that most contemporary festivals are characterized by commercialization and schematism. The opinions of researchers, writers, journalists and festival participants cited in the text allow us to ask whether and to what extent the “festivalization” of culture has now become a megatrend.

1/2017 (192)

Chapter 3 presents empirically informed analyses of a number of new public
space projects initiated first as counter-projects and counter-spaces
by a variety of community and historic preservation society interests.
It demonstrates further that, Vancouver City Council (VCC) proved
receptive to the counter-projects and provided an overarching strategic
spatial framework within which the projects on the ground were
devised and implemented. This chapter also introduces the importance
of the social animation of public space, whether through politicised
collective action or ludic enjoyment. Changing representations of space
through time are shown to have implications for spatial practice on the ground, based on differences in the way social behaviour in public
space is understood and interpreted.

Festiwal Pieśni i Piosenki Religijnej Sacrosong (1969–1999) powstał w czasie, gdy stopniowo wchodziły w życie postanowienia Soboru Watykańskiego II, a wśród nich to dotyczące otwierania Kościoła katolickiego na nowe formy ewangelizacji. Równocześnie olbrzymią popularność w świecie zyskiwała muzyka rockandrollowa. Znalazła ona entuzjastów także wśród muzyków chrześcijańskich, którym rockowe brzmienia posłużyły do przekazywania treści religijnych. Lata 60. XX wieku to również czas, w którym znacząco wzrosło zainteresowanie gatunkiem piosenki, której w twórczości religijnej dały wyraz m.in. utwory francuskiego jezuity Aimé Duvala.
Pomimo trudnej sytuacji społeczno-politycznej PRL, zarówno moda na muzykę młodzieżową jak i na piosenkarstwo religijne bardzo szybko dotarły do grona zainteresowanych. Pierwszą sceną dla repertuaru religijnego w Polsce był festiwal Sacrosong, który w założeniach miał nie tylko sprzyjać powstawaniu i promocji nowych utworów w języku polskim, lecz również angażować w działalność religijną środowisko artystów i młodzież i w ten sposób przeciwdziałać ateizacji społeczeństwa.
W ciągu trzydziestu lat podczas ogólnopolskich Sacrosongów można było usłyszeć zarówno piosenki konkursowe, jak i pieśni, kantaty czy oratoria powstałe na zamówienie organizatorów. Wydarzeniom muzycznym towarzyszyły spektakle teatralne, wystawy, wieczory poezji, konferencje i dyskusje. W jury konkursu zasiadały takie osobistości, jak Wojciech Kilar czy Stefan Kisielewski, muzykę na zamówienie pisali m.in. Jerzy Bauer, Marian Sawa, a teksty – Roman Brandstaetter, Ernest Bryll czy ks. Jan Twardowski.
Artykuł porusza zagadnienia dotyczące historii Sacrosongów, repertuaru oraz społecznej i kulturotwórczej roli tego wydarzenia. Całości dopełniają refleksje związane z samym gatunkiem „głównej bohaterki” festiwalu – piosenki religijnej.

The ‘Sacrosong’ Festival of Religious Songs and Hymns (1969–1999) was established at a time when the resolutions of the Second Ecumenical Council of the Vatican were gradually being implemented, including the decision to open the Catholic Church up to new forms of evangelisation. With rock music gaining huge popularity worldwide, it also found enthusiasts among Christian usicians, who employed rock to convey a religious message. The 1960s also saw increased interest in the song genre, represented in the field of sacred music by the French Jesuit Aimé Duval, among others. Despite the difficult social and political situation in communist Poland, the fashion for teenage music and religious songs soon reached that country’s youth. The Sacrosong festival
was Poland’s first platform for the presentation of religious repertoire. It was created not only to support the composition and promotion of new works sung in Polish, but also to involve artists and youngsters in religious life and thereby counteract the atheisation of Polish society. Over the thirty years of Sacrosong’s history as a nationwide festival, its repertoire included songs submitted for the festival’s competition, as well as songs, cantatas and oratorios commissioned by the organisers. Musical events were accompanied by theatre shows, exhibitions, poetry evenings, conferences and debates. The competition jury featured celebrities like Wojciech Kilar and Stefan Kisielewski, while the commissioned works were written by such artists as Jerzy Bauer and Marian Sawa (music), Roman Brandstaetter, Ernest Bryll and Revd Jan Twardowski (lyrics). This article discusses Sacrosong’s history and repertoire, as well as its social and cultural role. It also includes reflection on the genre of religious song as the ‘chief protagonist’ of the festival.

