Skip to main content Accessibility help
×
Hostname: page-component-586b7cd67f-vdxz6 Total loading time: 0 Render date: 2024-11-26T09:45:30.232Z Has data issue: false hasContentIssue false

Work Cited

Published online by Cambridge University Press:  11 January 2022

Ric Knowles
Affiliation:
University of Guelph, Ontario
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2021

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Work Cited

3. Berliner Herbstsalon. Progamme, 11–26 November 2017.Google Scholar
Abaka, Edmund Kobina. House of Slaves and Door of No Return: Gold Coast/Ghana Slave Forts, Castles and Dungeons and the Atlantic Slave Trade. Trenton, nj: Africa World Press, 2012.Google Scholar
Addo, Edward. ‘The Golden Jubilee of Independence and Panafest in Ghana: “All that Glitters Is Not Gold.”’ Controversies in Tourism. Ed. Moufakkir, Omar and Burns, Peter M.. Wallingford and Cambridge, Mass.: CABI, 2012. 186200.Google Scholar
Adelaide Fringe. ‘Annual Review 2019.’ https://adelaidefringe.com.au/2019-annual-review. 26 June 2021.Google Scholar
Adelaide Fringe. ‘Manifesto.’ https://adelaidefringe.com.au/manifesto. 12 December 2019.Google Scholar
Adrover, Lauren, Donkor, David A., and McMahon, Christina S.. ‘The Ethics and Pragmatics of Making Heritage a Commodity: Ghana’s PANAFEST 2009.’ TDR (The Drama Review) 54.2 (2010): 155–63.Google Scholar
Alfred, Taiaiake. ‘Sovereignty.’ A Companion to American Indian History. Ed. Deloria, Philip J. and Salisbury, Neal. Malden, Mass.: John Wiley & Sons, 2002. 460–74.Google Scholar
Allen, Chadwick. ‘Decolonizing Comparison: Towards a Trans-Indigenous Literary Studies.’ The Oxford Handbook of Indigenous American Literature. Ed. Cox, James H. and Justice, Daniel Heath. Oxford: Oxford UP, 2014. 377–94.Google Scholar
Allen, Chadwick. ‘Performing Serpent Mound: A Trans-Indigenous Meditation.’ Theatre Journal 67.3 (2015): 391411.Google Scholar
Allen, Chadwick. Trans-Indigenous: Methodologies for Global Literary Studies. Minneapolis: U of Minnesota P, 2012.Google Scholar
Allen, Rose Mary. ‘Music in Diasporic Context: The Case of Curaçao and Intra-Caribbean Migration.’ Black Music Research Journal 32.2 (2012): 5165.CrossRefGoogle Scholar
Althusser, Louis. ‘Ideology and Ideological State Apparatuses (Notes towards and Investigation).’ Lenin and Philosophy and Other Essays. Trans. Brewster, Ben. New York: Monthly Review Press, 1971. 127–86.Google Scholar
Theatre, Aluna. ‘Connecting the Americas through the Arts.’ Programme Note. panamerican ROUTES | RUTAS panamericanas 2016, Daniels Spectrum, Toronto. 1.Google Scholar
Alvarez, Natalie. ‘Roots, Routes, RUTAS.’ Theatre Research in Canada/Recherches théâtrales au Canada 30.1–2 (2019): 2741.Google Scholar
Alvarez, Natalie. ‘RUTAS | ROUTES: A Festival Commons of Hemispheric Interculturalidad.Knowles, (ed.), Cambridge Companion, 239–53.Google Scholar
Alvarez, Natalie, Kovacs, Sasha, and Ortuzar, Jimena. ‘Performance and Human Rights in the Americas.’ Canadian Theatre Review 161 (2015): 58.Google Scholar
Amine, Khalid. ‘Theatre Festivals in Post-Arab Spring Countries.’ Knowles, (ed.), Cambridge Companion, 147–61.Google Scholar
Anaya, S. James. Indigenous Peoples in International Law. New York: Oxford UP, 1996.Google Scholar
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. Revised Edn. London: Verso, 1983.Google Scholar
Anderson, Michèle. ‘Democratizing Luminato: Private-Public Partnerships Hang in Delicate Balance.’ Report of the Toronto Culture Working Group, Robarts Centre for Canadian Studies, 15 September 2009. http://robarts.info.yorku.ca/archives/toronto-public-culture-working-group. 20 November 2019.Google Scholar
Angel, Michael R. Discordant Voices, Conflicting Visions: Ojibwa and Euro-American Perspectives on the Midewiwin. PhD Dissertation, University of Manitoba, 1997.Google Scholar
‘Anishinaabe Mino Bimaadizwin: Principles for Anishinaabe Education.’ www.renaud.ca/public/Aboriginal/Mino-Bimaadizwin-Principles-for-Education.pdf. 7 March 2019.Google Scholar
Anonymous. ‘Caribbean Artists Kept in “State of Deprivation” – Nobel Laureate.’ Caribbean Today 19.10 (2008): 15.Google Scholar
ANTI. ‘Maria Cruz Correira (BE): Voice of Nature: The Trial.’ https://antifestival.com/en/tapahtuma/maria-lucia-cruz-correia-be-voice-of-nature-the-trial/#more-4264. 1 February 2020.Google Scholar
Appadurai, Arjun. ‘Disjuncture and Difference in the Global Cultural Economy.’ Public Culture 2.2 (1990): 123.Google Scholar
Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: U of Minnesota P, 1996.Google Scholar
Arestis, Stefan. ‘The 10 Best Gay Theatre Festivals around the World.’ Nomadic Boys 28 July 2019. https://nomadicboys.com/gay-theatre-festivals-around-the-world. 2 January 2020.Google Scholar
Armstrong, Neil. ‘Canada Sends First Caribbean Diaspora Delegation of Performers to Carifesta; Seeks Community Support.’ Pride 27 June 2017, http://pridenews.ca/2017/06/27/canada-sends-first-caribbean-diaspora-delegation-performers-carifesta-seeks-community-support. 26 June 2021.Google Scholar
Arte Institute. ‘FITEI:International Theatre Festival of Iberian Expression.’ www.arteinstitute.org/posts/view/384/34. 21 January 2019.Google Scholar
Balancing Acts: Calgary’s Annual Disabilty Arts Festival. www.balancing-acts.org/about.htm. 7 January 2020.Google Scholar
Baltic Circle. ‘About Us.’ Web content no longer available. Accessed 11 January 2020.Google Scholar
‘Bangarra Dance Theatre Performance of “Bennelong.” www.youtube.com/watch?v=DEqfQhVhb1U. 20 March 2020.Google Scholar
Bannerji, Himani. The Dark Side of the Nation: Essays on Multiculturalism, Nationhood, and Gender. Toronto: Canadian Scholars, 2000.Google Scholar
Barker, Clive. ‘The Possibilities and Politics of Intercultural Penentration and Exchange.’ The Intercultural Performance Reader. Ed. Pavis, Patrice. London: Routledge, 1996. 247–56.Google Scholar
Barron, Zoe. ‘Cloudstreet, Perth Festival (WA).’ Performing ArtsHub 24 February 2020. https://performing.artshub.com.au/news-article/reviews/performing-arts/zoe-barron/review-cloudstreet-perth-festival-wa-259847. 10 March 2020.Google Scholar
Bayimba. ‘About.’ http://bayimba.org/about. 23 February 2019.Google Scholar
Bergman, S. Bear. ‘Review: How I Learned to Serve Tea (Progress Festival/Why Not Theatre.’ Mooney on Theatre 16 February 2020. www.mooneyontheatre.com/2020/02/16/review-how-i-learned-to-serve-tea-progress-festival-whynot-theatre. 17 February 2020.Google Scholar
Berlant, Lauren. Cruel Optimism. Durham, NC: Duke UP, 2011.Google Scholar
Beyond Calligraphy. ‘Flying White.’ www.beyondcalligraphy.com/flying_white_script.html. 26 January 2020.Google Scholar
Bhabha, Homi. The Location of Culture. London: Routledge, 1994.Google Scholar
Bhagirat-Rivera, Ramaesh Joseph. ‘Between Pan-Africanism and a Multiracial Nation: Race, Regionalism, and Guyanese Nation-Building through the Caribbean Festival of Creative Arts (CARIFESTA), 1972.’ Interventions 20.7 (13 July 2018): 1022–36.Google Scholar
Billington, Michael. ‘The Doctor Review – Robert Icke Offers Brilliant Diagnosis of Modern Ills.’ The Guardian 21 August 2019. www.theguardian.com/stage/2019/aug/21/the-doctor-review-robert-icke-juliet-stevenson-almeida. 11 March 2020.Google Scholar
Bishop, Nancy. ‘Review: Andares at Chicago Shakes Introduces Indigenous People of Mexico with Stories and Song.’ 3CR Third Coast Review 28 October 2019. https://thirdcoastreview.com/2019/10/24/review-andares-at-chicago-shakes-introduces-indigenous-people-of-mexico-with-stories-and-song. 15 February 2020.Google Scholar
Bissoondath, Neil. Selling Illusions: The Cult of Multiculturalism in Canada. Toronto: Penguin, 1994.Google Scholar
Blair, Kelsey. ‘The Body Labours Sonorously in Foxconn Frequency (no. 3) (PuSh Festival).’ Theatre Times 7 May 2018. https://thetheatretimes.com/review-body-labours-sonorously-foxconn-frequency-no-3-push-festival. 26 June 2020.Google Scholar
Blood on the Dance Floor. Programme. By Jacob Boehme. Prod. ILBIJERRI Theatre Company at the Progress Festival, Toronto, 30 January–17 February 2019.Google Scholar
Boal, Augusto. Legislative Theatre: Using Performance to Make Politics. Trans. Jackson, Adrian. London: Routledge, 1998.Google Scholar
Bold, Christine. ‘Princess White Deer’s Show Blanket: Brokering Popular Indigenous Performance across International Borders.’ Theatre Research in Canada/Recherches théâtrales au Canada 41.1 (2020): 3963.Google Scholar
Bonfiglio, Florencia. ‘Notes on the Caribbean Essay from an Archipalegic Perspective (Kamau Brathwaite, Édouard Glissant and Antonio Benítez Roho).’ Caribbean Studies 43.1 (2015): 147–73.Google Scholar
Boon, Maxim. ‘Wesley Enoch Unpacks His Sydney Festival Blak Out Season.’ Audrey Journal: Sydney’s Arts Journal 8 January 2018. www.audreyjournal.com.au/arts/wesley-enoch-unpacks-sydney-festival-blak-season. 10 September 2018.Google Scholar
Bourriaud, Nicolas. The Radicant. Trans. Gusson, James and Porten, Lili. New York: Lucas & Sternberg, 2009.Google Scholar
Bradby, David, and Delgado, Maria. Editorial. Contemporary Theatre Review 13.4 (2003): 14.CrossRefGoogle Scholar
Bramwell, Murray Ross. ‘Festival Fractured by Chaos. Adelaide Festival 2002 [review].’ The Australian 15 March 2002. https://dspace.flinders.edu.au/xmlui/bitstream/handle/2328/280/AdFestAust12March02v2.pdf?sequence=1&isAllowed=y. 10 March 2019.Google Scholar
