ABSTRACT The article discusses cultural festivals organised in the Republic of Cyprus (RoC) and their ideological implications on the national identity of Greek-Cypriots from Independence (1960) until the country’s accession in the European Union (2004). Debates and conflicts about national identity in the two ethnic communities coincide with the need for intensifying the relevance between the festivals’ artistic content and the concepts of nation, origin and identity on the island. Local cultural festivals functioned as a means of projecting national messages and symbolism, according to the identity bi-pole, Hellenocentric and Cypriotcentric, prevalent in Greek-Cypriot community. Later, in the 1990s, political changes inaugurated a need for the emergence of Eurocentrism with respect to the Greek-Cypriots’ cultural identity, this led to a significant increase of European artistic product via hosting of arts festivals. Despite the domination of ethnocentric approaches in the local cultural management model, the participation of other stakeholders – besides the state – contributed to the consolidation of the Eurocentric identity. This development had also strengthened the cosmopolitan ambiance, altered the repertoire of local festivals and differentiated the role and importance of artistic creation in society.

中文翻译：

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在塞浦路斯共和国的文化节中演练民族认同感

摘要 本文讨论了在塞浦路斯共和国 (RoC) 举办的文化节及其对希族塞人从独立（1960 年）到该国加入欧盟（2004 年）的民族认同的意识形态影响。两个民族社区中关于民族认同的争论和冲突，恰逢需要加强节日的艺术内容与岛上民族、起源和身份概念之间的相关性。根据希腊-塞浦路斯社区普遍存在的双重身份、希腊中心主义和塞浦路斯中心主义，当地文化节起到了投射国家信息和象征意义的作用。后来，在 1990 年代，政治变革开始需要在希腊塞浦路斯人的文化认同方面出现欧洲中心主义，这导致通过举办艺术节显着增加欧洲艺术产品。尽管民族中心主义方法在当地文化管理模式中占主导地位，但除国家之外的其他利益相关者的参与也有助于巩固欧洲中心主义身份。这一发展也加强了国际化氛围，改变了当地节日的曲目，并区分了艺术创作在社会中的作用和重要性。