The purpose of this investigation was to research what the impact of the Adelaide Fringe had on us and what effect it has locally, nationally and globally. This study aims to investigate the Adelaide Fringe and look at different positive impacts that it has. The Adelaide Fringe has an economic and social impact on Adelaide; it offers entertainment to people and offers musicians, comedians, artists jobs and many more people jobs.
The Adelaide Fringe is truly a festival for the entire community; it offers entertainment and attracts other people from different countries. With more people coming in from different countries it boosts up the economy because the visitors will have to pay for, accommodation, food, transportation and any other activities which they may want to involve themselves in. This then gives our economy a boost as it is receiving money from other countries which can then be used to improve Adelaide. The Adelaide Fringe has an economic and social impact on Adelaide as it also creates jobs, boosts local business, attracts visitors, helps retain people within the State, and increases Adelaide’s national and international reputation.
The Fringe has something for everyone, It features 966 events: 107 cabaret shows, 112 theatre productions, 269 comedy events, 25 circus and physical theatre shows, 32 dance shows, 4 film events, 113 art exhibitions, 198 music concerts, 41 children’s events and 64 special events, in 2014. The Fringe has a big impact on us globally; one of the main reasons that the Fringe is so important is that it gives jobs to hundreds of people. Without the Fringe many people would be unemployed which would have big impact one businesses, families and everyone in the world.
The Adelaide Fringe ...
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...and then more people happen again and the next time they will get more money because it is more popular and will be more well-known. For example the figure of $64.6 million is a 34% increase on the previous year, which was $48.2 million. There were over 1.8 million people attending the 2013 festivities, an increase of 13%. 407,153 tickets were sold, and a 10.9 % increase on 2012’s, 367,000. As you can see by the statistics every year, there is an increase in tickets sold.
The Adelaide Fringe an economic and social impact on Adelaide, each year the amount of tickets that are sold are being increased, therefore adding more money into our economy. The Adelaide Fringe plays an important part in our economy as it offers jobs, boosts local business, attracts visitors, helps retain people within the State, and increases Adelaide’s national and international reputation.
The performance ‘Chasing the Lollyman’ by Debase productions succeeded in using the Dramatic Languages to create a Dramatic Meaning that comments on a social and political issue. This, along with the effective manipulation of the dramatic conventions, has allowed Debase to successfully recognised the Epic Theatre style. Chasing the Lollyman is one man show starring one of Queensland's most dynamic and funny Indigenous performers, Mark Sheppard. He shares many stories, a celebration of urban Indigenous identity and takes a satirical look at the media and popular culture. Playing a variety of characters, Mark pokes fun at everything from Neighbours (what would it be like if a Murri family moved into Ramsey street) to polities. The dramatic meaning of the performance is if Australia wants to become one, we need to learn to accept each other for their differences.
The sociologist Emile Durkeim saw social movements as the result of “anomie”, a societal pathology or social disorganization, described as the “madding crowd”. But in his analysis, Sydney Tarrow approached the concept of successful social movements as “collective challenges, based on common purposes and social solidarities, in sustained interaction with elites, opponents, and authorities”. The question addressed in this essay is not to draw an analysis of what is a social movement, but rather to explain what make these groups of action reach favourable outcomes of their specific political or social issues in a democratic society. For that purpose, feminist movements from the 20th century up to now in France are perfect examples of growing social
The duration and cost of the production have been compared to other media which provide entertainment, such as television and film. A theatre performance is more expensive to attend than cinema. The play only lasted for 85 minutes, a film can go on for two hours or even more. This can have a big influence on why people would choose one medium over the other. Accessibility has also to be taken into account when investigating the relevance of theatre in the 21st century. Television is a medium which can be accessed from home, and usually doesn’t cost a lot of money, whereas theatre costs money and is harder to access. Although the production was Australian, the actors talked with an American accent. Bearing in mind that the play was written in America, which could make it harder for an Australian audience to familiarise with the dilemmas going on, on stage, while the themes discussed seem to be more relevant there than in Australia. Overall this play doesn’t contribute to the relevance of Australian theatre in the 21st century, due to the many other sources people can access for entertainment, and because the play seems to be more relevant for an American audience rather than an
Australians pride themselves as hard-working, humourous and jovial people, who love the outdoors and good food. But in recent times we notice that Australians, are not being ‘Australian’ enough. Gone are the days where men wore rabbit-fur and trusty leather work-shoes. New York Yankees caps worn backwards and polished white Adidas Superstar sneakers coupled with denims worn below the hips instead have replaced these. Ten years ago, the mentioned situation could only exist in the United States of America. Today we see it happening in almost all major cities and suburbs in Australia (Mengel 2001, pers. comm., 11 Aug)
Some of these texts include the Heywire article, Sydney Morning Herald article, and the accompanying visual text. In the Heywire article, Barba cannot fully adjust to boarding at Djarragun College as he misses the Torres Strait. He learns to cope with this by knowing that even though his family is far away, he can “feel their presence” within his heart. By meeting new people and making friends, he now has “family members” all over the country, and can manage the long distance away from home. Another example of an issue resolved in a text is the Sydney Morning Herald article, in which the issues of indigenous unemployment and lack of cultural awareness training are raised. Mr Packer is helping to resolve this by setting targets in these areas in his own company, Crown Casino, and encouraging others to do the same. Mr Packer galvanises others to follow his example when he says that “We need to address this as a nation… the sooner it is addressed the better.” In the visual text, Aboriginal dancers are performing at the opening of Crown Casino’s official launch of their second Reconciliation Action Plan. They are fostering awareness of Mr Packer’s solution to the issue of indigenous unemployment and lack of cultural consciousness training. This promotes the solution and would encourage other business owners to adopt a similar programme. Several texts such as these place an emphasis
...ilm have the ability to impact our perceptions of others, and they also have the ability to impact the perceptions we have concerning ourselves. Performing arts can be used to create a space to for us to be able to examine areas of our lives, and the lives of others, that we might otherwise not wish to look at. When we do make a space to examine our attitudes, feelings and behaviors, including the outcomes that they may have on others, we may find in our own selves a greater degree of compassion and willingness to accept human imperfection. In doing so, we become more accountable to ourselves and to society as a whole.
