Festivals have been regarded as a universal aspect of cultural life. Négrier has provided an explicit understanding of the term ‘festivalisation’ and describes it as the process through which several cultural activities have been reconfigured for the organisation of cultural events which primarily focus on regular series of jazz concerts and jazz festival (Richards2007). Concepts associated to festivity can further be perceived as a time as well as space for merriment and celebration that is distinct in the facets of daily life. Several studies have revealed the social and experimental aspects of festivals which tend to emerge as vital form of attractions and desirability. They have been signifying that at festival events, audiences exhibit a propensity to possess an altered frame of mind and further aim to look for affective as well as representative intensity involved in the design and structural process of event and programme which further divergences the festive timing and place distinct from daily life (Cerquetti2016). The apparent reaffirmation of the ordinary structural formation through the concepts of differing structure of festival in recent times is being aligned by major proportion of more recent festival thinkers. Though factors related to inversion is considered to be the core element in carnival, studies have explored that extensive amplification can easily substitute concepts related to inversion (Bornemanand Senders2000). The utilization of transitory arts and festivals in the daily public spaces is regarded as a comparatively recently emerged phenomenon. This entails the use of public places and areas which previously have not been identified as an established focus of arts and cultural strategies and not of performing and visual talent, skills (Gibsonand Connell2015). Certain observations of De Valck(2014) related to festivity conceptualization have explicitly evaluated the phenomenon of regional festivals which further have developed as a significant aspect of the Australian cultural life over the past two decades especially in the coastal capital of the South-eastern Australian state of Victoria, Melbourne. The following paper highlights the way festivals have been playing a decisive role in cultural life of Australia. Furthermore, it has shed light on the way festivities have the tendency to relate to arts and culture of the city of Melbourne. In particular they possess dynamic arts scene and are recognized for celebrating a broad array of cultural events as well as festivals.
Jurisdictions and governments both have embraced festivities and cultural events in recent times as a prestigious mechanism through the arts festival configuration of areas of Melbourne(Gibsonand Connell2015). It has further been observed that festivals usually functions in a range of manifestation and symptoms from globally distinguished events such as the Melbourne International Film Festival, Vision Australia’s Carol by Candlelight and New Year’s Eve to several seasonal celebrations and merriment in diverse cultures(Cudny2013). It is significant to note that aspects of festivities have undergone certain transitions from the earliest witnessed periods of cultural expression and thus persists to succeed in contemporary life of the Melburnians across a diverse range of cultures and through multiple forms and approaches. The survival of the festivities plays a vital role because of its capacity to engage with dichotomous impulses in culture that exhibits likelihood to align the recent or the customary forms of festivities(Cerquetti2016). Thus,festivals are often perceived as an important vision of an individual being provided for many and further operate as a celebratory and special event or sometimes as a form of revolutionary communal influence.
At this juncture, the significant perspectives related to festivities and cultural events must be explicitly understood which further sheds light on metropolitan festivals such as pageants, parades, film festivals along with outdoor art performances which tend to be transitory public illustrations or ephemera(Ramirez2014). However regardless these facets, which essentially comprise range of momentary events and experiences in the lives of metropolitan regions as well as the level of survival along with vital influence that is caused on the public reflection and likeness of the city(Mason1996). Furthermore, the political arena pertaining to festivals have further developed a broad array of discourses in a series of authority and disciplines of social science. Though three perspectives on festivals and cultural events have been serving a prevailing role in social science discourse, it fails to comprehend that the three vital perspectives tend to encompass various aspects of festivals(McMahon2000). The first perspective on contemporary festivals fundamentally sheds light on the instrumental characteristics of festivals. It has further been observed that events associated with merriment and festivals develop as essential means in order to create jobs and as a mechanism to improve process of urban revitalization, environmental and other physical restoration of contemporary cultural aspects. However, ideas, which are integrated, to the conceptualizations of festivals and cultural events which aim to engage wide range of tourist and develop capitalist investments and further operate as mechanisms for development and enhancement of the representation of the cultural factors of the contemporary city(McMahon2000). Furthermore, the principal foundation of the instrumental understanding by Mason(1996)is the notion, whichbelieves that strategic aims and goals of a recent global development in the sphere of cultural policy have advanced towards cities with fast life tendencies and thus transforming these festival concepts into vital driving factors of tourism development, economic growth as well as metropolitan regeneration. Thus relating to this point of view, festivals are often being perceived to be vital for cultural purposes and tend to occur as a regular phenomenon(Bornemanand Senders2000). Furthermore, there can be witnessed series of festivals which are fundamentally being organized in the vicinity and exclusive of any official support which are not purposed for tourists but rather have been aimed in order to elevate economic capacity for developing specific projects which primarily involve construction of new religious establishment. However, these forms of festival events reveal utmost divergences whereby significant emphasis has been positioned on factors of deployment in to raise the level of tourist attraction within the city(Ramirez2014).