Brantley, Ben, Green, Jesse, and Collins-Hughes, Laura. ‘At Under the Radar, Avant Garde Shows Leap Outside Reality.’ New York Times 17 January 2020. www.nytimes.com/2020/01/17/theater/under-the-radar-festival.html. 7 April 2020.Google Scholar
Brave Festival. www.bravefestival.pl/en. 29 August 2018.Google Scholar
Brissenden, Alan. ‘Festival Review: Black Velvet.’ The Adelaide Review 1 March 2020. https://web.archive.org/web/20200804001356/https://www.adelaidereview.com.au/arts/performing-arts/2020/03/01/festival-review-black-velvet. 26 June 2021.Google Scholar
British Council Australia. ‘Unlimited Festival and Symposium 2018.’ www.britishcouncil.org.au/unlimited-festival-and-symposium-2018. 7 January 2020.Google Scholar
Brown, Tim. ‘Fringe 2020; The Biggest Yet.’ Wellington NZ Fringe Arts Festival Event Programme. 28 February–21 March 2020. 7.Google Scholar
Budde, Antje, and Samur, Sebastian. ‘Making Knowledge/Playing Culture: Theatre Festivals as Sites of Experiential Learning.’ Theatre Research in Canada/Recherches théâtrales au Canada 40.1–2 (2019): 83101.Google Scholar
Burkett, Ronnie. ‘Illuminating Thoughts: Ronnie Burkett on Forget Me Not.’ Luminato, 26 April 2019. https://web.archive.org/web/20200811102442/https://luminatofestival.com/Blog/April-2019/Illuminating-Thoughts-Ronnie-Burkett-on-Forget-Me. 26 June 2021.Google Scholar
Byrd, Jodie A. The Transit of Empire. Minneapolis: U of Minnesota P, 2011.Google Scholar
Byrne, Tim. ‘Cloudstreet Review.’ Time Out Melbourne 13 May 2019. www.timeout.com/melbourne/theatre/cloudstreet-review. 10 March 2020.Google Scholar
Cade, Rosana. ‘The Radical Art of Holding Hands with Strangers.’ The Guardian 18 August 2016. www.theguardian.com/artanddesign/2016/aug/18/radical-art-of-holding-hands-with-strangers-rosana-cade-walking-holding. 1 January 2020.Google Scholar
Calliou, Brian. ‘Wise Practices in Indigenous Community Economic Development.’ Inditerra: Revue internationale sur l’Autochtonie 4 (2012): 1426. https://ccednet-rcdec.ca/sites/ccednet-rcdec.ca/files/wise_practices_in_indigenous_community_economic_development.pdf. 27 August 2020.Google Scholar
Campana, François. ‘The Africa of Festivals: Bringing People Together.’ Trans. Anderson, Joel. Contemporary Theatre Review 13.4 (2003): 4856.Google Scholar
Capelle, Laura. ‘At Avignon Festival, Lots of Imagination on Show, but Few Women.’ New York Times 19 July 2018. www.nytimes.com/2018/07/19/theater/france-avignon-festival-theater.html. 3 May 2019.Google Scholar
Caribbean Muslims: News, History, Culture & Religion. ‘The Hosay or Muharram Massacre of 1884 in Trinidad.’ 4 November 2012. www.caribbeanmuslims.com/the-hosay-or-muharram-massacre-of-1884-in-trinidad. 17 November 2017.Google Scholar
CARICOM Caribbean Community. ‘CARIFESTA.’ https://caricom.org/carifesta. 21 February 2019.Google Scholar
CARIFESTA XIV. ‘CARIFESTA Archives.’ https://2019.carifesta.net/carifesta-archives. 26 June 2021.Google Scholar
CARIFESTA XIV. ‘History of the CARIFESTA.’ https://2019.carifesta.net/history-of-carifesta. 26 June 2021.Google Scholar
Carter, Jill. ‘“It’s About Becoming”: Indigenating Research Practice at the CDTPS.’ Theatre Research in Canada/Recherches théâtrales au Canada 39.1 (2018): 242–51.Google Scholar
Carter, Jill, Davis-Fisch, Heather, and Knowles, Ric. ‘Circulations: Visual Sovereignty, Transmotion, and Tribalography.’ A Cultural History of Theatre in the Modern Age. Ed. Solga, Kim. London: Bloomsbury, 2017. 95116.Google Scholar
Carter, Jill, Recollet, Karyn, and Robinson, Dylan. ‘Interventions into the Maw of Old World Hunger.’ Canadian Performance Histories and Historiographies. Ed. Davis-Fisch, Heather. Toronto: Playwrights Canada P, 2017. 205–31.Google Scholar
Catanese, Brandi Wilkins. The Problem of the Color[blind]: Racial Transgression and the Politics of Black Performance. Ann Arbor: U of Michigan P, 2011.Google Scholar
Caust, Jo. ‘A Festival in Disarray: The 2002 Adelaide Festival: A Debacle or Another Model of Arts Organization and Leadership?Journal of Arts Management, Law, and Society, 34.2 (2004): 103–18.CrossRefGoogle Scholar
Caust, Jo, and Glow, Hilary. ‘Festivals, Artists and Entrepreneurialism: The Role of the Adelaide Fringe Festival.’ International Journal of Event Management Research 6.2 (2011): 114.Google Scholar
‘Celebrating Ghana’s Emancipation from Slavery.’ GhanaWeb 28 July 2018. www.ghanaweb.com/GhanaHomePage/entertainment/Celebrating-Ghana-s-emancipation-from-slavery-672661#. 22 August 2019.Google Scholar
Chalcraft, Jasper, Delanty, Gerard, and Sassatelli, Monica. ‘Varieties of Cosmopolitanism in Arts Festivals.’ The Festivalization of Culture. Ed. Bennett, Andy, Taylor, Jodie, and Woodward, Ian. Farnham, Surrey: Ashgate, 2014. 109–29.Google Scholar
Chalcraft, Jasper, and Magaudda, Paolo. ‘“Space Is the Place”: The Global Localities of the Sónar and WOMAD Music Festivals.’ Giorgi, et al. (eds.), Festivals, 173–89.Google Scholar
Clifford, James. Routes: Travel and Translation in the Late Twentieth Century. Cambridge, Mass.: Harvard UP, 1997.Google Scholar
Clutesi, George. Potlatch. Sidney, bc: Gray’s Publishing, 1969.Google Scholar
Commanda, Erica. ‘Spiderwomen Theatre’s Muriel Miguel on Material Witness.’ Muskrat Magazine 25 July 2017. http://muskratmagazine.com/spiderwoman-theatres-material-witness. 18 September 2018.Google Scholar
Cotter, Lucy. ‘Plants as Other: Manuela Infante’s Estado Vegetal.’ Mousse Magazine. http://moussemagazine.it/manuela-infante-lucy-cotter-2019. 3 February 2020.Google Scholar
Coughlan, Matt. ‘Awakenings Festival, Art Is… Festival to Team Up.’ Wimmera Mail-Times 14 May 2104. www.mailtimes.com.au/story/2282111/awakenings-festival-art-is-festival-to-team-up. 6 January 2020.Google Scholar
Coulthard, Glen Sean. Red Skin, White Masks: Rejecting the Colonial Politics of Recognition. Minneapolis: U of Minnesota P, 2014.Google Scholar
Cowan, T.L. ‘Cabaret at Grunt: Up Your Community.’ Queer Intersections: Vancouver Performance in the 1990s. 2012. https://performance.gruntarchives.org/essay-cabaret-at-grunt.html. 4 January 2020.Google Scholar
Cowan, T.L., King, Moynan, and Ginestier, MiriamEdgy + Hysteria: Not Like Sisters, Like Lovers, Comrades, Peers; or, How Montreal’s Edgy Women Festival and Toronto’s Hysteria Festival Got It on across Space and Time.’ Theatre Research in Canada/Recherches théâtrales au Canada 40.1–2 (2019): 118–34.Google Scholar
Dakin, K.J., and Moyles, Trina. ‘Indigenous Farmers Confront Canada’s Goldcorp.’ Briarpatch 1 September 2014. https://briarpatchmagazine.com/articles/view/indigenous-farmers-confront-canadas-goldcorp. 20 January 2020.Google Scholar
Davidson, Helen. ‘Garma Festival: Indigenous Sovereignty Would Be a “Gift for All Australians”.’ The Guardian 3 August 2018. www.theguardian.com/australia-news/2018/aug/04/garma-festival-indigenous-sovereignty-would-be-a-gift-for-all-australians. 12 September 2018.Google Scholar
Delaney, Brigid. ‘Ganesh Versus the Third Reich: “Do We Have the Right to Perform This?”’ The Guardian 8 August 2014. www.theguardian.com/stage/2014/aug/08/ganesh-versus-third-reich-edinburgh-festival-2014. 25 April 2019.Google Scholar
Delanty, Gerard. ‘Conclusion: On the Cultural Significance of Arts Festivals.’ Giorgi, et al. (eds.), Festivals, 190–8.Google Scholar
Deleuze, Gilles, and Guattari, Félix. Anti-Oedipus: Capitalism and Schizophrenia. Trans. Hurley, Robert, Seem, Mark, and Lane, Helen R.. Minneapolis: U of Minnesota P, 1983.Google Scholar
Deloria, Philip J. Playing Indian. New Haven, Conn.: Yale UP, 1998.Google Scholar
‘Demograhics of Metro Vancouver.’ Wikipedia. https://en.wikipedia.org/wiki/Demographics_of_Metro_Vancouver. 12 February 2020.Google Scholar
‘Deportation with a Layover: Failure of Protection under the US-Guatemala Asylum Co-operative Agreement.’ Human Rights Watch 19 May 2020. www.hrw.org/report/2020/05/19/deportation-layover/failure-protection-under-us-guatemala-asylum-cooperative. 27 September 2020.Google Scholar
Dickinson, Peter. ‘PuSh.’ Email to Ric Knowles 22 January 2020.Google Scholar
Dickinson, Peter. ‘PuShing Performance Brands in Vancouver.’ Theatre Research in Canada/Recherches théâtrales au Canada, 35.2 (2014): 130–50.Google Scholar
Dickinson, Peter. ‘Waka/Ciimaan/Vaka Workshop at SFU Woodwards.’ Performance, Place, and Politics blog 21 August 2016. http://performanceplacepolitics.blogspot.com/2016/08/wakaciimaanvaka-workshop-at-sfu.html. 17 November 2019.Google Scholar
Dillon, Grace (ed.). Walking the Clouds: An Anthology of Indigenous Science Fiction. Tucson: U of Arizona P, 2012.Google Scholar
‘The Dish with One Spoon.’ Indian Time 5 August 2010. www.indiantime.net/story/2010/08/05/cultural-corner/the-dish-with-one-spoon/7510.html. 10 April 2020.Google Scholar
‘The Doctor, Duke of York’s Theatre.’ Culture Whisper. www.culturewhisper.com/r/theatre/the_doctor_almeida_theatre/13912. 11 March 2020.Google Scholar
Doğan, Evinç. ‘City as Spectacle: The Festivalization of Culture in Contemporary Istanbul.’ Young Minds Rethinking the Mediterranean (2011): 69–93.Google Scholar
Duffy, Michelle. ‘The Emotional Ecologies of Festivals.’ The Festivalization of Culture. Ed. Bennett, Andy, Taylor, Jodie, and Woodward, Ian. Farnham, Surrey: Ashgate, 2014. 229–49.Google Scholar
Edinburgh Festival Fringe. ‘Fringe Central Events Programme 2017.’ Edinburgh Festival Fringe Society, 2017.Google Scholar
Edinburgh Festival Fringe Society. ‘The Fringe Handbook for Choosing a Venue.’ http://edfringe.s3.amazonaws.com/uploads/docs/venues/Fringe-guide-to-choosing-a-venue.pdf. 7 August 2019.Google Scholar
