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'Heritage and Festivals in Europe' critically investigates the purpose, reach and effects of heritage festivals. Providing a comprehensive and detailed analysis of comparatively selected aspects of intangible cultural heritage, the volume demonstrates how such heritage is mobilised within events that have specific agency, particularly in the production and consumption of intrinsic and instrumental benefits for tourists, local communities and performers. Bringing together experts from a wide range of disciplines, the volume presents case studies from across Europe that consider many different varieties of heritage festivals.

As the first book-length study of waterborne festivities in Renaissance and early modern Europe, this collection of essays draws on a rich array of sources, many previously un-researched, to explore aspects of scenography, choreography, music, fashion, painting, sculpture, architecture, stage-and personnel-management and urban planning as evinced in spectacles staged on water. Bodies of water in all their variety are explored here: seas, rivers, fountains, lakes and canals and flooded improvised locations within or adjacent to great buildings all provided stages for elaborate and costly performances, utilising the particular qualities of water to reflect light and distort sound. The volume encompasses festivals marking a wide range of occasions from the election of civic officials, the welcome of a monarch, an investiture or coronation, to ambassadorial visits or the arrival of a royal or ducal bride or bridegroom. Often taking the form of re-enactments of naval battles or legendary seaborne quests, these festivals seek to buttress civic and national pride, make claims to mastery over the sea and landscape, and explore the imaginative as well as practical life of performance space which has been a hallmark of the research and publication of this volume's honorand, J.R. (Ronnie) Mulryne. Contents: Introduction, Margaret Shewring; French Renaissance waterborne festivals in the 16th century, Richard Cooper; Lyon: a centre for water celebrations, Margaret M. McGowan; Parisian waterborne festivals form Francis I the Henri III, Monique Chatenet; Water festivals in the reign of Charles IX of France, R.J. Knecht; Renaissance Venice and the sacred-political connotations of waterborne pageants, Evelyn Korsch; Rex Christianissimus Francorum: themes and contexts of Henry III’s entry to Venice, 1574, Iain Fenlon; Water policy and water festivals: the case of Pisa under Ferdinando de’ Medici (1588-1609), Maria Ines Aliverti; Arbitrary reality: fact and fantasy in the Florentine Naumachia, 1589, J.R. Mulryne; Lepanto revisited: water-fights and the Turkish threat in early modern Europe (1571-1656), Marie-Claude Canova-Green; Mary, Queen of Scots’ aquatic entertainments for the wedding of John Fleming, 5th Lord Fleming to Elizabeth Ross, May 1562, Pesala Bandara; Looking again at Elvetham: an Elizabethan entertainment revisited, H. Neville Davies; The ice festival in Florence, 1604, Mary M. Young; The Thames en fête, Sydney Anglo; Royal river: the Watermen’s Company and pageantry on the Thames, Michael Holden; The ambassador’s reception: the Moroccan embassy to London, 1637-1638 and the pageantry of maritime politics, Iain McClure; The Savoys' naumachia on the Lake Mont Cenis: a site-specific spectacle in the ’amphitheatre’ of the Alps, Melanie Zefferino; Naumachiae at the Buen Retiro in Madrid, David Sánchez Cano; Waterfront entertainments in Saxony and Denmark from 1548-1709, Maria R. Wade; Sea spectacles on dry land: the 1580s to the 1690s, Roger Savage; Sing again, Sirena: translating the theatrical virtuosa from Venice to London, Eric Nicholson; Sailing towards a kingdom: Ernst August von Braunschweig-Lüneburg (1629-1698) in Venice in 1685 and 1686, Helen Watanabe-O’Kelly; Index. Dr Margaret Shewring is Reader in Theatre and Performance Studies at the University of Warwick. Her teaching, research and recent publications concentrate on the performance context for Shakespeare and his contemporaries, Renaissance and Early Modern European festivals and the design of space for performance on the contemporary stage. She was co-general editor of the two volume Europa Triumphans: Court and Civic Festivals in Early Modern Europe (Ashgate, 2004; e-book 2010) and a co-investigator for the digitised collection of Renaissance festival books on the website of the British Library. She is co-founder of the Society for European Festivals Research and joint general editor, with J.R. Mulryne and Margaret M.McGowan of the new Ashgate Series of European Festival Studies.

