festival art academy munich, january 20, 2011 functional and contextual evolution of artistic...
TRANSCRIPT
Festival Art Academy
Munich, January 20, 2011
Functional and contextual evolution of artistic festivals
Dr Dragan KlaicPermanent Fellow, Felix Meritis (Amsterdam)
Visiting Professor, Central European University (Budapest)
© D. Klaic 2011
www.draganklaic.eu 2
No end to new festivals
Why this growth?Internationalisation of arts production increased mobilitycities as initiators & funders obsession with visibility & participation furthers mass events divergent typology, multiplication of genres & formatsparallel discourses:
artistic...cultural-political...social cohesion... identity economic, employment, destination marketing
www.draganklaic.eu 3
European Festivals Research Project
EFRP partners: CEU, DeMontfort University Leicester, Leeds Metropolitan University, Universite Paris 8, Fondazione Fitzcarraldo Torino, Budapest Observatory
Cooperation with EFA, CIRCLE, universities, cities and festivals Some support from ECF and AEC A process with events and publications Workshops, conferences, debates, seminars & courses A growing number of associate researchers Shifting thematic focus A repository of research materials:
www.efa-aef.eu/efahome/efrp.cfm
www.draganklaic.eu 4
Festival roots and traditions
anthropological perspective
sociological perspective political perspective aesthetical perspective production & logistic
issues
antiquity feasts
medieval mysteries
processions, parades
court festivities
revolutionary pageants
carnivals
political rallies
leisure time, feasts and holidays
www.draganklaic.eu 5
Historic evolution
Stratford Upon Avon, Garrick 1764
World exhibits, 19 c. Bayreuth, Wagner 1876 Gémier, fête de vignerons
1900’s Venice Biennale 1895 Salzburg Festspiele,
Reinhardt & Hofmannsthal 1918
1947 Avignon and Edinburgh
1948 Holland Festival
1950 Dubrovnik Summer Festival
Proliferation of classic music festivals
1952 European Festival Assoc/ D. de Rougemont
1954 ITI World Theater Season Paris
World Theatre season in London 1960s-70s
www.draganklaic.eu 6
Cold War festival context
The Iron Curtain: governments mediate international cultural flows
CIA as festival funder: Who Paid the Piper Berliner Ensemble in Paris & London 1954-5 Student festivals: Nancy, Wroclaw, IFSK Zagreb,
Erlangen Alternative: Festival of Fools, Edinburgh Fringe Experimental: BITEF 1967, LIFT 1981 A tumultuous feast: Avignon 1968
www.draganklaic.eu 7
In the USA
Federal Theater, 1936-39 Ravinia, Tangelwood, Jacob's Pillow etc. Ashton, Baltimore, Pepsico Purchase, Chicago Denver 1982 L. Angeles 1984 Peter Sellars, L. Angeles 1990-92 BAM New Wave & Lincoln Center Trivialization of the concept, indiscriminate application of the
term
www.draganklaic.eu 8
C/E Europe Asia
Budapest Spring Polish festivals Sterijino pozorje Zagreb Music Biennale Eurokaz MOT Splitsko ljeto
Hong Kong
Osaka
Tokyo
Seoul
Singapore
Beijing
Shanghai
Macao
www.draganklaic.eu 9
Post-Cold War festival map
Sibiu Tanec Praha, Kontakt Torun Dialogue Wroclaw, Malta Poznan Chekhov, Golden Mask Moscow Baltic House St Petersburg Homo Novus Riga Divadelna Nitra Exodos, Mladi levi, City of
Women Ljubljana Sirene Vilnius…
Kunstenfestivaldes Arts, Brussels
Zurich Sommerspektakel
Theater der Welt
Wienerfestwochen
Ars electronica Linz
Manchester festival 2007, 2009
Bonn/Wiesbaden Neue Stuecke
www.draganklaic.eu 10
Long duration manifestations
The year of ... Mozart...Intercultural Dialogue.. L'automne de Paris BAM New Wave (NYC) European Cultural Capitals
www.draganklaic.eu 11
Palmer-Rae study 2004
Inflated expectations and promises Political conflicts Emblematic buildings, infrastructural development Investment delays Disappointing results, short-term gains Continuity: mentality change, self-image Capital renewal: competences, networks, partnerships
www.draganklaic.eu 12