Edinburgh International Festival. Edinburgh International Festival 2–26 August 2019. Programme. Edinburgh International Festival, 2019.Google Scholar
Ellis-Peterson, Hannah. ‘Arab Arts Showcase at Edinburgh Fringe Beset by Visa Difficulties.’ The Guardian 17 August 2017. www.theguardian.com/uk-news/2017/aug/17/arab-arts-showcase-at-edinburgh-fringe-beset-by-visa-difficulties. 23 February 2018.Google Scholar
English, James F. ‘Festivals and the Geography of Culture: African Cinema and the “World Space” of Its Public.’ Giorgi, et al. (eds.), Festivals, 63–78.Google Scholar
Enoch, Wesley. ‘If You Remove Language, You’re Also Removing Knowledge of Landscape.’ British Council 13 August 2018. www.britishcouncil.org/voices-magazine/wesley-enoch-sydney-festival-edinburgh-international-culture-summit. 2 September 2018.Google Scholar
Enoch, Wesley. ‘That’s a Wrap on #sydfest 2018!’ https://2019.sydneyfestival.org.au/stories/2018-thanks-wesley. 7 April 2020.Google Scholar
Enos, Tony. ‘8 Things You Should Know about Two Spirit People.’ Indian Country Today 28 March 2017. https://indiancountrytoday.com/archive/8-misconceptions-things-know-two-spirit-people. 26 June 2021.Google Scholar
Essah, Patience. ‘Slavery, Heritage and Tourism in Ghana.’ International Journal of Hospitality & Tourism Administration 2.3–4 (2001): 3149.Google Scholar
Exhale Dance Tribe. http://exhaledancetribe.com. 14 March 2020.Google Scholar
Falassi, Alessandro (ed.). Time Out of Time: Essays on the Festival. Albuquerque: U of New Mexico P, 1967.Google Scholar
Falconi, Jorge Perez. ‘Space and Festivalscapes.’ Platform 5.2 (2011): 1227.Google Scholar
Favel, Floyd. ‘Theatre: Younger Brother of Tradition.’ Native Theatre, Native Earth: Celebrating Twenty-Five Years of Native Earth Performing Arts, Inc. Toronto: Native Earth Performing Arts, 2007. 30–4.Google Scholar
Fenton, Rose, and Neal, Lucy. The Turning World. London: Calouste Gulbenkian Foundation, 2005.Google Scholar
Ferdman, Bertie. ‘From Content to Context: The Emergence of the Performance Curator.’ Theater 44.2 (2014): 519.Google Scholar
Ferguson, Alex Lazardis. ‘Symbolic Capital and Relationships of Flow: Canada, Europe, and the International Performing Arts Circuit.’ Theatre Research in Canada/Recherches théâtrales au Canada 34.1 (2013): 97124.Google Scholar
Ferreira, Eunice. ‘Mindelact. The Tenth Annual International Theatre Festival of Mindelo.’ Theatre Journal 57.2 (2005): 272–7.Google Scholar
‘Festival international de théâtre pour le développement (FITB) à Ouagadougou.’ routard.com. www.routard.com/guide_agenda_detail/7898/festival_international_de_theatre_pour_le_developpement_(fitb)_a_ouagadougou.htm. 9 January 2020.Google Scholar
‘FESTLIP Arrives at the 10th Edition and Honors in Rio’s Portuguese Theatre Company.’ Portugal Digital 25 October 2018. https://vaaju.com/portugal/festlip-arrives-at-the-10th-edition-and-honors-in-rios-portuguese-theater-company. 7 February 2019.Google Scholar
Fida, Kashmala. ‘Sound Off: Canada’s Only Deaf Theatre Festival Returns with More Performances’ The Star 3 February 2019. www.thestar.com/edmonton/2019/02/03/sound-off-canadas-only-deaf-theatre-festival-returns-with-more-performances.html. 7 January 2020.Google Scholar
Field, Andy. ‘Forest Fringe Goes International.’ British Council 24 May 2013. https://theatreanddance.britishcouncil.org/blog/2013/05/forest-fringe-goes-international. 1 January 2020.Google Scholar
Field, Andy, Khoury, Tania El, Saleh, Farah, Haydon, Christopher, Yousef, Alice, Bell, Henry, McCrum, Rachel, and Giles, Harry. ‘Welcome to the Fringe.’ Contemporary Theatre Review – Interventions February 2016. www.contemporarytheatrereview.org/2016/welcome-to-the-fringe/. 10 September 2019.Google Scholar
Finkel, Rebecca. ‘A Picture of the Contemporary Combined Arts Festival Landscape.’ Cultural Trends 18.1 (2009): 321.Google Scholar
Fischer-Lichte, Erika. ‘European Festivals.’ Knowles, (ed.), Cambridge Companion, 87–100.Google Scholar
Fischer-Lichte, Erika. The Routledge Introduction to Theatre and Performance Studies. Ed. Arjomand, Minou and Mosse, Ramona. Trans. Arjomand, Minou. London: Routledge, 2014.Google Scholar
Fischer-Lichte, Erika. Tragedy’s Endurance: Performances of Greek Tragedies and Cultural Identity in Germany since 1800. Oxford: Oxford UP, 2017.Google Scholar
Flight. Programme note. Edinburgh International Festival 2017.Google Scholar
Florida, Richard. Cities and the Creative Class. New York: Routledge, 2005.Google Scholar
Florida, Richard. The Rise of the Creative Class and How It’s Transforming Work, Leisure, Community and Everyday Life. New York: Basic Books, 2002.Google Scholar
Forest Fringe. https://forestfringe.co.uk. 31 December 2019.Google Scholar
Forest Fringe. ‘Paper Stages.’ https://forestfringe.co.uk/project/paper-stages-2012. 31 December 2019.Google Scholar
Foucault, Michel. ‘Of Other Spaces.’ Diacritics 16.1 (1986): 22–7.Google Scholar
Foucault, Michel. Preface. The Order of Things: An Archaeology of the Human Sciences. New York: Vintage, 1973. xvxxiv.Google Scholar
Les Francophonies en Limousin. ‘Projet artistique: Missions’ www.lesfrancophonies.fr/Missions. 23 November 2018.Google Scholar
Free Festival. ‘August 6–30 2020.’ www.freefestival.co.uk. 31 December 2019.Google Scholar
Free Festival. ‘Perform with Us.’ https://freefestival.co.uk/Perform_With_Us.aspx. 31 December 2019.Google Scholar
Free Festival. ‘Theatre Shows.’ www.freefestival.co.uk/Genre.aspx?GenreID=2&GenreName=Theatre. 31 December 2019.Google Scholar
Freire, Paulo. Pedagogy of the Oppressed. Trans. Ramos, Myra Bergman. New York: Bloomsbury Academic, 2018.Google Scholar
Frew, Elspeth A., and Ali-Knight, Jane. ‘Creating High and Low Art: Experimentation and Commercialization at Fringe Festivals.’ Tourism, Culture & Communication 10.3 (2010): 231–45.CrossRefGoogle Scholar
Frey, Heather Fitzsimmons. ‘A Small Festival for Small People: The WeeFestival as Advocacy.’ Theatre Research in Canada/Recherches théâtrales au Canada 40.1–2 (2019): 6482.Google Scholar
Fricker, Karen. ‘Tourism, the Festival Marketplace and Robert Lepage’s The Seven Streams of the River Ota.’ Contemporary Theatre Review 13.4 (2003): 7993.Google Scholar
Friedman, Sam. ‘The Hidden Tastemakers: Comedy Scouts as Cultural Brokers at the Edinburgh Festival Fringe.’ Poetics 44 (2014): 2241.Google Scholar
Fringe Festivals. ‘About Caff.’ https://fringefestivals.com/about-caff. 10 September 2019.Google Scholar
Frisch, Norman. ‘Creative Interactions: Norman Frisch Interviewed by Tom Sellar.’ Theater 44.2 (2014): 4761.Google Scholar
FTA. ‘Historique.’ https://fta.ca/historique-2. 26 June 2021.Google Scholar
Full Circle First Nations Performance. ‘About the Talking Stick Festival.’ https://fullcircle.ca/festival/about. 26 June 2021.Google Scholar
Full Circle First Nations Performance. ‘Headliners.’ https://fullcircle.ca/festival/events-2018/headliners. 24 September 2018.Google Scholar
‘Fusebox Festival 2019.’ Web content no longer available. Accessed 21 January 2020.Google Scholar
Future Divercities. ‘Project Context.’ http://futuredivercities.eu/index.php/about. 14 January 2020.Google Scholar
Ganambarr, Don Wininba. ‘The Directors of Buŋgul discuss Gurrumul and Country.’ Buŋgul programme, Adelaide Festival. 2–3 March 2020.Google Scholar
García, Beatriz. ‘Urban Regeneration, Arts Programming and Major Events: Glasgow 1990, Sydney 2000, Barcelona 2004.’ International Journal of Cultural Policy 10.1 (2004): 103–18.Google Scholar
Gardner, Lyn. ‘Forest Fringe: 10 Years of Risk-Taking Theatre that Reinvented Edinburgh.’ The Guardian 16 August 2016. www.theguardian.com/stage/theatreblog/2016/aug/16/forest-fringe-edinburgh-festival-theatre. 31 December 2019.Google Scholar
Garneau, David. ‘Imaginary Spaces of Conciliation and Reconciliation: Art, Curation, and Healing.’ Arts of Engagement: Taking Aesthetic Action in and Beyond the Truth and Reconciliation Commission of Canada. Ed. Robinson, Dylan and Martin, Keavy. Waterloo: Wilfrid Laurier UP, 2016. 2142.Google Scholar
Gener, Randy. ‘In Bogotá, an Homage to a Diva of Iberoamericano.’ American Theatre 27.5 (2010): 24.Google Scholar
George Town Festival. Programme booklet, 2018.Google Scholar
Gibbs, James. ‘Introduction.’ African Theatre 11 (2012): xixv.Google Scholar
Gibbs, James. ‘PANAFEST through the Headlines: An Annotated Bibliography.’ African Theatre 11 (2012): 5667.Google Scholar
Gibbs, James. ‘Theatre Programme for FESMAN and Commentary.’ African Theatre 11 (2012): 3944.Google Scholar
Gilbert, Helen, and Lo, Jacqueline. Performance and Cosmopolitics: Cross-Cultural Transactions in Australia. Basingstoke: Palgrave Macmillan, 2007.Google Scholar
Giorgi, Liana, and Sassatelli, Monica. ‘Introduction.’ Giorgi, et al. (eds.), Festivals, 1–11.Google Scholar
Giorgi, Liana, Sassatelli, Monica, and Delanty, Gerard (eds.). Festivals and the Cultural Public Sphere. London: Routledge, 2011.Google Scholar
Gleaden, Henry. ‘Review: Cuckoo at Attenborough Centre for the Creative Arts, Brighton.’ Exeunt Magazine 15 February 2019. http://exeuntmagazine.com/reviews/review-cuckoo-attenborough-centre-creative-arts. 13 February 2020.Google Scholar
‘Goldcorp Signs Impact and Benefit Agreement with Indigenous Communities.’ Northern Ontario Business 6 June 2018. www.northernontariobusiness.com/industry-news/mining/goldcorp-signs-impact-and-benefit-agreement-with-indigenous-communities-946091. 26 January 2020.Google Scholar
