Event catering

Food is not only essential for our sustenance and survival but often defines a culture. It is in fact, a central feature of most cultures and lifestyles around the world. Cultural elements that can be expressed through the food that people eat, the way in which it is prepared, and the knowledge, skills and rituals that surround gastronomic traditions, are useful and effective ways of communicating and sustaining a national culture. As a result, food represents a particularly important element at cultural festivals and events.

Sangga Buwana as Food Acculturation: Yogyakarta Royal Traditional Food

Indonesia has various traditional foods, some of which are the result of acculturation with other countries’ foods. Sangga buwana is the Javanese-Dutch influenced cuisine, which became one of the favorite dishes of the sultans of Yogyakarta. Till date, the publication about sangga buwana is still limited. This paper aimed to introduce and spread the knowledge about sangga buwana as the result of food acculturation, focusing on its history, philosophy, how it is prepared, and its nutritional value. The study was carried out through interviews with the experts and literature review. Sangga buwana consists of several components, including choux pastry, ragout, lettuce, boiled egg, Javanese mustard, and pickled vegetables. Sangga buwana itself and every component to prepare it have the meaningful philosophy about God’s creations. It delivers important wishes and meanings to the newlywed couple in royal wedding ceremony. It was only served to the sultan, royal family of Yogyakarta, and their important guests. But nowadays, sangga buwana can be more easily found at restaurants, traditional markets or food festivals in Yogyakarta. The cultural preservation of sangga buwana has been conducted through cultural festivals, cooking workshops, and research development using local ingredients to prepare it which may support food diversification

“Our dance is a celebration of the fabric of modern New Zealand”: Identity, Community, Solidarity and Citizenship at Youth Polyfests in Aotearoa New Zealand

<p>One feature of the growing levels of cultural diversity in Aotearoa New Zealand has been the growth of cultural festivals. These originated primarily for Pacific groups to maintain and sustain cultural performance and traditions, but increasingly such festivals reflect the growing ethnic minority groups present in most of New Zealand’s large urban centres. Specific cultural festivals for school-aged young people are attended by thousands of young New Zealanders annually, yet to date have rarely been a feature of research. This study aimed to explore the role that cultural festivals may play in contributing to the identity, belonging and citizenship experiences of ethnic minority youth growing up in Aotearoa New Zealand. The thesis draws on ethnographic data obtained at three cultural festivals (Polyfests) for school-aged young people in 2018 (ASB Auckland Polyfest, Tu Tagata, Wellington and Northern Regional Polyfest, Porirua). Employing ethnographic participant observation, coupled with approaches drawn from ethnomusicology and dance ethnography, data collection included observation of speeches, public announcements and performances, dance moves and music, as well as on-the-fly discussions with festival performers and analysis of associated media (brochures, media reports, online articles). The festivals performances and their potential to enable spaces of possibility for identity-formation were analysed through Bhabha’s (1996) notion of ‘third-space’. The study drew attention to the way young performers strategically employed fusions of traditional and contemporary music and dance genres within their performances to articulate new ways of seeing themselves. These performances also served to maintain and validate ethnic and school-based identities, as well as to gain status and recognition by creating symbolic representations of the way that performers wished their cultural group to be viewed by audiences. Festival spaces also allowed cultural groups to consolidate homogenous (ethnic) solidarities as well as articulate new ways of seeing themselves as belonging through heterogenous (inter-ethnic) and school-based solidarities. The study underscores the significance of festival spaces as ‘counter-spaces’ in New Zealand society in which ethnic minority youth could experience (and create) identity-affirming, counter-hegemonic experiences outside of the dominant discourses frequently projected on them by White New Zealand.</p>

“Our dance is a celebration of the fabric of modern New Zealand”: Identity, Community, Solidarity and Citizenship at Youth Polyfests in Aotearoa New Zealand