The second perspective is identified to be highly crucial because of the instrumentalization of certain cultural ephemera by policies, jurisdictions and governmental authorities existing within the sphere of cultural policies(McMahon2000). Furthermore, one of the vital forms of urban image has been explored by urban theorists David Harvey who provided an explicit understanding of the urban manifestation, which has undergone certain crucial transformations ranging from counter-cultural festivities, pacifist illustrations along with certain forms of street insurgences and revolutions of the mid-20th century(Cerquetti2016). These aspects have further been perceived as symbolic representations and mechanism of community alliance pertaining under the regulation of bourgeois class in situations where factors related to unemployment and insolvency regulation have been on the epitome and the essential aim related to class and community polarization have been persistently elevating(Bornemanand Senders2000). However, it has been identified by Mason(1996), that festivals does not primarily aim to serve in order to unite a city. Studies on cultural events have revealed the way Notting Hill Festival transformed into a destructive arena of disparate and conflicting opinions and strategies.
The third perspective based on the aspects of festivals and cultural events have significantly focused on the implications of festivities and events on the development and enhancement of cultural aspects(Weller2013). Furthermore, the mercantilist perspective of cultural aspects has been accentuated and thus further focus has been laid on the ways through which various forms of festivals can result to high level of cultural growth and progress(Bornemanand Senders2000). In certain studies related to festivities and its implication on culture organized across Morocco, the Ministry of Culture have shed light on the fundamental success and attainments of traditional music genre festivals or cultural programmes. These studies recently been introduced have further been develop in the wide range of musical bands associated with genres which are being promoted and recognized during these festival events(Ramirez2014). Ibidat ma is a classic example of a prominent musical genre that has attained great inspiration and enthusiasm from hunting activities and harvesting customs and heritage being widely dominant in various areas of the Moroccan cities of Khourigba and Bejjad whereby a large number of musical associations have emerged with Ibidat ma from around 15- 42 in the recent past(Cerquetti2016).
However, the third perspective on festivals and events essentially insistson the role of festivals and events in the support of global space along with standardized peace pertaining to metropolitan areas as well as a strong sense of ease which they tend to offer provisions for local communities and class(Weller2013). On the contrary these pre-dominant perspectives exhibit a high level of tendency to serve a role within the sphere of governance and policies where a proportion of cultural policy makers propose what social theorist Foucault defines as diminutive enhancements of life which primarily incorporates the quality of life, its liveability as well as warmth(Quinn2013). However, it has been recognized that these significant perspectives have signified the highly multifaceted and intricate dynamics of the society which do not function in segregation but are subjective towards several interactive mechanisms which are linked to certain socio-economic as well as political understandings(Meyrick2016).