Goldstein, Julia. ‘Kiyingi Kampala International Theatre Festival.’ Theatre Journal 67.3 (2015): 535–40.Google Scholar
Goldstein, Julia. ‘Staging East Africa through Global Exchange: The Kampala International Theatre Festival.’ Knowles, (ed.), Cambridge Companion, 162–77.Google Scholar
Graham-Jones, Jean. ‘International Festivals in Latin America: Festival Santiago a Mil and Festival Internacional de Buenos Aires.’ Knowles, (ed.), Cambridge Companion, 224–38.Google Scholar
Graver, David, and Kruger, Loren. ‘Locating Theatre: Regionalism and Interculturalism at Edinburgh.’ Performing Arts Journal 15.2 (1993): 7184.Google Scholar
Grundy, Kenneth. ‘The Politics of South Africa’s National Arts Festival: Small Engagements in the Bigger Campaign.’ African Affairs 93 (1994): 387409.Google Scholar
Gunew, Sneja. Haunted Nations: The Colonial Dimensions of Multiculturalisms. London: Routledge, 2004.Google Scholar
Gyan-Apenteng, Kwadwo. ‘Panafest Set to Thrill!’ Michigan Citizen 2 August 2003: B1.Google Scholar
Hanna, Michelle. Reconciliation in Olympism: Indigenous Culture in the Sydney Olympiad. Petersham, nsw: Walla Walla P, 1999.Google Scholar
Harris, Sue. ‘“Dancing in the Streets”: The Aurillac Festival of Street Theatre.’ Contemporary Theatre Review 14.2 (2004): 5771.Google Scholar
Harvie, Jen. ‘Cultural Effects of the Edinburgh International Festival: Elitism, Identities, Industries.’ Contemporary Theatre Review 13.4 (2003): 1226.Google Scholar
Harvie, Jen. Fair Play – Art, Performance, and Neoliberalism. Basingstoke: Palgrave Macmillan, 2013.Google Scholar
Harvie, Jen. ‘International Theatre Festivals in the UK: The Edinburgh Festival Fringe as Model Neoliberal Market.’ Knowles, (ed.), Cambridge Companion, 101–17.Google Scholar
Harvie, Jen. Staging the UK. Manchester: Manchester UP, 2005.Google Scholar
Hauptfleisch, Temple. ‘The Culture Bazaar: Thoughts on Festival Culture after a Visit to the 2003 Klein Karoo Nasionale Kunstefees (KKNK) in Oudtshoorn.’ South African Theatre Journal 17.1 (2003): 258–75.Google Scholar
Hauptfleisch, Temple. ‘The Eventification of Afrikaans Culture – Some Thoughts on the Klein Karoo Nasionale Kunstefees (KKNK).’ South African Theatre Journal 15. 1 (2001): 169–77.Google Scholar
Hauptfleisch, Temple. ‘Eventifying Identity: Festivals in South Africa and the Search for Cultural Identity.’ New Theatre Quarterly 22.2 (2006): 181–98.Google Scholar
Hauptfleisch, Temple. ‘Festivals as Eventifying Systems.’ Festivalising! Theatrical Events, Politics and Culture. Ed. Hauptfleisch, Temple, Lev-Aladgem, Shulamith, Martin, Jacqueline, Sauter, Willmar, and Schoenmakers, Henri. Amsterdam: Rodopi, 2007. 3947.Google Scholar
Hetherington, Kevin. The Badlands of Modernity: Heterotopia and Social Ordering. London: Routledge, 1997.Google Scholar
Higgins-Desbiolles, Freya. ‘Reconciliation Tourism: Healing Divided Societies.’ Tourism Recreation Research 28.3 (2003): 3544.Google Scholar
Hill, David. ‘Welcome to Guatemala: Gold Mine Protester Beaten and Burned Alive.’ The Guardian 12 August 2014. www.theguardian.com/environment/andes-to-the-amazon/2014/aug/12/guatemala-gold-mine-protester-beaten-burnt-alive. 26 January 2020.Google Scholar
Hoffman, Alvina. ‘Interview – Walter Mignolo/Part 2: Key Concepts.’ E-International Relations 21 January 2017. www.e-ir.info/2017/01/21/interview-walter-mignolopart-2-key-concepts. 18 September 2020.Google Scholar
Hoffman, W[alter] J[ames]. The Midë’wiwin or ‘Grand Medicine Society’ of the Ojibwa. Seventh Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1885–6. Washington: Government Printing Office, 1891. 143–300. www.gutenberg.org/files/19368/19368-h/19368-h.htm. 26 June 2021.Google Scholar
Holledge, Julie, and Tompkins, Joanne. Women’s Intercultural Performance. London: Routledge, 2000.Google Scholar
Holledge, Julie, Thomasson, Sarah, and Tompkins, Joanne. ‘Rethinking Interculturalism Using Digital Tools.’ McIvor, and King, (eds.), Interculturalism, 89–111.Google Scholar
‘Hotel Shabby Shabby: Pop-up Hotel Offers Recycled Rooms Built for Under €250.’ https://inhabitat.com/clever-pop-up-hotel-in-germany-features-recycled-rooms-built-under-320/raumlabor-hotel-shabby-shabby-122. 23 July 2019.Google Scholar
House, Stephen. ‘Adelaide Festival: Doku Rai.’ atAussietheatre.com 2 March 2013. https://aussietheatre.com.au/reviews/adelaide-festival-doku-rai. 9 March 2020.Google Scholar
Houston, Andrew. ‘Majdi Bou-Matar’s Impact: An Examination of the IMPACT Festival and Its Survival in the Waterloo Region.’ Theatre Research in Canada/ Recherches théâtrales au Canada 40.1–2 (2019): 102–17.Google Scholar
Huffman, Shawn. ‘On and Off: A Tour of Theatre Festivals in Canada and the United States.’ Contemporary Theatre Review 13.4 (2003): 5765.Google Scholar
Husband, Dale. ‘Lemi Ponifasio: I’m on the Stage because I Want to Change the World.’ E-Tangata 13 August 2016. https://e-tangata.co.nz/arts/lemi-ponifasio-im-on-the-stage-because-i-want-change-in-the-world. 29 August 2018.Google Scholar
Hutchison, Yvette. ‘“Zones of Occult Instability”: A South African Perspective on Negotiating Colonial Afterlives through Intercultural Performance.’ McIvor, and King, (eds.), Interculturalism, 153–79.Google Scholar
Imaginario, Andrea. ‘Significado de Interculturalidad.’ Significados. www.significados.com/interculturalidad. 26 June 2021.Google Scholar
Indigenous Corporate Training. ‘First Nation Talking Stick Protocol.’ 20 January 2015. www.ictinc.ca/blog/first-nation-talking-stick-protocol. 15 September 2020.Google Scholar
Interferences International Theatre Festival. ‘About the Festival.’ www.interferences-huntheater.ro/2018/en/about-the-festival/mission-history. 21 July 2019.Google Scholar
Irmer, Thomas. ‘Theater der Welt in Berlin.’ PAJ: A Journal of Performance and Art 22.2 (2000): 123–31.Google Scholar
Ise, Claudine. ‘“Bodies of Work” Is All About Art and Ability.’ Chicago Tribune 9 May 2013. www.chicagotribune.com/entertainment/ct-xpm-2013-05-09-ct-ott-0510-bodies-of-work-20130509-story.html. 7 January 2020.Google Scholar
James, Ryan K.Urban Redevelopment and Displacement from Regent Park to El Cartucho.’ Canadian Theatre Review 161 (2015): 1721.Google Scholar
Jamieson, Kirstie. ‘Edinburgh: The Festival Gaze and Its Boundaries.’ Space & Culture 7.1 (2004): 6475.Google Scholar
Japan Foundation. ‘Arts Organization of the Month: Urban Heat.’ 6 November 2017. https://performingarts.jp/E/society/1710/1.html. 26 June 2021.Google Scholar
Jarque, Michael. ‘Nick Power’s “Between Tiny Cities”: The Power of Two.’ Dance Informa: Australian Edition 5 July 2019. https://dancemagazine.com.au/2019/07/nick-powers-between-tiny-cities-the-power-of-two. 7 March 2020.Google Scholar
Johansson, Marjana. ‘City Festivals and Festival Cities.’ Knowles, (ed.), Cambridge Companion, 54–69.Google Scholar
Johansson, Marjana, and Kociatkiewicz, Jerzy. ‘City Festivals: Creativity and Control in Staged Urban Experiences.’ European Urban and Regional Studies 18.4 (2011): 392405.Google Scholar
Marjana, Johansson, and Toraldo, Maria Laura. ‘“From mosh pit to posh pit”: Festival Imagery in the Context of the Boutique Festival.’ Culture & Organization 23.3 (2017): 220–37.Google Scholar
Johnston, Kirsty. Stage Turns: Canadian Disability Theatre. Montreal: McGill-Queen’s UP, 2012.Google Scholar
Jones, Chris. ‘Moving “Andares” at Chicago Shakespeare Has Stories of Rural Mexico, Without Any Romantic Gloss.’ Chicago Tribune 24 October 2019. www.chicagotribune.com/entertainment/theater/reviews/ct-ent-andares-destinos-review-1025-20191024-fhlqsap7fbdlbgvmxd7xu3wv44-story.html. 15 February 2020.Google Scholar
Kann, Drew. ‘Bodies of Work Festival.’ WTTW News 15 May 2013. https://news.wttw.com/2013/05/15/bodies-work-festival. 7 January 2013.Google Scholar
Kant, Immanuel. Political Writings. Ed. Siegbert Reiss, Hans. Trans. Nisbet, Hugh Barr. 2nd ed. Cambridge: Polity, 1990.Google Scholar
Karas, James. ‘In Sundry Languages – Review. Toronto Laboratory Theatre Production.’ 6 July 2019. https://jameskarasreviews.blogspot.com/2019/07/in-sundry-languages-review-toronto.html. 13 September 2019.Google Scholar
Kavass, I.I.Adelaide Festival of Arts.’ The Australian Quarterly 32.2 (1960): 716.Google Scholar
Khlifi, Roua. ‘Arab Theatre Festival Draws a Large Audience in Tunis.’ The Arab Weekly 21 January 2018. https://thearabweekly.com/arab-theatre-festival-draws-large-audience-tunis. 9 February 2019.Google Scholar
Kickstart Disability Arts and Culture. ‘Our History So Far.’ www.kickstartdisability.ca/about-us/history. 7 January 2020.Google Scholar
Kiinalik: These Sharp Tools. Programme. Luminato Festival, Toronto. 12–16 June 2019.Google Scholar
Kim, Hayana. ‘Reckoning with Historical Conflicts in East Asian Theatre Festivals: The BeSeTo Theatre Festival and the Gwangju Media Arts Festival.’ Knowles, (ed.), Cambridge Companion, 192–206.Google Scholar
Kim, Jae Kyoung. ‘King Lear by William Shakespeare.’ Theatre Journal 66.3 (2014): 452–4.Google Scholar
Kim, Ju Yon. ‘Between Paper and Performance: Suspicion, Race, and Casting in The Piano Teacher.’ Modern Drama 63.2 (2020): 127–53.Google Scholar
Kim, Sarah. ‘One of the Kind Performing Arts Festival, by and for the Disability Community.’ Forbes 26 April 2019. www.forbes.com/sites/sarahkim/2019/04/26/i-wanna-be-with-you-everywhere/#3f6ce41d4176. 7 January 2020.Google Scholar
