Festival Art Academy Munich January 20 2011 Functional

Festival Art Academy Munich, January 20, 2011 Functional and contextual evolution of artistic festivals Dr Dragan Klaic Permanent Fellow, Felix Meritis (Amsterdam) Visiting Professor, Central European University (Budapest) © D. Klaic 2011

No end to new festivals Why this growth? Internationalisation of arts production increased mobility cities as initiators & funders obsession with visibility & participation furthers mass events divergent typology, multiplication of genres & formats parallel discourses: artistic. . . cultural-political. . . social cohesion. . . identity economic, employment, destination marketing www. draganklaic. eu 2

European Festivals Research Project EFRP partners: CEU, De. Montfort 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. efaaef. eu/efahome/efrp. cfm www. draganklaic. eu 3

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 4

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 1960 s-70 s www. draganklaic. eu 5

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 6

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 7

C/E Europe Budapest Spring Polish festivals Sterijino pozorje Zagreb Music Biennale Eurokaz MOT Splitsko ljeto Asia Hong Kong Osaka Tokyo Seoul Singapore Beijing Shanghai Macao www. draganklaic. eu 8

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 9

Long duration manifestations The year of. . . Mozart. . . Intercultural Dialogue. . L'automne de Paris BAM New Wave (NYC) European Cultural Capitals www. draganklaic. eu 10

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 11

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 12

European Cultural Capitals 14 Umea Riga, 15 Mons Plsen 16 1985 Athens, 86 Florence, 87 Poland Spain 17 DK (Arhus? ) Amsterdam, 88 Berlin, 89 Paris, Cyprus, 18 The Netherlands 90 Glasgow, 91 Dublin, 92 Madrid, Malta, 19 Italia Bulgaria, 20 93 Antwerp, 94 Lisbon, 95 Romania Ireland Croatia, 21 Luxemburg, 96 Copenhagen, 97 Greece Iceland Switzerland, 22 Thessaloniki, 98 Stockholm, 99 UK Macedonia Turkey Weimar, 2000 Brussels, Avignon, Bergen, Prague, Bologna, Bergen, European dimension Reykjavik, Cracow, Santiago de Compostella, 01 Rot- terdam, Ling term development strategy Oporto, 02 Brugge, Sa- lamanca, Civic mobilization 03 Graz, 04 Genua Lille, 05 Cork, 06 Patras, 07 Luxemburg Sibiu, Attitudinal change 08 Liverpool Stavanger, 09 Linz Vilnius, 10 Istanbul, Essen & A city outside EU? Pecs, 11 Tallinn Turku, 12 Guimares Maribor, 13 Kosice, www. draganklaic. eu 13 Marseille

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 14

3 kinds of festivals • community self-celebrations • commercial crowd-gathering events • artistic festivals www. draganklaic. eu 15

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 16

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 17

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 18

Festival purposes & orientation • artistic # compensatory • celebratory/ commemorative # manifestative • pacifying, community reinforcing # developmental • city marketing, tourism boost, economic gain Role: presenting/ producing www. draganklaic. eu 19

Basic questions to answer Why why here for who how with whom when where specifically what different than the others? www. draganklaic. eu 20

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 21

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 22

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. www. draganklaic. eu 23