International Arts Festivals Visitors＇ Motives and Profile Characteristics： The Case of Two Medium-Sized Greek Cities

This paper presents an analysis of two renowned international arts festivals visitors＇ motives and profilecharacteristics, in two medium-sized Greek cities： the Kalamata International Dance Festival （KIDF） and theDrama International Short Film Festival （DISFF）. The purpose of the study was to determine the reasons visitorsattend these festivals, which is necessary for building more concise marketing strategies and, therefore,more successful and sustainable events, with long-term benefits, ranging from the local to the national levels.The research addresses international arts festivals that share four main characteristics： （1） they host internationalprofessional artists; （2） they feature explicitly-stated artistic visions and objectives; （3） they are publicly funded;and （4） they have achieved a consecutive 23 years of successful presence in each city. These two case studiesrepresent two cultural events which have managed to maintain their popularity and high status, on the Europeanfestival map, as well as to raise their host cities＇ cultural and tourism standards, despite the serious economiccutback they have both faced. Due to limited available funds, the festivals lack marketing resources andspecifically data collection on visitor motivation, a gap which this study aims to remedy. Primary datawere collected with the aid of online structured questionnaires, distributed and collected during autumn2016. Altogether, 130 questionnaires were answered by visitors of the DISFF and 186 questionnaires wereanswered by visitors of the KIDF. Even though both festivals share similar characteristics regarding theirorganization and their aims, our analysis emphasized the heterogeneity of the motives of attendance in connectionwith the visitors＇ profile characteristics, for each event. While some similarities were found, especially betweendemographic sample characteristics and visitors＇ profiles, the general picture to emerge from the findingsindicates significant differences between the two cases. Arts festivals-goers do not appear to constitute a singlehomogeneous market; rather, each event appears to attract different audiences for different reasons. Theimplications of these findings, deriving from statistical analysis, are discussed and suggestions for further researchare outlined. This research aims to contribute to knowledge concerning the marketing strategies of internationalarts festivals in medium-sized cities, useful for research and academic purposes, as well as to local and nationalauthorities and other agencies and bodies, responsible for urban tourism and cultural city/town planning andmanagement.

Tokyo Arts Festival, 2017, and International Shakespeare Productions

In 2017,the Tokyo Arts Festival invited theatre directors from three geographical locations to direct Shakespeare’s plays:The British director John Caird directed Hamlet,the Romanian director Silviu Purcārete directed Richard III,and the Belgian director Ivo Van Hove directed a Dutch Othello.They approached Shakespeare’s plays from unique perspectives,using their own native or Japanese language,working with Japanese and foreign actors and staff.They were performed in Tokyo and watched by various audiences.This paper examines the interactive effect of international theatre and the Tokyo Arts Festival and argues that Shakespeare,being a common currency in the world,functions as media for the Festival,and vice versa.While the Festival provides opportunities and support for foreign directors and companies,staging of international Shakespeare productions raises the profile of the Festival and promotes artistic and cultural programmes and exchange internationally.The audience also has much to gain:the Festival allows them to experience cultural differences and a reflection of themselves or of the world in works of art.The paper argues that the differences created in the international Shakespearean productions and realized and experienced by the audience are the essence of the theatre and meaning and value of the Festival.

Art Festivals

The ThirdChina ArtFestivalThe Third China Art Festival,agathering of some 8,000 artists fromChina’s 56 nationalities,was heldfrom February 18 to March 3 thisyear in Kunming,Yunnan Province.Thirty-three of the 42 art troupesparticipating in the art festival werefrom different provinces,municipal-ities and autonomous regions onChina’s mainland.Others camefrom Hongkong and Taiwan,thefirst delegations to attend a nationalart festival,and from the Democrat-ic People’s Republic of Korea,Mex-ico,Laos,Vietnam,Myanmar,Japanand Thailand.Performances rangedfrom opera and symphony to dramaand folk singing and dancing.Allprovinces and regions were repre-sented as the various nationalitiesshowed off their unique cultures andcustoms.

Art Banquet" in May The Third "Meet in Beijing" Art Festival

Beijing’s spring came much earlier andwarmer this year.And together with the springbreeze and sunshine arrived the annual "Meet inBeijing" art festival. Its slogan "Culture

The '94 World Children's Art Festival

The World Children's Art Festival will be held in Shanghai from July 22 to 28 this year.The event will be sponsored by the China Welfare Institute,the Shanghai Association for Friendship with For-eign Countries and the Shanghai Soong Ching Ling Foundation.The theme will be"Peace,Friendship and the Future,"and children's literary and art groups from across the world are welcome to take part.Participants can range between eight and 17 in age.Music and dance will be the main activities,and all performances must be national in character.