Yun-Cheol, Kim. ‘The First BeSeTo Theatre Festival.’ Theatre Journal 47.3 (1995): 416–19.Google Scholar
Knowles, Ric. ‘Adapting to Shakespeare.’ The Shakespeare’s Mine: Adapting Shakespeare in Anglophone Canada. Ed. Knowles, Ric. Toronto: Playwrights Canada P, 2009. iii–ix.Google Scholar
Knowles, Ric. ‘The Arab Theatre Festival.’ Theatre Journal 71.2 (2019): 220–3.Google Scholar
Knowles, Ric. ‘“Because It’s Ritual, and We’re Living”: Living Ritual International Indigenous Performing Arts Festival.’ Canadian Theatre Review 174 (2018): 83–8.Google Scholar
Knowles, Ric. ‘Between the Flag and the Hungry Ghosts.’ Canadian Theatre Review 181 (2020): 86–8.Google Scholar
Knowles, Ric. ‘Canada Comes to CARIFESTA: The Caribbean International Festival of the Arts, Trinidad and Tobago, August 2019.’ Canadian Theatre Review 182 (2020): 7281.Google Scholar
Knowles, Ric. ‘Festival de Théâtre des Amériques.’ Canadian Theatre Review 92 (1997): 90–5.CrossRefGoogle Scholar
Knowles, Ric. ‘Festivals: What Good Are They? What Are They Good At? The Case of Edinburgh 2017.’ Theatre Journal 70 (2018): 369–82.Google Scholar
Knowles, Ric. ‘Not Just Counting Sheep: Canada Hub at the Edinburgh Fringe.’ Canadian Theatre Review 179 (2019): 8590.Google Scholar
Knowles, Ric. Performing the Intercultural City. Ann Arbor: U of Michigan P, 2017.Google Scholar
Knowles, Ric. Reading the Material Theatre. Cambridge: Cambridge UP, 2004.Google Scholar
Knowles, Ric. ‘Seeking the International Intercultural: The Seventieth Edinburgh Fringe Festival.’ Canadian Theatre Review 177 (2019): 90–3.Google Scholar
Knowles, Ric. Theatre & Interculturalism. Basingstoke: Palgrave Macmillan, 2010.Google Scholar
Knowles, Ric. ‘Urban Dreams, Native Rites, and Rural Pleasures.’ Rev. of Festival de théâtre des Amériques 1999. Canadian Theatre Review 102 (2000): 7280.Google Scholar
Knowles, Ric. (ed.). The Cambridge Companion to International Theatre Festivals. Cambridge: Cambridge UP, 2020.Google Scholar
Komporaly, Jozefina. ‘Interferences International Theatre Festival.’ Theatre Journal 67.3 (2015): 550–4.Google Scholar
Ja-hung, Koo. ‘The BeSeTo Festival and China-Korea Theatre Exchange.’ Performing Arts Market in Seoul (PAMS): The Future of Asian Performing Arts – China Now. National Theatre of Korea. 7–12 October 2014. www.gokams.or.kr/artnews_upload/[PAMS%202014]THE%20FUTURE%20OF%20ASIAN%20PERFORMING%20ARTS_CHINA%20NOW.pdf. 11 February 2019.Google Scholar
Kovacs, Sasha. ‘Performance as Treatment in the James Bay Treaty No. 9.’ Canadian Theatre Review 161 (2015): 43–7.Google Scholar
Kruger, Loren. ‘The National Arts Festival in Grahamstown: Culture, Economics, and Race in South Africa.’ Knowles, (ed.), Cambridge Companion, 178–91.Google Scholar
Lachance, Lindsay, and Couture, Selena. ‘Transformational Kinstellatory Relations and the Talking Stick Festival.’ Theatre Research in Canada/Recherches théâtrales au Canada 40.1–2 (2019): 1026.Google Scholar
La Flamme, Michelle. ‘BC Aboriginal Theatre History in the Making: Talking with Margo Kane about the History of Full Circle and the Talking Stick.’ Canadian Performance Histories and Historiographies Ed. Davis-Fisch, Heather. Toronto: Playwrights Canada P, 2017. 93114.Google Scholar
Langhoff, Shermin. ‘Editorial.’ 4th Berlin Fall Salon: De-Home It!’ https://translate.google.com/translate?hl=en&sl=de&u=https://www.berliner-herbstsalon.de/&prev=search. 2 January 2020.Google Scholar
Latif, Shaista. House Program. How I Learned to Serve Tea. Progress Festival. Toronto February 2020. http://progressfestival.org/wp-content/uploads/2019/11/howilearnedtoservetea-houseprogram.pdf. 17 February 2020.Google Scholar
Lei, Daphne. ‘Interruption, Intervention, Interculturalism: Robert Wilson’s HIT Productions in Taiwan.’ Theatre Journal 63.4 (2011): 571–86.Google Scholar
Lei, Daphne, and McIvor, Charlotte (eds.). The Methuen Drama Handbook of Interculturalism and Performance. London: Bloomsbury, 2020.Google Scholar
Les Francophonies: Des écritures à la scène. ‘Les Zébrures d’automne 2019 Programmation/Calendrier.’ www.lesfrancophonies.fr/Programmation-Calendrier. 9 April 2020.Google Scholar
Levin, Laura. ‘Ecology and Site-Specificity in Festival Production: A Conversation with Laura Nanni.’ Theatre Research in Canada/Recherches théâtrales au Canada 40.1–2 (2019): 135–52.Google Scholar
Levin, Laura, and Solga, Kim. ‘Building Utopia: Performance and the Fantasy of Urban Renewal in Contemporary Toronto.’ Theatre and Performance in Toronto. Ed. Levin, Laura. Toronto: Playwrights Canada P, 2011. 156–75.Google Scholar
Levitt, Aimee. ‘The Art of Disability on Display at Bodies of Work.’ Chicago Reader 7 May 2013. www.chicagoreader.com/chicago/bodies-of-work-festival-disability-arts-culture/Content?oid=9562482. 7 January 2020.Google Scholar
Liebembuk, Shelley. ‘The Interpreter Made Visible: The Politics of Translation across the panamerican ROUTES/RUTAS panamericanas Festival.’ Canadian Theatre Review 161 (2014): 2630.Google Scholar
Lim, Alvin Eng Hui. ‘Routes and Routers of Interculturalism: Islands, Theatres and Shakespeares.’ McIvor, and King, (eds.), Interculturalism, 61–87.Google Scholar
Lin, Kuan-Wen, Stein, Patrick, and Goldblatt, Joe. ‘New Investment: An Exploratory Case Study of Three Mature Edinburgh Festivals and Their Future Funding Opportunities.’ Event Management 15.2 (2011): 179–95.Google Scholar
Lionnet, Françoise, and Shih, Shu-mei (eds.). Minor Transnationalism. Durham, nc: Duke UP, 2005.Google Scholar
Litt, Michael. ‘Southern Ontario’s Silicon Valley: Unleashing Waterloo’s Tech-Innovation Sector.’ Globe and Mail 28 March 2018. www.theglobeandmail.com/business/commentary/article-southern-ontarios-silicon-valley-unleashing-waterloos-tech. 31 October 2019.Google Scholar
Live Art Development Agency. ‘DIY: 2019 – Quiplash: Unsightly Drag.’ www.thisisliveart.co.uk/opportunities/diy16-2019-quiplash-unsightly-drag. 7 June 2020.Google Scholar
Living Ritual Festival. Programme. Toronto. 25–7 July 2017.Google Scholar
‘Lookout.’ https://aplacetolookout.co.uk. 23 July 2019.Google Scholar
Low, Stephen. ‘In Conversation: Nick Green on the Social Distancing Festival.’ Intermission 25 September 2020. www.intermissionmagazine.ca/in-conversation/in-conversation-nick-green-on-the-social-distancing-festival. 25 September 2020.Google Scholar
Loyer, Emmanuelle, and de Baecque, Antoine. Histoire du Festival d’Avignon. Paris: Éditions Gallimard, 2016.Google Scholar
Luminato. https://luminatofestival.com. 19 November 2019.Google Scholar
Luminato. Luminato 2018 Annual Report. https://issuu.com/luminato/docs/luminato_2018_annual_report_for_web. 26 June 2021.Google Scholar
Mackley-Crump, Jared. ‘The Festivalization of Pacific Cultures in New Zealand: Diasporic Flow and Identity within Transcultural Contact Zones.’ Musicology Australia 35.1 (2013): 2040.Google Scholar
Mackley-Crump, Jared. ‘Pacific Festivals in Aotearoa.’ Spasifik 51 (July/August 2012): 58–61.Google Scholar
Magowan, Fiona. ‘Dancing with a Difference: Reconfiguring the Poetic Politics of Aboriginal Ritual as National Spectacle.’ Australian Journal of Anthropology 11.3 (2000): 308–21.Google Scholar
Malone, Gavin. ‘Ways of Belonging: Reconciliation and Adelaide’s Public Space Indigenous Cultural Markers.’ Geographical Research 45.2 (2007): 158–66.Google Scholar
Malta Festival Poznań. ‘MALTA Short History.’ https://malta-festival.pl/en/festival/about/history. 14 January 2020.Google Scholar
Mammalian Diving Reflex. https://mammalian.ca/about/who-we-are. 13 January 2020.Google Scholar
Marcus, George E. Ethnography through Thick and Thin. Princeton, nj: Princeton UP, 1998.Google Scholar
Martin, Carol. ‘Under the Radar Festival, New York: Experimental, Urban, and Global.’ Knowles, (ed.), Cambridge Companion, 118–31.Google Scholar
Martin, Jacqueline E., Seffrin, Georgia K., and Wissler, Rodney C.. ‘The Festival Is a Theatrical Event.’ Theatrical Events: Borders, Dynamics, Frames. Ed. Cremona, Vicky, Eversmann, Peter, van Maanen, Hans, Sauter, Willem, and Tulloch, John. Amsterdam: Rodopi, 2004. 91110.Google Scholar
Massie-Blomfeld, Amber. ‘Interview: New Yorker David Binder on the Local-Global Hybrid of Lift 2018’. Run Riot 1 May 2018. www.run-riot.com/articles/blogs/interview-new-yorker-david-binder-local-global-hybrid-lift-2018. 26 June 2021.Google Scholar
Mattison, Christopher. ‘Delinking, Decoloniality, and Dewesternization: Interview with Walter Mignolo (Part II).’ Critical Legal Thinking: Law and the Political (2 May 2012): https://criticallegalthinking.com/2012/05/02/delinking-decoloniality-dewesternization-interview-with-walter-mignolo-part-ii/. 13 September 2020.Google Scholar
Maurin, Frédéric. ‘Still and Again: Whither Festivals?Contemporary Theatre Review 13.4 (2003): 511.Google Scholar
McIvor, Charlotte. ‘Introduction: New Directions?’ McIvor, and King, (eds.), Interculturalism, 1–26.Google Scholar
McIvor, Charlotte, and King, Jason (eds.). Interculturalism and Performance Now: New Directions? Cham: Palgrave Macmillan, 2019.Google Scholar
McLean, Heather E.Cracks in the Creative City: The Contradictions of Community Arts Practice.’ International Journal of Urban and Regional Research 38.6 (2014): 2156–73.Google Scholar
McLean, Heather E.Hos in the Garden: Staging and Resisting Neoliberal Creativity.’ Environment and Planning D: Society and Space 35.1 (2017): 3856.Google Scholar
