An Arts and Humanities Research Council Funded Literature Review

FROM GLYNDEBOURNE TO GLASTONBURY: THE IMPACT OF BRITISH MUSIC FESTIVALS

Emma Webster and George McKay 1 CONTENTS EXECUTIVE 4 INTRODUCTION 6 THE IMPACT OF THE FESTIVALS: A SURVEY OF THE FIELD(S) 6 ECONOMY AND CHARITY SUMMARY 8 POLITICS AND POWER 10 TEMPORALITY AND Festivals are at the heart of British music and at the heart TRANSFORMATION of the British music industry. They form an essential part 12 CREATIVITY: MUSIC of the worlds of classical, folk and jazz, forming regularly AND MUSICIANS occurring pivot points around which musicians, audiences, 14 PLACE-MAKING AND TOURISM and festival organisers plan their lives. 16 MEDIATION AND DISCOURSE 18 HEALTH AND WELL-BEING Funded by the Arts and Humanities Research Council, the 19 ENVIRONMENT: purpose of this report is to chart and critically examine LOCAL AND GLOBAL available writing about the impact of British music festivals, 20 THE IMPACT OF ACADEMIC drawing on both academic and ‘grey’/cultural policy RESEARCH ON MUSIC literature in the field. The review presents research findings FESTIVALS under the headings of: 21 RECOMMENDATIONS FOR FUTURE RESEARCH • economy and charity; 22 APPENDIX 1. NOTE ON • politics and power; METHODOLOGY • temporality and transformation; 23 APPENDIX 2. ECONOMIC • creativity: music and musicians; IMPACT ASSESSMENTS 26 APPENDIX 3. TABLE OF • place-making and tourism; ECONOMIC IMPACT OF • mediation and discourse; MUSIC FESTIVALS BY UK • health and well-being; and REGION IN 2014 • environment: local and global. 27 BIBLIOGRAPHY 31 ACKNOWLEDGEMENTS It concludes with a set of recommendations for future research. To accompany the review, a 170-entry, 63,000-word annotated bibliography has been produced, which is freely accessible online, via the project website (https://impactoffestivals.wordpress.com/project-outputs/).

Cover images: Main image: Glastonbury Festival 2010 Photography: ‘Flame’ by Edward Simpson

L-R: Edinburgh Mela Festival 2010 Photography: Robert Sharp Researchers and project partners London Jazz Festival 2007 The report was written by Dr Emma Webster and Professor George Photography: ‘Hannah Jones, McKay of the University of East Anglia, as part of The Impact of Time Garland’ by Nadja von Massow Festivals project, funded by the Arts and Humanities Research Council- Notting Hill Carnival 2011 led Connected Communities programme, in collaboration with research Photography: ‘Carnival!’ by Justin partner the EFG London Jazz Festival. Project administration and Chippenham Folk Festival 2014 picture research support at UEA were provided by Rachel Daniel Photography: Owen Benson and Jess Knights. Festival of Britain 1951 brochure

2 3 Glastonbury is “ arguably the world’s most famous music festival. ” UK MUSIC 2015: 31

Glyndebourne “ Festival Opera is the cultural Wimbledon where seats are as coveted as those on INTRODUCTION centre court. ” CITED IN GIBSON AND CONNELL 2005: 224

