This book shows how Carnival under British colonial rule became a locus of resistance as well as an exercise and affirmation of power. Carnival is both a space of theatricality and a site of politics, where the playful, participatory aspects are appropriated by countervailing forces seeking to influence, control, channel or redirect power. Focusing specifically on the Maltese islands, a tiny European archipelago situated at the heart of the Mediterranean, this work links the contrast between play and power to other Carnival realities across the world. It examines the question of power and identity in relation to different social classes and environments of Carnival play, from streets to ballrooms. It looks at satire and censorship, unbridled gaiety and controlled celebration. It describes the ways Carnival was appropriated as a power channel both by the British and their Maltese subjects, and ultimately how it was manipulated in the struggle for Malta's independence.

America's Favorite Holidays explores how five of America's culturally important holidays - Christmas, Valentine's Day, Easter, Halloween, and Thanksgiving - came to be what they are today, seasonal and religious celebrations heavily influenced by modern popular culture. Deftly distilling information from a wide range of sources, Bruce David Forbes reveals often-surprising answers to questions about each holiday's traditions. Was Christmas always as commercialized as it is today? Is Thanksgiving a religious or secular holiday? When did we begin trick-or-treating on Halloween? Appealing and insightful, America's Favorite Holidays satisfies our curiosity about the origins of our holidays and the fascinating ways in which religion and culture mix.

The Glastonbury Festival is the largest performing arts festival in the world, situated in the mythic Vale of Avalon, England. Now in its thirty-ninth year, up to two hundred thousand festivalgoers from all over the world will attend the festival over a four-day period.

Venetia Dearden has been documenting the people of the Glastonbury Festival since 2004. With the help of a professional portable photographic studio, her aim was to single out individuals and groups to capture the motives and personas that make up the fabric of Glastonbury. The result is an intimate and unique set of portraits that includes festivalgoers, stall holders, charity workers, organizers, and many of the celebrity performers. The huge volume of portraits generated over four years brilliantly captures fleeting moments of serenity amidst the surreal, swirling insanity that is Glastonbury.

The selection of performing artists in the book includes: Lily Allen, Amy Winehouse, Paolo Nutini, James Morrison, Leonard Cohen, Jay-Z, Shakin' Stevens, Jimmy Cliff, Joan Armatrading, Duffy, Richard Ashcroft, Paul Weller, The Who, Manic Street Preachers, Goldfrapp, Martha Wainwright, and many more.

Venetia Dearden, born 1975 in Somerset, England, has studied anthropology at Edinburgh University and photojournalism at the London College of Printing. She has documented social and humanitarian issues, producing features and facilitating workshops as a consultant for "Photovoice." Her work is published worldwide in such publications as "Vogue," "Wallpaper," "The Sunday Times Magazine," "W Magazine," "Harpers Bazaar," and "Stern," among many others. In 2008, she published her first book, "Somerset Stories Fivepenny Dreams" (Kehrer Verlag), portraying the region where she grew up.

The devil is a defiant, nefarious figure, the emblem of evil, and harbinger of the damned. However, the festive devil--the devil that dances--turns the most hideous acts into playful transgressions." Festive Devils of the Americas" is the first volume to present a transnational and performance-centered approach to this fascinating, feared, and revered character of fiestas, street festivals, and carnivals in North, Central, and South America. As produced and performed in both rural and urban communities and among neighborhood groups and councils, festive devils challenge the principles of colonialism and nation-states reliant on the straight and narrow opposition between good and evil, black and white, and us and them.
Each section of this volume opens with regional maps ranging from the Andes, Afro-Atlantic, and Caribbean, to Central and North America. However, festive devils defy geographical as well as moral boundaries. From Brazil's Candomble to New Mexico's dance halls, festive devils and their stories sustain and transform ancestral memory, recast historical narratives, and present political, social, and cultural alternatives in many guises. Within economic, political, and religious cross-currents, these paradoxical figures affirm the spirit of community within the framework of subversion and inversion found at the heart of the festival world.

"The entire town is disguised," declared a French tourist of eighteenth-century Venice. And, indeed, maskers of all ranks--nobles, clergy, imposters, seducers, con men--could be found mixing at every level of Venetian society. Even a pious nun donned a mask and male attire for her liaison with the libertine Casanova. In Venice Incognito, James H. Johnson offers a spirited analysis of masking in this carnival-loving city. He draws on a wealth of material to explore the world view of maskers, both during and outside of carnival, and reconstructs their logic: covering the face in public was a uniquely Venetian response to one of the most rigid class hierarchies in European history. This vivid account goes beyond common views that masking was about forgetting the past and minding the muse of pleasure to offer fresh insight into the historical construction of identity.

