Book contents
- International Theatre Festivals and 21st-Century Interculturalism
- Theatre and Performance Theory
- International Theatre Festivals and 21st-Century Interculturalism
- Copyright page
- Dedication
- Contents
- Preface
- Illustrations
- Acknowledgements
- Introduction
- Chapter 1 Indigeneity, Festivals, and Indigenous Festivals
- Chapter 2 Destination Festivals and the International Festival Circuit
- Chapter 3 The Curated Live-Arts Festival
- Chapter 4 Fringe Festivals and Other Alternatives
- Chapter 5 The Intracultural Transnational
- Conclusion
- Notes
- Work Cited
- Index
Chapter 1 - Indigeneity, Festivals, and Indigenous Festivals
Published online by Cambridge University Press: 11 January 2022
- International Theatre Festivals and 21st-Century Interculturalism
- Theatre and Performance Theory
- International Theatre Festivals and 21st-Century Interculturalism
- Copyright page
- Dedication
- Contents
- Preface
- Illustrations
- Acknowledgements
- Introduction
- Chapter 1 Indigeneity, Festivals, and Indigenous Festivals
- Chapter 2 Destination Festivals and the International Festival Circuit
- Chapter 3 The Curated Live-Arts Festival
- Chapter 4 Fringe Festivals and Other Alternatives
- Chapter 5 The Intracultural Transnational
- Conclusion
- Notes
- Work Cited
- Index
Summary
Chapter 1 begins with a new (and ancient) festival creation story grounded in pre-contact Indigenous ceremonial and performance practices that may be considered to be festivals, such as the Midē’wiwin 'White Earth Scroll', the potlatch (Tloo-qua-nah) , and the corroboree It proceeds to survey and analyse the subsequent representation of Indigeneity in western festivals, fairs, and mega-events (such as Olympic ceremonies), theatre and arts festivals run by non-Indigenous peoples, destination festivals with and without Indigenous leadership or participation, Indigenous cultural festivals in Australia and the Pacific, and twenty-first-century Indigenous theatre festivals. The chapter’s focus is primarily on festivals in Aotearoa, Australia, the Pacific, and North America, and it pays particular attention to the contributions of key productions and trans-Indigenous collaborations to contemporary festival cultures, Indigenous and non-Indigenous. It ends by proposing that Indigenous festivals might productively be considered to provide an alternative creation story and festival paradigm to the competitive model of ancient Greece.
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- Publisher: Cambridge University PressPrint publication year: 2021