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festivals</title> <meta name="description" content="Search results for: festivals"> <meta name="keywords" content="festivals"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="festivals"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 77</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: festivals</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">77</span> A Comparative Study of Costumes for Religious Festivals in ASEAN Countries</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jaruphan%20Supprung">Jaruphan Supprung</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Aims of this research were to study the major religious festivals of merit making and joyful celebrations (nationwide) in each country of ASEAN countries and to compare the costumes for these major religious festivals among these countries. This documentary research employed qualitative research methodology. The findings of the research disclosed that there are 28 main religious festivals in ASEAN countries: 3 Islamic festivals in Brunei Darussalam such as Hari Raya Aidiladha Festival, Mauludin Nabi Festival and Hari Raya Aidilfitri Festival; 2 Buddhist festivals in Cambodia such as Pchum Ben Festival and Khmer New Year Festival; 3 Islamic festivals in Indonesia such as Eid al-Adha Festival, Maulid Nabi Festival and Eid ul-Fitr Festival; 5 Buddhist festivals in Laos such as Boun Awk Pansa Festival, Boun Pha Vet Festival, Boun Pi Mai Festival, Boun Khao Pradabdin Festival and Boun Khao Salak Festival; 3 Islamic festivals in Malaysia such as Hari Raya Aidil Adha Festival, Maulidur Rasul Festival and Hari Raya Aidilfitri Festival; 4 Buddhist festivals in Myanmar such as Thadingyut Festival, Tazaungmon Full Moon Festival, Htamane Festival, and Thingyan Festival; 2 Christian festivals in Philippines such as Christmas Festival and Feast of the Santo Niño; Only 1 Buddhist festival in Singapore: Festival of Vesak Day; 4 Buddhist festivals in Thailand such as Songkran Festival (Thai New Year), Sart Thai Festival, Khao Pansa Festival and Awk Pansa Festival; and only 1 Buddhist festival in Vietnam: Tet Nguyen Dan Festival. For the comparison of the costumes for these major religious festivals, it can be concluded that the most popular style of male costume for religious festivals in ASEAN countries consists of stand-up collar (100%), long sleeves (100%), shirt (90%), and long pants (100%), and the most popular style of male costume for religious festivals in ASEAN countries consists of round neck (90%), long sleeves (80%), blouse (60%), and maxi tube skirt (80%). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=costume" title="costume">costume</a>, <a href="https://publications.waset.org/abstracts/search?q=religious%20festival" title=" religious festival"> religious festival</a>, <a href="https://publications.waset.org/abstracts/search?q=ASEAN%20countries" title=" ASEAN countries"> ASEAN countries</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20and%20performing%20arts" title=" visual and performing arts"> visual and performing arts</a> </p> <a href="https://publications.waset.org/abstracts/5496/a-comparative-study-of-costumes-for-religious-festivals-in-asean-countries" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/5496.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">300</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">76</span> Commercialization of Film Festivals: An Autobiographical Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=%C3%96nder%20M.%20%C3%96zdem">Önder M. Özdem</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Producing and circulating films of professional standards have become technically easier with the development and widespread use of digital recording and distribution technologies. Additionally, film festivals on common platforms have rapidly increased in numbers and diversity. On the one hand, no-charge applications result in excessive submissions; thus, it complicates the evaluation and selection process. On the other hand, festival’s high submission fees may make the distribution of films with a limited budget very difficult. Inspired by the author’s engagement with the film industry as both a pre-jury member of an international film festival and an applicant to many festivals, this study discusses the causes and consequences of the increasing commercialization of film festivals. The author’s double identity, both as a jury and an applicant, provides a comparative perspective through which one can unfold the different dimensions and dynamics in the film production and distribution processes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=commercialization" title="commercialization">commercialization</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20distribution" title=" film distribution"> film distribution</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20festivals" title=" film festivals"> film festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20production" title=" film production"> film production</a> </p> <a href="https://publications.waset.org/abstracts/166277/commercialization-of-film-festivals-an-autobiographical-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166277.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">77</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">75</span> Cultural Entanglements in the Urban Fabric: A Case of Festivals in Old Dhaka and its Impacts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Khandoker%20Upama%20Kabir">Khandoker Upama Kabir</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Fuhad%20Anwar%20Sinha"> Mohammad Fuhad Anwar Sinha</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Dhaka, the capital of Bangladesh, is known not only for its fast growing economy, lively atmosphere, rich history, and culture but is also known for having a reputation of being a vastly populated city. The historic city centre of Dhaka (currently known as Puran Dhaka or Old Dhaka) which was conceived around the Pre-Mughal era and holds a lot of history and heritage of the region. This historic site has further been neglected, and most of the urban development has been done without integrating this part of the city into the plans. As a result, the festivals that take place traditionally throughout the year in this area create a greater impact on the urban fabric of the whole city. These festivals generate a huge amount of visitors and play a huge role in shaping the identity of the people. This paper will attempt to look at the importance of these traditions, the way these festivals are influencing the urban life of the community, and whether or not it has any significant effect on the economy. Through the use of both primary and secondary sources and SWOT analysis, this paper will attempt to identify the issues faced during these festivals. This paper will also try to suggest some basic remedies based on general comparisons between case studies of similar festivals celebrated globally and how these countries are dealing with such issues while also promoting tourism. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=urban%20fabric" title="urban fabric">urban fabric</a>, <a href="https://publications.waset.org/abstracts/search?q=festivals" title=" festivals"> festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20celebration" title=" cultural celebration"> cultural celebration</a>, <a href="https://publications.waset.org/abstracts/search?q=impact" title=" impact"> impact</a>, <a href="https://publications.waset.org/abstracts/search?q=historic%20city%20centre%20urban%20memory" title=" historic city centre urban memory"> historic city centre urban memory</a>, <a href="https://publications.waset.org/abstracts/search?q=mega%20events" title=" mega events"> mega events</a> </p> <a href="https://publications.waset.org/abstracts/145126/cultural-entanglements-in-the-urban-fabric-a-case-of-festivals-in-old-dhaka-and-its-impacts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/145126.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">151</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">74</span> Using Two-Mode Network to Access the Connections of Film Festivals </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Qiankun%20Zhong">Qiankun Zhong</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In a global cultural context, film festival awards become authorities to define the aesthetic value of films. To study which genres and producing countries are valued by different film festivals and how those evaluations interact with each other, this research explored the interactions between the film festivals through their selection of movies and the factors that lead to the tendency of film festivals to nominate the same movies. To do this, the author employed a two-mode network on the movies that won the highest awards at five international film festivals with the highest attendance in the past ten years (the Venice Film Festival, the Cannes Film Festival, the Toronto International Film Festival, Sundance Film Festival, and the Berlin International Film Festival) and the film festivals that nominated those movies. The title, genre, producing country and language of 50 movies, and the range (regional, national or international) and organizing country or area of 129 film festivals were collected. These created networks connected by nominating the same films and awarding the same movies. The author then assessed the density and centrality of these networks to answer the question: What are the film festivals that tend to have more shared values with other festivals? Based on the Eigenvector centrality of the two-mode network, Palm Springs, Robert Festival, Toronto, Chicago, and San Sebastian are the festivals that tend to nominate commonly appreciated movies. In contrast, Black Movie Film Festival has the unique value of generally not sharing nominations with other film festivals. A homophily test was applied to access the clustering effects of film and film festivals. The result showed that movie genres (E-I index=0.55) and geographic location (E-I index=0.35) are possible indicators of film festival clustering. A blockmodel was also created to examine the structural roles of the film festivals and their meaning in real-world context. By analyzing the same blocks with film festival attributes, it was identified that film festivals either organized in the same area, with the same history, or with the same attitude on independent films would occupy the same structural roles in the network. Through the interpretation of the blocks, language was identified as an indicator that contributes to the role position of a film festival. Comparing the result of blockmodeling in the different periods, it is seen that international film festivals contrast with the Hollywood industry’s dominant value. The structural role dynamics provide evidence for a multi-value film festival network. