The artist at the music festival: Art, performance and hybridity

Kill, Rebekka

doi:10.5040/9781501309038.0012

Cited by 2 publications

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…In my 2015 paper The artist at the music festival: art, performance and hybridity (Kill, 2015), I argued that in addition to any economic or audience development benefits of programming programing visual artists at music festivals there could be intellectual benefits for the academic disciplines of art, design, and performance. That is, when an artist makes new work for a festival, this context provides a unique site where different critical and creative languages can hybridizse and generate potentially new forms, genres, and practices.…”

mentioning

confidence: 99%

“…Festival scholars describe the context of the music festival as "'fattening food, intoxicating drink, sexual promiscuity, altered ego-identity, the inverse and the heteroglot"' (Stallybrass and White, 1986, p.189). This has led to some of these scholars (Hewison, 1986;Blake, 1997;McKay, 2000;Hetherington, 2001) characterizing these events as contemporary carnivalesque. In the carnivalesque, we exist in a different space and time and are "'temporarily liberated from the prevailing truth and from the established order"' (Bakhtin, 1984, p. 10).…”

mentioning

confidence: 99%

See 1 more Smart Citation

Art at the Music Festival: Blueprints and the Chronotope

Kill

2018

Journal of Communication Inquiry

Self Cite

View full text Add to dashboard Cite

show abstract

mentioning

confidence: 99%

mentioning

confidence: 99%

Art at the Music Festival: Blueprints and the Chronotope

Kill

2018

Journal of Communication Inquiry

Self Cite

View full text Add to dashboard Cite

show abstract

The Festivalisation of Contemporary Life

Jordan¹

2016

Focus on World Festivals

View full text Add to dashboard Cite

Driving home from work a few days ago, I passed through a sequence of villages, all with fluorescent roadside posters. The first was for a flower festival on the following Saturday in the church hall. The second promoted a steam festival at a local stately home. The third was for a festival of local food in a nearby gastro pub. It started me thinking about the increasing number of things that are being labelled and defined as festivals; things that don’t fit neatly into Négrier’s con- ception of festivalisation as ‘the process by which cultural activity, previously presented in a regular, on-going pattern or season, is reconfigured to form a ‘new’ event, e.g. a regular series of jazz concerts is reconfigured as a jazz festival’ (2015: 18). Whilst accepting this as one dimension – part of a wider festivalisation of the ways in which culture is produced, distributed and consumed – this chapter seeks to understand the wider festivalisation of contemporary life by identifying key principles associated with festival production. In addition to the changes to the cultural sector presentation practices noted by Négrier and discussed later, festivalisation processes can increasingly be seen in brand and city marketing strategies. This chapter will argue that the festivalisation of contemporary life can be considered to be the instrumental use of techniques found in the production dimensions of festivals to achieve cultural and non-cultural outcomes within social, economic and policy fields.

show abstract

The artist at the music festival: Art, performance and hybridity

Cited by 2 publications

References 0 publications

Art at the Music Festival: Blueprints and the Chronotope

Art at the Music Festival: Blueprints and the Chronotope

The Festivalisation of Contemporary Life

Contact Info

Product

Resources

About