At this juncture, the proper connotation of ‘liveability’ primarily emphasizes on embracing factors which involve the nature of a place, quality of life, its level of endurance along with various significant social, economic as well as cultural attributes come into play(Byrnes2014). These strong amalgamations of components tend to develop a city and transform it as a highly attractive place to live comprising of various tangible facets dealing with public arenas, urban transit and intangible factors, which essentially emphasize on strong and well-established social associations(Laingand Mair2015). Festivals and culture tend to serve a vital contributory role directly to factors related to ‘liveability’ especially through effervescent and multifaceted activities related to cultural events, festivals and other forms of celebrations(Spurgeon2013). Festivals, celebration along with other forms of public artworks further tend to contribute to a well-comprehensive and formulated public space and tend to establish highly vibrant, accessible areas where people desire to form new social connections(Laingand Mair2015). Furthermore, comprehensive engagement with both local neighbourhoods and local communities in the constructive development and intention of public artworks which ascertains strong possession of public spaces and whereby festivals can contribute to integrated social cohesion(McMahon2000). It is important to note that Melbourne’s Docklands sector is regarded to be a classic example of contemporary urban design whereby public art, festivals and cultural events have been created as a retort to the local environment, which signifies indigenous heritage, diverse forms of cultural patterns as well as urban interface(Cerquetti2016).
Melbourne’s White Night is recognized to be a significant urban event that facilitates various forms of energy and progress to emerge through capillaries of the city. Furthermore, White Night is recognized as a significant domain whereby several forms of festivals and cultural events which have been developing in recent times(Richards2007). Urban cities in recent times have been significantly transforming themselves into fundamental stages in order to sustain to the continual stream of festivals and cultural events, which in due course are liable to the ‘festivalisation’ of the city(Meyrick2016). Furthermore, with the development of the significant factors of ‘symbolic economy’ as well as the ‘experience of economy’, certain cultural aspects have developed as an increasingly significant means of overshadowing the city(Getzand Page2016). However, the growing level of recognition of events has facilitated cities like Melbourne to encourage themselves as a vibrant and culturally competent city. The City of Melbourne which fundamentally celebrates a diverse range of annual cultural events as well as festivals like Melbourne Fringe Festival, Melbourne International Arts Festival has recognized itself as one of the prominent eventful cities of the world whereby Hong Kong Administrative body has further been putting immense effort to make their city as one of the most eventful and vibrant cities(Quinn2013). The slogan highly integrated to the cultural character of Melbourne such as ‘festival city’ or ‘city of festivals’ has attained utmost importance to be a vital part of the brand representation of the city(Laingand Mair2015). As cultural events and festivities have developed as a fundamental component to mechanisms and processes of urban progress and revitalization, aspects of cultural production has been regarded as an essential element of the urban economy and cultural utilization, which tends to influence the representation of the City of Melbourne and its urban life in general(Quinn2013).
It has been observed through several studies that various forms of illustrations of the Melbourne have spawned and significantly been altered by various forms of festivals and cultural events. Furthermore, consecutive city authorities have effectively sought to utilize these forms of festivities in order to adapt urban society and the cultural aspects of Melbourne which tends to pertain to the individualistic perspective of urban life. Furthermore, as cities emerge, value of public merriment, celebrations and festivities have continued to serve a significant role in daily life. Thus,Jaegerand Mykletun(2013) claim festivals to be highly critical in causing high level of distractions to people from the mundane life and often developing melancholy in the established social order. In the opinion of Murphy(2013), the increasing number and range of festivals and celebratory affairs have elevated the number of roles(De Valck2014). Significant city centres have gradually emerged as vital stages of events which tend to attract both local and international visitors(Spurgeon2013). For instance, the City of Melbourne began to make considerable rate of investments in order to aid its film festival in early 1960s and eventually attained high level of recognition and prominence in cultural festivities(Laingand Mair2015). Festivities, cultural events and celebrations have consequently become a significant part of the broader range of capital increase system of the urban city.