McMahon, Christina S. Recasting Transnationalism through Performance: Theatre Festivals in Cape Verde, Mozambique, and Brazil. Basingstoke: Palgrave Macmillan, 2014.Google Scholar
McRobbie, Angela. Be Creative: Making a Living in the New Cultural Industries. Cambridge: Polity, 2016.Google Scholar
Meerzon, Yana. ‘Avignon 2019: Seeking the Other: Staging the Paroxysms of Orientalism.’ Theatre Times 10 August 2019. https://thetheatretimes.com/avignon-2019-seeking-the-other-staging-the-paroxysms-of-orientalism. 26 June 2021.Google Scholar
Menza, Carla, and Lapierre, Laurent. ‘Company Profile: Fanny Mikey and the Ibero-American Theatre Festival of Bogotá.’ International Journal of Arts Management 6.2 (2004): 6677.Google Scholar
Metropolis. ‘About Metropolis 2019.’ www.metropolis.dk/en/about-metropolis-2019. 6 April 2020.Google Scholar
Metropolis. ‘In Situ.’ www.metropolis.dk/en/in-situ. 14 January 2020.Google Scholar
Mignolo, Walter. The Idea of Latin America. Hoboken, nj: Blackwell, 2005.Google Scholar
Mignolo, Walter, and Walsh, Catherine E.. On Decoloniality: Concepts, Analytics, Praxis. Durham, nc: Duke UP, 2018.Google Scholar
Mill, Jessie, and Parent, Marie (eds.). FTA: Nos jours de fête. Montréal: Les Éditions Somme Toute, 2018.Google Scholar
Ministère de la Culture, République française. ‘Nomination d’Hassane Kassi Kouyaté à la direction du Festival des Francophonies en Limousin.’ www.culture.gouv.fr/Presse/Communiques-de-presse/Nomination-d-Hassane-Kassi-Kouyate-a-la-direction-du-Festival-des-Francophonies-en-Limousin. 24 November 2018.Google Scholar
Mirk, Sarah. ‘Let’s Talk about Crip Culture.’ Bitchmedia 17 July 2015. www.bitchmedia.org/post/lets-talk-about-crip-culture. 9 January 2020.Google Scholar
Mojica, Monique. ‘Chocolate Woman Dreams the Milky Way.’ Indigenous Women in Canada: The Voices of First Nations, Inuit, and Métis Women. Spec. Issue of Canadian Women’s Studies 26.3–4 (2008): 160–8.Google Scholar
Money, Laura. ‘Perth Festival 2020 | Hecate | 5 Stars.’ The Fourth Wall 10 February 2020. https://fourthwallmedia.wordpress.com/2020/02/10/perth-festival-2020-hecate-5-stars. 10 March 2020.Google Scholar
Gwang-lip, Moon. ‘NE Asian Theatre Takes Center Stage.’ Korea JoongAng Daily 6 September 2012. http://koreajoongangdaily.joins.com/news/article/article.aspx?aid=2959042. 24 February 2019.Google Scholar
Morison, Thomas. ‘Domestic International Festivals.’ Canadian Theatre Review 125 (2006): 120–4.Google Scholar
Moses, L.G. ‘Indians on the Midway: Wild West Shows and the Indian Bureau at World’s Fairs, 1893–1904.’ South Dakota State Historical Society 1991. www.sdhspress.com/journal/south-dakota-history-21-3/indians-on-the-midway-wild-west-shows-and-the-indian-bureau-at-worlds-fairs-1893-1904/vol-21-no-3-indians-on-the-midway.pdf. 23 April 2020.Google Scholar
Moya, Paula M.L. ‘The Search for Decolonial Love: An Interview with Junot Díaz.’ Boston Review: A Political and Literary Forum (26 June 2012): http://bostonreview.net/books-ideas/paula-ml-moya-decolonial-love-interview-junot-d%C3%ADaz. 13 September 2020.Google Scholar
MT Space. ‘About MTSpace.’ http://mtspace.ca/about-mt-space. 4 March 2019.Google Scholar
MT Space Theatre. Amal. Unpublished script. 11 October 2018.Google Scholar
Muehlemann, Nina. ‘Why We Need Disability Arts Festivals, Now and in the Future.’ Disability Arts Online 11 June 2018. https://disabilityarts.online/magazine/opinion/need-disability-arts-festivals-now-future. 7 January 2020.Google Scholar
Munro, Iain, and Jordan, Silvia. ‘“Living Space” at the Edinburgh Festival Fringe: Spatial Tactics and the Politics of Smooth Space.’ Human Relations 66.11 (2013): 1497–525.Google Scholar
Nanni, Laura. Telephone conversation with Ric Knowles, 14 April 2020.Google Scholar
Neilson, Brett. ‘Bodies of Protest: Performing Citizenship at the 2000 Olympic Games.’ www.uws.edu.au/__data/assets/pdf_file/0009/365742/Neilson_Bodies_of_Protest_ICS_Pre-Print_Final.pdf. 26 June 2021.Google Scholar
Nettleford, Rex. ‘Keynote Address: The Caribbean Artist’s Presence and Education for the Third Millennium.’ Caribbean Quarterly 45.2–3 (1999): 19.Google Scholar
Thiong’o, Ngũgĩ wa. Decolonizing the Mind: The Politics of Language in African Literature. London: James Curry, 1981.Google Scholar
Niang, Amy. ‘African Renaissance between Rhetoric & the Aesthetics of Extravagance.’ African Theatre 11 (2012): 30–8.Google Scholar
Nicol, Emily. ‘Sydney Festival’s Strong Indigenous Program Is Heartening and Unflinching.’ The Guardian 24 January 2017. www.theguardian.com/culture/2017/jan/24/blood-song-and-language-reconnecting-with-sydneys-origins-through-art. 3 September 2018.Google Scholar
Nightingale, Andrea W. Spectacles of Truth in Classical Greek Philosophy: Theoria in Its Cultural Context. Cambridge: Cambridge UP, 2004.Google Scholar
‘NO LIMITS: Disability & Performing Arts Festival Berlin.’ www.no-limits-festival.de/media/nolimits2019-programmbuch.pdf. 8 January 2020.Google Scholar
Nora, Pierre. ‘From Between History and Memory: Les Lieux de Mémoire.’ Theories of Memory: A Reader. Ed. Rossington, Michael and Whitehead, Anne. Baltimore: Johns Hopkins UP, 2007. 144–9.Google Scholar
Nygren, Christina. ‘Festivals in Religious or Spiritual Contexts: Examples from Japan, China, India, and Bangladesh.’ Festivalising! Theatrical Events, Politics and Culture. Ed. Hauptfleisch, Temple, Lev-Aladgem, Shulamith, Martin, Jacqueline, Sauter, Willmar, and Schoenmakers, Henri. Amsterdam: Rodopi, 2007. 261–80.Google Scholar
O’Bonsawin, Christine M.Indigenous People and Canadian Hosted Olympic Games.’ Aboriginal Peoples and Sport in Canada: Historical Foundations and Contemporary Issues. Ed. Forsyth, Janice and Giles, Audrey. Vancouver: UBC Press, 2013. 3563.Google Scholar
Okareka Dance Company. ‘Okareka Dance.’ https://vimeo.com/okarekadance/about. 5 April 2020.Google Scholar
Ortuzar, Jimena. ‘Aluna Theatre: Building Pan-American Communities.’ Canadian Theatre Review 157 (2014): 64–7.Google Scholar
Panafest Pan African Historical Festival. ‘Draft Programme for Panafest 2019.’ www.panafestghana.org/page/?nid=10. 21 February 2019.Google Scholar
Papastergiatis, Nikoa, and Martin, Meredith. ‘Art Bienalles and Cities as Platforms for Global Dialogue.’ Giorgi, et al. (eds.), Festivals, 45–62.Google Scholar
Paré, Michel F. ‘Queer West Art and Film Festivals.’ https://artsfestival.queerwest.org/festival-2/international. 2 January 2020.Google Scholar
Parker, Brenda. ‘Beyond the Class Act: Gender and Race in the “Creative City” Discourse.’ Gender in an Urban World: Research in Urban Sociology. Ed. DeSena, Judith N.. Bingley: Jai Press/Emerald, 2008. 201–33.Google Scholar
Pavis, Patrice. Theatre at the Crossroads of Culture. Trans. Kruger, Loren. London: Routledge, 1992.Google Scholar
Peck, Jamie. ‘Struggling with the Creative Class.’ International Journal of Urban and Regional Research 29.4 (2005): 740–70.Google Scholar
Peghini, Julie, and Thérésine, Amélie. ‘Les Récréâtrales (Ouagadougou)/Mantsina sur Scène (Brazzaville): Des espaces où s’inventent des dramaturgies résistantes.’ Horizons/Théâtre 6 (2016): 8299.Google Scholar
Performing Arts Network Japan. ‘Japan Topics.’ 4 October 2016. www.performingarts.jp/E/topics/archive/2016/j20160802.html. 25 February 2019.Google Scholar
Phipps, Peter. ‘Indigenous Festivals in Australia: Performing the Postcolonial.’ Ethnos 81.4 (2016): 683–96.Google Scholar
Phipps, Peter. ‘Performances of Power: Indigenous Cultural Festivals as Globally Engaged Cultural Strategy.’ Alternatives: Global, Local, Political 35.3 (2010): 217–40.Google Scholar
Phipps, Peter. ‘Performing Culture as Political Strategy: The Garma Festival, Northeast Arnhem Land.’ Festival Places: Revitalizing Rural Australia. Ed. Gibson, Chris and Connell, John. Bristol: Channel View, 2011. 109–22.Google Scholar
Pizano, Beatriz, and Schwellnus, Trevor. Interview with Jimena Ortuzar. Toronto. 18 August 2013.Google Scholar
Portland Institute for Contemporary Art. ‘TBA.’ www.pica.org/tba. 29 January 2020.Google Scholar
Portmann, Alexandra. ‘International Festivals, the Practice of Co-production, and the Challenges for Documentation in a Digital Age.’ Knowles, (ed.), Cambridge Companion, 36–53.Google Scholar
Preston, Jennifer. ‘Weesageechak Begins to Dance: Native Earth Performing Arts Inc.’ TDR (The Drama Review) 36.1 (1992): 135–59.Google Scholar
Preston, V.K. ‘Queer and Indigenous Art: Performing Ice Times in Climate Crisis.’ Theatre Journal 72 (2020): 143–62.Google Scholar
Pring, John. ‘Disappointment at Mayor’s Scaled-back Plans for Liberty Arts Festival.’ DNS: Disability News Service 17 October 2019. www.disabilitynewsservice.com/disappointment-at-mayors-scaled-back-plans-for-liberty-arts-festival. 7 January 2020.Google Scholar
Pringle, Lyne. ‘NZ Festival Review: In Jerusalem Disparate Elements Come Together in a Plea for Peace.’ Stuff 23 February 2020. www.stuff.co.nz/entertainment/stage-and-theatre/119743413/nz-festival-review-in-jerusalem-disparate-elements-come-together-in-a-plea-for-peace. 12 March 2020.Google Scholar
Prismatic Arts Festival. http://prismaticfestival.com. 31 August 2018.Google Scholar
The Public. ‘Under the Radar 2020.’ https://publictheater.org/programs/under-the-radar/under-the-radar. 16 January 2020.Google Scholar
PuSh International Performing Arts Festival. ‘About & History.’ https://pushfestival.ca/about-the-festival/about-the-festival. 25 January 2020.Google Scholar
PuSh International Performing Arts Festival. ‘Fall Update.’ [2020] Publicity Flyer.Google Scholar
