The Guardian had this article on the changing nature of festivals and the way that the head of Live Nation John Probyn has said that the biggest challenge to the industry is that festival goers are becoming too fussy.
I read the article with interest, particularly the part where he talks of it being a good thing festivals getting bigger and control more centralised because it allows the costs including the artists fees to be lowered. He is talking of a particular type of festival and punter. The events he is talking about are the huge big name ones.
However, as David Binder reminds us in this recent TED talk about the changing nature of festivals it is just one model. There is a diversity within the festival market and different festivals attract different people for different reasons. Within his talk Binder describes, primarily, the type of festival which Milton Keynes had over the summer with its Summer of Culture and theInternational Festival which took place within it and which is coming back in 2014 with a large scale dance performance being planned by the new artist in residence Rosemary Lee according to the website. I reflected on the role that artists themselves had in this model, (MKIF for example has heavy involvement from The Stables ).
Then there are the embedded independent festivals like Greenbelt which have a niche market and a loyal following. The way in which most people just got on with the mud was indicative of the way in which this type of festival goer differs from the punter at the big event. There is a sense of community which exists amongst many who attend these festivals which, whilst there at some of the bigger more commercial events, is lost amongst most. I can’t imagine V asking for festival goers to contribute to this type of crowd sourced documentary project for their 40th birthday.
There has to be an acknowledgement that over recent years the festival market has become over saturated and this has put pressure upon many festivals and events of all kinds. However, there has also been as Binder indicates a shift and organic growth of community art which has taken place at the same time. This ties in with the point which one of the contributors at ADVENTurous, (which Jonny Baker has some brilliant photos of within a slide show which can be accessed via his blog), made. That is there is a link being made between the local or hyper local and the global. (See this post for more my take on that event).
It has always been there but in recent times it has emerged more obviously again, almost like a phoenix from the ashes. In part it appears to be a response to the recession and the economic situation people now find themselves in, in part it is because we have the tools of social media and the digital age and in part it is because of something which has been happening on the ground amongst artists and others.
Roger Kitchen gave a talk at a TEDx Milton Keynes event in September where he described the community he lived in. Within it he explained that Wolverton has a strong sense of community and it is a creative place which as old institutions and customs have died has put new events in place. It has benefited from grassroots involvement, including from artists who have often chosen to live in the area simply because of its affordability. There is that hyper local element of community engagement happening.
Reading the initial Guardian article I referred to I was struck by the way that the Live Nation guy just saw artists as another commodity to be obtained as cheaply as possible just like beer. The economic models he is using are those which refer to ‘labour’ rather than people and whose main purpose is to allow the entrepreneurs and owners to make as much profit as possible. In that scenario where art and artists are seen as little more than another supply and demand model variable the consumer will become more picky.
However, using other models where artists are valued as people with skills and something exciting to bring then something truly exciting can happen. Communities can be rebuilt and change can occur.
Within his talk Roger Kitchen What Makes A Community? made reference to the MK Christian Foundation and their social enterprises. This is one example of where the Christian community is working with the wider community and working on qualitative rather than quantitative growth.
The work En Gedi is doing with ADVENTurous, which is described by Gavin Mart 10 mins into this Fresh Expressions clip from the conference the other week, is another example of qualitative rather than quantitative engagement and of how secular artists are working with the those from faith communities. One interesting thing is the way that Mart (and others at the Following the Missionary Spirit conference) talked of permission giving taking place, whilst those doing stuff on the ground at ADVENTurous were making the point what is happening with alot of the new festivals and artistic NVDA projects is people are learning to just do it without seeking permission.
In looking at the arts world and thinking about these things, reflecting in part on my thesis conclusions, I see that what is happening in the festival culture is also happening within Christian culture.
The large churches focused on quantitative growth using market based strategies are still there. They are facing challenges specific to their context, including I would argue from some of the anecdotal evidence you find around the web, a greater pickiness amongst those worshippers who attend them. If these consumers aren’t happy in one church they are quite happy to travel to another which meets their requirements.
However, at the same time there are several other things happening and a variety of models emerging. There are established churches and congregations changing the way they do things, taking a more relationally based approach which seeks qualitative as much as quantitative growth. These are the churches who are getting out into their local communities again and often coming together as the driving forces behind social enterprise movements. Food banks, (despite their problem of being organisations which meet need rather than challenging the causes of need), are another part of this whole move which is taking place..
Then there are the small micro-groups and communities who are coming together. The people who Studebaker and Lee, in their paper on Emerging Churches in Post Christian Canada describe as the pilgrims.
Different models are emerging in different contexts in both the arts/festival world and the Christian world, and surprise surprise – as they both inhabit the same physical world – crossovers are occurring as communities are being (re)formed.
That’s my take I’d welcome your thoughts and comments.