Festivals are now at the heart of The 21st century has experienced three sometimes overlapping ways: A literature review of festival studies The more qualitatively-based research which shift focus from everyday social the British music industry and are a ‘boom’ in music festivals in Britain greenfield events which predominantly carried out by Donald Getz (2010) from anthropology, sociology and problems (Waitt 2008), or meaningless an essential part of the worlds of (Webster 2014), with a 71 per cent programme music, often involving found three main approaches at play: cultural studies, often takes starting collections of events (Payne 2006; AEA classical, folk and jazz (Frith 2007). increase in the number of outdoor camping, open-air consumption and sociologically/anthropologically based points from Émile Durkheim’s 2006), which are ‘placeless’: divorced Festivals are big business: one rock and pop music festivals held amplification; venue-based series of discourses on the roles, meanings concept of ‘collective effervescence’ from their local community (MacLeod recent report by UK Music puts between 2003 and 2007 (Anderton live music events linked by theme or and impacts of festivals in society (1912/2001), Raymond Williams’ ideas 2006). Other fields which confirm the total direct and indirect spend 2008), and an increase of 185% in genre, usually urban; and street-based and culture; festival tourism; and about culture and society (1958), the space of the festival as one of generated by ‘music tourism’* for music festival income in Scotland urban carnival. festival management, the latter two Mikhail Bakhtin’s concept of the remarkable interdisciplinary interest festivals in the UK in 2014 at more over a five year period (EKOS 2014). particularly focusing on economic carnivalesque (1968), Christopher range from medical studies to crowd than £1.7 billion, sustaining over Concurrently, there has been an The report has been restricted to impact and audience motivation. Small’s idea of ‘musicking’ (1998), management to waste management. 13,500 full time jobs (based on 232 increasing amount of academic festivals within Britain; critical work and current theorisations around the music festivals, UK Music 2015). interest around festivals and impact about festivals is included from English A number of economic impact reports process of ‘festivalisation’ (Bennett The report considers impacts on More specifically, Glyndebourne from a variety of disciplines language scholarship internationally. can also be found within the grey et al 2014; Newbold et al 2015); a local and regional economic and generates £11 million of Gross (cf Getz 2008, 2010). The report considers both festivals literature, more recently broadened to collection by George McKay (2015a) cultural competitiveness, and presents Value Added (GVA) for East Sussex’s that take place in permanent or encompass social and cultural impacts brings together work on history, music, the impact of festivals on both economy every year (BOP 2013a), From an initial focus on the economic semi-permanent structures, and those as well (cf Williams and Bowdin 2007; media, and culture of the pop festival. the temporary and the permanent while the total gross direct spend impacts of cultural experiences in outdoor festivals which utilise ‘mobile Chouguley et al 2011). However, the community which camps or lives at for the 2007 Glastonbury Festival the 1980s and 1990s, through to a spaces’ (Kronenburg 2011). more quantitative-based research Urban studies is also a rich source of the festival location. It also considers was estimated at over £73 million broader assessment of impact which tends to emphasise managerial, literature; accounts about festivals in the processes through which arts and (Baker Associates 2007). considers instrumental and intrinsic The focus on a single (admittedly logistical and marketing elements that general tend either to be celebratory, humanities research has impacted on value (Carnwath and Brown 2014), the quite large) geographical location can obscure the cultural and social focusing on the economic and festivals and offers recommendations literature shows that festivals play a ensures that the report gathers aspects of festivals (Anderton 2006). place-making benefits of festivals, for future research. significant economic, social and cultural together festivals which, to an extent or more critical, in which festivals are role at local and international levels. at least, have a shared economic and instruments of hegemonic power cultural history. One of our findings is Defining what constitutes a ‘music that there is more work on the impact festival’ is not a straightforward task; of festivals within the folk and pop indeed, a typology of British pop literature (rock, jazz, ‘world’, etc.) than festivals found seventeen different from the classical/opera literature, the types alone (Stone 2009). One can latter of which have ‘traditionally been broadly characterise festivals in concerned with works and composers rather than the performance and Top left: Glastonbury 2009 concert context’ (Doctor et al 2007: Photography: Alan Green 6). See Appendix 1 for notes on the Top right: Glyndebourne 2015 methodology employed. Photography: Maureen Barlin

*A domestic music tourist is defined as ‘someone who booked a ticket to a live music event in advance, and who travelled 4 outside their home region to attend the event (or outside their home nation in the case of Scotland, Wales and N. Ireland)’ 5 (UK Music 2011: 4). The local economy gets £100m a year ... So there’s “ no discussion about not allowing the festival a licence any more. They won’t stop it now. ” MICHAEL EAVIS, GLASTONBURY FESTIVAL; BBC 2008

