Festival tourism and production of locality in a small Slovenian town

Outback Elvis: Musical Creativity in Rural Australia

“…Just as in England, where the media have been astounded at festivals and creativity existing in seemingly improbable places (Voase, 2009), so too in Australia metropolitan commentators have slowly acknowledged rural creativity. Local people have created places that are not merely local, but places of exchange and even tentative globalization, which outsiders appreciate and are enthusiastic about (Kozorog, 2011). Music and creativity make that possible.…”

Creativity in Production and Work: Experiences from Slovenia

“…By referring to the "autonomous place," all three of them pointed out they had to create the place and set their own structure to design it as a place that encourages creativity. 19 For more on the creative industries in Slovenia (including literature on the topic), see Poljak Istenič (2015); on spatial distribution and the creative industries in Ljubljana Uršič (2016); on the creative industries and city branding Bajič (2015) and Poljak Istenič (forthcoming) for Ljubljana, and Jelinčić and Vukić (2015) for post-Yugoslav space; and on creativity in relation to place-making and the production of locality Kozorog (2011). 20 They challenged such notions of nonproductivity and being seen as nonproductive in society due to their status.…”

Creating Spaces of Creativity: Contemporary Arts and Crafts Fairs in Ljubljana as Production of Locality

“…(Kozorog and Stanojević 2013) (Miller 2010) (Appadurai 1996), or rather festival production of locality (Kozorog 2011a(Kozorog , 2011b(Kozorog , 2011c(Kozorog , 2013, even if it serves to reproduce hierarchal socio-spatial divisions and actually contribute to uneven development (Harvey 2006;Smith 2008). Arts and crafts fairs and the representations generated highlight specific values and, arguably, contribute to ever greater recognition of Ljubljana in an international context.…”

“…Za privržence so predmeti torej utelešenje tistega, kar v njihovih očeh so, oziroma tistega, kar naj bi bili, tako zanje kot za druge (Bourdieu 1984;Miller 1987Miller , 2010: predmeti na sejmih v mesto vnašajo »kakovostne vsebine«, kakor akterji navadno na kratko označujejo določeno estetiko in etiko, utelešeno v izdelkih in sejmih. Tako sejmi ne sooblikujejo le družbenih življenj in življenjepisov (appadurai 1986;Kopytoff 1986) izdelkov, marveč jim pripisujejo tudi določeno zmožnost delovanja (Gell 1998), saj naj bi bili ljudi v mesto privabljali predmeti 4 Podobno kot festivali (Kozorog 2011a(Kozorog , 2011b(Kozorog , 2011c(Kozorog , 2013) tudi ljubljanski rokodelski sejmi s specifično estetiko in etiko soustvarjajo nove pomene in povezave z bolj oddaljenimi kraji, postavljajo Ljubljano v središče imaginativne geografije in pri nekaterih prebivalcih mesta spodbujajo identifikacijo, ki pa s trenutnim ni sprijaznjena, ampak si vselej želi »nekaj boljšega«.…”

“…10 akterjem ni nepomembno, kako se bo Ljubljana spreminjala v prihodnosti, kakšno simbolno podobo bo pridobila, zato skušajo s svojim delovanjem preusmerjati razvoj dogodkov, ki so jim estetsko in vrednostno blizu. Podobno kot med organizatorji festivalov v krajih na obrobjih slovenije (Kozorog 2011a(Kozorog , 2011b(Kozorog , 2011c(Kozorog , 2013 so tudi ljubljanski krafterji prepričani, da je »njihovo« mesto »še-vedno-nekoliko-marginalno«, da »njihova četrt« in »njihovo mesto« ne uporabljata vseh svojih potencialov, da sta odrinjena in po krivici zapostavljena, sejmi pa so zanje kulturno primeren način za spreminjanje trenutnega stanja. Povedano nekoliko drugače: za prirejanjem rokodelsko-umetniških sejmov stoji (tudi) lokalna identifikacija, ki pa »ni z danimi razmerami pomirjena identifikacija, ampak takšna, ki bolj kot na danem temelji na vizijah« (Kozorog 2011a: 66).…”