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Write an essay on The Adelaide Festival of Art.
The Adelaide Festival is the festival of the multi-arts, which is celebreated globally and is having the longest and the successful history. This festival of Adelaide has the name for its adventurous and bold programming. The creative festival is located in the unique place of the creative Australia with the perfect setting, size, and climate. This festival of the Adelaide is also known as the festival of the Arts. Festival of Adelaide is to be held yearly in the capital of South Australia, Adelaide (Coaldrake, 2013). This festival is considered as one of the main celebration of the world of arts and the most excellent cultural event in Australia. The world prominent Adelaide Writers’ Week is also celebrated at this event of Adelaide’s festival. The festival also contributes the best international dance, music, visual arts and the theatre for creating the thrilling ‘festival fortnight ‘at Adelaide.
The festival of Adelaide Arts was started in the year 1960 and its happening to outgrow in the existing venues of the city. The hall of the Liberal Premier Steele near the inclined bank of the River Torrens was meant as the natural option for the house of the cultural activities of the city and the Adelaide Festival of the Arts (Coaldrake, 2013). At the same time, the state government changed, but the constraint for an innovative Centre sustained with enthusiasm.
Robert Porter, the mayor of the Adelaide with the support of Labor Premier and Don Dunstan is known as the advocate of the arts, launched. This concept of the Adelaide festival of Arts in the year 1960. They appealed the public to raise the funds for the building of the Festival Hall and also to put the Adelaide Festival of Arts along with its other small festivals on the global maps of the arts. This vision of launching the festival of arts is shared with the population of the Adelaide and with this appeal, that the target is raised within a week(Thomasson, 2012). And soon it gets oversubscribed, which resulted in the creation of the collection of the world class craft for gracing the new State icon.
The Adelaide Festival of Art was launched in the month of the March in the year 1960. This festival is celebrated every year in the month of the March. This festival consists of the various events, but this event of the festival largely features the dance, theatre, opera, contemporary and the classical music, literature, visual art, new media and the cabaret (Caust, 2004).
The festival is mainly based in the centre of the city, primarily in the venues along with the cultural boulevard of North Terrace but also in another place in the parklands and the city. The centre of the Adelaide and the River Torrens mainly forms the centre of the event. For the last few years, the Elder Park has also played as the host for the opening of the ceremonies. The event's popularity is also sometimes accredited to the unique design of the city which is also known as the light vision of the and also helps to locate various pleasing settings within the smaller distance from each other.
This first multi-purpose centre of arts of Australia was planned and architected by the John Morphett (Caust, 2004). The works for the Event Hall of the Adelaide festival was begun in the year 1970 by the Elder Park and the Festival Theatre was first opened on 2 June year 1973 (Caust, 2004). This theatre was inaugurated by the Prime Minister, Gough Whitlam, officially opened the location with the great presentation of Act Two, Scene 1 of Beethoven’s opera Fidelio and Beethoven’s Choral Symphony (Caust, 2004).
The Playhouse, Space Theatre and Amphitheatre soon followed and Australia's first multi-functional performing arts complex was complete. The flourishing Festival Centre became a role model for many other performance venues as they strove to emulate its functionality and versatility. Since then it has become a place that South Australians regard with pride and a strong sense of ownership. 40 years later, it still maintains its status as a national arts icon (Coaldrake, 2013). As well as managing the theatres and surrounding areas of the complex, the Festival Centre is one of Australia's most active art centers and presents a wide range of arts activities and performances for the community.
The festival is based in the city centre, principally in venues along the cultural boulevard of North Terrace, but also elsewhere in the city and its parklands. The Adelaide Festival Centre and River Torrens usually form the nucleus of the event, and in recent years Elder Park has played host to opening ceremonies. The popularity of the event is sometimes attributed to the city's unique design (known as Light's Vision) that locates many pleasant settings within a short distance of each other("Research | FESTIVALS ADELAIDE", 2016).
The Adelaide Festival has shown the best new work of the Australia along with many kinds of the greatest companies in the world, and the artists such as the John Zorn, Sylvie Guillem, Allen Ginsberg, Marlene Dietrich, Philip Glass, James Thiérrée, Isabelle Huppert, Pina Bausch Tanztheater Wuppertal, Yehudi Menuhin, Schaubühne Berlin, Cloud Gate Dance Theatre, Isabella Rossellini, Jane Birkin, Nina Simone and Malcolm McLaren(Prosser, 1993).
Refer the results of the past 10 years, the Festival Centre of the Adelaide has taken the bigger lead in the Asian-Australian engagement in the form of the cultural and is also well recognized as the national centre of the excellence all around these areas, with the OzAsia as the program of flagship nature.
