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From Cabaret to International Festivals

The Accidental Cultivation of a Curatorial Approach

Robyn Archer

I write not as an academic, but as a singer, writer of works for the stage, festival director, and arts advisor. The word curator first entered my understanding as the role of those working in art galleries and museums: those skilled individuals

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Why Curate a Festival Without an Audience?

How to Mis(behave), or a Case Study of the Gan and Gan International Xingwei Yishu Festival in Jiangxi, China

Raimund Rosarius

monument heralding new life behind transhistorical walls. The poster announces the 2018 edition of the GAN&GAN International Performance Art Festival in a mixture of English and Classical Chinese. 1 As one of the invited artists, I entered the town hall

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Chiara Cocco and Aleida Bertran

and a digital divide. Nonetheless, online ethnographic research on religious rituals like the pilgrimage of Sant'Efisio Festival in Sardinia, Italy, offers a unique opportunity to rethink ethnographic knowledge production by drawing out the long

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Clare Tufts, Joe Sutliff Sanders, Mark McKinney, Leroy Fabrice, Murray Pratt, Benoît Mitaine, Catherine Labio, Jan Baetens, and Anne Magnussen

FESTIVAL AND CONFERENCE REVIEWS

Angoulême 2013, Festival International de la Bande Dessinée (FIBD), 31 January–3 February

The 2013 Joint International Comics and Bande Dessinée Conference, Scotland, 24–28 June

2012 American Bande Dessinée Society Conference, Miami University, Oxford, OH, 2–3 November

BOOK REVIEWS

Groupe ACME, L'Association: Une utopie éditoriale et esthétique [L'Association: An Editorial and Aesthetic Utopia]

Thierry Groensteen, Entretiens avec Joann Sfar [Conversations with Joann Sfar]

Jean-Marc Pontier, Lectures de David B. [Reading David B.] and Nicolas de Crécy: Périodes graphiques [Nicolas de Crealcy: Graphic Periods]

Vicent Sanchis, Tebeos mutilados: La Censura franquista contra Editorial Bruguera [Mutilated Comics: The Franquist Censorship of Editorial Bruguera]

Elisabeth El Refaie, Autobiographical Comics: Life Writing in Pictures

Jean-Noël Lafargue, Entre la plèbe et l'élite: Les Ambitions contraires de la bande dessinée [Between Plebs and the Elite: The Contradictory Ambitions of Comics]

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Evy Johanne Håland

festivals and rituals connected with life-cycle passages. Male authors who recorded the practice of healing rituals did not, and could not, know much of what occurred because the rituals were carried out by women. A way of tackling this dilemma is to attend

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Laura Jeffery

Focusing ethnographically on the Creole festivals in Mauritius, this article examines coexisting cosmopolitan and localising processes in a non‐elite and rooted context. It outlines the marginalisation of Creoles in Mauritius before elucidating three processes evident in Afro‐Creole collective identification: cross‐continental inspiration from the ‘Creole world’ of the African diaspora; regional ethnic identification as Indian Ocean island Creoles with overlapping histories and shared cultural traditions; and the localising identity politics of differentiation of each ‘Creole culture’ as unique and rooted in a particular island or state.

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Allison Macleod

As I enter the Centre for Contemporary Arts (CCA) in Glasgow for the opening night of the Scottish Queer International Film Festival (SQIFF), two giant pink poodles (actually festival volunteers dressed as characters from the festival’s

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FRANCESCA CAPPELLETTO

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Jimmy Beaulieu

A brief historical overview considers a number of factors that were not propitious for the development of a home-grown comics culture in Quebec (notwithstanding the popularity of a few noteworthy artists) including the impossibility of competing with cheaper American production, and the ambient conservatism that dominated much of the twentieth century. Beaulieu goes on to describe the shock and excitement of his discovery in the mid-1990s of an alternative comics scene (more active in Montreal than in Quebec City), and his own involvement in it from the beginning of the twenty-first century as an artist, publisher and teacher. He offers a firsthand account of the realities of negotiating the pressures of alternative comics publishing within the two structures that he set up: Mécanique Générale and the smaller and (still) more radical Colosse. There are pleasures: the ethos of collective work, the opportunity to support up-and-coming young authors and to ensure the survival of work by an illustrious predecessor, invitations to take part in productive exchanges on a local, national and international level, and the sheer obsessive pursuit of perfectionism. But there are also frustrations: the never-ending grind of getting manuscripts ready for the printer, wearying battles with publishers' reps, the constant need to manage the expectations of authors and the skewing of the market by competitors prepared to outsource printing to Asia. The author explains his decision finally to withdraw from his publishing commitments and to focus on his own work. His conclusion, about the future of comic production in Quebec, is, however, optimistic and devoid of cynicism.

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Jean-Louis Fabiani

Durkheim's Aesthetics: A Neglected Argument? For quite some time now, Durkheimian sociology has been viewed as paying scant attention to art. Indeed, one can imagine that Durkheim was too busy establishing the fundamentals of his discipline to indulge in the more recreational aspects of social life. Sociologists build theories and consider serious topics (e.g. capital, division of labour, rationality and so on) and do not give extra-time to what's happening after the working day. If we look at indices and textbooks, this lack of interest is obvious. The upgrading of culture as a central feature of sociological investigation is a rather recent phenomenon (Alexander 2003, Fabiani 1993). In many ways this has to do with the emergence of cultural industries, which forced sociologists to analyze, first in a very critical manner, social changes brought about by the mass consumption of symbolic commodities. Today the sociology of art and culture has moved from the periphery to the centre. In France in particular, these topics have been taken up so as to renew theories and build intellectual reputations. Durkheim, of course, never planned to draw up any sociological aesthetics, as Bourdieu attempted to do in Distinction (1979). Although from today's perspective Bourdieu's book may be considered as a partial failure, one cannot deny the panache and inventiveness it involved, largely based as it was upon the recognition of the high sociological significance of cultural and artistic matters. Bourdieu's interest in art and literature was central from the very beginning of his career, and one of his first attempts to define the concept of field (champ) appeared in a paper devoted to literature (Bourdieu 1967). Things are obviously very different with Durkheim.