| Περίληψη: | Traditional arts practices and festivals have attracted increasing and diverse
attention in the European context since policymakers discovered ‘culture’ as a
resource in the 1980s (see, e.g., Kilday 1998 ). Their impact on their respective
communities of practice, modes of production and exchange value in contemporary
European society is under the spotlight from various angles within the
newly emerged fi eld of ‘festival studies’, which is deeply connected to policy
issues (Frost 2016 ). However, much of this interest is instrumentally concerned
with revenue potential, leaving key concepts, such as heritage, identity and
indeed Europe, defi ned in rather vague and often contradictory terms (Kockel,
Nic Craith and Frykman 2012 ; Logan, Kockel and Nic Craith 2015 ; K ø lvraa
2016 ; L ä hdesm ä ki 2016 ; Whitehead and Bozo ğ lu 2017 ). Moreover, the number
and range of events labelled as ‘festival’ is growing (Frost 2016 : 569), requiring
a broader perspective on performances of heritage and identity.
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