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Showing all festival news in Opinions & Analysis
We explore the challenges facing Tasmania’s creative industries in the lead-up to the state election on Saturday 3 March.
Opinions & Analysis
A recent ArtsHub feature called Fringe Festivals 'the arts world's version of a pyramid marketing scheme'. Here, a Fringe Festival Director responds to that criticism.
Festival audiences become part of a collective experience giving individuals a sense of community all humans need.
Australia has public holidays for agricultural shows, football finals and a horse race. Why don't the arts have a public day of celebration?
As "festivalisation" takes over our cities, one thing is increasingly left off the programing list – and that is the visual arts.
Despite recent dramas, including the dismissal of the Board and the appointment of a statutory manager, the 2016 Festival will proceed as scheduled.
The Confederation of Australian International Arts Festivals responds to the drastic reductions in funding for the small to medium arts sector.
Data shows that art lovers aren’t going to the same places where the money is. It's time funding began to respect the diversity of tastes found in Australian audiences, argues Marcus Westbury.
Science has shown us the facts but art is needed to stimulate action on climate change.
Arts-business partnerships are a competitive market. Understanding what each partner brings is essential to clinching the deal.
Ideally we would have no need for festivals that promote women in film, as we would already give them the due time and respect.
Brian Ritchie, Violent Femmes bassist and curator of MONA FOMA, gave this keynote address at the recent Regional Arts Australia summit in Kalgoorlie.
A handful of shows in the Melbourne Festival or Fringe is not enough; the art form needs a dedicated festival if it is to grow.
Festivals are not just about the presentation of work: they celebrate communities.
The cancellation of the 2015 Big Day Out does not mean the rest of the music industry is in crisis.
Adelaide Festival Centre will continue its leading Asian/Australian cultural engagement despite losing all Federal support.
The arts sector needs to accept responsibility for the inequity on which its success is achieved and not blame it on government.
As the barrier consumer and creator disappears fluid formats are better able to meet the needs of an interactive audience.
Crowd behaviour is not an accident of large-scale sited events and White Night Melbourne could do better.
Festivals can also be places of extreme sensory overload. A recent Situate Lab tackled what that means..
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