Festival is a performative dimension of cultural praxis that strengthens bonds of cohesion in society. Festivals are also an integral part of religious praxis. They have the potentiality of bringing its adherents and non-adherents together thus creating and sustaining social communion among them. This reality of sustaining social communion confirms an important function of religion in society with particular reference to its social integrative effects. Therefore, this article assesses how religious festival, Christmas, fosters social integration among Igbos in Nigeria. (...) On a related note, many Igbos, see Christmas festival as unique occasion for them to visit their communities; attend meetings of their associations and/or town unions and consolidate family ties. These are opportunities for building social integrations, otherwise denoted as social communion in this research. This work makes use of critical analysis of relevant texts and questionnaire survey methods as means of gathering materials and data for this research. In view of understanding how Christmas festival aids social communion among the Igbo ethnic group, the theories of structural functionalism, social capital and social integration are being utilised as theoretical frameworks for this study. Finally, this study avers that religious festival cements social communion between the Igbos in Calabar Metropolis and their ancestral communities. (shrink)

This study explored how the people of Moba in Ekiti State, Nigeria, use three of their traditional festivals and rites—odun ijesu, itugbe and oku-omo-ile—for moral education. Qualitative method of research was used with unstructured interview guide utilized for data collection. Purposive sampling technique was adopted for selecting people comprising leaders and practitioners, who have deep knowledge of the three festivals as participants for the study. Interviews were conducted and the data collected were content analysed. The study found that (...) there are moral lessons embedded in these festivals particularly in every act of the celebration. The leaders need to deliberately highlight these lessons emphasising their significance as the very essence of the festivals and rites in order for people to understand, imbibe and put them into practice. (shrink)

El Festival Publicatessen se desarrolla desde hace catorce ediciones en el campus María Zambrano de la Universidad de Valladolid. Está organizado por el alumnado de cuarto curso del grado en Publicidad y RR.PP., con la coordinación directa del profesorado. El objetivo de esta publicación es conocer la valoración de aquellos exestudiantes que han participado, y conocer qué competencias han desarrollado de cara a su vida profesional. Los resultados muestran que es una acción muy positiva para ellos y la reconocen como (...) fundamental para su formación en el mundo de la Publicidad. (shrink)

Traditional festivals have become a prominent topic of research because of their social-cultural values. The values, and beliefs of a people are demonstrated through festivals. However, thus far, limited research has been conducted on the more profound issue of the possible contribution of festivals as a cultural symbol. This study aims to portray the symbols of the Abraka people’s culture through the Ovwuvwe festival celebration. The Ovwuvwe festival was chosen as the study area, due to its rich (...) and unique cultural heritage, with the main aim of creating an avenue in preserving and displaying the cultural heritage of the Abraka people through the Ovwuvwe festival celebration. Through participation, interviews and critical observation, this paper demonstrates the cultural symbol of the Abraka people through Ovwuvwe. (shrink)

No ancient authority has left us a clear account of how the judges at the Athenian dramatic festivals operated. We can therefore never know for certain what happened. But it may be possible to improve the reconstruction normally given, which does not look as if it could ever have yielded acceptable results. One thing that is very clear is that the choice of judges was taken seriously. Not only did it involve the Council, the Prytanies, and the Treasurers, but (...) any tampering with the panel from which the judges were eventually selected seems to have been punishable with death. Even the physical arrangements were quite complicated. Names approved by the Council were deposited in ten jars, one jar for each tribe but each jar containing several names, sealed by the Prytanies, held in safe-keeping on the Acropolis, and eventually brought down to the theatre, where the archon publicly broke the seals and drew out one name from each jar. At this stage of the process there emerged ten judges, one from each tribe. Their quality had been guaranteed by the Council's prior vetting of the panel, but their actual names were unpredictable because randomly selected from it. All had been done democratically and with equal representation of tribes, in perfect accord with normal Athenian practice. But now comes the difficulty. The paroemiographers record a proverb about judgement being in the lap of five judges — ν πντε κριτν γούνασι κεται; Lysias tells us of a judge whose vote was not counted; and Lucian, who likes to disguise a very careful antiquarianism behind an apparent casualness of style, says that at festival competitions the many know how to clap and hiss but that judgement is in the hands of seven or five or however many. (shrink)

In this paper, I argue that Simone de Beauvoir’s discussion of festivals appropriates Jean-Jacques Rousseau’s own account of the festival and its place in understanding freedom. I begin with a brief summary of Rousseau’s conflicting accounts of the festival from his Discourse on the Origin of Inequality Among Mankind and the Letter to M. D’Alembert. The contrast of these two texts reveals Rousseau’s conception of freedom as circumscribed by the community. Although Rousseau has an idealized virtuous community in mind, (...) the central insight regarding a community’s involvement in the development of freedom is nevertheless echoed in Beauvoir’s description of the festival in the Ethics of Ambiguity. I explore some of the implications of reading Beauvoir’s account of freedom and the festival as influenced by Rousseau and suggest how doing so impacts our understanding of Beauvoirian politics. (shrink)

Two Festivals Celebrated by a Hittite Prince : New Light on Local Cults in North-Central Anatolia in the Second Millennium BC. By Piotr Taracha. Studien zu den Boğazköy-Texten, vol. 61. Wiesbaden: Harrassowitz Verlag, 2017. Pp. xix + 222, pls. €68.

Copernicus Festival, held annually, aims to demonstrate various dimensions of the relationship between science and culture. The third edition of the festival was devoted to the concept of beauty. During the six days of the festival about 7 thousand people took part in lectures, debates, discussions, workshops, concerts and other events.