Festivals,being recognized identified as the essential aspect of cultural provisions which tend to alter from a space of preoccupation constituting a restricted range of cultural facilities as well as services such as development of cultural events, theatres, museums along with a fundamental understanding of cultural preparation which has been effectively enlarged in order to successfully entail a broad range of spaces, cultural events and celebratory programmes(Bakerand Rowe2014). It is important to note that the significant prominence of festivalisation has emerged from the wide encompassing range of events and celebratory events, which aims to develop a milieu to the range of festival activities, which occur in cities like Melbourne(Laingand Mair2015). However, in recent decades the preceding understanding of ‘enhanced culture’ representation of the city as a fundamental cultural capital of Melbourne has initiated to transform as vital elements of popular cultural aspects have tend to get linked with the representation of Melbourne(Jaegerand Mykletun2013). The increasing level of festivities has significantly elevated the level of prominence and value of the cultural events. Cultural performance identified as essential means or approaches of interactive communication fundamentally positions itself as essential component in the entire communication between the actor and the ‘other’(Murphy2013). The inextricable association dominant in the city as the primary locus of evolution and its inhabitants, which has been permeated with significant rate of tolerance, has been playing a significant role in the story of the formulation of diverse forms of festivities. As festivals and cultural events aids the city as a lieu de me´moire(Spurgeon2013). Furthermore, these forms of festivities have been formed in order to accomplish the desires and cultural demands of individuals revealing diverse forms of interests(Bakerand Rowe2014). However, such homogenized perspective of culture as well as historic events have been expressed through the enlistment of the sacred as a trans-historical, magnificent, transcendent category whereby all membersof the Melbournians who have sustained through historical developments(Jaegerand Mykletun2013). Furthermore, the increasing demand for festivals and the achievements as prominent deliverers of multifaceted societal functions further implies the high rate of inevitability that they become commodified and further possess a great degree of market value and prominence in the ‘knowledge economy’(Richards 2013). However, festivals are not only referred as single positions of utilization but has been regarded as various retail outlets and areas of avenues which are provided through various sites of consumption(Cudny2013). Furthermore, it has been noted that factors related to cultural patterns, festivals and creativity essentially have its existence in distinct ecosystem whereby they can fundamentally rely on each other(Weller2013). Thus, there can be established an essential need to establish the significant cultural value and significance of festivals, cultural events and celebratory programmes(Laingand Mair2015). However, these demands and requirements are created in order to looklinguistically oriented approaches in order to articulate the level of value and importance.
Community, cultural patterns along with identity are considered to be central to the discourse of festival and studies of cultural events. Thus the understanding of ‘local’ as well as ‘local recognition’ reinforced by specialized cultural events is considered to be highly significant. Furthermore, the association to position is further regarded as immensely crucial to both local as well as international tourists, and this further may be perceived as a principle of authenticity, whichshares as significant part of the cultural events.
Festivals, celebration programmes and special events are identified as vital factors in the destination progress as attractions, city representatives and significant catalysts for other forms of development. Event and festival tourism is regarded as one of the rapid developing forms of tourism which is the most tradable services in Australia(Richards 2013). Thus, it has been obtaining substantial degree of prominence in urban areas as important mechanisms in order to restructure the local economies(Jaegerand Mykletun2013). Events or festivities as the opinion of Melbourne Tourism commission are important activities which the Melbournians desire to share and thereby the fundamental purpose is to gather the wide range of tourists to take active participation or further to provide the areas of avenues and scopes for a public and themed festivities(Spurgeon2013). The financial impact of the range of special events and festivals have been substantial which indicate the degree of the direct economic impact on special events organised by the city of Melbourne(Laingand Mair2015). Spurgeon(2013)have revealed that in 2014 visitors have claimed to spend an average of A$450 for individual over the renowned festival weekend(Bakerand Rowe2014).
These forms of festivities have has been proven to be immensely significant to the employment sector which has added value to those activities and has been integrated association with the local economy in comparison to the others which tend to rely on goods and services such as retail business which are imported from Australia as large urban centres. therefore to conclude it can be stated that festivals community events and special cultural events have the capacity to serve a highly contributory role to regional as well as urban development through important strategic implementation, well analysed objectives, local policies and investments.
References
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Borneman, J. and Senders, S., 2000. Politics without a Head: Is the “Love Parade” a New Form of Political Identification?. Cultural Anthropology, 15(2), pp.294-317.
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Cerquetti, M., 2016. More is better! Current issues and challenges for museum audience development: ENCATC Journal of Cultural Management & Policy, 6(1), pp. 30-43
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Mason, J.D., 1996. Street fairs: Social space, social performance. Theatre Journal, 48(3), pp.301-319.
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