ECONOMY AND CHARITY Festivals have been key to the Festivals have played a significant Festivals exist within a mixed growth of the live music sector in role in urban ‘cultural regeneration’ economy (Andersson and Getz 2008; the UK in recent times. As Simon (Waitt 2008), particularly in post- Payne 2012) and may themselves Frith (2007) notes, the most industrial cities in which traditional be charities or with charitable status significant means of expanding the manufacturing industries have (e.g. Cheltenham Festivals), or have size of the live audience for British declined and in which culture is used internal structures which use different promoters has ‘undoubtedly’ been as a means of attracting service- economic models (cf Posta et al festivals, which are now the ‘key sector professionals (Voase 2009). 2014) and which allow the festival to asset’ in promoters’ portfolios for However, a focus on festivals as ‘quick fundraise, for educational projects obvious economic reasons: the fix solutions’ for economic generation (e.g. Serious Trust ) or for campaigning crowd size can be expanded beyond can mean that city authorities may and advocacy groups that of a venue, and economies disregard the significant social value (e.g. Glastonbury Festival). of scale can kick in (ticketing, of festivals (Quinn 2005). marketing, staging). Festivals also generate funds for Festivals are marketplaces (McKay external charitable or not-for-profit At a time when revenue from 2015b) and are increasingly used as organisations, either directly or recording has decreased, festivals a means of advertising via branding indirectly via awareness campaigns, for some musicians have become an and sponsorship (cf Oakes 2003, 2010; trading and fundraising opportunities essential income stream; the record Anderton 2008, 2011, 2015), although (Baker Associates 2007), although industry now launches new albums their effectiveness is questioned in research into this aspect of festival by established artists at the start some studies (Rowley and Williams impact is currently somewhat scarce. of the festival season, and tries to 2008). The total direct and indirect It is worth noting that the first Isle of ‘break’ new acts through key festival spend generated by ‘music tourism’ Wight festival in 1968 was organised appearances (Anderton 2008). for all medium to large-scale to raise funds for a local swimming music festivals in the UK in 2014 pool (Hinton 1995). Much work has shown that music was estimated at over £1.7 billion, THE IMPACT festivals have the capacity to generate sustaining 13,543 full time jobs (UK positive economic impacts, to varying Music 2015). degrees, including employment and increased revenues from locals and Over 350 UK folk festivals generated visitors, as well as providing focal spending of over £77 million each OF FESTIVALS: points for marketing, attracting visitors year (Morris Hargreaves McIntyre and growing the tourism sector of the 2004); the spend by the Association local economy (Brookes and Landry of Independent Festivals member A SURVEY OF THE FIELD(S) 2002; AB Associates 2003; Morris festival-goers between 2010 and 2014 Hargreaves McIntyre 2004; SQW 2005; was estimated to be approximately We now turn attention to our core work, which is to present in a structured Lynn Jones Research 2006; EKOS £1.01 billion (Webster 2014); and Left: Oxjam Music Festival 2008 during 2006-2007, an estimated overview our findings about the kinds of impact British music festivals have 2006, 2011; Baker Associates 2007; Photography: ‘Emma Forman’ SAM 2008; Chouguley et al 2011; BOP £41.8m was spent by arts festivals by Stuart Crawford had, both short- and long-term. We have categorised these into eight areas. 2013a, 2013b; Li and Chen 2013). in the UK (SAM 2008). Economic Above L-R: Carling Reading We do pay particular attention to economic impact as we recognise the impact assessments use different Festival stage, 2006. pragmatic interest in such data, and include in Appendix 2 a table specifically methodologies, hence the variation Photography: Ian Wilson of economic impact reports. But we place such material alongside other in numbers: see Appendix 2 for Cambridge Folk 2009 an overview of economic impact Photography: Richard Kaby sometimes less tangible values and impacts: music festival as transformative assessment reports into a number Carling Leeds Festival stage, 2006. subjective experience, for instance. of British music festivals. Photography: Ian Wilson

