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Indonesia has many traditional's arts. However, not all Indonesian people treat them to protect sacred objects since art is considered as a finished cultural product. Considering that the performing arts have not been well communicated for providing and empowering the community's benefits except for home entertainment and stage performances, this research aims to create a model of performing arts communication through empowering cultural art-based tourism. The research method used is a qualitative approach and creative artwork using the R&D method by analyzing various performing arts in West Java, by collaborating on art's packaged in the form of tourist performance, field tests are carried out through performances in tourist areas, performances through art's festivals. This research resulted in a workflow for developing cultural art to create art products and cultural art-based tourism spaces to arrive at a model of performing art's communication. An important contribution from the perspective of performing arts communication is the understanding of value relations between actors and their public. Social, cultural, economic, political, educational, environmental, and tourism's values become meaningful references in creating art and tourism spaces for the community's sustainable development. [ABSTRACT FROM AUTHOR]

The article focuses on Varna Summer International Theatre Festival in Europe, emphasizing its unique character and notable performances. The festival, held in the small city of Varna, Bulgaria, manages to host diverse international art events, showcasing innovative Bulgarian theater productions alongside impressive international performances. It highlights the impact of the festival on the contemporary European theater scene, with outstanding works by Pippo Delbono and Jamie Lloyd.

The article focuses on birth of Grec Festival and mentions how Barcelona Theatre had undergone transformation from backwater to player in several arena. Topics discussed include production of theatrical production "Dear Winnie" durected by Junior Mthombeni, concerts performed at Grec Theatre and theatrical production "The Seagull."

The article reviews Avignon Festival held in Avignon, France from July 5-25, 2021.

'Value' is an important and developing research topic in the field of marketing; however, the research on how value is co-created through stakeholders' interaction remains limited. This study argues that an arts festival as a collective art production acts as a platform through which the stakeholders co-create value. By employing the publically-funded Huashan Living Arts Festival in Taiwan, which focuses on performing arts, as a case for collecting longitudinal data, this study explores how the stakeholders interact to co-create and obtain value. The findings reveal that value is co-created through the interactions between the stakeholders, rather than by a single stakeholder, in an arts festival. A proposed framework of value co-creation identifies the process and stakeholders' interaction with regard to a performing arts festival, from a macro-level context. [ABSTRACT FROM AUTHOR]

In 1965, the Australian government and Australian Elizabethan Theatre Trust (AETT) debated which performing arts ensembles should represent Australia at the London Commonwealth Arts Festival. The AETT proposed the newly formed Aboriginal Theatre , comprising songmakers, musicians, and dancers from the Tiwi Islands, northeast Arnhem Land and the Daly River. The government declined, and instead sent the Sydney Symphony Orchestra performing works by John Antill and Peter Sculthorpe. In examining the historical context for these negotiations, I demonstrate the direct relationship between the historical promotion of 'Australianist' art music composition that claimed to represent Aboriginal culture, and the denial of the right of representation to Aboriginal performers as owners of their musical traditions. Within the framing of Wolfe's settler colonial theory and 'logic of elimination', I suggest that appropriative Australian art music has directly sought to replace performances of Aboriginal culture by Aboriginal people, even while Aboriginal people have resisted replacement. [ABSTRACT FROM AUTHOR]

The article deals with the debate over whether the Adelaide Fringe, an annual arts festival in South Australia, has become too big for its boots. The debate emerged on social media and within the press after complaints of poor ticket sales in smaller independent venues. Heather Croall, director and chief executive officer (CEO) of Adelaide Fringe Inc., defended the art festival from criticisms. The role of neoliberalism in the growth of arts festivals is also discussed.

This paper offers a sensual history of queer spectatorship in India by bringing together the circulation of European art cinema in India, prior to the 1990s, and the space of queer film festivals that emerges in the last two decades in India. Through a synthesis of ethnographic accounts that reconstruct film viewing experiences and historical investigations of film festival archives I demonstrate that in the long history of mainstream film festivals in India ‘world cinema,’ mediated by European art-house cinema, has functioned as a repository of queer sexuality. This paper juxtaposes the embodied histories of cinematic encounters in India and more recent accounts of curating queer film festivals to disrupt the conception of cinema as a tool to consolidate sexual identities. It explores the non-cohesive subjectivities engendered through practices of film viewing to argue that queer film festivals have a generative power when they disturb, play with and shake the sensorium of the spectator. Thus, the paper draws on encounters between world cinema and its many publics and between the embodied spectator and the screen to open up the very conception of queer cinema as remaking rather than consolidating identities. This paper is one of the first attempts to explore the transnational cultural circuits that embed queer film festivals in South Asia. [ABSTRACT FROM AUTHOR]

The author discusses her experience as producer for Brisbane Festival in 2009 titled "The Cherbourg Walk." She describes the training techniques she used, drawing upon the Nobbs Suzuki Praxis (NSP) method. She reflects on the heightened, lengthened experience of time and place provided by training techniques.

The article presents information on the 6th Ethiopian International Film Festival held on November 7-14, 2011. Topics discussed include the theme of the festival, the festival's film division and the international films featured in the festival. Also mentioned are the Ethiopian films that were screened during the festival, which include "Betelihem," "Bidirat," and "City Boyz."

The author focuses on his experience of attending the Children's Choice Awards, whose intention is stealth pedagogy aimed at the adults who attended the event, at the international performing arts festival in 2010, and the lessons he learned. He asserts that youth are apparently empowered in various projects that are happening all over the place. He notes that accommodating the participation of children in events derails adults, which takes them to a place where they are revealed to be the control fanatics.

This essay examines the playing aesthetic features in Ekuechi facekuerade festival of the Ebira of Kogi State in Nigeria. The festival is interrogated from the view of participant-audience with sustained interpretation of its performance form. Defining what constitutes 'playing' within African performance sensibilities, the dynamics of Ekuechi festival and its artistic qualities as theatrical product become the key ingredients used for examining the playing aesthetics of this festival. The Essay identifies the following as playing aesthetics: the playing space, the arts of singing, dancing and dramatizing with other supernumeric actions. It concludes that these artistic elements stand out as the primary coordinating aesthetic forces of the performative design of the Ekuechi event. [ABSTRACT FROM AUTHOR]

The article offers information on the PuSh International Performing Arts Festival in Vancouver, British Columbia on February 3-4, 2015.

This article features the biennial III Festival Internacional de Artes Escénicas (FAE 08) in Panama in April 2008. Produced by Fundación FAE, the festival has been participated by over 15 performing arts groups. Roberto Enrique King, executive director of the festival, said the festival is structured as a response to the challenges facing the country's artistic landscape. The festival included a multiplicity of contemporary approaches to theater and dance from different countries across the globe.