Festival space: gender, liminality and the carnivalesque

Pielichaty, Hanya

doi:10.1108/ijefm-02-2015-0009

Cited by 38 publications

(29 citation statements)

References 47 publications

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“…Tampoco surgieron diferencias estadísticamente significativas entre las dos submuestras en cuanto a la predisposición a pagar por la entrada a un concierto, independientemente de la procedencia de los artistas. Esta no diferencia del comportamiento analizado puede estar en consonancia con el trabajo etnográfico de Pielichaty (2015), quien estudió el papel del género en los espacios de un festival de rock y música popular. La autora sugiere que tales lugares son espacios liminales que pueden permitir a cualquiera de ambos géneros invertir las normas sociales y comportarse con abandono y libertad, lejos de las limitaciones de lo cotidiano.…”

Section: Conclusionesunclassified

Género, motivaciones y frenos en el consumo de música en directo

García

Romero

Montoro–Pons

2019

CICE

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ResumenLa asistencia a conciertos y festivales de música en directo ha evolucionado notablemente en los últimos tiempos consecuencia de los cambios acaecidos en este sector. La literatura muestra estudios centrados en analizar los principales determinantes de esta participación. Si bien algunos de estos trabajos incluyen el género como variable demográfica explicativa de este consumo, los resultados obtenidos son contradictorios. Por ello, el presente artículo desarrolla una investigación empírica mediante encuesta personal con el objetivo de analizar el rol del género, así como de los motivos y frenos de consumo, en la asistencia a conciertos de música. La no existencia de grandes diferencias entre hombres y mujeres se encuentra entre los principales resultados.Palabras clave: música en vivo, conciertos, festivales, género, investigación descriptiva, marketing.Clasificación JEL: Z11, M31. AbstractAttendance at live music concerts and festivals has dramatically evolved in recent times as a result of changes in this sector. The literature shows studies focused on analyzing the main determinants of this participation. Although some of these papers include gender as a demographic variable explaining consumption, results are inconclusive. Thus, the present work develops an empirical research by means of a personal survey with the aim of studying the role of gender, as well as motives and barriers of consumption, in attending music concerts. The non-existence of great differences between men and women is one of the main results.

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Section: Conclusionesunclassified

Género, motivaciones y frenos en el consumo de música en directo

García

Romero

Montoro–Pons

2019

CICE

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“…This literature has demonstrated how specific industries and professional identities both come into existence and become visible on such occasions (Leivestad & Nyqvist, 2017; Moeran, 2011). Studies of more leisurely framed events such as festivals have to a larger extent focused on their playful and transcendent character (Pielichaty, 2015; Ziakas & Boukas, 2014). This literature often draws on the notion of liminality, as elaborated by the anthropologist Victor Turner (1969).…”

Section: The Event As a Social Dramamentioning

confidence: 99%

Performing ambiguous policy: How innovation events simultaneously perform change and collaborative order

Cederholm

Hall

2019

The Sociological Review

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The aim of this article is to analyse how innovation policy is staged and legitimised through the dramatised social process of an event. The context is taken from an annual event, Skåne Innovation Week, which is arranged by the regional innovation system in Skåne, Sweden. Innovation systems often organise similar events internationally, which appear to play a key role in performing inter-organisational collaboration between actors from the public sector, industry and research, as well as manifesting belief in the globalised imaginaries of innovation systems. Through the analytical lens of the event as a social drama, the article examines how the event – and thus, innovation policy – is represented in commemorative films and website documents through which three meeting practices are identified: mingling and hanging out, scripted meeting models and spatial staging. The article argues that these meeting practices and their performed interactive social forms sustain the vagueness and ambiguity inherent in innovation policy, particularly between stability and change. The event can be viewed as a form of performative government that maintains a political order while simultaneously hailing its practices as transformative.

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“…Commodifed leisure spaces enable participants to be ‘free from the constraints of daily living’ to ‘behave in a way not governed by [the] conventional social norms and regulations that structure everyday life’ (Kim and Jamal, 2007: 184). Such liminal leisure spaces provide opportunities for licensed transgression, as participants experience ‘freedom’ through a range of hedonistic practices that enable them to express their hidden – and more ‘authentic’ – selves (Kim and Jamal, 2007; Pielichaty, 2015). However, many social scientists have argued that contemporary consumer culture is fundamentally shaped by the forces of neoliberalism, in which such experiences of ‘freedom’ are constituted as obligatory displays that reflect a new form of governance (Ringrose and Walkerdine, 2008).…”

Section: Introductionmentioning

confidence: 99%

‘We achieve the impossible’: Discourses of freedom and escape at music festivals and free parties

Griffin

Bengry‐Howell

Riley

et al. 2016

Journal of Consumer Culture

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In this paper we explore the notion of freedom as a form of governance within contemporary consumer culture in a sphere where 'freedom' appears as a key component: outdoor musicbased leisure events, notably Music Festivals and Free Parties. 'Freedom' is commodified as central to the marketing of many music festivals, which now form a highly commercialised sector of the UK leisure industry, subject to various regulatory restrictions. Free parties, in contrast, are unlicensed, mostly illegal and far less commercialised leisure spaces. We present data from two related studies to investigate how participants at three major British outdoor music festivals and a small rural free party scene draw on discourses of freedom, escape and regulation. We argue that major music festivals operate as temporary bounded spheres of 'licensed transgression', in which an apparent lack of regulation operates as a form of governance. In contrast, free parties appear to "achieve the impossible" by creating alternative (and illegal) spaces in which both freedom and regulation are constituted in different ways compared to music festival settings.

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Festival space: gender, liminality and the carnivalesque

Cited by 38 publications

References 47 publications

Género, motivaciones y frenos en el consumo de música en directo

Género, motivaciones y frenos en el consumo de música en directo

Performing ambiguous policy: How innovation events simultaneously perform change and collaborative order

‘We achieve the impossible’: Discourses of freedom and escape at music festivals and free parties

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