Journal of Festive Studies <p><span style="font-weight: 400;">Published online twice a year, </span><em><span style="font-weight: 400;">The Journal of Festive Studies </span></em><span style="font-weight: 400;">draws together academics from all disciplines who share an interest in festivities, including holiday celebrations, family rituals, carnivals, religious feasts, processions and parades, civic commemorations, etc. </span></p> H-Net: Humanities & Social Sciences Online , in partnership with H-Celebration en-US Journal of Festive Studies 2641-9939 Editorial <p>No abstract.</p> Ellen Litwicki Aurelie Godet Copyright (c) 2019 Ellen Litwicki and Aurélie Godet 2019-05-09 2019-05-09 1 1 1 4 10.33823/jfs.2019.1.1.43 Doing Research on Festivals <p>With this opinion piece, the author highlights certain methodological and thematic patterns characterizing his ten-year-long research into festivals, public rituals, and collective events, completing such recapitulation with a statement of ongoing commitment as well as with ideas about possible further scholarly developments. His final aim is to show how research about festivals, festivities, and festive events has benefited and still benefits from being conducted on the basis of a methodology involving critical comparison, intensive and in-depth ethnography, and a thorough study of historical sources.</p> <p>&nbsp;</p> Alessandro Testa Copyright (c) 2019 Alessandro Testa 2019-05-09 2019-05-09 1 1 5 10 10.33823/jfs.2019.1.1.23 Traditional Festivals <p>This essay considers both the history of the growing academic field of festive studies and the history of my own involvement in this field. I first rely on some of the major works of accepted scholarship to show that social scientists and ethnologists had been concerned with festivals and public celebrations for a very long time before this field transformed into a specific area of research. I then show how my own practice in the ethnology of European traditional festivals and rituals evolved toward the idea of interdisciplinary festive studies in the two last decades or so. After connecting these two scales of time—the history of social sciences and my own path as an individual researcher—I eventually suggest possible avenues for future research in festive studies.</p> Laurent Sébastien Fournier Copyright (c) 2019 Laurent Sébastien Fournier 2019-05-10 2019-05-10 1 1 11 26 10.33823/jfs.2019.1.1.21 The Archive and the Festival <p>This article offers a brief overview and assessment of the opportunities and challenges that written, visual, and digital records hold for the study of early modern festivals, using Diana Taylor’s terminology of the “archive” and the “repertoire” and examples from colonial Latin American and early modern Iberian festivals as points of departure. While archival records are far from transparent records of the events, they can help to illuminate the multiple, sometimes conflicting agendas behind both the festivals and their pictorial or textual representation. Digital archives promise to make early modern festivals more broadly accessible for comprehensive and comparative study, but they carry their own risks by disconnecting both researchers and records from the embodied presence of contemporary festive repertoires.</p> <p>&nbsp;</p> Lisa Voigt Copyright (c) 2019 Lisa Voigt 2019-05-10 2019-05-10 1 1 27 35 10.33823/jfs.2019.1.1.32 Reading the Party <p>This article outlines an approach to understanding festivity through the lens of literary texts. Studies of festivity in early twentieth-century literature center largely on the image of the party. Representations of parties in the literary texts of this period range widely, and the sheer number of parties found in this body of literature highlights the shared interest of writers of the time to explore the implications of festive sociability. Given these parameters a reader might expect the literature of the period to show parties positively: as utopian occasions for transformative jouissance leading to catharsis and (satisfying) narrative closure. Yet many texts of this time represent festivity not as pleasurable renewal but as unpleasurable waste. This is particularly the case in fiction by the English satirist Evelyn Waugh (1903–66). In Waugh’s texts, celebration tends toward destructive (rather than restorative) disorder. This paper will read Waugh’s novel <em>Vile Bodies</em> (1930) and short story “Cruise: Letters from a Young Lady of Leisure” (1933), using Roger Caillois’s theory of games, to explore the ways in which parties become sites of wasteful play. Moreover, as this article will demonstrate, literary texts are central documents for understanding the cultural history and subjective experience of parties. They evidence the felt and imagined experiences of social and moral transgression; bodily, mental and affective transformation; and class, race, gender, and sexual boundary-crossing occasioned by festivity. In that sense, the discipline of literary studies can contribute to a robust interdisciplinary approach to understanding festivity.