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=film%20festivals" title="film festivals">film festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20studies" title=" film studies"> film studies</a>, <a href="https://publications.waset.org/abstracts/search?q=media%20industry%20studies" title=" media industry studies"> media industry studies</a>, <a href="https://publications.waset.org/abstracts/search?q=network%20analysis" title=" network analysis"> network analysis</a> </p> <a href="https://publications.waset.org/abstracts/81556/using-two-mode-network-to-access-the-connections-of-film-festivals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81556.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">316</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">73</span> The Study on Tourist’s Satisfaction in Xinshe Flowers Festival</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yashan%20Liu">Yashan Liu</a>, <a href="https://publications.waset.org/abstracts/search?q=Yu-Chen%20Chien"> Yu-Chen Chien</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the past few years, a global trend to hold sightseeing festivals has prevailed. For the purpose of attracting more tourists, the Taiwan government has not only organized a considerable number of international activities, but also provided guidance to counties and cities in organizing festivals which reflect a collaboration of culture and humanity. These festivals have also assisted in the development of local industry and the promotion of their unique characteristics. The purpose of this research is to analyze the influences and relationships between tourist satisfaction and the revisiting willingness of visitors at the Xin-she Flower Festival. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Flowers%20Festival%20in%20Xin-she" title="Flowers Festival in Xin-she">Flowers Festival in Xin-she</a>, <a href="https://publications.waset.org/abstracts/search?q=Tourist%20Satisfaction" title=" Tourist Satisfaction"> Tourist Satisfaction</a>, <a href="https://publications.waset.org/abstracts/search?q=Festival" title=" Festival"> Festival</a>, <a href="https://publications.waset.org/abstracts/search?q=Revisiting%20Willingness" title=" Revisiting Willingness"> Revisiting Willingness</a> </p> <a href="https://publications.waset.org/abstracts/40888/the-study-on-tourists-satisfaction-in-xinshe-flowers-festival" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/40888.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">420</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">72</span> A Comparative Semantic Network Study between Chinese and Western Festivals</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jianwei%20Qian">Jianwei Qian</a>, <a href="https://publications.waset.org/abstracts/search?q=Rob%20Law"> Rob Law</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With the expansion of globalization and the increment of market competition, the festival, especially the traditional one, has demonstrated its vitality under the new context. As a new tourist attraction, festivals play a critically important role in promoting the tourism economy, because the organization of a festival can engage more tourists, generate more revenues and win a wider media concern. However, in the current stage of China, traditional festivals as a way to disseminate national culture are undergoing the challenge of foreign festivals and the related culture. Different from those special events created solely for developing economy, traditional festivals have their own culture and connotation. Therefore, it is necessary to conduct a study on not only protecting the tradition, but promoting its development as well. This study conducts a comparative study of the development of China’s Valentine’s Day and Western Valentine’s Day under the Chinese context and centers on newspaper reports in China from 2000 to 2016. Based on the literature, two main research focuses can be established: one is concerned about the festival’s impact and the other is about tourists’ motivation to engage in a festival. Newspaper reports serve as the research discourse and can help cover the two focal points. With the assistance of content mining techniques, semantic networks for both Days are constructed separately to help depict the status quo of these two festivals in China. Based on the networks, two models are established to show the key component system of traditional festivals in the hope of perfecting the positive role festival tourism plays in the promotion of economy and culture. According to the semantic networks, newspaper reports on both festivals have similarities and differences. The difference is mainly reflected in its cultural connotation, because westerners and Chinese may show their love in different ways. Nevertheless, they share more common points in terms of economy, tourism, and society. They also have a similar living environment and stakeholders. Thus, they can be promoted together to revitalize some traditions in China. Three strategies are proposed to realize the aforementioned aim. Firstly, localize international festivals to suit the Chinese context to make it function better. Secondly, facilitate the internationalization process of traditional Chinese festivals to receive more recognition worldwide. Finally, allow traditional festivals to compete with foreign ones to help them learn from each other and elucidate the development of other festivals. It is believed that if all these can be realized, not only the traditional Chinese festivals can obtain a more promising future, but foreign ones are the same as well. Accordingly, the paper can contribute to the theoretical construction of festival images by the presentation of the semantic network. Meanwhile, the identified features and issues of festivals from two different cultures can enlighten the organization and marketing of festivals as a vital tourism activity. In the long run, the study can enhance the festival as a key attraction to keep the sustainable development of both the economy and the society. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20context" title="Chinese context">Chinese context</a>, <a href="https://publications.waset.org/abstracts/search?q=comparative%20study" title=" comparative study"> comparative study</a>, <a href="https://publications.waset.org/abstracts/search?q=festival%20tourism" title=" festival tourism"> festival tourism</a>, <a href="https://publications.waset.org/abstracts/search?q=semantic%20network%20analysis" title=" semantic network analysis"> semantic network analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=valentine%E2%80%99s%20day" title=" valentine’s day"> valentine’s day</a> </p> <a href="https://publications.waset.org/abstracts/87862/a-comparative-semantic-network-study-between-chinese-and-western-festivals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87862.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">232</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">71</span> Spectacles of the City: An Analysis of the Effects of Festivals in the Formation of New Urban Identities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anusmita%20Das">Anusmita Das</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the post-industrial scenario, cities in India have become critical sites of negotiation and are expected to become some of the largest urban agglomeration of the twenty-first century. This has created a pluralist identity resulting in a new multifarious urbanism pervading throughout the entire urban landscape. There is an ambiguity regarding the character of present day Indian cities with new meanings emerging and no methodical study to understand them. More than an abstract diagram, the present day cities can be looked at as an ensemble of meanings. One of the ways in which the meaning is reflected is through events. Festivals such as Diwali, Dussera, Durga Puja, Ganesh Chaturthi, etc have transpired as the phenomenon of the city, and their presence in the everyday landscape weaves itself through the urban fabric dominating the popular visual culture of Indian cities. Festivals influence people’s idea of a city. Ritual, festival, celebrations are important in shaping of the urban environment and in their influence on the intangible aspect of the urban setting. These festivals pertaining to the city in motion have emerged as the symbolic image of the emerging urban Indian condition giving birth to new urban identities. The study undertaken to understand the present context of temporality of Indian cities is important in analyzing the process of its formation and transformation. This study aims to review the evolution of new dimensions of urbanism in India as well as its implication on the identity of cities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=urban%20identities" title="urban identities">urban identities</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20design" title=" urban design"> urban design</a>, <a href="https://publications.waset.org/abstracts/search?q=festivals" title=" festivals"> festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=rituals" title=" rituals"> rituals</a>, <a href="https://publications.waset.org/abstracts/search?q=celebrations" title=" celebrations"> celebrations</a>, <a href="https://publications.waset.org/abstracts/search?q=inter-disciplinary%20study" title=" inter-disciplinary study"> inter-disciplinary study</a> </p> <a href="https://publications.waset.org/abstracts/56337/spectacles-of-the-city-an-analysis-of-the-effects-of-festivals-in-the-formation-of-new-urban-identities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/56337.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">253</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">70</span> Gender Influence in Yoruba Festivals: A Case Study of Agbaasin Festival in Isanlu-Isin, Kwara State, Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alice%20Abiodun%20Atolagbe">Alice Abiodun Atolagbe</a>, <a href="https://publications.waset.org/abstracts/search?q=Samson%20Abiodun%20Atolagbe"> Samson Abiodun Atolagbe</a> </p> <p class="card-text"><strong>Abstract:</strong></p> All over the world and in the history of mankind, festivals have evolved to celebrate one thing or the other. The Yoruba people are no exemptions and they have several festivals which they celebrate at different times, for different reasons and in different communities. Because mankind is mainly of male and female, most of the festivals involve the two sexes, though different roles are usually assigned. In this paper, the writers examine the influence of gender in Yoruba festival using ‘Agbaasin’ festival in Isanlu-Isin, Kwara State of Nigeria as a case study. A research was conducted by visiting the priests, worshipers, and shrine of ‘Agbaasin’ during which interviews were conducted, documented, and analyzed. It was, thereafter, discovered that men dominated the process of celebrating the ‘Agbaasin’ festival even to the extent of cooking by themselves. The paper recommends that women should be more involved in political and communal activities, government should encourage and sponsor researches on gender issues and that, authors of books and writers of plays should create some fora to encourage women empowerment among the Yoruba people. It is hoped that this paper would contribute to the pool of literature available on gender issues among the Yoruba people of Nigeria. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=gender" title="gender">gender</a>, <a href="https://publications.waset.org/abstracts/search?q=Yoruba" title=" Yoruba"> Yoruba</a>, <a href="https://publications.waset.org/abstracts/search?q=festival" title=" festival"> festival</a>, <a href="https://publications.waset.org/abstracts/search?q=Agbaasin" title=" Agbaasin"> Agbaasin</a>, <a href="https://publications.waset.org/abstracts/search?q=Isanlu-Isin" title=" Isanlu-Isin"> Isanlu-Isin</a>, <a href="https://publications.waset.org/abstracts/search?q=Kwara%20State" title=" Kwara State"> Kwara State</a> </p> <a href="https://publications.waset.org/abstracts/49527/gender-influence-in-yoruba-festivals-a-case-study-of-agbaasin-festival-in-isanlu-isin-kwara-state-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/49527.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">321</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">69</span> Stemming the Decline of Cultural Festivals as a Way of Preserving the Nigerian Cultural Heritage: A Case Study of Kuteb and Idoma Cultural Festivals</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Inalegwu%20Stephany%20Akipu">Inalegwu Stephany Akipu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A cultural festival is characterized by feasting and celebration, with a day or period that has been set aside solely for this reason. Often expressed by an organized series of acts and performances, it forms a very important part of man’s cultural heritage. Nigeria is a country with many ethnic groups and diverse languages. Each of these ethnic groups has a plethora of festivals that depict their culture which is exhibited in many forms ranging from dancing to feasting and celebration. Being a very important aspect of man’s life, it is pertinent to document and optimally harness it. However, there is a significant decline of these practices in some areas in Nigeria while some areas have registered a total loss of same. It is the aim of this paper therefore, to appraise the factors responsible for this and also, to project ways of resuscitating these festivals which by the way are viable tools for revenue generation through tourism. Not only do festivals serve as a source of revenue, they also aid in national integration which in turn further enhances sustainable development. The interest of this paper will focus on the Kuteb people of Taraba State and the Idoma people of Benue State. The methodologies applied include primary (oral interviews) and secondary (consultation of written records on the subject matter) sources of data. It finally concludes by comparing the approaches that are in use by the ethnic groups in Nigeria who have successfully preserved this aspect their culture and suggestions are made as to how to apply same approaches to these two communities that form the subject of this paper. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=festival" title="festival">festival</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20heritage" title=" cultural heritage"> cultural heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=Nigeria" title=" Nigeria"> Nigeria</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20integration" title=" national integration"> national integration</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainable%20development" title=" sustainable development"> sustainable development</a> </p> <a href="https://publications.waset.org/abstracts/21769/stemming-the-decline-of-cultural-festivals-as-a-way-of-preserving-the-nigerian-cultural-heritage-a-case-study-of-kuteb-and-idoma-cultural-festivals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/21769.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">291</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">68</span> From Ritual to Entertainment: Echoes of Realism and Creativity in Costumes of Masquerades in New Nigerian Festivals</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bernard%20Eze%20Orji">Bernard Eze Orji</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The masquerade, which is the most popular indigenous art form in Africa, is obviously identified by its elaborate, weird, and opulent costumes. The costume is the major essential accouterments in the art of the masquerade. From time past, masquerades have performed and enjoyed the freedom associated with its inscrutability and mystification solely because of its costumes. Noninitiates and women watched masquerades from a distance due to the reverence attached to its costumes and performances. In fact, whether in performance or as an item of art, the masquerade costume was seen as an embodiment of a tradition of liveliness, showiness, secrecy, and sacredness. This liveliness and showiness transformed masked characters who are believed to be possessed by spirits of ancestors and animals that inhabited the costumes. However, with the translocation of masquerade in new festivals such as carnival and state-sponsored cultural days, its costumes have been reduced to a mere item of entertainment and aesthetic values. The sacredness and reverence which hitherto elevated masquerade art to the point of wonderment have given way to an aesthetic appreciation of ingenious and individual creativity deployed in these festivals. This is as a result of the realistic and artistic creations that pervade masquerade costumes and masks in these festivals. It is a common sight to see such masquerades of animal and human genera like a lion, elephant, hippopotamus, and antelope; Agbogho Mmuo, Adamma, and Nchiekwa, respectively. This creative flair has emerged to expunge the ritual narratives associated with masquerades in the past. The study utilized performance analysis and aesthetic theory to establish that the creative ingenuity deployed by fine artists and mask designers who combine traditional artifacts to achieve modern masterpieces for the masquerades of the new festivals have reduced the ritual trappings and hype ascribed to masquerades in indigenous societies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=costume%20and%20mask%20designs" title="costume and mask designs">costume and mask designs</a>, <a href="https://publications.waset.org/abstracts/search?q=entertainment" title=" entertainment"> entertainment</a>, <a href="https://publications.waset.org/abstracts/search?q=masquerade" title=" masquerade"> masquerade</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual" title=" ritual"> ritual</a> </p> <a href="https://publications.waset.org/abstracts/113845/from-ritual-to-entertainment-echoes-of-realism-and-creativity-in-costumes-of-masquerades-in-new-nigerian-festivals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/113845.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">128</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">67</span> Spatial Analysis of Festival Spaces in Traditional Festivals in Taipei City</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Liu%20Szu%20Yin">Liu Szu Yin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The center of urban development lies in commercial transactions and folk religious activities. In Taipei City, temples serve as crucial urban spaces and centers for civic activities and religious beliefs. The appearance of local temples can be influenced by the prosperity of the surrounding communities. Apart from being centers of religious worship, Taipei's temples also host festival celebrations, allowing people to gather in front of the temples and form collective urban memories. The spatial attributes for hosting festival activities include streets, squares, parks, and buildings. In Taipei, many traditional festivals take place on the streets, either as round-trip routes or linear routes with a single starting and ending point. Given the processions and parades involving palanquins and other ceremonial objects during traditional festival activities, street spaces are frequently utilized. Therefore, this study analyzes the historical context and street spaces of three traditional festivals in Taipei City, including Qingshan Temple in Monga, Xiahai City God Temple in Dadaocheng, and Baoan Temple in Dalongdong, through on-site research. Most urban festival planners need to understand the characteristics of the city's streets in order to effectively utilize street spaces for festival planning. Taipei's traditional festivals not only preserve Chinese traditional culture but also incorporate modern elements, ensuring the transmission of culture and faith and allowing the city to become characterized by sustainable culture and unique urban memories. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=festival%20space" title="festival space">festival space</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20festival" title=" urban festival"> urban festival</a>, <a href="https://publications.waset.org/abstracts/search?q=taipei" title=" taipei"> taipei</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20memory" title=" urban memory"> urban memory</a> </p> <a href="https://publications.waset.org/abstracts/167731/spatial-analysis-of-festival-spaces-in-traditional-festivals-in-taipei-city" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167731.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">70</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">66</span> Potentials and Impediments in the Development of Ikeji Festival for Cultural Tourism</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ifegbo%20Lawrencia%20Ifegbo">Ifegbo Lawrencia Ifegbo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nigeria is a country with many ethnic groups and therefore endowed with festival of different types and nature, yet no concerted effort is committed towards their development for cultural tourism. This paper assessed the adequacy of tourism potential of the festivals, and most importantly investigated the impediments surrounding their non-development. Ikeji, a masquerade festival of the people of Arondizuogu clan in Imo State of Nigeria was selected for the study. Ethnographic research using observer-as-participant technique was used for conducting the study. This was supplemented by focused group discussion (FGD), key informant and unstructured interviews. The result revealed that there exist so much potentials like masquerading, cultural dances, native and highlife music, drumming, role reversals and traditional dishes in the festival. It was further deduced that poor supply of amenities and infrastructural facilities, insecurity of life, lack of trained indigenous experts in tourism, lack of awareness and publicity for the festival on the part of the host communities were responsible for the non-development into tourism destinations. The implication of this is that unless the government resolves to provide the needed resources for the development of the enormous festivals, and restores security and peace in the country, cultural tourism will rarely thrive in Nigeria. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=festivals" title="festivals">festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20tourism" title=" cultural tourism"> cultural tourism</a>, <a href="https://publications.waset.org/abstracts/search?q=tourism%20potential" title=" tourism potential"> tourism potential</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20resources" title=" cultural resources"> cultural resources</a>, <a href="https://publications.waset.org/abstracts/search?q=tourism%20development" title=" tourism development"> tourism development</a> </p> <a href="https://publications.waset.org/abstracts/7324/potentials-and-impediments-in-the-development-of-ikeji-festival-for-cultural-tourism" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/7324.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">336</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">65</span> From Cultural Policy to Social Practice: Literary Festivals as a Platform for Social Inclusion in Pakistan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=S.%20Jabeen">S. Jabeen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Though Pakistan has a rich cultural history and a diverse population; its global image is tarnished with labels of Muslim ‘fundamentalism’ and ‘extremism.’ Cultural policy is a tool that can be used by the government of Pakistan to ameliorate this image, but instead, this fundamentalist reputation is reinforced in the 2005 draft of Pakistan’s cultural policy. With its stern focus on a homogenized cultural identity, this 2005 draft bases itself largely on forced participation from the largely Muslim public and leaves little or no benefits to them or cultural minorities in Pakistan. The effects of this homogenized ‘Muslim’ identity linger ten years later where the study and celebration of the cultural heritage of Pakistan in schools and educational festivals focus entirely on creating and maintaining a singular ‘Islamic’ cultural identity. The current lack of inclusion has many adverse effects that include the breeding of extremist mindsets through the usurpation of minority rights and lack of safe cultural public spaces. This paper argues that Pakistan can improve social inclusivity and boost its global image through cultural policy. The paper sets the grounds for research by surveying the effectiveness of different cultural policies across nations with differing socioeconomic status. Then, by sampling two public literary festivals in Pakistan as case studies, the National Youth Peace Festival hosted with a nationalistic agenda using public funds and the Lahore Literary Festival (LLF) that aims to boost the cultural literacy scene of Lahore using both private and public efforts, this paper looks at the success of the private, more inclusive LLF. A revision of cultural policy is suggested that combines public and private efforts to host cultural festivals for the sake of cultural celebration and human development, without a set nationalistic agenda. Consequently, this comparison which is grounded in the human capabilities approach, recommends revising the 2005 draft of the Cultural Policy to improve human capabilities in order to support cultural diversity and ultimately contribute to economic growth in Pakistan. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20policy" title="cultural policy">cultural policy</a>, <a href="https://publications.waset.org/abstracts/search?q=festivals" title=" festivals"> festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=human%20capabilities" title=" human capabilities"> human capabilities</a>, <a href="https://publications.waset.org/abstracts/search?q=Pakistan" title=" Pakistan"> Pakistan</a> </p> <a href="https://publications.waset.org/abstracts/98457/from-cultural-policy-to-social-practice-literary-festivals-as-a-platform-for-social-inclusion-in-pakistan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98457.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">138</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">64</span> Exploring the Effect of Environmental Cues of Food Festival on Visitor Satisfaction</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tao%20Zhang">Tao Zhang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As the competition of all kinds of festival events becomes more and more fierce, more and more event organizers try to design a blended festivalscape by integrating multifaceted environmental cues in order to raise the service quality of festival events and then raise visitors’ satisfaction. As the main type of festival events, food festivals are popular in all over the world. The organizers’ of food festivals also try to mix food with multifaceted environmental cues (e.g., music, stage, light, dance) to design a blended festivalscape. However, until now little studies explore the environmental cues of food festivals and their relationship with visitors’ satisfaction. Therefore, the aim of this study is to ascertain the environmental cues of food festival and their relationship with visitors’ satisfaction by using the blended festivalscape theory. Using convenient sampling method, this study investigated 1,000 food festival visitors in Macau. Factor analysis showed there are mainly six environmental cues (i.e., food, atmosphere, program, staff, facility, and information). All six environmental cues are positively related with visitors’ satisfaction, while the most influential factors are food, atmosphere, and program. This study showed that festival event organizers’ should focus on the topic of their festival event, build festival atmosphere, and create interesting programs in order to design a blended festivalscape and then raise visitors’ satisfaction. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=environmental%20cue" title="environmental cue">environmental cue</a>, <a href="https://publications.waset.org/abstracts/search?q=event" title=" event"> event</a>, <a href="https://publications.waset.org/abstracts/search?q=festival" title=" festival"> festival</a>, <a href="https://publications.waset.org/abstracts/search?q=satisfaction" title=" satisfaction"> satisfaction</a> </p> <a href="https://publications.waset.org/abstracts/66723/exploring-the-effect-of-environmental-cues-of-food-festival-on-visitor-satisfaction" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/66723.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">366</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">63</span> Investigating the Role of Clam Festival for Destination Branding: A Case Study of Tainan Cigu</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lim%20Lie%20Pin">Lim Lie Pin</a>, <a href="https://publications.waset.org/abstracts/search?q=Lin%20Hui%20Wen"> Lin Hui Wen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Rural tourism has become popular in Taiwan, the villages based on agriculture including fishery have to follow the trend to develop the local economy and achieve the sustainable development of the rural areas. Through cultural festivals, the tourist could experience the benefit while promoting and stimulating the local development of rural tourism. Cigu is famous for salt history and abundant natural resources, such as lagoon, black-faced spoonbills and other fishery products. Digging clam has become the most special parent-child activities in Tainan and increasing awareness since it was initiated. Therefore, festival organizers and regional destination marketers need to identify visitors’ experiences attributes which lead to opportunities for industry professionals, community involvement to plan and organize regional festivals and their programmes for effective destination branding finding out more potential rural resources encouraging the local industry growth and sustainable development. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=rural%20tourism" title="rural tourism">rural tourism</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20festival" title=" cultural festival"> cultural festival</a>, <a href="https://publications.waset.org/abstracts/search?q=destination%20branding" title=" destination branding"> destination branding</a>, <a href="https://publications.waset.org/abstracts/search?q=tourist%20experience" title=" tourist experience"> tourist experience</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainable%20development" title=" sustainable development"> sustainable development</a> </p> <a href="https://publications.waset.org/abstracts/15669/investigating-the-role-of-clam-festival-for-destination-branding-a-case-study-of-tainan-cigu" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/15669.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">304</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">62</span> The Stage as Pulpit; Contemporary Practice of Theatre for Religion in Kenya</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shikuku%20Emmanuel%20Tsikhungu">Shikuku Emmanuel Tsikhungu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Theatre and religion have enjoyed a symbiotic relationship from time immemorial, each transforming in different epochs and into different forms of practice but gaining from each other’s growth. Despite the fact that religion has more or less looked at the theatre and its dramatic rituals with distaste, the two human engagements have had dynamic and reciprocal relationships. In Kenya, there is an emerging innovation and transformation of theatre for religion in which churches and sects are consciously developing a youth wing that is vibrant in theatre practice. The imagination that youth and children derive pleasure and vibrancy in theatre has led to a lively competition among churches that is now creating a new form of theatre in Kenya. This has given rise to a practice in which art engages the religious not at the spiritual level but at the social-cultural level. Thus theatre is finding itself in sanctums that it had been banished; not for its own sake but as a tool for keeping the youth nearer the church if not the church This article analyses findings of a study carried out in December of 2017 among theatre festivals for the Catholic Church held in Kitui School, KituiCounty, and the Methodist Church of Kenya festival held in Ntemwene Church, Nkubu, Meru County, Kenya. One of the findings of interest was that while they were not theatres of religion nor religious theatres since they did not fuse the religious rituals with the dramatic rituals, the festivals never the less qualify as theatres for religion for they link the former to the latter. Secondly, while they claimed to be youth or children theatre festivals, they lacked youth-centredness nor child-centredness associated with such. Thirdly and most importantly the style of dramatic execution ranged from bibliodramatic to secular drama with Christian messages. Fourthly, by this stroke of acceptance in formerly forbidden sanctums, theatre is re-inventing itself back to its ‘old’ nature and function. It may be argued conclusively that this sprouting movement of theatre for religion may be comparable to the Jesuit Theatre fronted by Ignatius Loyola but clothed in modern African theatre practice. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=theatre" title="theatre">theatre</a>, <a href="https://publications.waset.org/abstracts/search?q=religion" title=" religion"> religion</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre%20for%20religion" title=" theatre for religion"> theatre for religion</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20constructs" title=" social constructs"> social constructs</a>, <a href="https://publications.waset.org/abstracts/search?q=socio-cultural" title=" socio-cultural"> socio-cultural</a> </p> <a href="https://publications.waset.org/abstracts/143465/the-stage-as-pulpit-contemporary-practice-of-theatre-for-religion-in-kenya" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/143465.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">209</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">61</span> Festive Fictions: An Iconographic Study of Ritual and Intersectionality in Cartagena, Colombia </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Melissa%20Valle">Melissa Valle</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper draws upon the studies of visual culture and intersectionality to illuminate how visuality can naturalize social hierarchies. Through the use of iconography, it decodes the denotative, connotative and ideological meanings of symbols of ritualistic events in the context of the Colombian Atlantic Coast. An examination of such exceptional moments, i.e. of the spectacle, brings into focus how such performances are imbued with meaning by both the on-looker and the performer. Through an analysis of preexisting visuals (e.g., advertisements, social media) and visual materials produced by the researcher for the purpose of photo-elicitation interviews, this paper provides a contextual analysis of the ways in which three representations, popular during Colombian Atlantic coastal festivals (Negrita Puloy, Las Palenqueras, and El Son de Negro), have been historically, culturally and politically constituted. This work reveals that the visualizations are born out of and reproduce typifications systems heavily based upon race, gender, class, and ethnicity. Understanding the ways these categories are mutually constituted through the cultural practice of visual representation is essential to a more comprehensive understanding of the role such representation plays in the reproduction of social difference. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Colombia" title="Colombia">Colombia</a>, <a href="https://publications.waset.org/abstracts/search?q=festivals" title=" festivals"> festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=intersectionality" title=" intersectionality"> intersectionality</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20culture" title=" visual culture "> visual culture </a> </p> <a href="https://publications.waset.org/abstracts/65834/festive-fictions-an-iconographic-study-of-ritual-and-intersectionality-in-cartagena-colombia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65834.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">355</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">60</span> Festivals and Weddings in India during Corona Pandemic </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arul%20Aram">Arul Aram</a>, <a href="https://publications.waset.org/abstracts/search?q=Vishnu%20Priya"> Vishnu Priya</a>, <a href="https://publications.waset.org/abstracts/search?q=Monicka%20Karunanithi"> Monicka Karunanithi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In India, in particular, festivals are the occasions of celebrations. They create beautiful moments to cherish. Mostly, people pay a visit to their native places to celebrate with their loved ones. So are wedding celebrations. The Covid-19 pandemic came upon us unexpectedly, and to fight it, the festivals and weddings are celebrated unusually. Crowded places are deserted. Mass gatherings are avoided, changes and alterations are made in our rituals and celebrations. The warmth usually people have at their heart during any festival and wedding has disappeared. Some aspects of the celebrations become virtual/digital rather than real -- for instance, digital greetings/invitations, digital conduct of ceremonies by priests, YouTube worship, online/digital cash gifts, and digital audience for weddings. Each festival has different rituals which are followed with the divine nature in every family, but the pandemic warranted some compromises on the traditions. Likewise, a marriage is a beautiful bond between two families where a lot of traditional customs are followed. The wedding ceremonies are colorful and celebrations may extend for several days. People in India spend financial resources to prepare and celebrate weddings. The bride's and the groom's homes are fully decorated with colors, balloons and other decorations. The wedding rituals and celebrations vary by religion, region, preference and the resources of the groom, bride and their families. They can range from one day to multiple-days events. But the Covid-19 pandemic situation changes the mindset of people over ceremonies. This lockdown has affected those weddings and industries that support them and make the people postpone or at times advance without fanfare their 'big day.' People now adopt the protocols, guidelines and safety measures to reduce the risk and minimize the fear during celebrations. The study shall look into: how the pandemic shattered the expectations of people celebrating; problems faced economically by people/service providers who are benefited by the celebrations; and identify the alterations made in the rituals or the practices of our culture for the safety of families. The study shall employ questionnaires, interviews and visual ethnography to collect data. The study found that during a complete lockdown, people have not bought new clothes, sweets, or snacks, as they generally do before a pandemic. Almost all of them kept their celebrations low-key, and some did not celebrate at all. Digital media played a role in keeping the celebration alive, as people used it to wish their friends and families virtually. During partial unlock, the situation was under control, and people began to go out and see a few family and friends. They went shopping and bought new clothes and needs, but they did it while following safety precautions. There is also an equal percentage of people who shopped online. Although people continue to remain disappointed, they were less stressed up as life was returning to normal. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=covid-19" title="covid-19">covid-19</a>, <a href="https://publications.waset.org/abstracts/search?q=digital" title=" digital"> digital</a>, <a href="https://publications.waset.org/abstracts/search?q=festivals" title=" festivals"> festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=India" title=" India"> India</a>, <a href="https://publications.waset.org/abstracts/search?q=wedding" title=" wedding"> wedding</a> </p> <a href="https://publications.waset.org/abstracts/138912/festivals-and-weddings-in-india-during-corona-pandemic" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/138912.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">186</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">59</span> Gender issues in Law and society in India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sunil%20Gaikwad">Sunil Gaikwad</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Gender discrimination is a very prevalent and much used word in the legal parlance. , The more socially, culturally, economically and educationally backward the community, the more gender discrimination is seen there. Gender discrimination is a worldwide Phenomena. In India it was more prevalent, due to illiteracy, bad social and religious customs. in Indian family system male child is considered as inheritor of the family clan, support for parents in their old age and girls as the property of others and unnecessary load on parents and on property as the dowry has to be give at her marriage as also some festivals like Raksha Bandhan and Bhau Teej during Deepawali (wherein having brother is compulsory)insist on having a male child in the family, hence most couples try to give birth only to male child at the cost of female child, hence the female feticide was going on a large scale due to which, sex ratio had considerably decreased creating problem for geeting groom for bride groom thereby putting question mark on family system. To redo the damage done to the society due to the female feticide Government of India has enacted various Laws and introduced various welfare schemes for the upliftment of girl child and also launched countrywide awareness campaign to create awareness among people about the importance of girl child and punitive laws for infanticide which is now bearing fruits but still cases of female feticide are coming fore. There is an urgent need to go to the roots of the problem and to find practicable and effective legal and social measures to overcome this issue, and the purpose of this research paper is the same. The research paper discusses in detail the reasons and superstitions that are responsible for the gender discriminations and comes out with effective measures including necessary and effective changes in the existing Laws, effective awareness campaign against religious superstitions for gender equality. For this research paper doctrinal research methodology is used to drive the research to its logical conclusion, for which various primary and secondary sources literature has been perused and studied. It is worth noting that while working on the paper suggestions and recommendations and conclusions have been drawn where it is suggested and concluded that there is an urgent need to re think about the festivals which encourages gender discriminations, to sensitize and create ample of awareness among people by effectively utilizing Radio, Television, Social Media folk arts, public shows and to make existing laws more effective and strict implementation for the purpose and zero tolerance for female feticide. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=awareness" title="awareness">awareness</a>, <a href="https://publications.waset.org/abstracts/search?q=effective%20laws" title=" effective laws"> effective laws</a>, <a href="https://publications.waset.org/abstracts/search?q=female%20foeticide" title=" female foeticide"> female foeticide</a>, <a href="https://publications.waset.org/abstracts/search?q=festivals" title=" festivals"> festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=superstitions" title=" superstitions"> superstitions</a> </p> <a href="https://publications.waset.org/abstracts/153987/gender-issues-in-law-and-society-in-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/153987.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">86</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">58</span> The Divine Elephant: Asian Elephants in Religions and Religious Practices</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ashna%20Sinha">Ashna Sinha</a>, <a href="https://publications.waset.org/abstracts/search?q=Surendra%20Varma"> Surendra Varma</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Asian elephant is predominantly found in South Asian and Southeast Asian countries. They are intrinsically associated with the religions, religious and cultural practices and festivals of these regions. Amazingly, these magnificent animals are also mentioned in the texts and are found sculpted on the walls of places of religious significance even in the Middle Eastern countries, and evidently, they have been mentioned in all the major religions. The elephants are intrigued and associated with the cultural and religious practices of Asians for thousands of years. While some of the practices and festivals in certain geographical regions are going on for years; some regions and religions have gone through a cultural shift and cultural adaptation, and have incorporated the participation of these divine beings. The symbolism of elephants is used for preaching and giving philosophical lessons through stories and painted art, across different religions through varying literary and visual artworks. The animals carved on the ancient and present day temples can easily be found in South and South East Asian countries, signifying the importance of the animal in a given religion which the temples are associated with. Though not sculpted but captive elephants are easily found on the premises of the places of worship to give a blessing to the people or to give a tour to show their own connotation with the religion. They are also used for carrying out processions in varying religious and cultural activities, and are considered to be of immense value as they add an extra glamour and publicize the wealth and weightiness of that distinct religion or culture. Our critical review of elephant’s association with religions and their practices show, although they give a higher degree of value and respects to this animal, the practices do not match with their biological design, but profoundly compromise their welfare and conservation. It is time to follow the values the animal enjoy and use the same for their conservation and welfare. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=conservation" title="conservation">conservation</a>, <a href="https://publications.waset.org/abstracts/search?q=elephant" title=" elephant"> elephant</a>, <a href="https://publications.waset.org/abstracts/search?q=religion" title=" religion"> religion</a>, <a href="https://publications.waset.org/abstracts/search?q=welfare" title=" welfare"> welfare</a> </p> <a href="https://publications.waset.org/abstracts/64354/the-divine-elephant-asian-elephants-in-religions-and-religious-practices" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64354.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">294</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">57</span> The Ephemeral Re-Use of Cultural Heritage: The Incorporation of the Festival Phenomenon Within Monuments and Archaeological Sites in Lebanon</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Joe%20Kallas">Joe Kallas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> It is now widely accepted that the preservation of cultural heritage must go beyond simple restoration and renovation actions. While some historic monuments have been preserved for millennia, many of them, less important or simply neglected because of lack of money, have disappeared. As a result, the adaptation of monuments and archaeological sites to new functions allow them to 'survive'. Temporary activities or 'ephemeral' re-use, are increasingly recognized as a means of vitalization of deprived areas and enhancement of historic sites that became obsolete. They have the potential to increase economic and cultural value while making the best use of existing resources. However, there are often conservation and preservation issues related to the implementation of this type of re-use, which can also threaten the integrity and authenticity of archaeological sites and monuments if they have not been properly managed. This paper aims to get a better knowledge of the ephemeral re-use of heritage, and more specifically the subject of the incorporation of the festival phenomenon within the monuments and archaeological sites in Lebanon, a topic that is not yet studied enough. This paper tried to determine the elements that compose it, in order to analyze this phenomenon and to trace its good practices, by comparing international study cases to important national cases: the International Festival of Baalbek, the International Festival of Byblos and the International Festival of Beiteddine. Various factors have been studied and analyzed in order to best respond to the main problematic of this paper: 'How can we preserve the integrity of sites and monuments after the integration of an ephemeral function? And what are the preventive conservation measures to be taken when holding festivals in archaeological sites with fragile structures?' The impacts of the technical problems were first analyzed using various data and more particularly the effects of mass tourism, the integration of temporary installations, sound vibrations, the effects of unstudied lighting, until the mystification of heritage. Unfortunately, the DGA (General Direction of Antiquities in Lebanon) does not specify any frequency limit for the sound vibrations emitted by the speakers during musical festivals. In addition, there is no requirement from its part regarding the installations of the lighting systems in the historic monuments and no monitoring is done in situ, due to the lack of awareness of the impact that could be generated by such interventions, and due to the lack of materials and tools needed for the monitoring process. The study and analysis of the various data mentioned above led us to the elaboration of the main objective of this paper, which is the establishment of a list of recommendations. This list enables to define various preventive conservation measures to be taken during the holding of the festivals within the cultural heritage sites in Lebanon. We strongly hope that this paper will be an awareness document to start taking into consideration several factors previously neglected, in order to improve the conservation practices in the archaeological sites and monuments during the incorporation of the festival phenomenon. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=archaeology" title="archaeology">archaeology</a>, <a href="https://publications.waset.org/abstracts/search?q=authenticity" title=" authenticity"> authenticity</a>, <a href="https://publications.waset.org/abstracts/search?q=conservation" title=" conservation"> conservation</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20heritage" title=" cultural heritage"> cultural heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=festival" title=" festival"> festival</a>, <a href="https://publications.waset.org/abstracts/search?q=historic%20sites" title=" historic sites"> historic sites</a>, <a href="https://publications.waset.org/abstracts/search?q=integrity" title=" integrity"> integrity</a>, <a href="https://publications.waset.org/abstracts/search?q=monuments" title=" monuments"> monuments</a>, <a href="https://publications.waset.org/abstracts/search?q=tourism" title=" tourism"> tourism</a> </p> <a href="https://publications.waset.org/abstracts/107349/the-ephemeral-re-use-of-cultural-heritage-the-incorporation-of-the-festival-phenomenon-within-monuments-and-archaeological-sites-in-lebanon" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/107349.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">118</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">56</span> Aesthetics of Colours, Symbols, and Spectacles in the 2021 National Festival of Arts and Culture, Ekiti State, Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bade-Afuye%20Toyin%20Beatrice">Bade-Afuye Toyin Beatrice</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nigeria, as a multi-cultural nation, boasts of many festivals, many of which are found in the six geo-political zones of the country. One of the major festivals that bring together the Nigerian citizens as one entity is the National Festival of Arts and Culture (NAFEST), organized by the National Council for Arts and Culture (NCAC). The festival is celebrated yearly in ways that are unique to Nigerians and culture enthusiasts locally and abroad. The festival has equally boosted the Nigerian economy through tourism promotion and culture preservation. This study shall adopt the cultural identity theory. The theory will be used to examine the festival as a platform that showcases culture, which represents the totality of the ways and lives of the Nigerian people. To achieve this, the researcher shall gather data as a participant-observer during the festival, which featured elements such as costume, make-up, dance, drama, children's theatre, fashion parade, local cuisines, local games, music, props, acrobatic displays, trade fair among others. These elements are the cultural aesthetics of the festival, thereby creating spectacles and colours in unique styles by each of the 36 states of the federation and the FCT Abuja. The study particularly examines the 2021 edition of NAFEST hosted by the Ekiti State Government. The study reveals that the festival is a unique multi-ethnic event that brings together Nigerians and their kinsmen in the diaspora. NAFEST has equally provided a good opportunity to showcase the rich cultural heritage of the Ekiti people and the economic values of their products and materials. The paper, therefore, concludes that the National Festival of Arts and Culture has over the years promoted national unity and social integration among Nigerians. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=colours" title="colours">colours</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=spectacle" title=" spectacle"> spectacle</a>, <a href="https://publications.waset.org/abstracts/search?q=NAFEST" title=" NAFEST"> NAFEST</a> </p> <a href="https://publications.waset.org/abstracts/149361/aesthetics-of-colours-symbols-and-spectacles-in-the-2021-national-festival-of-arts-and-culture-ekiti-state-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/149361.