We are an academic network developing a community-led public engagement project, with a vision for collaboration and exchange between the various artists, practitioners, organisations, stakeholders, academics and postgraduate researchers exploring all aspects of festivity and celebrations (rituals, ceremonies, parades, festival culture impacts on education, festive atmospheres and feelings, night-time festivals and leisure (night-time economy, urban night-lives, light festivals, nightlife and Caribbean and Caribbean diasporic carnival (mas', panorama, soca and dimanche gras), tourism and fandom, parties, feasts, rites, balls, family reunions, harvest festivities, lore, gatherings (marches, rallies, commemorations, tributes, public and national holidays) performances, etc.).
Our main aims are: to explore, expand and articulate current approaches within the field; to examine the significance of festivals in all of their manifestations; to explore the various festival arts, practices and processes, and how individuals and community groups within different cultures share their knowledge of craft-making (we also aim to understand the importance of festival arts); to create a membership directory for festival studies that will help the field to advance; to develop and design courses that can be of support to various educational departments through social partnerships; to learn more about the kind of academic research being conducted, where it is conducted and by whom; and to conduct workshops and annual conferences in order to provide a platform for scholars, postgraduate students and artists to share and advance the study of festivals.
Our scope of interest extends to all arts, humanities and social science fields: for example, anthropology, philosophy, sociology, education, performance studies, folk studies, religious studies, geography, history, performing arts (music, theatre and dance), media and communication studies, cross-cultural studies, and visual culture.
We embrace inter-, multi-, trans- and cross-disciplinary approaches for example, diaspora studies, folk studies, labour studies, leisure studies, medieval studies, performance studies, religious studies, social and economic studies, tourism studies and youth studies.
AUTOETHNOGRAPHY: PERSONAL NARRATIVES AND REFLEXIVITY
IN CULTURAL STUDIES
"Autoethnography is a method that allows for both personal and cultural critique. Because people's lives and ideologies are influenced by multiple cultural dimensions
and relationships..." (Boylorn, orbe, 2016).
THE COSTUMED BODY: DRESS, MATERIALITY ATMOSPHERES AND THE EXPERIENTIAL IN FASHION STUDIES
"Like any material object, clothing can be looked upon in terms of its brute concrete reality or as an element in some greater conceptual scheme transcending its mere materiality" (Corrigan, 2008).
ART, AGENCY, PERFORMANCE, ARTIFACTS: AESTHETICS
"...Other rituals, whether religious or social, may turn into aesthetic situations.
Religious rituals sometimes become full-fledged theatre, and living drama often
occurs at other ceremonies, celebrations, and festivals...."
(Light, Smith, 2005).
MUSIC AND SOUND: SPACE, MEMORY, COMMUNITY MUSIC, TECHNOLOGY, THE LIVED EXPERIENCE
"Musical experience is always embodied, and shares the irreducible character of the body"
FOOD STUDIES: CULTURE, MEMORY, HISTORY, POLITICS, GLOBALISATION, TOURISM AND THE SENSORY NATURE OF FOOD
"...The sensory nature of food acts as a powerful evocation of memory, bringing situations far distant from the present into reach..." (Gosden, 2008).
CRAFTWORK: ENTREPRENEURIALISM, LABOR, APPRENTICESHIPS, COMMUNITY CRAFTING, PERSONAL NARRATIVES OF MAKING
"While physically engaged n designing and making, the human body has its own
challenges to overcome. At a motor level, the craft person must resolve how to
take-up good postures, form correct grasps, coordinate bi-manual practices,
and perform fluid and economic movements" (Marchand, 2017).
“Festival is an event, a social phenomenon, encountered in virtually all human cultures” (Falassi, 1987, p. 1).