Copernicus Festival, held annually, aims to demonstrate various dimensions of the relationship between science and culture. The third edition of the festival was devoted to the concept of beauty. During the six days of the festival about 7 thousand people took part in lectures, debates, discussions, workshops, concerts and other events.

Ce texte a d'abord paru en espagnol dans la revue Panambí. Revista de investigaciones artísticas, n. 4, Valparaíso, jun. 2017. Nous remercions Christine Esclapez de nous avoir autorisé à le reproduire ici. Introduction L'objectif de ma contribution est double. Rendre compte d'une expérience artistique « participative » que nous conduisons depuis 9 ans au secteur Musiques et Sciences de la Musique d'Aix-Marseille Université : Architectures Contemporaines est un festival universitaire de jeunes - Musique et Musicologie – GALERIE – Nouvel article.

This article explores what enables a space to become festive. We start by reviewing how the festive has been deeply connected with play, to the point of being considered a type of play, or more generally, a type of interaction. What enables the festive is the ability to interact with the substance on which participants feast. The question we will then explore in more detail is: given a subject matter from which to build a festive occasion or space, how do (...) we go about making it happen? How do we model the festive space? It is impossible to show that there is only one way of going about enacting the festive. For this reason, it is more productive to propose a model of how to achieve such task. The model that emerges in this article proposes that dismembering the festive substance, in a participatory way, facilitates its enactment. We then examine two cases of festive enactment in different mediums: the textual feast of Julio Cortázar’s novel Hopscotch that turns the printed page into a festive space, and the making of festive theatre, including the creation of the festive play Fire ’Scapes. (shrink)

Beginning with one of the most remarkable characteristics of cyber art, ‘interactivity’, in a context of generalized hybridization of the procedures and technological devices available in the current hyper-technological era, this article will highlight the festive dimension within contemporary artistic practices, especially in its technological and digital components. In order to take both its ‘creationist’ and ‘reflexionist’ aspects into consideration, the proposed interpretation will adopt as its starting point the questions introduced by classical anthropology about festivity: What establishes community in (...) cyber art? Which kind of community is established there and what is sacrificed in digital or cybernetic art? These questions are articulated with the discussion proposed by Hans-Georg Gadamer and Richard Schechner about the task of building the reflexive play that is found in the work of art as such. The purpose is to gradually present, throughout the article, the peculiarity of the experience of ‘the festive’ in computing and numerical arts. (shrink)

Deuteronomy forced the issue of humanitarian considerations and of freedom on the community at the moments when it was truest to itself—the moments of worship and cultic celebration, notably on the sabbath, the sabbatical year, and the harvest festivals.

Storytelling is getting increasing attention as one of the effective strategies for revitalizing the local festivals and even regional economies. Yet, the mechanisms through how storytelling helps the success of local festivals are still relatively less known. Using the data from 322 individuals who participated in local festivals using storytelling, our results showed that local festival storytelling is positively related to tourists’ revisit intention. Furthermore, the positive relationship between local festival storytelling and tourists’ revisit intention was serially (...) mediated by authenticity and positive emotion. Theoretical and practical implications are discussed. (shrink)

Paris. The Place de Grève is teeming with the city's idle seeking relief from their boredom. Street-singers, story-tellers and showmen are encircled by groups of people in varying moods—some sullen, others eager, some distracted, others attentive. Sweets vendors, mercers and lampoonists attract customers by their words and gestures. A little apart from the crowd, men with grave faces seem to be waiting for something: they are the unemployed, keeping an eye out for a possible hirer. On some days a drumroll (...) precedes several men-at-arms escorting a condemned man and his executioner to the place of execution; the festive atmosphere turns suddenly somber, the crowd becomes silent. If scattered jeers and taunts are heard, more often than not it is just to relieve the tension.The Place de Grève gave its name to the French word for strike, greve. And perhaps something still remains of the liveliness of that gathering-place in today's strikes. The Spanish word for strike, huelga, is near to juerga, Spanish for amusement or diversion. The English “strike,” the German streik, the Italian sciopero, all connote fighting, an exchange of blows. The words themselves thus suggest that a strike may be both militant and festive. (shrink)

Consider yourself invited to a filmfestival — a festival of shorts. Regrettably it is a festival with a limitation: you will not be able actually to see the films. However, this limitation is offset by an unusual feature: the films to be shown are not only short but ultrashort — with one exception, each film consists of only a few frames. Instead of showing the films we shall be able to give a complete description of them.

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The current and the next issues of “Spazio Filosofico”, both devoted to Festival (Festival I and II respectively), are dedicated to Ugo Perone on the occasion of his 70th birthday. Perone’s friends and colleagues have chosen to celebrate his birthday in a philosophical way, namely, with a reflection on the concept of festival/holiday [festa] and its meaning for us today. Thrifty spirits might object that a journal issue is like a gift – one is enough. Are these not times of (...) economic crisis? There is no real festival, however, without a Zugabe: without an addition, an encore, or a supplement. Hence, two issues, both devoted to a single concept. The choice of the theme has not been accidental – the concept of “festival/holiday” plays in fact an important role in Perone’s thought. In an essay that is often quoted in various contributions to the two issues, Perone understands the pair of concepts “ultimate/penultimate,” which has been discussed by Dietrich Bonhoeffer, in terms of “holidays/everydayness.” For Bonhoeffer, God is present not where human abilities fail but rather “at the center of the village.” Likewise, for Perone, the square, which is the “symbol for the holiday time,” is the center of town. It is even, “at the same time, the center of town and its interruption.” . (shrink)