Dashain is also called Dassehra, Bada Dasain, or Vijayadashami, and is a large Hindu festival celebrated each year. It is celebrated at the beginning of the harvest season when crops have been grown and harvested, and it is an auspicious occasion in which family members and friends to celebrate the beginning of new life with the blessings of Lord Rama and Goddess Durga Mata.

PANAFEST est un webdocumentaire à propos de duatre festivals panafricains majeurs des années 1960 et 70 : le premier Festival mondial des arts nègres (Dakar 1966), le premier Festival culturel panafricain (Alger 1969), Zaïre74 (Kinshasa1974) et Festac77 (Lagos 1977). A travers cinquante-quatre entretiens menés sur trois continents (Afrique, Amérique du Nord, Europe) par une équipe transdisciplinaire de chercheur.e.s, via des cartographies interactives, des documents d’archives, des textes, il propose une version ouverte, autre de ces quatre événements fondamentaux. 

Pressures of globalisation such as the focus on the growth of productive economies, consumerism, and long work-hours have fragmented cultural beliefs and practices worldwide. Devaluation of deeply held soulful, creative, and nature-based practices in the dominant neoliberal capitalist discourse has challenged the way cultural and spiritual wellbeing are lived. Instead of being completely subsumed into the neoliberal global discourse, local responses incorporating global themes are emerging in the form of the “neo-tribal” festival experience. Although festivals have primarily been seen as places of consumption, this misunderstands the drive to participate in a festival experience. This article investigates a women’s arts and ecology festival held in The Blue Mountains, Australia, where members of the local community celebrate the return of spring. Findings suggest that this festival was a site for reclaiming a localized sense of connectedness, where participants reclaimed what was sacred to them. I will argue that consumerism is secondary to the desire for a sacred synergy of connectedness at this festival where critical creative action challenges the neoliberal and patriarchal discourses in the negotiation of global culture.

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  eld. The review presents research  ndings 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 •environment: 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.

From its origins in the hippy sunset of  1970, Glastonbury Festival has become one of the leading events in Britain’s countercultural calendar. For three decades it has attracted thousands of seekers, idealists, hedonists, pacifists, hippies, punks, ravers--as well as mums, dads, grandads, kids and babies--to a dairy farm in the West Country, to listen to good and bad music, celebrate life, jump the fence, climb the Tor.

Using interviews, the underground media and music press, flyers and posters, this book tells the detailed story of the festival for the first time. The acclaimed cultural historian of the alternative society George McKay traces the history and tradition of festival culture--including the early twentieth century Glastonbury Festival organised by bohemian composer Rutland Boughton. He looks at the ‘holy town’ of Glastonbury itself, the Avalonian legend of King Arthur, the Tor and Chalice Well. He tells of the hippy drop-outs of the 1960s, and of the New Travellers who still stop off at the festival each June. He writes about the bands that have played over the years, from Marc Bolan and David Bowie to Britpop and the Dance Tent. He explores the Somerset countryside, and the political campaigns of the festival, from CND to Greenpeace and Oxfam. In conclusion, McKay asks how Glastonbury Festival, in the face of massive expansion and commercialisation in the 1980s and 1990s, has kept an alternative ethos alive.

This book, aimed at a general readership, contains many colour and black and white images, as well as a detailed timeline of festival culture 1955-2000.

Indian Sweet Dishes (Mithais) are legendary for its uniqueness, variety, and irresistible taste. You might have tasted many puddings, muffins, desserts, or sweet dishes but once you have tasted any of the Indian Sweets (Mithai), you surely would not want to go back to any other confection what so ever.


Since India unifies many cultures, traditions, and cuisines thus, the cooking style and ingredients vary from one sweet to another.
The varieties of Indian Sweets Recipes are vast and there is a sweet dish for every occasion, may it be Festivals, Marriages, Birthdays, Functions, etc., you may get Indian mithai such as Badam-ka-Kheer, Gajar-ka-Halwa, Gujia, Gulab Jamun, etc. in different shapes, colors, sizes, and flavors, having their own importance and relevance.

