As will actually a large festival programmed? And why? Would turn to a series of contributions brand "sex education" to. Let's start with a gentle approach to a complex subject.
Like the Amen in prayer comes year after year the Hurrah-and-screaming Gee whiz, given the programming of the major Austrian festivals. There is that only a handful, and they are in the hands of a cartel-like conglomerate that has cemented his power in this area long ago as Google in Web search engines. Why? Because it is acting smart and festivals has seen as high-functioning capitalist market. Would you
heartbreaking naively, one would be in indeed upset about it. If we take these childish childish property to the side so one can deny the makers of its undeniable success nor condemn him. After all, the gentlemen run a business and just like the vast majority of other businesses, it is they feel that to do economically as possible. So far, so (economic) good, and logical.
As concert promoters and festival operators I have indeed two ways: I make what I am or what I'm screaming the market. Where the "big ones" are, we know. Who is on this "page" complains can thank God that there is enough supply on the "other" fall back and pray so well that one day not about 40,000 people flock to Seewiesenfest.
We enter exactly where ultimately the very fine line between "culture" and "economy". These terms have been deliberately set in quotation marks ultimately only synonyms for "How do I get my money" one hand, and "How do I define my target audience" other. And we remember how close are these two mountain sides.
En detail.
The more an artistic quality, most coherent program is put together, the sooner we find either a small, autonomous organization behind it - or a juicy funded cultural apparatus. High culture is a development business - The argument about what civilization really is, is therefore infinite. Where money is, are also envious. Provision should be highly subsidized, but to grapple but extremely sharp and courageous programmed festivals like Kremser donaufestival with plenty of criticism. The Vienna Popfest were immediately placed under political intentions, but because it relies on cultural funds of the city. Both examples are culturally valuable and important intervention in a market that would be very dull without them standing outside.
The opposite model depends on the wind, the entfläucht the crowd, and calls it the market (or at all equal to "Voting"). one hand, this would be a similarly sharp programming obsolete to weak-minded, the other one, this does not so far away from the benefices of the taxpayer, as we may think at first glance. The bow tie in this case is then called simply "location policy". The Frequency will therefore not take place because of scenic beauty in St. Pölten, but because the city has the location made (financially) attractive: With regional economic development, infrastructure support and various forms of concessions and incentives (such as by reducing the Lustbarkeitsabgabe that a municipality may by private treaty or not). The proximity to the attractive large market of Vienna does the rest.
The arguments for the placement of a festival in a particular place are all that is right and logical - it is pure economic development. After all, thousands of people come into town and spending money the festival brings the name to the media and so on. has
With culture in the traditional sense, the whole little to do. The purpose and intent behind by the events so this is where his parting line: the major companies conducting such festivals, are businesses and not hold their crowds for the peace of the world interested in music, but to make money - you ask for in Harry Jenner: Music is a business - as simple as that is back to the beginning.
I have deliberately called radical and examples which could also be mentioned that flow in which the two concepts very much into each other. As far as we are in our discussion but that does not.
we bridles the horse again on a different side. I have a round table on "Great Festival" once remarked cynically that a high double-digit percentage of visitors but probably because of moves one way or another band to the festival, but unaware of thanks to booze neither the one nor the other 50 bands. That may be exaggerated be, but brings me to my next point: The lineup is only the definition of "caste" to be part of you think. You drive for social reasons for such a festival, it feels like-minded people. Looks exactly like the I've already years ago (still do in order for a festival magazine journalism) said. Only: The box thinking is probably just as well as fewer alcohol-rich events with a high "cultural" level.
The music may actually be back side issue for large events with it - but at least it serves as a social recognition. The "mega events" are by no means a "cultural events" as they meet in the transport documents or the idea of a cultural politician. Irony of history: they define our society and its culture (keyword Woodstock) the deciding factor. Stay up to us to improve anything in this picture.
to be continued ...
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