<p>One feature of the growing levels of cultural diversity in Aotearoa New Zealand has been the growth of cultural festivals. These originated primarily for Pacific groups to maintain and sustain cultural performance and traditions, but increasingly such festivals reflect the growing ethnic minority groups present in most of New Zealand’s large urban centres. Specific cultural festivals for school-aged young people are attended by thousands of young New Zealanders annually, yet to date have rarely been a feature of research. This study aimed to explore the role that cultural festivals may play in contributing to the identity, belonging and citizenship experiences of ethnic minority youth growing up in Aotearoa New Zealand. The thesis draws on ethnographic data obtained at three cultural festivals (Polyfests) for school-aged young people in 2018 (ASB Auckland Polyfest, Tu Tagata, Wellington and Northern Regional Polyfest, Porirua). Employing ethnographic participant observation, coupled with approaches drawn from ethnomusicology and dance ethnography, data collection included observation of speeches, public announcements and performances, dance moves and music, as well as on-the-fly discussions with festival performers and analysis of associated media (brochures, media reports, online articles). The festivals performances and their potential to enable spaces of possibility for identity-formation were analysed through Bhabha’s (1996) notion of ‘third-space’. The study drew attention to the way young performers strategically employed fusions of traditional and contemporary music and dance genres within their performances to articulate new ways of seeing themselves. These performances also served to maintain and validate ethnic and school-based identities, as well as to gain status and recognition by creating symbolic representations of the way that performers wished their cultural group to be viewed by audiences. Festival spaces also allowed cultural groups to consolidate homogenous (ethnic) solidarities as well as articulate new ways of seeing themselves as belonging through heterogenous (inter-ethnic) and school-based solidarities. The study underscores the significance of festival spaces as ‘counter-spaces’ in New Zealand society in which ethnic minority youth could experience (and create) identity-affirming, counter-hegemonic experiences outside of the dominant discourses frequently projected on them by White New Zealand.</p>

Festivals for Inclusion? Examining the Politics of Cultural Events in Northern Cyprus

In Northern Cyprus, cultural festivals are increasingly popular. The routinely celebrated festivals transform small villages into colourful celebrations with lots of activities and great culinary experiences, offering opportunities for social contact between members of different generations. People meet in the streets, where traditional food and handicrafts are on display and traditional folk dance performances usually take place. Cultural events provide an important space in which older generations often nostalgically remember the past with others of their generation and share their memories with the young people. Bi‐communal interactions between Turkish Cypriots and Greek Cypriots in these public spaces also help leave behind and bury the violence of the past, nationalistic dogma, and intolerance. Drawing on ideas from postcolonial theory, cultural studies, sociology, and scholarship on public art, this article develops a post‐postcolonial approach to explore the politics and value of Turkish Cypriot cultural festivals and the ways in which Turkish Cypriots are bridging differences with Greek Cypriots. Through observations, conversations, and interviews conducted with Turkish Cypriots from June 2014 to October 2017, the article also discusses the ways in which public art encourages dialogue and multicultural tolerance in Cyprus. The article argues that the rise of interest in Turkish Cypriot folk arts and multicultural tolerance, as propagated by Turkish Cypriots, should be understood in more complex terms than simply that of positive inclusion, as an ambivalence closely connected to the East/West division. Accordingly, the article illustrates that the coexistence of inclu‐ sion and exclusion are at the heart of Turkish Cypriot society.

From inhabitant to attendee in the eventful city of Cluj-Napoca: An exploratory and descriptive approach

"ABSTRACT. Worldwide the events industry is a developing one. It can be pointed out that it is directly connected to the development of communities in each destination. Events are well-known as an ageless concept, as being a part and of high importance in our footprint as humans. Cluj-Napoca, known as events destination, became a qualitative source of entertainment with options ranging from cultural festivals, gastronomic fairs, business meetings, self-development seminars, community gatherings to sports and athletic demonstrations. It displays a top-class portfolio of events, a range of all sizes and content, from the local traditional fairs, emblematic festivals such as TIFF Festival and Electric Castle, to a major entertainment source that is Untold Festival. Moreover, every event has its own authenticity and content, making it almost impossible for its participants to not find one in Cluj-Napoca with options ranging from all kinds of events. The purpose of our study was to identify and analyze the motivating and inhibiting factors for the residents, in attending events from Cluj-Napoca market, as well as the development of a profile of them as consumers. A secondary data analysis was used to explore the field of events. In 2020 for two months, a survey was conducted for data collection. A short questionnaire was implemented through a correspondence interview. The retained sample was 258 residents from Cluj-Napoca. Only a part of the collected data was used in the present study. Keywords: events, destination, events industry, profile of the event attendee JEL classification: L83, M31 "