In every celebration, it is essential to make sweets as a part of the meal. It is a very old saying that any Indian meal is incomplete without proper mithai or Indian Sweets, they signify Happiness, Prosperity, Love, and Affection.

An ostentatious cavalcade pulses through the sprawling gate on the verge
of the desert, sending dust clouds into orbit. Riding in this motley caravan,
virgins and veterans alike arrive in Black Rock City (BRC), the colossal
fire-arts gathering that for Labor Day week every August congresses in
Nevada’s Black Rock Desert, and more specifically, on the flat open
expanses of its a 400 square-mile playa. Burning Man has been installed in
this remote wilderness every year since 1990, migrating from San
Francisco’s Baker Beach, where a wooden effigy called “The Man” had
been razed each summer solstice since 1986. On “the playa,” this statue
stands at the center of a fire pageant—the “Fire Conclave” on “Burn
Night”—around which a city, a cultural movement, and an international
community has evolved. Participating in over 1000 theme camps, volunteering for shifts in dozens of departments, and afterwards returning to the “default” world, “Burners” negotiate a complex ethos known as the “Ten Principles.”1 While the means by which participants are “acculturated”
to this ethos are manifold, the primary vehicles of transmission are
collaborative art projects, many conspiring around the annual art theme.
As BRC has evolved a community ethos, a distinct form of artistic citizenship has been forged to address challenges associated with dis/assembling a city in unforgiving physical, political, and social environments. As it has met these challenges, Burning Man has germinated a culture reflexively proficient in addressing the concerns that jeopardize its reproduction.

As  the  world’s  oldest  living  religion,  Hinduism  has  some  ancient
features that have not been modified or edited to suit more refined modern tastes, that generally avoid raising many stark issues of life. In fact, until some young ladies began discussing their biological cycles before males  in colleges, universities and in public fora very recently, much to the horror of their  mothers  and  grandmothers.  The  subject  of  monthly  cycles  had deliberately been kept out of any conversation, except in whispers. India could  thus  be  commended,  for  observing  for  several  centuries, certain festivals that other religions ignored.
One of them symbolises the menstruation of mother goddess: Ambubachi. This worship of the earth, of course, was to ensure  bountiful crops and vegetation and the concepts of Shri Devi, Maha Lakshmi, and Durga as Shakambhari are all very old and just a few among the  countless forms of such worship. Ancient Hinduism was clear that it was inevitable to go through this dynamic cycle of barrenness and fertility, and that it calls for public celebration not condemnation.

Una veloce panoramica teorica e pratica sul marketing degli eventi culturali e sulla concezione esperienziale degli eventi, corredata da alcuni esempi di festival italiani.

Estratto dalla Tesi di Laurea Magistrale in Cinema in Marketing culturale e dello spettacolo.

Woodstock is only the tip of the iceberg. Popular music festivals are one of the strikingly successful and enduring features of seasonal popular cultural consumption for young people and older generations of enthusiasts. In fact, a dramatic rise in the number of music festivals in the UK and around the world has been evident as festivals become a pivotal economic driver in the popular music industry, and in the seasonal cultural economy.

Today's festivals range from the massive-such as Rosskilde or Glastonbury Festival, Notting Hill Carnival or (until recently) Love Parade-to local, small-scale or the recently-innovated 'boutique' events. The festival has cemented its place in the pop and rock, and in the seasonal cultural economy. It is a key feature of the contemporary music industry's commercial model, and one of major interest to young people as festival-goers themselves and as students.


This collection, with an in-depth introduction on the history of festivals, brings scholarship in musicology, sociology, cultural studies, media studies, music business, etc. together in one volume.

Estratto dalla Tesi di Laurea Magistrale in Cinema: "Festival cinematografici e territorio. Identità, comunicazione e posizionamento di progetti culturali complessi", depositata presso l’Università degli Studi di Torino nel mese di Giugno 2015 (Scuola di Scienze Umanistiche - Dipartimento di Studi Umanistici).