This book examines the nation's outdoor arts festivals and identifies their shared and divergent traits, considering factors such as event programming, staffing, finances and audience demographics. This book examines a cross-section of U.S. festivals, self-identified as predominantly "outdoors" and featuring "arts and cultural" programming, and hopes to establish a basis for future exploration into their significance for artists, audiences, and communities. Ideally, the survey and case study results will prompt other arts organizations to ask: what are festivals doing right and how can we replicate it?

Ho-Chunk powwows are the oldest powwows in the Midwest and among the oldest in the nation, beginning in 1902 outside Black River Falls in west-central Wisconsin. Grant Arndt examines Wisconsin Ho-Chunk powwow traditions and the meanings of cultural performances and rituals in the wake of North American settler colonialism. As early as 1908 the Ho-Chunk people began to experiment with the commercial potential of the powwows by charging white spectators an admission fee. During the 1940s the Ho-Chunk people decided to de-commercialize their powwows and rededicate dancing culture to honor their soldiers and veterans. Powwows today exist within, on the one hand, a wider commercialization of and conflict between intertribal "dance contests" and, on the other, efforts to emphasize traditional powwow culture through a focus on community values such as veteran recognition, warrior songs, and gift exchange. In Ho-Chunk Powwows and the Politics of Tradition Arndt shows that over the past two centuries the dynamism of powwows within Ho-Chunk life has changed greatly, as has the balance of tradition and modernity within community life. His book is a groundbreaking study of powwow culture that investigates how the Ho-Chunk people create cultural value through their public ceremonial performances, the significance that dance culture provides for the acquisition of power and recognition inside and outside their communities, and how the Ho-Chunk people generate concepts of the self and their society through dancing.

The global rise of festival culture and experience has taken over that which used to merely be events. The Cambridge Companion to International Theatre Festivals provides an up-to-date, contextualized account of the worldwide reach and impact of the 'festivalization' of culture. It introduces new methodologies for the study of the global network of theatre production using digital humanities, raises questions about how alternative origin stories might impact the study of festivals, investigates the festivalized production of space in the world's 'Festival Cities', and re-examines the social role and cultural work of twenty-first-century theatre, performance, and multi-arts festivals. With chapters on festivals in Africa, Asia, Australia, the Arab world, the francophone world, Europe, North America, and Latin America it analyses festivals as sites of intercultural negotiation and exchange.

!Viva Mexico! !Viva la Independencia! Celebrations of September 16 examines the Independence holiday, exploring how this most important public festival in the civic calendar has given Mexicans a rich tradition of national celebration that is part creation myth, part official pomp, and part popular merrymaking. The editors examine how Independence Day festivities have provided a medium for informal education, sketching on the canvas of the public sphere national values, glorifying specific historical events and individuals, and celebrating government plans and achievements. Since 1823, this festival has served as an essential contribution to the conversion of Mexicans to common ideals, as people across the country express their national identity with the cry, '!Viva Mexico! !Viva la Independencia!'

Human Resource Management for Events is the first text to cover management of human resources in the event environment. Linking theory, research and application it covers the differing and various types of event in which human resource management is key, such as:
* Business Events - a vast sector including events people who manage conferences, exhibitions, incentive trips and individual business travel.
* Sporting Events - this sector includes sporting events ranging from the Olympic Games, Rugby World Cup, Soccer World Cup, Tour de France, Grand Prix to many smaller, local sporting events.
* Arts and Entertainment - the logistics, risk and financial issues facing entertainment events are leading to the development of more sophisticated operational skills for this sector. Music festivals are increasingly popular.
* Public Events - civic ceremonies, parades, celebrations, festivals and protests all fall within the scope of public events. Planning, approval and risk management are increasingly on the agenda for all levels of government.
The particular challenges provided by such events are varied. The size of the workforce explodes at the time of the event to include the event management team, many paid staff, hundreds of volunteers and multiple contractors, such as food vendors and cleaning teams. Everyone working on the site comes into the scope of the event workforce. Little time is available for training and motivation plays a key role in retention and customer service. Decision making occurs on the run and the event is over before anyone can think about performance appraisal. The environment is further characterised by a fast pace, high stress levels and manyworkers are fatigued by the bump in period before the event audience pours through the gates to add yet another level of pressure. These features of the human resources environment are quite different to those of the traditional workforce.
Human Resource Management for Events is vital reading for both students and practitioners involved in this crucially important aspect of event management.
* The first book to cover management of human resources in the event environment
* Links theory, research and application in event HRM in the context of both mega events and smaller scale events
* Considers HRM in each of the major event areas - business, sporting, arts & entertainment and public.