</p> Naomi Milthorpe Eliza Murphy Copyright (c) 2019 Naomi Milthorpe and Eliza Murphy 2019-05-10 2019-05-10 1 1 36 51 10.33823/jfs.2019.1.1.20 Fans as the Researcher’s Unwitting Collaborators <p>This article examines the notion of fan labor through Disney park fans’ work of “Disney scholarship” and “Disney history,” as well as the extent to which such data might be used by academic researchers. While it provides unavoidable entry points to academic investigations of Disney theme parks and their history, this body of knowledge reveals underlying motivations specific to fandom’s social and cultural economy. A brief history of Disney park fandom will show how fan-created works of “Disney scholarship” evidence popular expertise in often disregarded areas of culture, as well as processes of fan labor that complicate the traditional amateur/professional binary. For all their claims to professionalism, fans generally regard paid labor with suspicion and trade fan-collected data by rules typical of a gift economy. As self-styled Disney historians morph into Disney custodians, they reveal underlying motivations that help make sense of the data they produce: in their struggle to preserve Walt-era attractions and protect the park from the corporation’s commercialism, fans reveal a set of prescriptive attitudes on how to engage with the parks that inform their practices as park chroniclers. This is especially evident in controversies over proposed attraction updates, as fans set out to promote a historically and aesthetically discerning appreciation of Disney products, outside the imperatives of commercial culture.</p> Thibaut Clément Copyright (c) 2019 Thibaut Clément 2019-05-13 2019-05-13 1 1 52 77 10.33823/jfs.2019.1.1.22 A Festival of Kinship, Defiance, and Ethnic Survival <p>In the fall of 2016, I traveled to North Dakota as an invited guest of the Standing Rock Sioux Tribe to document the emergent encampment of American Indians and their allies who had gathered to protest the construction of the Dakota Access Pipeline. This work explores some of these lived protests and the festival-like realities (as well as the strengths and criticisms of the "festival” notion) that were produced in such protestive actions. Ultimately, this article has three goals. First, it seeks to document, via photographs and text, some of the mobilization efforts of protesters against a segment of the oil and gas industry operating on American Indian land. Second, it questions the scholarly concept of "festival as protest"—again, highlighting the strengths and controversies of the application of this term to the Standing Rock Protests. Third, it shows how photography can complement and enhance qualitative field research.</p> John Paul Copyright (c) 2019 John Paul 2019-05-13 2019-05-13 1 1 78 105 10.33823/jfs.2019.1.1.29 Where "Art Meets Life" <p>In Hobart, a litany of winter festivals flopped and failed until the arrival of Mona (Museum of Old and New Art), a private museum owned by mathematician, successful online gambler, and autodidact David Walsh. Since 2013, its new festival, Dark Mofo, not only has reignited long-somnolent traditions of midwinter festival imaginaries among its postcolonial society but also has proved to be an effective vehicle for galvanizing an all-of-community form of urban activation, engagement, and regeneration. It has also completely overwhelmed the city with visitors keen to participate in a no-holds-barred ritual week with major global artists and musicians keen to be on its carnivalesque platforms. While Mona has explored grotesque realism themes of sex, death, and the body in its darkened, labyrinthine and subterranean levels, Dark Mofo has permitted their mix of carnivalesque and Dionysian metaphors and embodied practices/politics to take over the entire city in a week of programmatic mischief and misrule at midwinter. Research by an Australian Research Council–funded study of Mona and its festive register will be used to account for its origins and innovation as well as its social, cultural, and economic composition and impact.</p> <p>&nbsp;</p> Adrian Franklin Copyright (c) 2019 Adrian Franklin 2019-05-13 2019-05-13 1 1 106 127 10.33823/jfs.2019.1.1.27 Festivities as Spaces of Identity Construction <p><em>Jongo</em> is a cultural practice specific to the cities located in the Paraíba do Sul river valley, in the south-eastern region of Brazil. It is a form of expression rooted in the knowledge, rituals and beliefs of the African populations of Bantu language and which incorporates drum percussion, collective dance, and magic-religious, poetic elements. The <em>roda</em>, literally meaning “round,” is the performance space of the <em>jongo</em>. The quest for an “authentic <em>jongo</em> dance” at the time of the <em>rodas </em>often leads to disputes among various groups claiming the greater “purity” of their group, or the greater “truth” of their personal history. Indeed, during the <em>rodas</em>, the quest for the “afro authenticity” of the <em>jongo</em> becomes the ground for identity construction and for the recognition and legitimization of African origins. This paper focuses on the<em> jongo rodas</em> as a festive event that exhibits the African ancestral past of Brazilian blacks as well as the signs and symbols of a Brazilian black identity.</p> Luciana de Araujo Aguiar Copyright (c) 2019 Luciana de Araujo Aguiar 2019-05-13 2019-05-13 1 1 128 148 10.33823/jfs.2019.1.1.33 Review of Public Performances: Studies in the Carnivalesque and Ritualesque, edited by Jack Santino Cora Gaebel Copyright (c) 2019 Cora Gaebel 2019-05-14 2019-05-14 1 1 149 152 10.33823/jfs.2019.1.1.31 Review of Displaying Time: The Many Temporalities of the Festival of India, by Rebecca M. Brown Vasiliki Sirakouli Copyright (c) 2019 Vasiliki Sirakouli 2019-05-14 2019-05-14 1 1 153 156 10.33823/jfs.2019.1.1.39 Review of The Mouse and the Myth: Sacred Art and Secular Ritual of Disneyland, by Dorene Koehler Matthew H. Brittingham Copyright (c) 2019 Matthew H. Brittingham 2019-05-14 2019-05-14 1 1 157 162 10.33823/jfs.2019.1.1.38 Review of Festkultur und Gedächtnis: Die Konstruktion einer deutschamerikanischen Ethnizität 1848–1914, by Heike Bungert Patrick Gaul Copyright (c) 2019 Patrick Gaul 2019-05-14 2019-05-14 1 1 163 166 10.33823/jfs.2019.1.1.40