6 7 This is London: a global, multicultural “ city which should understand that its own multiculturalism is an inextricable part of its globalism, and that the Notting Hill Carnival needs London, just as London and the UK need the Carnival.” CHRIS MULLARD, 2003 CITED IN MANN WEAVER DREW 2003: 55

Below: Group of girls grooving on a corner at Notting Hill Carnival, London, 1975 Photography: ©UniversalImagesGroup POLITICS AND POWER

Music festivals have been sites for The radical motivation for Periodically festival and carnival social and political debate, and some festivals ranges from the function irruptively: from the Battle sometimes action (McKay 2003, countercultural free festival movement of Beaulieu 1960 (McKay 2004) to 2005, 2015c), and the frivolity of of the 1970s (Clarke 1982; McKay Windsor Free Festival 1974 (Beam festivals sometimes masks deeper 1996; Worthington 2004) to the free 1976), Notting Hill Carnival 1975-1976 socio-political issues around race, party movement of the 1990s (McKay (Melville 2002) to the Battle of the religion, class, sexuality, and gender 1998; Partridge 2006; Martin 2014) to Beanfield 1985 (Worthington 2005) (Falassi 1987; Hughes 1988; Burr the idea of the ‘protestival’ (St John and Castlemorton rave 1992 (Working 2006; Bartie 2013; Wilks 2013; 2015) in today’s alter-globalisation Party 1993/94), the festival as site of Johansson and Toraldo 2015; movement. Within rock/pop festivals, contestation endures. Pielichaty 2015). two broad trajectories have emerged: the more overtly commercial festival Festivals are subject to legislation and Festivals are or have been remarkable and those which emerged from a post- Parliamentary overview. The Working sites for experimenting with alternative hippie countercultural heritage and Group on Pop Festivals published lifestyles and practices, including which eschew (overt) commercialism three (mostly) remarkably even- narcotics (Clarke 1982; McKay 2000; (Anderton 2011; cf Thomas 2008). handed reports on pop festivals in Wolfenden 2004; Partridge 2006; Arguably, Glastonbury reflects both the 1970s (Stevenson 1973; Working O’Grady 2015; McKay 2015b), and trajectories: celebrated for its anti- Group on Pop Festivals 1976, 1978). may be overtly or covertly political commercial countercultural cool, it Legislation of (free) festivals in (Clarke 1982; Burr 2006; Chalcraft and can also be described as a ‘modern Britain has specifically targeted rock Magaudda 2011). On the other hand, cathedral of consumption’ in which music (Isle of Wight Act 1971), music from opera festivals at Glyndebourne experiences are ‘mediated and and dancing (Local Government to jazz festivals at Beaulieu and rock managerially puppeteered’ (Flinn (Miscellaneous Provisions) Act 1982), festivals at Knebworth, the history and Frew 2013: 418; McKay 2000; and dance music’s ‘repetitive beats’ of festivals in Britain has also been Thomas 2008). (Criminal Justice and Public Order inextricably intertwined with the British Act 1994), but festival promoters must aristocracy and the Establishment Some festivals have faced opposition also negotiate legislation around (Clarke 1982; Cobbold 1996; Jolliffe from the state and local residents, alcohol, health and safety, and 1999; McKay 2000, 2004; cf Gornall and there can be tension between waste (Martinus et al 2010; Cloonan 2015), often as a means of raising the imperative for regulation and 2011). More generally, the licensing, revenue for estates. participants’ desire for spontaneity policing, control and legislation of (Burr 2006). The form of music matters festivals are important questions for Above L-R: Glastonbury 2010 as to the degree of opposition: an intermittently combustible and Photography: ‘Wall of banners’ classical festivals rarely elicit contested field (McKay 2000; Walters by John McGarvey opposition whereas rock, pop or and Razaq 2004; Ilczuk and Kulikowska Beaulieu Jazz Festival dance music festivals do, ‘reflecting a 2007; Talbot 2011). 1960 poster wider privileging of, and discrimination Photography: ©National Motor against, certain groups’ (Gibson and Museum, Beaulieu Connell 2005: 241); the latter are more Stonehenge Free Festival, likely to be heavily policed than others English Heritage 1985 ad (Talbot 2011).