Festivals, occurring to commemorate historical events and continuing to serve as a reminder and a guide in the contemporary times, can be seen as an avenue where public memory and recall is valued (Belghazi, 2006 in Agonos, et.al., 2014). The Philippines, composed of 81 provinces, is filled with different festivities that may or may not occur simultaneously. These festivals speak about the history and culture of the place where it is being held. However, along with the rise in tourism, the festivals are becoming the selling point of a certain city, municipality, or province instead of the natural destinations of the place. In other cases, these festivals also seem to give identity to the place where it occurs. This paper is primarily based on Teruya Adachi’s The Morion as a Stranger but is contextualized to the modern setting. To gain perspective as to how a festival can give identity to a locality, the researcher observed the Moriones Festival that transpires in Marinduque during the Holy Week. The researcher also interviewed a few Marinduque inhabitants who participate in the aforementioned festivity. Guided by the Community of Practice Theory by Wenger and the Ritual View of Communication by Carey, the researcher looked into how the Moriones Festival creates an identity for the locals of Marinduque and the province itself. As the years progressed, the practice of Morion has changed in terms of the costumes, public spaces, portrayals, and eventually, its meanings and motivations.

Throughout history, the Druids have always been seen as sorcerers who had a strong bond with nature. Ancestral knowledge holders within Celtic society, directed all religious activity as the highest authority linked to the gods, practiced human sacrifices and festivals organized as Imbolc, Beltaine, Lugnasad or Samain, etc.. all aspects of which are discussed in this article.

Cultural festivals can attract cultural tourists, extend the tourist season and add vibrancy to the cultural scene. However, there is relatively little research on how festivals affect tourist experience of the destination or outcomes such as satisfaction or repeat visitation. This study used the Event Experience Scale to measure tourist experiences at three cultural festivals in Hong Kongthe Lantern Festival, Dragon Boat Festival and the Cheung Chau Bun Festival. The findings show that tourist experiences of these festivals are distinct, and they positively affect destination image and behavioural outcomes. Relative to permanent attractions and tours, festival experiences elicit stronger affective, conative and novelty responses. Festivals also convey a stronger impression of Hong Kong as a destination exhibiting Chinese and traditional culture, but less as a global city. The festival experience is associated with positive outcomes, namely greater satisfaction, intention to recommend and intention to return.

This essay takes the motif of ruin as an entry point for a foray into the subject of the commons. It engages Garrett Hardin’s nearly unknown discussions of literature and poetry to shed critical light on his famous idea of “The Tragedy of the Commons,” and on the general relation of the commons to questions of language and measure. To summon resources for thinking against enclosure, the essay follows an itinerary that constellates historian J. M. Neeson, the philosopher Gilles Deleuze, the poet and theorist Fred Moten, and the Romantic poetry of William Wordsworth.

This work establishes connection between various festivals of the world to the the ancient tradition festivals that began and ended with the harvest season considered a significant events for humans since the dawn of civilization of fertile crescent of the world.

The thesis begins with the first chapter, which is dedicated to general geographical,
economic and historical information, that helps acclimate the reader and get to know
better the country.
Then the second chapter clearly focuses on the tourist sector through a brief historical
overview of the tourism product and the presentation of the administrative and auditing
bodies. The tourism policy and the strategy followed are the main parts that need to be
presented in order to understand the ways of promoting the country. This chapter
concludes with the presentation of some statistical data and the S.W.O.T. analysis, which
is a useful tool in the research being carried out.
The third chapter is devoted to the main forms of tourism developed in the country, but
also to the way they could be combined with alternative forms or activities over time.
The last chapter is dedicated to the UNESCO monuments and the way the visits can be
combined with some forms of alternative and sustainable tourism or activities.

Suburbs have long been associated with assumptions and imposed meanings that do not fit the everyday reality of city life. Very little research has looked at the ways in which suburbs are experienced, represented and imagined as ‘real’ places. This represents the core focus of this thesis. I am concerned with the extent to which the cultural consumption of the city has come to shape suburban residents’ relationship with the city. This question is addressed through the lens of suburban festivals. My aim is to reassess the role of suburban communities in shaping the cultural life of the city. In this light, this research seeks to (1) to assess the role of the suburbs as more central in defining the practice of everyday life than might be assumed, (2) show why culture matters for places where people live and co-exist day to day; and (3) to bring suburbs, in all of their cultural complexity, to the fore in discussions around improved connections to place and more so-called ‘sustainable’ urban futures and ways of life. The research draws on fieldwork carried out in suburban communities in Manchester, focusing on three suburban festivals as case studies. It is based on data collected through cultural mapping workshops and semi-structured interviews with festival organisers, festival participants and policymakers. The findings suggest that suburbia is a multi-dimensional concept. As such, the spatial experience of suburban place and the micro-geographies of the ‘intimate’ play a constitutive role in forming and shaping place identity. Accordingly, the thesis provides a more nuanced approach to the process of place-making in the suburbs. In doing so, it challenges the orthodoxy of a culturally inert suburbia on the fringes of the city, arguing that the suburbs provide a powerful conduit through which the contemporary urban condition can be better understood.