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">106</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">55</span> The Role of Uzbek Music Culture in Tourism</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Odina%20Omonjonova">Odina Omonjonova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Uzbek people have a rich history and a rapidly developing music culture for several centuries. Monuments, shrines, places of culture and spirituality, which are the most beautiful proofs of history, show that this country has been a center of wisdom since ancient times. Nowadays, Uzbekistan is opening its face to the world with its unique spiritual heritage, historical monuments, peaceful corners and beautiful landscapes. Tourists from many countries visit and get acquainted with Uzbek culture and history and acknowledge it with great respect. The place of traditional music in describing the national color on the world scale is incomparable. Oral folk works that have reached this period, lapar, yalla, songs and ‘Shashmaqom’ are the intangible spiritual wealth of the Uzbek people. They embody the ancient and great history, spiritual world, artistic philosophy, spirit and values of our nation. National music is the main part of the culture of the nation, and here it is worth emphasizing the importance of music in the tourism of Uzbekistan. Foreign guests can enjoy our national music in various ways: (1) Concerts: There are many concert halls and cultural centers in the cities of Uzbekistan, where many concerts and events are held. Well-known musicians, singers and ensembles add more beauty to the beauty of these places, performing musical samples in Shashmaqom and other traditional styles. In these concert programs, tourists will have the opportunity to listen to works of art in an attractive live performance. (2) Festivals: Many music festivals are held in Uzbekistan throughout the year. The ‘Sharq Taronalari’ international music festival is a unique holiday where musicians from all over the world gather to celebrate the diversity of musical traditions. In recent years, traditional music has been played regularly in a number of festivals such as the ‘International Maqom Festival’, ‘International Craft Festival’ and ‘Boysun Bahari’ held in our country, which has increased the attention of travelers to our music culture. (3) Cultural seminars. Tourists interested in hands-on musical experience can participate in musical workshops. These classes allow tourists to learn to play traditional musical instruments and even participate in group activities. (4) Street musicians: In the central places and ancient streets of Uzbekistan's cities, we can meet street musicians playing soulful tunes. Performing and singing folklore samples on modern instruments directly attracts foreign guests. In Uzbekistan, national music and tourism have a direct and indirect connection. Music serves as a bridge between the country's history and its modern identity and enriches the travel experience. The impact of national music on tourism goes beyond mere statistics. Although tourist arrivals have increased significantly due to music-related attractions, the real impact lies in the stories and live testimonies of visitors. Travelers often say that the rhythms of Uzbekistan touched their hearts and broadened their worldview. In addition, music tourism strengthens the country's economy, provides employment, supports local artisans and performers, and provides an opportunity to showcase their talents to a global audience. In short, Uzbekistan is not only a place of interest, but it is among the countries that attract travelers with its unique national music. Uzbek music, folklore, songs, from the wonderful melodies of ‘Shashmaqom’ to the attractive sounds of traditional musical instruments, give aesthetic and spiritual pleasure and are important in organizing a large-scale trip for tourists visiting the country. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20music" title="traditional music">traditional music</a>, <a href="https://publications.waset.org/abstracts/search?q=folklore" title=" folklore"> folklore</a>, <a href="https://publications.waset.org/abstracts/search?q=shashmaqom" title=" shashmaqom"> shashmaqom</a>, <a href="https://publications.waset.org/abstracts/search?q=tourism" title=" tourism"> tourism</a>, <a href="https://publications.waset.org/abstracts/search?q=festivals" title=" festivals"> festivals</a>, <a href="https://publications.waset.org/abstracts/search?q=street%20musicians" title=" street musicians"> street musicians</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20musical%20instruments" title=" traditional musical instruments"> traditional musical instruments</a> </p> <a href="https://publications.waset.org/abstracts/188283/the-role-of-uzbek-music-culture-in-tourism" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/188283.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">39</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">54</span> Implementation of Environmental Sustainability into Event Management</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=%C3%96zlem%20K%C3%BC%C3%A7%C3%BCkak%C3%A7a">Özlem Küçükakça</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The world population is rapidly growing. In the last few decades, environmental protection and climate change have been remarked as a global concern. All events have their own ecological footprint. Therefore, all participants who take part in the events, from event organizer to audience should be responsible for reducing carbon emissions. Currently, there is a literature gap which investigates the relationship between events and environment. Hence, this study is conducted to investigate how to implement environmental sustainability in the event management. Therefore, a wide literature and also the UK festivals database have been investigated. Finally, environmental effects and the solution of reducing impacts at events were discussed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ecological%20footprint" title="ecological footprint">ecological footprint</a>, <a href="https://publications.waset.org/abstracts/search?q=environmental%20sustainability" title=" environmental sustainability"> environmental sustainability</a>, <a href="https://publications.waset.org/abstracts/search?q=events" title=" events"> events</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainability" title=" sustainability"> sustainability</a> </p> <a href="https://publications.waset.org/abstracts/72164/implementation-of-environmental-sustainability-into-event-management" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/72164.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">304</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">53</span> Personal Development of School-Children on Lessons Physical Culture</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rogaleva%20Liudmila">Rogaleva Liudmila</a>, <a href="https://publications.waset.org/abstracts/search?q=Malkin%20Valery"> Malkin Valery</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Physical culture lessons are considered not only to be a means of physical development of students, but a matter of their personal development. Physical culture lessons can enable to develop such qualities of students as activity and initiation, readiness to cooperate, self-confidence, ability to define and reach targets, readiness to overcome difficulties and assess their abilities (and disadvantages) properly in any precise situation as well to be responsible for their own decision. The solution of this problem is possible under the circumstance if the students aware themselves as the subject of the activity that are able to develop their possibilities. The research was aimed to learn the matters that enable female teenagers of senior forms to become strong personalities attending physical culture lessons. There were two stages of the research. At the first stage we define the interests and demands of the girls. According the results of research we changed the programme of physical culture lessons. We took into consideration values of youth subculture: youth music, preferences to sport-dancing physical activities, demand of self-determination, revealing their individualities, needs of cooperative work. At the second stage we worked out motivating technology of course. This technology was aimed to create sush conditions under which students could show themselves as the subjects of activity and self-development. The active participation sport-dance festivals during 2-3 years creates the conditions for their self-realization. 78% students of the experimental groups considered their main motives to were: the interest, developing of their abilities, the satisfaction of the achievements of targets. Control groups 67% of the students claimed the success school good marks. The girls said that due to festivals they became self-confident (94%), responsible (86%), ability to cooperate (73%), aspiration for reaching the target (68%), self-exactingness (57 %). The main factors that provide successful performance were called: efforts to reach the target (87%), mutual support and mutual understanding (77%). The research on values showed that in the experimental groups we can find increase of importance of such values as: social initiative (active life) 83%, friends (75%), self-control (73%), effectiveness in deeds (58%). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=physical%20culture" title="physical culture">physical culture</a>, <a href="https://publications.waset.org/abstracts/search?q=subject" title=" subject"> subject</a>, <a href="https://publications.waset.org/abstracts/search?q=personal%20%20development" title=" personal development"> personal development</a>, <a href="https://publications.waset.org/abstracts/search?q=self-determination" title=" self-determination"> self-determination</a> </p> <a href="https://publications.waset.org/abstracts/21614/personal-development-of-school-children-on-lessons-physical-culture" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/21614.