All over the worldwide positive reputation a City refer the arts has established by the Adelaide Festival and Fringe.A very fine set of the setting and the climate for the activities which are performed outdoors and the entertainment with the comprehensive successful very high profile occasions and events like the Tour Down Under and the Clipsal 500 as well as the events of the community like the Christmas Pageant and the Carols by Candlelight.
The Kaurna, the Aboriginal Heritage, and the Tandanya domestic Aboriginal, the Cultural Institute, the Cultures Gallery which is situated at the museum of the South Australia (Deery & Jago, 2010). Extraordinarily excellent cultural institutions which are largely and completely clustered all around the area of the North Terrace.
A big and the growing population of the students which is concentrated all around the campuses of the City which also includes the foreign students who belong to many of the different countries all across the world. Extraordinary and superb producers of the local food, liquor and wines with a diverse and very strong culture of the food that is particularly focused on the market of the Central.
A comprehensive history of the tolerance which has been continuously welcoming the migrants of the varied cultural history from all over the universe with the opportunities available for the community so as to refer the recreational, social and the productive and the creative life by the activities, events, cultural and the initiatives plus all kinds of the sport and the recreation programs(Marsh, 2010).
To provide appropriate Support to the range of the events, conferences and the activities refer the city. Well, engage aged, disabled and the Torres Strait and the Aboriginal Islanders, varied and youth cultures refer the life of the City by the through programs and the events.
The services and the Key Projects –
Timely delivery of Rundle Lantern lights which are also artistic and its installation and the new methods of the displays.
Funding of the main or the major events like the eve of the New Year and also the Australia Day party or the celebrations.
Provision of the proper and appropriate grants for the culture, arts, sports and recreation. Events, Sponsorships, and proper celebrations of all kinds of the diverse cultures, which also includes the Torres Strait and the Aboriginal Islander cultures. Proper management of the events and the infrastructure so as to support all other kinds of the events happening in the City (Kavass, 1960). The comprehensive promotion of all the events of the city and its attractions. Maintenance and the provision of the public art on all of the strategic sites.
Complete Implementation refers the Action Plan of the tourism with the tourism of the South Australia.
The environmental and the Socio-cultural issues of the festival of the Adelaide:
The Adelaide's vast program of the successful events and the festivals has always been the main strength refer the visitor appeal, and also attracting hundreds and thousands of the overseas and the interstate visitors every year. It also faces the intense and extreme competition from so many of the other cities. Further a comprehensive shift toward much more formal, cooperative, active partnership approaches may for sure help to make sure that both of the organisers, as well as the Council, are well capable so as to deliver better results and the outcomes(Jaimangal-Jones, 2014).
The events are the main region or the part of the recreation of the region, plus the tourism infrastructure as well. They very often require the certain support of the government as the available private benefit does not definitely cover the comprehensive outcomes which an event shall produce.
The events are capable and do create the value by:
Their economic contribution – the way by which they make new jobs by creating
The tourism expenditure, the indirect benefits by word of marketing for the development of the brand tourism(Mair & Whitford, 2013).
The cultural contribution – their significance so as to support the culture of any region,
Straight forward refer the terms of value with regard to the event for all of them who has attended it, but by the indirect contribution concerning all kinds of the outcomes like the skills improvement and the development keeping in view the cultural sector. (Provision of exposure, opportunity, and the critical mass), which are also the cultural brand of the concerned state.
The broader and vast social contribution – associated with the significance of such a kind of the event for the positioning, brand and the quality of life refer the concerned city – attributable by the non-users and the users alike. On a regular basis, it has always been the diversity and the range of the opportunities for people of the Adelaide to get connected and engaged with all of the others in artistic, cultural, social activity, leisure which determines the cultural vitality (Elizabeth Connolly, 2014). The new residents who belong to the diversity of the backgrounds culturally, and including much more growing groups of the international students, and make both a challenge and the opportunity in order to assist them contribute and enjoy the cultural life in that particular city.
In the year 2012, the festivals Adelaide had collected all of the available data economically from the ten festivals with the alliance, that was well analysed by Mr. Barry Burgan at the Uni SA. The significant outcomes were:
Total presences of the people at the events of the Festivals Adelaide in the year 2012 were all around approximately 2.82 million with around almost over 592,000 tickets totally sold.
The estimated of the 63,850 of all of these attendees were the visitors to the Australian southern part, which produced an almost total of the 304,100 visitor nights at the premises of the state (which has been roughly an average of the length of the stay of almost six nights per visitor) (Hixson et al., 2011). The Festival visitors concerned expenditure apart from the tickets was around $58.1 million as per the estimated plus economic impact refers the economy of the state of $62.9 million in the new incomes.
The production of almost around 790 plus of the full-time or equivalent jobs which have been directly linked or related to the delivering of Adelaide’s 10 major festivals.The Combined outcome and return on the investment to the SA is all approximately in the ratio of 5:1(Hixson et al., 2011).
