Exploring festival performance as a state of encounter

O'Grady, Alice; Kill, Rebekka

doi:10.1177/1474022212473532

“…development, promotion, production or distribution. For instance, in the development stage, festival organisers may orchestrate co-creational activities by using the involvement strategyestablishing a virtual or physical medium to attract festival-goers to participate in the planning process of a festival (Hudson and Hudson, 2013;O'Grady and Kill, 2013;Stadler and Fullagar, 2016;Garay and Morales Pérez, 2017). In the promotion stage, music consumers, news writers, editors, design freelancers or communities can partner as co-creative labour (Gamble and Gilmore, 2013;Schembri and Tichbon, 2017).…”

Section: Stagementioning

confidence: 99%

“…Aucouturier et al, 2015;Capelli et al, 2016;Freeman et al, 2011). Social media can attract festival goers to contribute to that festival's strategic and operational concepts, which results in the involvement of music consumers in the festival development processes (O'Grady and Kill, 2013;Hoksbergen and Insch, 2016). Consumers are also deeply involved in the marketing process through co-creational marketing (Gamble and Gilmore, 2013) or through the internet channels which facilitated the co-creational platform in Korean pop music business (Choi and Burnes, 2013).…”

Section: Focusmentioning

confidence: 99%

Co-creation experiences in the music business: a systematic literature review

Saragih¹

2019

JMD

View full text Add to dashboard Cite

Purpose Various literature have contextualised value co-creation concept in the music business and how that notion puts into practice in benefitting the actors in this particular business. The purpose of this paper is to review the extant literature to comprehend regarding the applicability of co-creation in music business which can be used to map and evaluate strategies used to stimulate and exercise co-creation experiences; focus from such co-creational activities; stages during which co-creation occurred; channels in which the music as cultural product is delivered; and the co-creative platform used that can be useful for practitioners as well as scholars in the music business. Design/methodology/approach Of the available academic databases that exist on the online platform, this study takes into account six scholarly databases, i.e., Emerald, EBSCO, ISI Web of Sciences, ProQuest, ScienceDirect and Scopus. Findings Having filtered through the initial 113 papers that fulfil the predetermined criteria, this study discovers 33 empirical journal and proceeding papers that have discussed the co-creation concept in the music context from 2011 to 2017. Practical implications The review practically implies that practitioners as well as scholars in the music or marketing field can first begin with planning and understanding the right strategy, focus, stage, channels and platforms before executing co-creational activities in the music business. This paper also speaks to the broader literature, particularly in the creative industries, that value co-creation can serve to be used to obtain monetary, experience or social value in the market using virtual and physical co-creative platforms. Other sectors in the creative industries can also infer that co-creation can be promoted and exercised through various orchestration strategies in several stages of the value chain. Originality/value This paper is the first to integrate five practical criteria as to how co-creation is applied and contextualised in the music business. It also contributes to the academic literature by presenting an exhaustive selective review of the value co-creation concept and its applicability to the music business.

show abstract

“…As discussed earlier, festivals are arguably events in which aspects of identity are highly observable due to the heightened way in which it is performed. Festivals are sites which offer an extraordinary mood, or "eventness" as that can provide an atmosphere where people can perform, improvise and play, encounter others and share in an environment which fosters radical openness (O'Grady, 2013a(O'Grady, , 2013bO'Grady & Kill, 2013).…”

Section: Introductionmentioning

confidence: 99%

“Our dance is a celebration of the fabric of modern New Zealand”: Identity, Community, Solidarity and Citizenship at Youth Polyfests in Aotearoa New Zealand