This book deals with post-war culture and society and the Edinburgh Festivals. The Edinburgh Festival is the world's largest arts festival. It has also been the site of numerous 'culture wars' since it began in 1947. Key debates that took place across the western world about the place of culture in society, the practice and significance of the arts, censorship, the role of organised religion, and meanings of morality were all reflected in contest over culture in the Festival City. This book explores the 'culture wars' of 1945-1970 and is the first major study of the origins and development of this leading annual arts extravaganza. This is the first critical history of the first 25 years of the world's biggest arts festival. It uses festivals (and key theatre ventures) in Edinburgh as a lens for understanding wider social and cultural change in post-war Britain. It draws upon a range of archival sources, including original oral history interviews with key players in the arts scene of Edinburgh and beyond.

From baby boomers to millennials, attending a big music festival has basically become a cultural rite of passage in America. In Half a Million Strong, music writer and scholar Gina Arnold explores the history of large music festivals in America and examines their impact on American culture. Studying literature, films, journalism, and other archival detritus of the countercultural era, Arnold looks closely at a number of large and well-known festivals, including the Newport Folk Festival, Woodstock, Altamont, Wattstax, the New Orleans Jazz and Heritage Festival, Hardly Strictly Bluegrass, and others to map their cultural significance in the American experience. She finds that-far from being the utopian and communal spaces of spiritual regeneration that they claim for themselves- these large music festivals serve mostly to display the free market to consumers in its very best light.

Book XIV of Martial's epigrams, the Apophoreta, derives its name from the presents hosts gave 'to be carried away' by their guests at the Roman Saturnalia. The book comprises poetic couplets designed to accompany such presents and arranged so as to describe, alternately, the gifts of rich and poor. It is a unique source of information about one of the principal Roman festivals and about many of the everyday objects of first-century Roman life; yet until now it has attracted scant attention. This edition, while dealing comprehensively with matters of literary, linguistic and textual note, concerns itself also with the social context of the Apophoreta and the gifts it describes. It is a rich source of information not only for specialists in Latin epigram and the literature of the Flavian period, but also for historians and archaeologists, and indeed anyone with an interest in the life and customs of Imperial Rome.

A Mile of Make Believe examines the unique history of the Santa Claus parade in Canada. This volume focuses on the Eaton's sponsored parades that occurred in Toronto, Montreal and Winnipeg as well as the shorter-lived parades in Calgary and Edmonton. There is also a discussion of small town alternatives, organized by civic groups, service clubs, and chambers of commerce. By focusing on the pioneering effort of the Eaton's department store Steve Penfold argues that the parade ultimately represented a paradoxical form of cultural power: it allowed Eaton's to press its image onto public life while also reflecting the decline of the once powerful retailer. Penfold's analysis reveals the "corporate fantastic" - a visual and narrative mix of meticulous organization and whimsical style- and its influence on parade traditions. Steve Penfold's considerable analytical skills have produced a work that is simultaneously a cultural history, history of business and commentary on consumerism. Professional historians and the general public alike would be remiss if this wasn't on their holiday wish list.

This publication commemorates the 1951 Edinburgh People's Festival Ceilidh and collects views and perspectives on the way the Folk Revival has evolved over the past sixty years. 'Tis Sixty Years Since: The 1951 Edinburgh People's Festival Ceilidh and the Scottish Folk Revival -Sixty years ago, in 1951, the first Edinburgh People's Festival Ceilidh at Oddfellows' Hall kick-started the modern Scottish Folk Revival. It was presided over by Hamish Henderson and recorded by Alan Lomax. Sixty years ago, the School of Scottish Studies was founded at the University of Edinburgh. The 10th Carrying Stream Festival in November 2011, organised by Edinburgh Folk Club in cooperation with the School of Scottish Studies and the Royal Conservatoire of Scotland, celebrated these anniversaries.