Tensions and conflicts
Delayed appointments and organization set up Autonomy: programmers, executives and boards; cultural
players and politicians Programmers and accountants Overprogramming Concepts and practicalities Staff exhausted before the year starts Audience saturation in 3 months Making the rest of the world notice Keeping the impetus
www.draganklaic.eu 13
European Cultural Capitals
1985 Athens, 86 Florence, 87 Amsterdam, 88 Berlin, 89 Paris, 90 Glasgow, 91Dublin, 92 Madrid, 93 Antwerp, 94 Lisbon, 95 Luxemburg, 96 Copenhagen, 97 Thessaloniki, 98 Stockholm, 99 Weimar, 2000 Brussels, Avignon, Bergen, Prague, Bologna, Bergen, Reykjavik, Cracow, Santiago de Compostella, 01 Rot- terdam, Oporto, 02 Brugge, Sa- lamanca, 03 Graz, 04 Genua Lille, 05 Cork, 06 Patras, 07 Luxemburg Sibiu, 08 Liverpool Stavanger, 09 Linz Vilnius, 10 Istanbul, Essen & Pecs, 11 Tallinn Turku, 12 Guimares Maribor, 13 Kosice, Marseille
14 Umea Riga, 15 Mons Plsen 16 Poland Spain 17 DK (Arhus?) Cyprus, 18 The Netherlands Malta, 19 Italia Bulgaria, 20 Romania Ireland Croatia, 21 Greece Iceland Switzerland, 22 UK Macedonia Turkey
European dimension
Ling term development strategy
Civic mobilization
Attitudinal change
A city outside EU?
www.draganklaic.eu 14
Burning issues Consequences of proliferation What matters and what does not Festivals worth following? Distinction and unique features Non-festivals...feasts, parades, carnivals, regatta's, celebrations Arts-culture-cultural policy-economy- sociability intertwined Funding, expenditure, governance, organization Programming, audience development, partnerships
www.draganklaic.eu 15
3 kinds of festivals
• community self-celebrations
• commercial crowd-gathering events
• artistic festivals
www.draganklaic.eu 16
Some strategic issues to consider
Commercial / non-commercial Residents/ visitors Broad artistic discipline or a narrow niche Multidisciplinary- interdisciplinary Social and political causes Intellectual pursuits and overwhelming thematization:
urbanity, globalization, migration, exile, the human body, food ...
Philosophy, science, economy, literature, poetry, journalism, creativity
New media
www.draganklaic.eu 17
Performing arts
Dramatic theater: national drama, new playwriting, Greek classics, Shakespeare, Ibsen
Innovative directing concepts, prestige companies Experimental performance Theater for children & youth Musical theater, opera, new opera One language: francophonie Ambiental One performer: monodramatic, stand up comedy
www.draganklaic.eu 18
Visual arts, design, architecture
Exhibition/ trade show / proto-festival?
Venice Biennial, imitators & followers
classical art, décor and furniture (TEAF)
single artist: Breuer, Piano
national selection
period
www.draganklaic.eu 19
Festival purposes & orientation
• artistic
• celebratory/ commemorative
• pacifying, community reinforcing
• city marketing, tourism boost, economic gain
# compensatory
# manifestative
# developmental
Role:
presenting/ producing
www.draganklaic.eu 20
Basic questions to answer
Why why here for who how with whom when where specifically what different than the others?
www.draganklaic.eu 21
What is a festival?
An artistic project with
cultural
social
political
economic implications,
requiring
original concept, insights, network of info providers
human and material resources
co-operative mentality, good will
www.draganklaic.eu 22
Festival scope and outreach
local
regional
national
international
• What makes a festival international?
• Mastering the dialectics of local & international
• Programming vs. funding vs. outreach and echo
www.draganklaic.eu 23
Why do festivals matter?
Artistic innovation and vitality Events and processes New audiences, new places, new partners Quality of urban life, cultural democracy Intercultural dialogue, intercultural competence Local and European citizenship Festivals outside Europe.