Homolja¹

0

View full text Add to dashboard Cite

<p>One feature of the growing levels of cultural diversity in Aotearoa New Zealand has been the growth of cultural festivals. These originated primarily for Pacific groups to maintain and sustain cultural performance and traditions, but increasingly such festivals reflect the growing ethnic minority groups present in most of New Zealand’s large urban centres. Specific cultural festivals for school-aged young people are attended by thousands of young New Zealanders annually, yet to date have rarely been a feature of research. This study aimed to explore the role that cultural festivals may play in contributing to the identity, belonging and citizenship experiences of ethnic minority youth growing up in Aotearoa New Zealand. The thesis draws on ethnographic data obtained at three cultural festivals (Polyfests) for school-aged young people in 2018 (ASB Auckland Polyfest, Tu Tagata, Wellington and Northern Regional Polyfest, Porirua). Employing ethnographic participant observation, coupled with approaches drawn from ethnomusicology and dance ethnography, data collection included observation of speeches, public announcements and performances, dance moves and music, as well as on-the-fly discussions with festival performers and analysis of associated media (brochures, media reports, online articles). The festivals performances and their potential to enable spaces of possibility for identity-formation were analysed through Bhabha’s (1996) notion of ‘third-space’. The study drew attention to the way young performers strategically employed fusions of traditional and contemporary music and dance genres within their performances to articulate new ways of seeing themselves. These performances also served to maintain and validate ethnic and school-based identities, as well as to gain status and recognition by creating symbolic representations of the way that performers wished their cultural group to be viewed by audiences. Festival spaces also allowed cultural groups to consolidate homogenous (ethnic) solidarities as well as articulate new ways of seeing themselves as belonging through heterogenous (inter-ethnic) and school-based solidarities. The study underscores the significance of festival spaces as ‘counter-spaces’ in New Zealand society in which ethnic minority youth could experience (and create) identity-affirming, counter-hegemonic experiences outside of the dominant discourses frequently projected on them by White New Zealand.</p>

show abstract

“…As discussed earlier, festivals are arguably events in which aspects of identity are highly observable due to the heightened way in which it is performed. Festivals are sites which offer an extraordinary mood, or "eventness" as that can provide an atmosphere where people can perform, improvise and play, encounter others and share in an environment which fosters radical openness (O'Grady, 2013a(O'Grady, , 2013bO'Grady & Kill, 2013).…”

Section: Introductionmentioning

confidence: 99%

“Our dance is a celebration of the fabric of modern New Zealand”: Identity, Community, Solidarity and Citizenship at Youth Polyfests in Aotearoa New Zealand

Homolja¹

0

View full text Add to dashboard Cite

<p>One feature of the growing levels of cultural diversity in Aotearoa New Zealand has been the growth of cultural festivals. These originated primarily for Pacific groups to maintain and sustain cultural performance and traditions, but increasingly such festivals reflect the growing ethnic minority groups present in most of New Zealand’s large urban centres. Specific cultural festivals for school-aged young people are attended by thousands of young New Zealanders annually, yet to date have rarely been a feature of research. This study aimed to explore the role that cultural festivals may play in contributing to the identity, belonging and citizenship experiences of ethnic minority youth growing up in Aotearoa New Zealand. The thesis draws on ethnographic data obtained at three cultural festivals (Polyfests) for school-aged young people in 2018 (ASB Auckland Polyfest, Tu Tagata, Wellington and Northern Regional Polyfest, Porirua). Employing ethnographic participant observation, coupled with approaches drawn from ethnomusicology and dance ethnography, data collection included observation of speeches, public announcements and performances, dance moves and music, as well as on-the-fly discussions with festival performers and analysis of associated media (brochures, media reports, online articles). The festivals performances and their potential to enable spaces of possibility for identity-formation were analysed through Bhabha’s (1996) notion of ‘third-space’. The study drew attention to the way young performers strategically employed fusions of traditional and contemporary music and dance genres within their performances to articulate new ways of seeing themselves. These performances also served to maintain and validate ethnic and school-based identities, as well as to gain status and recognition by creating symbolic representations of the way that performers wished their cultural group to be viewed by audiences. Festival spaces also allowed cultural groups to consolidate homogenous (ethnic) solidarities as well as articulate new ways of seeing themselves as belonging through heterogenous (inter-ethnic) and school-based solidarities. The study underscores the significance of festival spaces as ‘counter-spaces’ in New Zealand society in which ethnic minority youth could experience (and create) identity-affirming, counter-hegemonic experiences outside of the dominant discourses frequently projected on them by White New Zealand.</p>

show abstract

Exploring festival performance as a state of encounter

Cited by 10 publications

References 12 publications

Co-creation experiences in the music business: a systematic literature review

Co-creation experiences in the music business: a systematic literature review

“Our dance is a celebration of the fabric of modern New Zealand”: Identity, Community, Solidarity and Citizenship at Youth Polyfests in Aotearoa New Zealand

“Our dance is a celebration of the fabric of modern New Zealand”: Identity, Community, Solidarity and Citizenship at Youth Polyfests in Aotearoa New Zealand

Contact Info

Product

Resources

About