Music festival sponsorship: between commerce and carnival

Abstract

Purpose -This paper aims to examine the cultural heritage of outdoor rock and pop music festivals in Britain since the mid-1960s, and relates it to developments in, and critiques of, corporate sponsorship in the contemporary music festival sector. Design/methodology/approach -The paper uses extant research materials to construct an account of British music festival history since the mid-1960s. It then draws upon Bakhtin's concept of the carnivalesque and the literature on sponsorship, experiential marketing and branding, in order to understand critiques of corporate sponsorship and the changing nature of the sector. Findings -Outdoor rock and pop music festivals were dominated by the ideologies of a "countercultural carnivalesque" from the late 1960s until the mid-1990s. In the 1990s, changes in legislation began a process of professionalization, corporatization, and a reliance on brand sponsorships. Two broad trajectories are identified within the contemporary sector: one is strongly rooted in the heritage of the countercultural carnivalesque, while the other is more overtly commercial. Research limitations/implications -It is argued that experiential marketing and brand activation are key methods for achieving a balance between the competing aspects of commerce and carnival. Hence, festival organisers and sponsors need to understand the history of the sector and of their own events and attendees in order to use corporate sponsorship more effectively. Originality/value -This paper adds historical and theoretical depth to the debate between commerce and carnival within the music festival sector, and makes connections between cultural theory and the literature on sponsorship and branding.

Factors that influence engagement in on-site environmentally responsible behaviours at music festivals

“…Music festivals are a worthwhile area of study because research has found they are places to foster social change (Anderton, 2011;Cummings, 2008;Sharpe, 2008) and provide positive impacts on participants' psychological and social well-being (Adsett, 2011;Ballantyne et al, 2014;Gursoy et al, 2004;Packer & Ballantyne, 2010). This impact is the result of the unique opportunities that music festivals provide for interaction between attendees and music in an active way, allowing attendees to be open to experiences that lead to personal growth and self-discovery.…”

The carnivalesque and event evolution: a study of the Beltane Fire Festival

“…Greater professionalisation (Anderton, 2011) is not only the domain of private and public sector events as 'a "grassroots" event does not preclude the adoption of a formal or professional approach' (Richards & Ryan, 2004, p. 96). A professionalised approach began in Stage 2 when the BFF gained charitable status and experience in managing regulatory pressures.…”

“…Carnival signalled a temporary suspension of regulatory forces and an opportunity for participants to transgress societal conventions (Bakhtin, 1984a(Bakhtin, , 1984b). Bakhtin's (1984aBakhtin's ( , 1984b concepts have been applied to, for example, events (Anderton, 2008(Anderton, , 2011Harcup, 2000;Islam, Zyphur, & Boje, 2008;Kates & Belk, 2001;Ravenscroft & Matteucci, 2003), music and dance cultures (Hanlon, 2004;Presdee, 2000;Vitos, 2010) and these existing studies often concentrate on the following. First, contemporary studies have applied Bakhtin's (1984aBakhtin's ( , 1984b theorisation to events and identified those features corresponding to the carnivalesque (Gilmore, 1995;Kates, 2003;Kates & Belk, 2001;Ravenscroft & Matteucci, 2003).…”

“…Commercialisation pressures (Anderton, 2008(Anderton, , 2011Finkel, 2010) bring ownership and identity issues. Kates and Belk's (2001) investigation of the Lesbian and Gay Pride Day indicates that although consumer experiences of commercialisation were contested, participants could use the space to negotiate their identity.…”

Events as Proenvironmental Learning Spaces

“…This point was also emphasized by both Frost and Laing (2013) and Sharpe (2008)-even those already engaging in the desired behavior need support and reinforcement of their lifestyle choices, and events may help support, pride, and equality; and the Burning Man Festival in Nevada, which promotes radical art and free expression (Frost & Laing, 2013). Further, many events are associated with counterculture, and have a strong history of promoting social justice (Anderton, 2011). The Glastonbury Festival is just one example of such an event, but there are many around the world.…”