PuSh International Performing Arts Festival. ‘Programme.’ Vancouver. 16 January – 4 February 2018.Google Scholar
‘Quand l’art passe à l’action.’ www.atsa.qc.ca/en/eu-2017-home. 9 January 2020.Google Scholar
Chemins, Quatre. ‘Dix ans d’histoires.’ www.festival4chemins.com/about. 26 November 2018.Google Scholar
Chemins, Quatre. ‘Présentation de l’édition 2018.’ www.festival4chemins.com/copie-de-presentation-1. 26 November 2018.Google Scholar
Quinn, Bernadette. ‘Arts Festivals and the City.’ Urban Studies 42.5–6 (2005): 927–43.Google Scholar
Rancière, Jacques. Dissensus: On Politics and Aesthetics. London: Connections, 2010.Google Scholar
Rasmussen, Tom. ‘The Reality of Edinburgh Fringe When You’re a Working Class Performer.’ Dazed 9 August 2019. www.dazeddigital.com/life-culture/article/45522/1/edinburgh-fringe-when-youre-a-working-class-performer?fbclid=IwAR1CN0wdIfaep3CAMvzxdnC1uSF2_MR_t94By5X8L2GOz0XO_giZ8OEkQJU. 14 August 2019.Google Scholar
Récréâtrales. ‘A propos.’ http://recreatrales.org/?page_id=2096. 26 November 2018.Google Scholar
Referendum Council. ‘Final Report of the Referendum Council.’ 30 June 2017. www.referendumcouncil.org.au/final-report.html#toc-anchor-ulurustatement-from-the-heart. 14 September 2020.Google Scholar
Regev, Motti. ‘International Festivals in a Small Country: Rites of Recognition and Cosmopolitanism.’ Giorgi, et al. (eds.), Festivals, 108–23.Google Scholar
Régis, Guy Jr. ‘Tous les hommes sont fous.’ http://lenational.org/post_free.php?elif=1_CONTENUE/culture&rebmun=4140. 26 June 2021.Google Scholar
Remshardt, Ralf. ‘Theater Der Welt Festival.’ Theatre Journal 70 (2018): 229–32.Google Scholar
Rickard, Jolene. ‘Visualizing Sovereignty in the Time of Biometric Sensors.’ South Atlantic Quarterly 110.2 (2011): 465–86.Google Scholar
Protokoll, Rimini. ‘Ciudades Paralelas – Parallel Cities.’ www.rimini-protokoll.de/website/en/project/ciudades-paralelas-parallele-staedte. 30 January 2020.Google Scholar
Rine, Natalie. ‘New York Review: Makuyeika Colectivo Teatral’s “Andares” Presented by Under the Radar Festival at the Public.’ On Stage Blog 24 January 2020. www.onstageblog.com/reviews/2020/1/24/new-york-review-makuyeika-colectivo-teatrals-andares-presented-by-under-the-radar-festival-at-the-public. 15 February 2020.Google Scholar
Ripp, Alexandra. ‘Estado Vegetal.’ Theatre Journal 71.3 (2019): 382–4.Google Scholar
Roberts, Rhoda. ‘A Passion for Ideas: Black Stage.’ Australasian Drama Studies 32 (1998): 320.Google Scholar
Robertson, Martin, and MacMillan Wardrop, Kenneth. ‘Events and the Destination Dynamic: Edinburgh Festivals, Entrepreneurship and Strategic Marketing.’ Festival and Events Management: An International Arts and Culture Perspective. Ed. Yeoman, Ian. New York: Routledge, 2004. 115–29.Google Scholar
Robinson, Dylan. Hungry Listening: Resonant Theory for Indigenous Studies. Minneapolis: U of Minnesota P, 2020.Google Scholar
Robinson, Dylan. ‘Public Writing, Sovereign Reading: Indigenous Language Art in Public Space.’ Art Journal 76.2 (2017): 8599.Google Scholar
Robinson, Dylan. ‘Welcoming Sovereignty.’ Performing Indigeneity. Ed. Nolan, Yvette and Knowles, Ric. Toronto: Playwrights Canada P, 2016. 532.Google Scholar
Roche, Maurice. ‘Festivalizataion, Cosmopolitanism, and European Culture: On the Sociocultural Significance of Mega-Events.’ Giorgi, et al. (eds.), Festivals, 124–41.Google Scholar
Rogers, Amal. ‘Can She Dig It? Amal Rogers on Dana Michel’s Mercurial George.’ Walker 12 January 2018. https://walkerart.org/magazine/overnight-review-dana-michel-mercurial-george. 1 February 2020.Google Scholar
Ronström, Owe. ‘Four Facets of Festivalisation.’ Puls – Journal for Ethnomusicology and Ethnochoreology 1.1 (2015): 6783.Google Scholar
Rößler, Maria. ‘Of Lonely Humans and Loving Rice Cookers. Performance Review of Cuckoo by Jaha Koo, Presented at MMCA Performing Arts: Asia Focus, Seoul.’ December 2017. https://mariaroessler.work/Of-lonely-humans-and-loving-rice-cookers. 13 February 2020.Google Scholar
‘Ruhrfestspiele Theatre Festival in Recklinghausen.’ www.nrw-tourism.com/ruhrfestspiele-theatre-festival-in-recklinghausen.13 April 2019.Google Scholar
Sahakian, Emily. ‘Festivals in the Francophone World as Sites of Cultural Struggle.’ Knowles, (ed.), Cambridge Companion, 207–23.Google Scholar
Schoenmakers, Henri. ‘Festivals, Theatrical Events and Communicative Interactions.’ Festivalising! Theatrical Events, Politics and Culture. Ed. Hauptfleisch, Temple, Lev-Aladgem, Shulamith, Martin, Jacqueline, Sauter, Willmar, and Schoenmakers, Henri. Amsterdam: Rodopi, 2007. 2737.Google Scholar
Schramm, KatharinaAfrican Homecoming: Pan-African Ideology and Contested Heritage. Walnut Creek, ca: Left Coast P, 2010.Google Scholar
Schwellnus, Trevor. ‘Retracing The Last Walk of Adolfo Ich.’ Canadian Theatre Review 161 (2015): 6473.Google Scholar
Search Party. ‘Growing Old with You.’ http://searchpartyperformance.org.uk/project/growing-old-with-you. 1 January 2020.Google Scholar
Sellar, Tom. ‘“A Change Has Totally Taken Place.” Interview with Matthias Liliental.’ Theater 44.2 (2014): 73–9.Google Scholar
Sellar, Tom. ‘The Curatorial Turn.’ Theater 44.2 (2014): 21–9.Google Scholar
Shahriari, Sara. ‘Human Zoo: For Centuries, Indigenous Peoples Were Displayed as Novelties.’ Indian Country Today 30 August 2011. https://newsmaven.io/indiancountrytoday/archive/human-zoo-for-centuries-indigenous-peoples-were-displayed-as-novelties-xzic286HEEiwgWX6P4wn7A. 28 August 2018.Google Scholar
Shields, Rob. Places on the Margin: Alternative Geographies of Modernity. London: Routledge, 1991.Google Scholar
Sieg, Katrin. Ethnic Drag: Performing Race, Nation, and Sexuality in West Germany. Ann Arbor: U of Michigan P, 2009.Google Scholar
Simon, Roger I. with Claudia Eppert. ‘Remembering Obligation: Witnessing Testimonies of Historical Trauma.’ The Touch of the Past: Remembrance, Learning, and Ethics. Ed. Simon, Roger I.. New York: Palgrave Macmillan, 2005. 5064.Google Scholar
Simpson, Leanne Betasamosake. As We Have Always Done. Minneapolis: U of Minnesota P, 2017.Google Scholar
Simpson, Leanne Betasamosake. Dancing on Our Turtle’s Back: Stories of Nishnaabeg Re-Creation, Resurgence and a New Emergence. Winnipeg: Arbeiter Ring, 2011.Google Scholar
Simpson, Leanne Betasamosake. ‘Decolonial Love: Building Resurgent Communities of Connection.’ EMMA Talks: Messages from Below. SFU Woodward, Vancouver bc. 8 April 2015. Web. 10 March 2019.Google Scholar
Simpson, Leanne Betasamosake. Islands of Decolonial Love. Winnipeg: Arp Books, 2013.Google Scholar
Singh, Sherry-Ann. ‘The Experience of Indian Indenture in Trinidad: Arrival and Settlement.’ Caribbean Atlas. www.caribbean-atlas.com/en/themes/waves-of-colonization-and-control-in-the-caribbean/waves-of-colonization/the-experience-of-indian-indenture-in-trinidad-arrival-and-settlement.html. 17 November 2019.Google Scholar
Slater, Lisa. ‘“Our Spirit Rises from the Ashes”: Mapoon Festival and History’s Shadow.’ Festival Places: Revitalizing Rural Australia. Ed. Gibson, Chris and Connell, John. Bristol: Channel View, 2011. 123–35.Google Scholar
Slater, Lisa. ‘Sovereign Bodies: Australian Indigenous Cultural Festivals and Flourishing Lifeworlds.’ The Festivalization of Culture. Ed. Bennett, Andy, Taylor, Jodie, and Woodward, Ian. Farnham, Surrey: Ashgate, 2014. 131–46.Google Scholar
Smith, Janet. ‘At the PuSh Festival, Cuckoo Uses Talking Rice Cookers to Unpack Tragedy.’ Georgia Straight 15 January 2020. www.straight.com/arts/1347061/push-festival-cuckoo-uses-talking-rice-cookers-unpack-tragedy. 12 February 2020.Google Scholar
Smith, Linda Tuhiwai. Decolonizing Methodologies: Research and Indigenous Peoples. London: Zed Books, 1999.Google Scholar
Smith, Saphora, and Eckardt, Andy. ‘Germans of Turkish Descent Struggle with Identity, Seek Acceptance.’ NBC News 14 August 2018. www.nbcnews.com/news/world/germans-turkish-descent-struggle-identity-seek-acceptance-n886961. 16 September 2020.Google Scholar
SolOthello. By Regan Taylor. Dir. Craig Geenty. Prod. Te Rehia Theatre Company at the Aki Studio, Toronto, 6–8 October 2016.Google Scholar
‘Sound Off: A Deaf Theatre Festival.’ www.soundofffestival.com. 7 January 2020.Google Scholar
Stallybrass, Peter, and White, Allon. The Poetics and Politics of Transgression. Ithaca, ny: Cornell UP, 1986.Google Scholar
Stevenson, Karen. The Festival of Pacific Arts: Celebrating 40 Years. Suva, Fiji: Secretariat of the Pacific Community (SPC), 2012.Google Scholar
Stewart, Lizzie. ‘Postmigrant Theatre: The Ballhous Naunynstraße Takes on Sexual Nationalism.’ Journal of Aesthetics & Culture 9.2 (2017): 5668. www.tandfonline.com/doi/full/10.1080/20004214.2017.1370358. 2 January 2020.Google Scholar
Stone, Rosemary.Carifesta – Straight from the Artist’s Lips.’ Caribbean Today 6.10 (1995): 24.Google Scholar
Sundance Institute. ‘Theatre Program.’ www.sundance.org/programs/theatre-program. 23 February 2019.Google Scholar
Sydney Festival. ‘About.’ www.sydneyfestival.org.au/about. 2 September 2018.Google Scholar
Sydney Festival. ‘Bayala – Baraya: Sing Up Country.’ https://2018.sydneyfestival.org.au/baraya. 4 September 2018.Google Scholar
Sydney Festival. ‘Innovate: Reconciliation Action Plan 2015–2017.’ 25 May 2015. https://issuu.com/sydneyfestival/docs/sydneyfestival_reconciliationaction. 8 March 2020.Google Scholar