Each year in the weeks preceding the deprivations of Lent, the Andalusian region of southern Spain erupts into madcap depravity, during a February carnival of riotous celebration. Carnival features subversive songs, burlesques and skits, transvestite parades, and public persecution of communal offenders, along with mournful elegies and heartfelt panegyrics. In this lively book, anthropologist David D. Gilmore explores the meanings of Andalusian carnival, focusing particular attention on the songs, or coplas. He offers translations of many of these carnival productions and mines the rich vein of oral literature for a new understanding of the ways in which the Andalusian people interpret and negotiate their world. Not only does carnival provide many insights into ritual behavior and folk art in Spain but, Gilmore shows, the festival also offers similar insights into rituals of revelry and disinhibition elsewhere, whether mumming, Mardi Gras, Fasching, or Walpurgisnacht. In a fresh perspective on carnival, he reveals that in Spain the lower classes mix abuse of elites with a surprising degree of respect and even veneration. Gilmore concludes that Andalusian carnival is less about revolution or politics per se than about the inescapable ambivalence of all human feeling.

By 1912 the large-scale cowboy ranches of the Old West had been disappearing for years and the Calgary Stampede -- along with other exhibitions, like Buffalo Bill's Wild West Show -- was set-up to commemorate a fading way of life for younger generations and for those who still remembered the mythic era. The Canadian Northwest shared in that grand tradition, and the time was right for a great Canadian cowboy showcase. After a century of international acclaim, the western dream continues and to commemorate the early days of the great Calgary Stampede, a collection of post cards from its enthusiastic youthful years illustrates the look and feel of those exciting times. Taken from the vast post card collection held by the University of Alberta Libraries, these classic views capture all the excitement, from the championship cowboys, cowgirls, and horses, to the tragedies of defeat and injuries. The parades, the aboriginal camps, and all the lively hoopla are recalled in these images, with historical text to add context to those days of dust, sweat and glory.

In 1969 and 1970, the first Ann Arbor Blues Festivals brought together the greatest-ever selection of blues performers - an enormous blues party that seemed to feature every big name in the world of blues. The Ann Arbor Blues Festival was just that: a festival and celebration of city blues. It helped to mark the discovery of modern blues music (and the musicians who made that music) by a much larger audience. The festival, however, was something more than just a White audience discovering Black music. Never before had such a far-reaching list of performers been assembled including the grandfathers of southern country blues and the hottest electric bands from Chicago. These groundbreaking festivals were the seed that grew into the Ann Arbor Blues and Jazz Festival, which was continued annually for many years.To name just a few of the dozens of artists who performed at the festival: Luther Allison, John Lee Hooker, Howlin' Wolf, B.B. King, Muddy Waters, Otis Rush, Hound Dog Taylor, Big Mama Thorton, T-Bone Walker, Sippie Wallace, Junior Wells, and Mighty Joe Young, among many others. Stanley Livingston, a professional photographer from Ann Arbor, captured these legendary performances onstage - as well as the goings-on backstage. Livingston's thousands of photographs from these festivals - previously unpublished and known only to a few - are among the finest candid blues shots ever taken. Together with editor and archivist Michael Erlewine's text accompaniments, these photographs comprise a visual history and important keepsake for blues aficionados everywhere.

Marco Bellocchio is one of Italy's most important and prolific directors, with a career spanning five decades. In this book, Clodagh J. Brook explores the boundaries between the public and the private, the political and the personal, and the collective and the individual as they appear in Bellocchio's films. Including work on psychoanalysis, politics, film production, autobiography, and the relationship between film tradition and contemporary culture, Marco Bellocchio touches on fundamental issues in film analysis.

Brook's study interrogates what it means to make personal or anti-institutional art in a medium dominated by a late-capitalist industrial model of production. Her readings of Bellocchio's often enigmatic and perplexing work suggest new ways to answer questions about subjectivity, objectivity, and political commentary in modes of filmmaking. Relating the art of a private director to a public medium, Clodagh J. Brook's work is an important contribution to our understanding of film.

In a unique cultural statement, Kaapse Klopse features the colourful and lively Cape Town Minstrel Carnival, held for the first three days of the New Year. The music and dance style of the 'Kaapse Klopse' (Cape Minstrels) was influenced by the North American minstrel troupes that visited the Cape in the late 1880s. Traditionally, the colourful and lively minstrels cavort through the city, singing and dancing to the sound of banjos, tubas, guitars, ghoema drums and whistles. The book features extraordinary contemporary photographs of this event by Gerald Hoberman, with an historical overview as well as unique photographs of District Six and Bo-Kaap, taken by him in 1969. The entertaining and insightful traditional minstrel songs are published with English translations for the first time - a valuable contribution to the cultural history of the Cape.