Contribution of Supportive Local Communities to Sustainable Event Tourism

The importance of community attitude and participation for the success and sustainability of cultural festivals has been steadily increasing in recent years. The Chuncheon Puppet Festival (CPF) is an international festival that has been held every year since 1989 in Chuncheon, Korea. The festival has several distinctive characteristics as a sustainable event because: (a) it maintains its single genre of puppet performances based on modern cultural art; (b) it is well-established as the festival for the local residents of Chuncheon City and is planned by local community residents and local small companies, not by government agencies or global large entrepreneurs; (c) it helps children to have an interesting cultural experience in the local environment; and (d) it is regularly hosted in August, an off-season for festivals in Korea that was chosen by residents as it is a school holiday season. However, there is still room for improvement to secure its place as a successful sustainable festival. The following might be considered: (i) increased exchange of human resources among the festival executive members, community groups, and the public staff in Chuncheon City; (ii) local residents should maintain full control of the festival; and (iii) a local cultural trust should be established by cultural art professionals, local resident organizations, puppet show professionals, and public agency staff. The CPF is a typical example of a successful sustainable festival with proactive and supportive community participation and a large number of volunteers that help to increase local competitiveness and sustainable local development. This case report delivers insightful lessons and messages to guide what needs to be preconditioned for local cultural festivals to be sustainable and successful for a long time in many destinations, where they can contribute as efficient catalysts for regional tourism development.

EKSPLORASI PARIWISATA PEDESAAN DI HUTAN DESA MERABU, BERAU (INDONESIA)

Tourism has adapted rapidly in various worlds, including Indonesia, and created significant harmonization for economic, social, and cultural uses. Since the change in the status of the village forest (HD) in 2014, it is hoped that it will become an opportunity for Merabu Village to increase the productivity of agriculture, livestock, and tourist destinations. The focus of this study is to explore the tourism potential of Merabu Village. We obtained data sets through interviews, FGDs, and field observations of a number of informants who predominantly work as farmers. The trend of tourist visits every year is also increasing and especially rural-tourism is managed by Kerima Puri. Since the beginning of the presence of domestic tourists and foreign tourists, there have been tour boat services that took them to the gate of Nya’deng Lake, homestays, food providers, and various traditional attractions (cultural festivals). As a rural tourism area, HD has a positive impact on local residents to be involved in rural-tourism development. This finding also hopes for a real contribution from relevant parties to advance the rural-tourism of Merabu Village

Elevating Cultural Preservation Projects into Urban Regeneration: A Case Study of Bahrain’s Pearling Trail

The island of Muharraq in the Kingdom of Bahrain was previously in a state of socioeconomic disrepair and neglect, until the nine years-long “Pearling Trail” project revived the area. Historically, Muharraq’s importance inheres in it being the main trade center of the Middle East since the Mesopotamian period, especially as the source of the finest pearls in the world. However, the discovery of oil that led to the rapid urbanization of the region and Japan perfecting the production of cultured pearls had meant that Muharraq dwindled out of cultural significance. Due to the residents’ dissatisfaction and nostalgia for the island’s past glory, along with the government’s new policies towards cultural preservation, the “Pearling Trail” Project commenced in 2012. The Ministry of Culture of Bahrain repaired, renovated and preserved an area of 3.5 km, transforming it into an eco-museum with a thriving business and cultural community. The transformation of the island elevated the city into a trendy local attraction, hosting local and global cultural festivals and events, owing to the “Pearling Trail’s” Urban Regeneration Project’s success. By studying the “Pearling Trail” three success factors are identified: Project expansion beyond UNESCO preservation requirements, focus on sustainability and continuous use, and improved access to culture and cultural opportunities. Identifying these factors could allow for future preservation projects in Bahrain or elsewhere to be upgraded for urban regeneration or revitalization.