‘Sydney Festival Director Wesley Enoch Awarded Order of Australia.’ Broadway World Sydney 25 January 2020. www.broadwayworld.com/sydney/article/Sydney-Festival-Director-Wesley-Enoch-Awarded-Order-Of-Australia-20200125. 5 February 2020.Google Scholar
Sykes, Jill. ‘Stones in Her Mouth: A Terrifyingly Beautiful Performance.’ The Sydney Morning Herald 29 May 2014. www.smh.com.au/entertainment/dance/stones-in-her-mouth-a-terrifyingly-beautiful-performance-20140529-zrrl8.html. 26 June 2021.Google Scholar
Tan, Marcus Cheng Chye. ‘Elephant Head on White Body: Reflexive Interculturalism in Ganesh Versus the Third Reich.’ Contemporary Theatre Review 26.4 (2016): 416–28.Google Scholar
Taylor, Diana. ‘Remapping Genre through Performance: From “American” to “Hemispheric” Studies.’ PMLA 122.5 (2007): 1416–30.Google Scholar
Taylor, Timothy D.World Music Festivals as Spectacles of Genrefication and Diversity.’ Music in the World: Selected Essays. Chicago: U of Chicago P, 2017. 114–26.Google Scholar
Teatro Municipal do Porto. ‘André Amálio/Hotel Europa: Libertação. www.teatromunicipaldoporto.pt/EN/evento-destaque/fitei-2018/andre-amalio-hotel-europa-libertacao-no-ambito-do-fitei-2018/. 2 February 2019.Google Scholar
ten Cate, Ricaerd. ‘Festivals: Who Needs ’Em?Theatre Forum 1 (1992): 85–7.Google Scholar
Te Rehia Theatre. ‘About/Kaupapa.’ https://terehiatheatre.com/about-us-te-kaupapa. 3 January 2017.Google Scholar
Theatre Times. ‘The International Online Theatre Festival.’ https://thetheatretimes.com/iotfestival and https://thetheatretimes.com/iotfestival2020. 14 April 2020.Google Scholar
Thomasson, Sarah. ‘The Australian Festival Network.’ Knowles, (ed.), Cambridge Companion, 132–46.Google Scholar
Thomasson, Sarah. ‘The “Jewel in the Crown”? The Place of the Adelaide Festival in the Australian Festival Ecology.’ Performance Research 17.4 (2012): 145–8.Google Scholar
Thomasson, Sarah. ‘Producing the Festival City: Place Myths and the Festivals of Adelaide and Edinburgh.’ PhD Dissertation, Queen Mary University of London, 2015.Google Scholar
Thomasson, Sarah. ‘“Too Big for Its Boots”? Precarity on the Adelaide Fringe.’ Contemporary Theatre Review 29.1 (2019): 3955.Google Scholar
Thompson, Jessie. ‘LIFT Festival 2018: From Glow-in-the-Dark Pigeons to Political Parties, 8 Shows Not to Miss.’ Go London 23 May 2018. www.standard.co.uk/go/london/theatre/lift-festival-2018-from-glowinthedark-pigeons-to-political-parties-8-shows-not-to-miss-a3846846.html. 13 January 2020.Google Scholar
Thompson, Selina. ‘Excerpts from the Diary of a Black Woman at the Edinburgh Fringe.’ Exeunt 21 August 2017. http://exeuntmagazine.com/features/excerpts-diary-black-woman-edinburgh-fringe. 26 February 2018.Google Scholar
Tonkin, Maggie. ‘Cloud Gate Dance Theatre: Water Stains on the Wall.’ Dance Australia 20 March 2012. www.danceaustralia.com.au/review/cloud-gate-dance-theatre-water-stains-on-the-wall. 9 March 2020.Google Scholar
Fringe, Toronto. ‘Accessibility Manifesto.’ https://fringetoronto.com/accessibility/manifesto. 10 September 2019.Google Scholar
Turk, Edward Baron. French Theatre Today: The View from New York, Paris, and Avignon. Iowa City: U of Iowa P, 2011.Google Scholar
‘Turning Point Ensemble & Wen Wei Dance Present the Premiere of FLYING WHITE.’ Broadway World 7 January 2020. www.broadwayworld.com/bwwdance/article/Turning-Point-Ensemble-Wen-Wei-Dance-Present-The-PremiereOf-FLYING-WHITE-20200107. 28 January 2020.Google Scholar
Ugavule, Emele. ‘Black Ties: A Reflection.’ Witness: Performance, Discussion, Community 6 February 2020. https://witnessperformance.com/black-ties-a-reflection. 30 March 2020.Google Scholar
Um, Hae-Kyung. ‘Introduction: Understanding Diaspora, Identity, and Performance.’ Diaspora and Interculturalism in the Performing Arts. Ed. Um, Hae-kyung. London: Routledge, 2005. 115.Google Scholar
UNESCO. ‘The Kampala International Theatre Festival.’ n.d. https://en.unesco.org/creativity/policy-monitoring-platform/kampala-international-theatre. 26 June 2021.Google Scholar
Univers des mots. ‘Le Festival Univers des Mots, une fabrique des écritures contemporaines.’ https://universdesmots.weebly.com/festival.html. 26 November 2018.Google Scholar
Varney, Denise, Eckersall, Peter, Hudson, Chris, and Hatley, Barbara. Theatre and Performance in the Asia-Pacific. Basingstoke: Palgrave Macmillan, 2013.Google Scholar
Veltruský, Jiři. ‘Man and the Object in Theatre’ (1940). A Prague School Reader on Esthetics, Literary Structure, and Style. Ed. and trans. Garvin, Paul L.. Washington, dc: Georgetown UP, 1964. 8391.Google Scholar
Vinícius de Freitas, Marcus. ‘Brazil and Africa: Historic Relations and Future Opportunities.’ The German Marshall Fund of the United States 8 February 2016. www.gmfus.org/publications/brazil-and-africa-historic-relations-and-future-opportunities. 7 February 2019.Google Scholar
Visit Horsham Region. ‘Local Arts Festivals.’ https://visithorsham.com.au/activities/local-arts-festivals. 6 January 2020.Google Scholar
Vizenor, Gerald. Manifest Manners: Narratives on Postindian Survivance. Hanover, nh: Wesleyan UP, 1994.Google Scholar
Vosters, Helene. ‘Cultivating a Cross-Border, Extra-Theatrical Assemblage in Resistance to Femicide in the Americas.’ Canadian Theatre Review 161 (2015): 22–5.Google Scholar
Waterfield, Carran. ‘Social Theatre at the Edinburgh Festival: A Report from a Theatre-Maker.’ Research in Drama Education: The Journal of Applied Theatre and Performance 20.2 (2015): 237–41.Google Scholar
Waterman, Stanley. ‘Carnivals for élites? The Cultural Politics of Arts Festivals.’ Progress in Human Geography. 22.1 (1998): 5474.Google Scholar
Wehle, Philippa. ‘Avignon, Everybody’s Dream.Contemporary Theatre Review 13.4 (2003): 2741.Google Scholar
Werry, Margaret. Response to American Society for Theatre Research panel, ‘Performing Transnationalisms through Festivals.’ Minneapolis, Minn., 6 November 2016.Google Scholar
Whistler Naturalists. ‘Fungus Among Us.’ www.whistlernaturalists.ca/fungus-among-us-mushroom-festival. 30 March 2020.Google Scholar
Wilkinson, L. Efebo. ‘Best Village Theatre: Compelling Presence, Emerging Form (the Evolution of a Caribbean Theatrical Genre)’ CARIFESTA Symposium. University of the West Indies, Port of Spain, Trinidad. 16–25 August 2019.Google Scholar
Willems-Braun, Bruce. ‘Situating Cultural Politics: Fringe Festivals and the Production of Spaces of Intersubjectivity.’ Environment and Planning D: Society and Space 12.1 (1994): 75104.Google Scholar
Wilson, Shawn. Research Is Ceremony: Indigenous Research Methods. Halifax, ns: Fernwood, 2008.Google Scholar
Workman Arts. ‘Rendezvous with Madness Festival.’ https://workmanarts.com/rendezvous-with-madness. 7 January 2020.Google Scholar
Wunderbar. ‘About Us.’ https://wunderbar.org.uk/about/about-us. 14 January 2020.Google Scholar
Yankah, Victor K.The Pan-African Historical Theatre Festival (PANAFEST) in Ghana, 1992–2010: The Vision and the Reality.’ African Theatre 11 (2012): 4555.Google Scholar
Younis, Madani. ‘Black, Asian and Other Artists from Marginalised Groups Have Fought Their Way onto the Programmes of Edinburgh Festival Fringe and I Want to Shout about It.’ Bush Theatre, 22 August 2017. www.bushtheatre.co.uk/bushgreen/black-asian-and-other-artists-from-marginalised-groups-have-fought-their-way-onto-the-programmes-of-edinburgh-festival-fringe-and-i-want-to-shout-about-it. 23 February 2018.Google Scholar
Zaiontz, Keren. ‘“Festival Sites: The Civic and Collective Life of Curatorial Practice.” An Interview with Deborah Pearson and Joyce Rosario.’ Theatre Research in Canada/Recherches théâtrales au Canada 40.1–2 (2019): 153–65.Google Scholar
Zaiontz, Keren. ‘From Post-War to “Second-Wave”: International Performing Arts Festivals.’ Knowles, (ed.), Cambridge Companion, 15–35.Google Scholar
Zaiontz, Keren. ‘Human Rights (and Their Appearances) in Performing Arts Festivals.’ Canadian Theatre Review 161 (2015): 4854.Google Scholar
Zaiontz, Keren. Theatre & Festivals. London: Palgrave, 2018.Google Scholar
Zarrilli, Phillip B.Religious and Civic Festivals: Early Drama and Theatre in Context.’ Theatre Histories: An Introduction. Zarrilli, Phillip B., McConachie, Bruce, Jay Williams, Gary, and Fisher Sorgenfrei, Carol. New York: Routledge, 2006. 5398.Google Scholar
Zherdev, Nikolay. ‘Festivalization as a Creative City Strategy.’ IN3 Working Paper Series (2014). https://cercles.diba.cat/documentsdigitals/pdf/E140137.pdf. 26 June 2021.Google Scholar
Zukin, Sharon. ‘Urban Lifestyles: Diversity and Standardization in Spaces of Consumption.’ Urban Studies 35.5–6 (1998): 825–39.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Work Cited
  • Ric Knowles, University of Guelph, Ontario
  • Book: International Theatre Festivals and Twenty-First-Century Interculturalism
  • Online publication: 11 January 2022
  • Chapter DOI: https://doi.org/10.1017/9781009043632.010
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Work Cited
  • Ric Knowles, University of Guelph, Ontario
  • Book: International Theatre Festivals and Twenty-First-Century Interculturalism
  • Online publication: 11 January 2022
  • Chapter DOI: https://doi.org/10.1017/9781009043632.010
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Work Cited
  • Ric Knowles, University of Guelph, Ontario
  • Book: International Theatre Festivals and Twenty-First-Century Interculturalism
  • Online publication: 11 January 2022
  • Chapter DOI: https://doi.org/10.1017/9781009043632.010
Available formats
×