Enhance opportunities in the sector of tourism and the experiences. Promote the conditions refer the employment plus the economic state of prosperity. Support the training and the education providers.
Apart from all what has been discussed above, there are also some of the most significant problems which require prompt care and due diligence. Refer the year 1970s architecture the centre of the festival still stands up very well and firm but has been now showing some of its age signals. Until and unless any appropriate task is done on a very urgent basis, the time shall soon be coming when there shall be much less left so as to perform. Mr. Campbell clearly has made a point and highlighted significant and serious problems refer the sluggish ageing Centre (Barnett, 2015). At some of the points or the places, it has been the ‘Bandai’s and Blue tack’ which keeps the place comprehensive and together. Yet another kind of the cost cutting, the making of the footbridge all across the Torrens, which was suggested in the year 1974, so as to link the concerned Festival Centre to the Adelaide Oval which seems to have become very original and real by now. But the other kinds of the buildings in the other states definitely have had the major makeovers and the upgrades, but the Adelaide Festival Centre in true sense has not been so(Hutton et al., 2010). It has been a long time, neglected by the governments which have come as the successors each time. To continuously bring the building up of and also to the modern standards, all over outside as well as inside, and it shall cost at least around $50 million.
The Adelaide festival actually consists of many of the events, but it features only the celebrations and acts such as the opera, theatre, classical, dance and the contemporary music, literature, cabaret, new media visual art, etc. It has been since long been the only unique kind of the festival in itself in which the art lovers from almost all across the Australia make the pilgrimage (Adelaide Festival of Arts , 2016). It is now more than the 55-60 years, the audiences of the Adelaide Festival has been delighted in a very unique and outstanding mix, with the productions of the acclaimed theatre, the breath taking pieces of dance, excellent eclectic array of the musicians of the world-class, striking visual displays of art and the well-renowned writers. Enjoyed in the warm of the March days and at the starry nights, the Adelaide celebration festival of the creative brilliance makes for a kind of the event of very truly epic status.?
Adelaide Festival of Arts | FESTIVALS ADELAIDE. (2016). Festivalsadelaide.com.au. Retrieved 11 July 2016, from http://www.festivalsadelaide.com.au/festivals/adelaide-festival/
Barnett, T. (2015). Industry Panel on Value in the Arts, Cultural Organisations and Events. International Journal Of Event And Festival Management, 6(2).
Caust, J. (2004). A Festival in Disarray: The 2002 Adelaide Festival: A Debacle or Another Model of Arts Organization and Leadership?. The Journal Of Arts Management, Law, And Society, 34(2), 103-118.
Coaldrake, K. (2013). Engaging History and Negotiating National Identity with Miki's Concerto Requiem (1981) at the 18th Biennial Festival of Arts in Adelaide, South Australia. Musicology Australia, 35(1), 66-85.
Cooper, G. (2004). A festival of ideas. Local Economy, 19(4), 428-431.
Deery, M. & Jago, L. (2010). Social impacts of events and the role of anti?social behaviour.International Journal Of Event And Festival Management, 1(1), 8-28.
Elizabeth Connolly,. (2014). Becalmed in Port Adelaide. Health And History, 16(2), 140.
Hixson, E., Vivienne, S., McCabe, S., & Brown, G. (2011). Event Attendance Motivation and Place Attachment: an Exploratory Study of Young Residents in Adelaide, South Australia. Event Management, 15(3), 233-243.
Hutton, A., Munt, R., Zeitz, K., Cusack, L., Kako, M., & Arbon, P. (2010). Piloting a mass gathering conceptual framework at an Adelaide Schoolies Festival. Collegian, 17(4), 183-191.
Jaimangal-Jones, D. (2014). Utilising ethnography and participant observation in festival and event research. International Journal Of Event And Festival Management, 5(1), 39-55.
Kavass, I. (1960). Adelaide Festival of Arts. The Australian Quarterly, 32(2), 7.
Mair, J. & Whitford, M. (2013). Special issue on Event and Festival Research Methods and Trends.International Journal Of Event And Festival Management, 4(1).
Marsh, R. (2010). Measuring the impact of research. International Journal Of Event And Festival Management, 1(1).
Prosser, G. (1993). Mansell Meets Mozart: Event Tourism in Adelaide, South Australia. Festival Management And Event Tourism, 1(3), 125-130.
Prosser, G. (1993). Mansell Meets Mozart: Event Tourism in Adelaide, South Australia. Festival Management And Event Tourism, 1(3), 125-130.
Research | FESTIVALS ADELAIDE. (2016). Festivalsadelaide.com.au. Retrieved 11 July 2016, from http://www.festivalsadelaide.com.au/research/
Thomasson, S. (2012). The ‘Jewel in the Crown’? The place of the Adelaide Festival in the Australian festival Eecology. Performance Research, 17(4), 145-148.
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