The Main International Economic,Trade,Cultural And Art Festivals for 1996 in Jiangsu Province

1.The Gold-Autumn Trade and Cultural Get-Together for 1996 in Nanjing Time:October,11 to 17 1996 Place:Nanjing,Jiangsu Province Main contents:Economy,trade and investment negotiations,art performances,art and cultural relic exhibitions,tours Address:Art Department of Nanjing Bureau,43 Chengxian Road,Nanjing 210018 Contacts:Tao Xinyu and Yan Ren

Prizes for Modernity in the Provinces： The Arts Council Is 1950-1951 Regional Playwriting Competition

As part of its contribution to the 1951 Festival of Britain, the Arts Council ran what can be seen in retrospect to be an important playwriting competition. Disregarding the London stage entirely, it invited regional theatres throughout the UK to put forward nominations for new plays within their repertoire for 1950-1951. Each of the five winning plays would receive, what was then, the substantial sum of ~100. Originality and innovation featured highly amongst the selection criteria, with 40 per cent of the judges＇ marks being awarded for ＂interest of subject matter and inventiveness of treatment＂. This article will assess some of the surprising outcomes of the competition and argue that it served as an important nexus point in British theatrical historiography between two key moments in post-war Britain： the first being the inauguration of the Festival of Britain in 1951, the other being the debut of John Osborne＇s Look Back in Anger in May 1956. The article will also argue that the Arts Council＇s play competition was significant for two other reasons. By circumventing the London stage, it provides a useful tool by which to reassess the state of new writing in regional theatre at the beginning of the 1950s and to question how far received views of parochialism and conservatism held true. The paper will also put forward a case for the competition significantly anticipating the work of George Devine at the English Stage Company, which during its early years established a reputation for itself by heavily exploiting the repertoire of new plays originally commissioned by regional theatres. This article forms part of a five year funded Arts and Humanities Research Council （AHRC） project, ＇Giving Voice to the Nation： The Arts Council of Great Britain and the Development of Theatre and Performance in Britain 1945-1994＇. Details of the Arts Council＇s archvie, which is housed at the Victoria ＆ Albert Museum in London can be found at htto：//www.vam.ac.uk/vastatic/wid/ead/acgb/acgbf.html

非遗视域下博物馆的传统节日文化遗产保护——以中国工艺美术馆、中国非物质文化遗产馆为例

传统节日是非物质文化遗产的重要组成部分,博物馆在传统节日的保护与传承中日益发挥着重要的作用。本文将传统节日遗产的保护实践与博物馆研究相结合,首先分析了非遗视域下中国传统节日发展现状以及现阶段我国博物馆对节日文化的保护传承;随后选取了中国工艺美术馆、中国非物质文化遗产馆专业类非遗博物馆进行案例分析,一方面,“两馆”通过多元行动方的共同参与,呈现节日类非遗保护的动态过程;另一方面,“两馆”通过多样的实践活动实现节日类非遗的活态存续,“两馆”的节日类非遗保护实践能够提高社区参与度,平衡多方话语与诉求,成为人与文化、人与人之间互动交流的有效平台,最后希望给予当代博物馆启发意义。

艺术乡建的文化记忆重塑与乡民赋权治理——以景德镇寒溪村大地艺术节为例

文化记忆作为一种依附于地域文化符号与物质系统的集体意识形态,是构建当地群体文化自信与身份认同的重要因素,通过针对不同记忆媒介的时代编程与空间展演得以延续和重塑。随着城市化的发展,乡村传统生活技艺与文化习俗的失语以及乡民在乡村权力结构中的边缘化现象,导致乡民对乡村文化自信与自身身份认同的逐步削弱。基于该问题,以景德镇寒溪村大地艺术节为研究个案,探赜该项目如何从文化记忆重塑与乡民赋权治理两个角度切入,唤醒乡民对乡村文化自信与自身身份认同,调动乡民的主观能动性,促进乡村建设与产业发展,从而形成乡村振兴可持续发展新模式。

基于城市形象建构的节事性公共艺术设计研究

目前,传统的节事性公共艺术难以满足人们的需求。为了迎接数字化浪潮与公共艺术融合的机遇,文章从城市形象建构的节事性公共艺术设计进行研究,对城市形象及节事性公共艺术的概念进行解释,简要论述节事性公共艺术与城市形象之间的相互关系,结合国内节事活动中的公共艺术案例,从文化和技术角度归纳基于城市形象建构的节事性公共艺术设计的思路及策略。以期为节事性公共艺术设计提供一定的借鉴与启示,从而构建城市形象、节事活动与公众之间更为良好的互动关系。