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">470</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">52</span> 'The Cultural Sanctuary of Black Kafirs' Cultural and Tourism Promotion of Kalash Culture</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jamal%20Ahmad">Jamal Ahmad</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Sanctuary of the Kafirs is a sanctified place for the people of Kalash which contain the sacred remains of their culture. The existence of the cultural Sanctuary is not limited up to boundaries of culture but its canopy also contain the spiritual attachments in terms of religion, rituals, introspections, myths, customs and living standards. Culture is the manifestation of the human intellectual achievement in a qualitative phenomenon of a place. The ethnic people of Hindu Kush (Kalash) are an indigenous group that practices Animism. They believe in Animistic Symbology i-e the material universe has high spiritual power. The Animism in their living standard comes from the high spiritualized and sacred sacrifices of animals goats, sheep etc. in their festivals which is the symbol of purity. Similarly certain cultural and religious phenomena make its behavior, its living pattern, its fairy tales, its birth and even its death unique. The scattered and the vanishing fragments of the Kafiristan, demands the phenomenal solution which molds all these factors into preserving standards. It demands a place of belief where, their unique culture, religion, festivals and life style make a sincere base for future existence, and such phenomena of place will consciously or unconsciously molds these ideas into building fabric. The Sanctuary contains ancient vandalized cemetery, the qaliq* the mujnatikeen*, the jastaks*, dewadoor* an amphitheater for dancing and ritual performances, an herbal garden and a profile sanctuary of the blood line of Kalash. The Case-Analysis provokes a new architecture of place, as the Phenomenological Architecture, which requires a place and phenomenon to take place. The Animistic Symbology and Phenomenology both are the part of their life but needs to reveal its hidden meaning and existence i-e (The Balamain, the alpine meadows, the sacred river). The Architectural work is strengthened by the philosophies of Animism and Phenomenology which make it easy to understand. The Scope of work is to reincarnate the ethical boundaries between the neighboring tribes and the Kafirs, by a series of dwellings, cultural and religious communal buildings and spaces, gardens and streets layout under the umbrella of ethical beliefs of Kalash community. So we conclude to build the Sanctuary of the Kafirs, in Bamboret valley of Kalash. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Qaliq" title="Qaliq">Qaliq</a>, <a href="https://publications.waset.org/abstracts/search?q=Mujnatikeen" title=" Mujnatikeen"> Mujnatikeen</a>, <a href="https://publications.waset.org/abstracts/search?q=Dewadoor" title=" Dewadoor"> Dewadoor</a>, <a href="https://publications.waset.org/abstracts/search?q=Jastaks" title=" Jastaks"> Jastaks</a> </p> <a href="https://publications.waset.org/abstracts/34799/the-cultural-sanctuary-of-black-kafirs-cultural-and-tourism-promotion-of-kalash-culture" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34799.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">334</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">51</span> Design and Implementation of Embedded FM Transmission Control SW for Low Power Battery System</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Young-Su%20Ryu">Young-Su Ryu</a>, <a href="https://publications.waset.org/abstracts/search?q=Kyung-Won%20Park"> Kyung-Won Park</a>, <a href="https://publications.waset.org/abstracts/search?q=Jae-Hoon%20Song"> Jae-Hoon Song</a>, <a href="https://publications.waset.org/abstracts/search?q=Ki-Won%20Kwon"> Ki-Won Kwon</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, an embedded frequency modulation (FM) transmission control software (SW) for a low power battery system is designed and implemented. The simultaneous translation systems for various languages are needed as so many international conferences and festivals are held in world wide. Especially in portable transmitting and receiving systems, the ability of long operation life is used for a measure of value. This paper proposes an embedded FM transmission control SW for low power battery system and shows the results of the SW implemented on a portable FM transmission system. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=FM%20transmission" title="FM transmission">FM transmission</a>, <a href="https://publications.waset.org/abstracts/search?q=simultaneous%20translation%20system" title=" simultaneous translation system"> simultaneous translation system</a>, <a href="https://publications.waset.org/abstracts/search?q=portable%20transmitting%20and%20receiving%20systems" title=" portable transmitting and receiving systems"> portable transmitting and receiving systems</a>, <a href="https://publications.waset.org/abstracts/search?q=low%20power%20embedded%20control%20SW" title=" low power embedded control SW"> low power embedded control SW</a> </p> <a href="https://publications.waset.org/abstracts/67493/design-and-implementation-of-embedded-fm-transmission-control-sw-for-low-power-battery-system" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/67493.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">442</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">50</span> International Tourists’ Motivation to Revisit Bangkok, Thailand </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kevin%20Wongleedee">Kevin Wongleedee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The objective of this research was to study the level of importance of motivation factors from the perspective of international tourist who visited Bangkok, Thailand. The independent variables included gender, age, levels of education, occupation, and income while the dependent variables were ten motivation factors. A simple random sampling method was utilized to get 200 respondents. The majority of respondents were both male and female in almost the same proportion and most were between 21-40 years old. Most were married and had a graduate degree. The average income of the respondents was between $30,000-50,000. The findings revealed the ranking levels of importance by highest mean to lowest mean as follows: Thai food, nature-beaches, spa, tradition markets, shopping places, museums, festivals, night entertainment, conference/expo, and visiting friends. In addition, the overall means is 4.11 with 0.812 SD. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=international%20tourist" title="international tourist">international tourist</a>, <a href="https://publications.waset.org/abstracts/search?q=motivation" title=" motivation"> motivation</a>, <a href="https://publications.waset.org/abstracts/search?q=revisit" title=" revisit"> revisit</a>, <a href="https://publications.waset.org/abstracts/search?q=Thailand" title=" Thailand"> Thailand</a> </p> <a href="https://publications.waset.org/abstracts/9148/international-tourists-motivation-to-revisit-bangkok-thailand" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/9148.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">301</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">49</span> Inbound Tourists' Satisfaction from Their Visiting Bangkok, Thailand</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chisakan%20Papapankiad">Chisakan Papapankiad</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this research was to study the level of satisfaction from the perspective of inbound tourists who visited Bangkok, Thailand during January to March of 2014. While the independent variables included gender, age, levels of education, occupation, and income, the dependent variables were ten reasons for their visiting Thailand. A quota sampling method was utilized to get 200 respondents with 50 percent male and 50 percent female respondents. The majority of respondents were between 30-40 years old. Most were married and had an undergraduate degree. The average income of the respondents was between $30,000-50,000 per year. The findings revealed the ranking levels of satisfaction by highest mean to lowest mean as follows: Thai food and beverage, nature-beach-mountain, spa-massage-beauty, malls-shopping places, souvenir and handcraft, festivals and activities, tradition markets, museum-art-history, night entertainment, and conference-expo. In addition, the overall means is 4.19 with 0.790 SD. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=inbound%20tourists" title="inbound tourists">inbound tourists</a>, <a href="https://publications.waset.org/abstracts/search?q=satisfaction" title=" satisfaction"> satisfaction</a>, <a href="https://publications.waset.org/abstracts/search?q=visiting" title=" visiting"> visiting</a>, <a href="https://publications.waset.org/abstracts/search?q=Thailand" title=" Thailand"> Thailand</a> </p> <a href="https://publications.waset.org/abstracts/14725/inbound-tourists-satisfaction-from-their-visiting-bangkok-thailand" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/14725.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">384</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">48</span> Journey of Striped Fabric in the History and Designs of Evening Dress from Striped Fabric</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Filiz%20Erden">Filiz Erden</a>, <a href="https://publications.waset.org/abstracts/search?q=E.%20Elhan%20%C3%96zus"> E. Elhan Özus</a>, <a href="https://publications.waset.org/abstracts/search?q=Melek%20Tufan"> Melek Tufan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> If the history of clothing is examined, it is seen that clothing has gone through many stages from ancient times to present. Each nation has shaped its clothing according to its own traditions, customs, beliefs, living conditions. While clothes are being prepared, attributing different meanings to colors and patterns of the fabrics has become a common characteristic of many cultures. It is known that cloths worn in special days such as mourning, weddings, engagements, festivals and business vary according to their models, fabrics, colors and patterns. We witness use of cloth to differentiate people belonging to certain classes from nobles throughout the history. Striped fabric has carried many different meanings and uses throughout the history. In this study, place has been given to the important periods related to the history of striped fabric by examining current meaning of the striped fabric and dimensions of its meanings in the past. Also, evening dresses have been designed by using striped fabrics in order to reveal how striped fabric is liked and demanded after it coped with difficulties and being despised in its history. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=striped%20fabric" title="striped fabric">striped fabric</a>, <a href="https://publications.waset.org/abstracts/search?q=design" title=" design"> design</a>, <a href="https://publications.waset.org/abstracts/search?q=clothing" title=" clothing"> clothing</a>, <a href="https://publications.waset.org/abstracts/search?q=fasion" title=" fasion"> fasion</a> </p> <a href="https://publications.waset.org/abstracts/31703/journey-of-striped-fabric-in-the-history-and-designs-of-evening-dress-from-striped-fabric" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/31703.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light 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