The first festival was held in 2000, an early street parade with only a small number of participants, now however it has evidently grown- there must be around 3000 plus participants and thousands more spectators roaming around happily amongst one another. By means of their bodies, the participants demonstrate and highlight awareness about various campaigns that involve social and economic challenges such as poverty, homelessness, gender issues, HIV/ AIDS, refugees, xenophobia, human trafficking, greener more ecofriendly cities and children's rights in hopes of attaining social justice. All of this is done while ceremonially exhibiting and making use of local art as a tool for activism, celebrating diversity, and building cohesive bonds amongst the communities and residents of central Tshwane. With all of this in mind, I set off to study the participants and spectators of The Feast of the Clowns through interviews. Some interviewees were residents of the inner city of Tshwane, either as spectators or participants; while others were simply spectators from different districts surrounding Tshwane. The interviews were conducted using a standard questionnaire relating to the ‘Feast of the clowns’ and the interviewees understanding
Identity: The fact of being who or what a person or thing is. The principle objective of this paper is to establish how the role of identity and our belonging impact on what types of events we attend, where we attend and who with? How has globalisation impacted the events industry through social, economic and cultural levels? The objectification of both men and women; how has this created an even bigger impact on events in our ever changing world? Has this enhanced our freedom in choosing which events we can attend or restricted us? This essay is focused on the works of Mikhail Bakhtin “Carnival and Carnivalesque” and his critique on cultural theory related to the events industry. This essay also looks at the works of Pierre Bourdieu; his “habitus and embodiment” theories and the way we have internalised the external environment and how this ultimately affects our behaviours. Goulding and Saren’s publication of: Performing identity: an analysis of gender expressions at the Whitby Goth festival has equally given a clear critique of the nature of gender identities within a specific subculture, a subculture firmly rooted in objects of consumption and bonded together by a common fascination with the vampire.
It provides the opportunity to raise awareness and understanding of the true history, and the true value of Australia's Indigenous
Fleming, Josephine, et al. "Reimagining the Wheel: The Implications of Cultural Diversity for Mainstream Theatre Programming in Australia." Theatre Research International 39.2 (July 2014): 133-148. EBSCOhost, doi:10.1017/S0307883314000054.
Along with the peak of several movements music began to reach a point of climax. Rock specifically began to flourish in the 1960’s, while expressing the voice of the liberated generation. It is the power of such trends that overall lead to what is known as the greatest music festival of all time: Woodstock Music and Art Fair. The festival started on August 15, 1969 on Max Yasgur’s farm in Bethel, New York. Appealing to the time period, Woodstock was designed to be Three Days of Peace and Music. However, many argue that it was more than just a musical art fair of peace, but a historically significant event that shifted American culture. While some regard Woodstock as the beginning of a cultural advancement and the end of a naïve era, others view it as ridiculous hippy festival infested with illegal drug usage. Woodstock cost over $2.4 million and attracted over 450,000 people (Tiber, 1). Despite the debate of whether Woodstock produced a positive or negative effect, it is clear that a note worthy impact was made. When discussing the overall impact of Woodstock it is important to look at the influences and creative plan and the positive and negative effects produced from the festival.
Rawlinson, J. (2013). Music Festival Tourism Worldwide - International - June 2013. Retrieved 02 28, 2014, from Mintel Report: http://academic.mintel.com/display/643783/
...pressing of emotions, identifying with other systems of thought. Theatrical arts have managed to transcend ethical issues, racial differences, and many other facets of discourse in society. If theatre is indeed an engine for social change it should not be held from the people who need it the most. Those who are incarcerated. Programs across the nation have already started to see success in the prisons they operate in, so to think about the effect that theatre in prison would have on a nationwide scale is indeed a beautiful thought. If theatre programs in prison would be funded by the states or nationally, potentially the idea of professional prison playhouses could become a reality, and the world would be introduced into a new era of art that is truly a beautiful thing to behold. Shakespeare writes in Hamlet, “We know what we are, but know not what we may be.”
Within the five key learning areas of the arts (music, visual arts, drama, media and dance), drama is a highly valued medium within the educational sphere. Its significant position within Queensland schools is due to the broad skills students develop as they “create, reflect challenge, ritualize, critique and celebrate” (The Arts years 1-10 Syllabus 2002, p1). In Queensland education, schools are encouraged to incorporate all five of the arts key learning areas. Due to a mixture of reasons, such as funding, demand and skilled educators, offering all five are not sustainable. Therefore schools must choose which subjects they can offer well and will most benefit its students. Drama is consistently ...
Of course the impact depends on the goals, but most of the companies want events to be more than just an advertisement for their brand. If done well, events have the power for creating a powerful and lasting impression of all that the company can deliver. By allowing the people to get experience and interact with the company, product or service while participating in an event, you will be connected to potential buyers.