Magical Ceremonies during the Ritual Year of the Greek Farmer.  In Minniyakhmetova, Tatiana and Kamila Velkoborská (eds.): The Ritual Year 10: Magic in Rituals and Rituals in Magic. The Yearbook of the SIEF (Société Internationale d’Ethnologie et de Folklore) Working Group on The Ritual Year. Innsbruck/Tartu: ELM Scholarly Press 2015: 41-60.

Abstract:
In the wake of the British scholar, James G. Frazer’s claim that Greek religion reflects peasants’ concepts connected with fertility magic, the very term has been criticized by most humanists during the entire twentieth century, while it has been present in scholarly literature written by anthropologists. Through a comparison between modern and ancient Greek festivals and rituals taking place across the ritual year, the article illustrates the importance of fertility magic to ensure the food both for the modern and ancient farmers, since sympathetic magic is a persistent characteristic of ancient as well as contemporary festivals. While performing various fertility rituals, the farmer assists nature to pass the worst of the winter. The point is that the magic works, and an important magical means of communication is indeed the festival and all the factors that it consists of.

O presente artigo propõe um panorama do contexto festivo e cultual em honra a Dioniso na Ática (região em torno a Atenas), durante a realização das Dionísias urbanas (também chamadas de Grandes Dionísias ou simplesmente de Dionísias). Sua proposta é analisar as principais fontes antigas para o estudo desse contexto e avaliar suas possíveis relações com o desenvolvimento posterior dos gêneros dramáticos antigos no final do período arcaico. A partir desse trabalho direto com os principais testemunhos e fragmentos disponíveis a quem queira elucidar os detalhes desse festival importante para a história da Atenas clássica, são propostas algumas reflexões sobre seu fundo mitopoético dionisíaco.

In Making Intangible Heritage, Valdimar Tr. Hafstein—folklorist and official delegate to UNESCO—tells the story of UNESCO’s Intangible Heritage Convention. In the ethnographic tradition, Hafstein peers underneath the official account, revealing the context important for understanding UNESCO as an organization, the concept of intangible heritage, and the global impact of both. Looking beyond official narratives of compromise and solidarity, this book invites readers to witness the diplomatic jostling behind the curtains, the making and breaking of alliances, and the confrontation and resistance, all of which marked the path towards agreement and shaped the convention and the concept.

Various stories circulate within UNESCO about the origins of intangible heritage. Bringing the sensibilities of a folklorist to these narratives, Hafstein explores how they help imagine coherence, conjure up contrast, and provide charters for action in the United Nations and on the ground. Examining the international organization of UNESCO through an ethnographic lens, Hafstein demonstrates how concepts that are central to the discipline of folklore gain force and traction outside of the academic field and go to work in the world, ultimately shaping people’s understanding of their own practices and the practices themselves. From the cultural space of the Jemaa el-Fna marketplace in Marrakech to the Ise Shrine in Japan, Making Intangible Heritage considers both the positive and the troubling outcomes of safeguarding intangible heritage, the lists it brings into being, the festivals it animates, the communities it summons into existence, and the way it orchestrates difference in modern societies.

Maroc Festival National des Arts Populaires
archive photos by Paola Ghirotti, 2022
Nei primi anni Duemila la fotografa Paola Ghirotti per molti mesi ha percorso il Regno del Marocco per lavoro, un nutrito archivio fotografico in diapositiva ne è testimone.
Il filo conduttore dell’Album fotografico: Maroc Festival National des Arts Populaires FNAP archive photos by Paola Ghirotti, è il Marocco ed in particolare il Festival che si tiene a Marrakesh e che fu ideato nel 1960 da Sua Maestà Re Mohammed V come testimonianza del vasto ed articolato patrimonio culturale e per la sua salvaguardia.
La musica marocchina brilla per la sua enorme diversità, per la sua espressività ed è strettamente legata alla danza.
Ad arricchire l’album un souvenir, un ricordo, una memoria di Yasue Hori.