As the first book-length study of waterborne festivities in Renaissance and early modern Europe, this collection of essays draws on a rich array of sources, many previously un-researched, to explore aspects of scenography, choreography, music, fashion, painting, sculpture, architecture, stage - and personnel - management and urban planning as evinced in spectacles staged on water. Often taking the form of re-enactments of naval battles or legendary seaborne quests, these festivals seek to buttress civic and national pride, make claims to mastery over the sea and landscape, and explore the imaginative as well as practical life of performance space which has been a hallmark of the research and publication of this volume's honorand, J.R. (Ronnie) Mulryne.

This paper identifies the economic impacts of the Ultra Europe Music Festival, a popular electronic music festival taking place in the city of Split. Using publicly available daily tax data on fiscalised amounts and the number of receipts, we examine the festival’s effects on taxable consumption of accommodation, food and drink services, retail, and taxi services. To isolate the causal effects, we employ two-way difference-in-difference and two-way event study on a daily frequency and county level, with other Dalmatian Adriatic counties as controls. Results reveal temporary positive effects on the consumption of food and drink services, taxi services, and, to a lesser extent, retail. However, no significant impact on accommodation is recorded, arguably due to the prevalence of non-fiscalised accommodation in private households. The positive effects on taxable dimensions of consumption are concentrated on festival days, with spillover effects present on the day following the event.

Museums of history and contemporary culture face many challenges in the modern age. One is how to react to processes of Europeanization and globalization, which require more cross-border cooperation and different ways of telling stories for visitors. This book investigates how museums exhibit Europe. Based on research in nearly 100 museums across the Continent and interviews with cultural policy makers and museum curators, it studies the growing transnational activities of state institutions, societal organizations, and people in the museum field such as attempts to Europeanize collection policy and collections as well as different strategies for making narratives more transnational like telling stories of European integration as shared history and discussing both inward and outward migration as a common experience and challenge. The book thus provides fascinating insights into a fast-changing museum landscape in Europe with wider implications for cultural policy and museums in other world regions.

A King Travelsexamines the scripting and performance of festivals in Spain between 1327 and 1620, offering an unprecedented look at the different types of festivals that were held in Iberia during this crucial period of European history. Bridging the gap between the medieval and early modern eras, Teofilo Ruiz focuses on the travels and festivities of Philip II, exploring the complex relationship between power and ceremony, and offering a vibrant portrait of Spain's cultural and political life. Ruiz covers a range of festival categories: carnival, royal entries, tournaments, calendrical and noncalendrical celebrations, autos de fe, and Corpus Christi processions. He probes the ritual meanings of these events, paying special attention to the use of colors and symbols, and to the power relations articulated through these festive displays. Ruiz argues that the fluid and at times subversive character of medieval festivals gave way to highly formalized and hierarchical events reflecting a broader shift in how power was articulated in late medieval and early modern Spain. Yet Ruiz contends that these festivals, while they sought to buttress authority and instruct different social orders about hierarchies of power, also served as sites of contestation, dialogue, and resistance. A King Travelssheds new light on Iberian festive traditions and their unique role in the centralizing state in early modern Castile.

\"Larvatus prodeo,\" announced René Descartes at the beginning of the seventeenth century: \"I come forward, masked.\" Deliberately disguising or silencing their most intimate thoughts and emotions, many early modern Europeans besides Descartes-princes, courtiers, aristocrats and commoners alike-chose to practice the shadowy art of dissimulation. For men and women who could not risk revealing their inner lives to those around them, this art of incommunicativity was crucial, both personally and politically. Many writers and intellectuals sought to explain, expose, justify, or condemn the emergence of this new culture of secrecy, and from Naples to the Netherlands controversy swirled for two centuries around the powers and limits of dissimulation, whether in affairs of state or affairs of the heart. This beautifully written work crisscrosses Europe, with a special focus on Italy, to explore attitudes toward the art of dissimulation in the sixteenth and seventeenth centuries. Discussing many canonical and lesser-known works, Jon R. Snyder examines the treatment of dissimulation in early modern treatises and writings on the court, civility, moral philosophy, political theory, and in the visual arts.

The Power of Song shows how the people of Estonia, Latvia, and Lithuania confronted a military superpower and achieved independence in the Baltic Singing Revolution. When attacked by Soviet soldiers in public displays of violent force, singing Balts maintained faith in nonviolent political action. More than 110 choral, rock, and folk songs are translated and interpreted in poetic, cultural, and historical context. Watch the trailer: http://www.youtube.com/watch?v=Gh7vFFjK0rc

This chapter contains sections titled: The Embodiment of Place and Possibilities for Expression Feeling European and the Limits of Musical Expression Meanwhile, Back on the “Thick” EU‐Descriptive Carpathian Trail Black Metal Back Story Alter‐Europe and the Love of Hate References