8 9 You’re in a private area where you’ve “ had to have a ticket to get in so everyone’s like-minded. There’s no-one malicious there, no-one’s going to come up to you to distract you while your wallet’s being pinched. Walk around drunk all day and not feel unsafe – it’s great! ” FOLK FESTIVAL FESTIVAL-GOER, CITED IN WILKS 2011: 291

TEMPORALITY AND TRANSFORMATION Festivals are often cyclical and Festivals are places for being I went down with Festivals are an opportunity to Motivation for music festival Festivals also provide volunteers annual (Falassi 1987; Anderton with like-minded people and for transform the look and feel of oneself attendance is not purely about the with learning and development 2006), and occur at particular engendering feelings of belonging, “four or five people (Hewett 2007; Robinson 2015) and music (Gelder and Robinson 2009; opportunities (Jones and Munday periods within the annual calendar; ‘communitas’, and community (Pitts that had no notion of of the festival site itself (Oakes and Abreu-Novais and Arcodia 2013; 2001; Mann Weaver Drew 2003; for some, they therefore become a 2004; Pitts and Spencer 2008; Burland Warnaby 2011; BOP 2013b; Eales Burland and Pitts 2013; Webster Norfolk and Norwich Festival 2013), pivot around which the rest of the and Pitts 2010, Neville and Reicher folk and they enjoyed 2013). While many (rural) festivals are 2014) but about the overall festival and can improve the skills and year is planned (Pitts 2005). 2011; Pitts and Burland 2013; Laing it so much they are transient, other festivals have left more experience; motivation to attend knowledge of practitioners and help and Mair 2015; Jepson and Clarke lasting architectural impacts such festivals in general is to seek cultural them develop professional networks Music festivals allow for intense 2015). Festivals are often sites of actually doing Morris as pavilions and other infrastructure enrichment, education, novelty, (CEBR 2013). production and consumption of music multicultural and multigenerational dancing. At festivals (Hughes 2000). Music festivals are also and/or socialisation (Crompton over a relatively short period of time music consumption, where different sites for transformative – even spiritual and McKay 1997). As well as the in a particular geographical place, generations of fans (including you do find out about – experiences for their participants performers, audiences too have and are sites for the intensification of families) can congregate and new things. (Lea 2006; Partridge 2006; Larsen and strong roles to play in shaping the It’s going to sound ideas and behaviour (Pitts 2004), and socialise (Bennett 2013). Music ” O’Reilly 2009), and alcohol and drug character and ethos of festivals (Pitts “ corny, but, well, it’s a for ‘musicking’: music-based rituals festival attendance can enhance FOLK FESTIVAL-GOER, CITED taking may be an integral part of the 2004), sometimes through ‘relational in which the values of the group are social cohesion (Penrose 2013; IN MORRIS HARGREAVES festival experience (Bengry-Howell et performance’ which places the festival- kind of utopia, really, explored, affirmed, and celebrated, Kaushal and Newbold 2015) and MCINTYRE 2004: 7 al 2011). Being outdoors appears to goers centre-stage (O’Grady 2013; something outside of and where the participants’ ideal (even develop participants’ social capital have additional transformative effects O’Grady and Kill 2013; Robinson 2015). utopian) form of society is explored (Wilks 2009), but the ‘superficial on participants (cf Till 2012a): outdoor the normal world we (Small 1998). forms of temporary social festivals ‘braid the pastoral with the all live in. cohabitation’ (Payne 2006: 56) found political’ and can offer respite from ” at some festivals creates ‘bonding’ everyday life in cities, sometimes MICHAEL EAVIS, GLASTONBURY social capital – the reinforcement of Above: Bestival 2009 acting as ‘temporary places of revelry FESTIVAL, 1995, CITED IN MCKAY existing relationships – but less so Photography: ‘Satellites’ by Kate Fisher and radical conviviality that offer 2000, 29 ‘bridging’ capital – new and enduring Right: Brecon Fringe 2011 glimpses of different forms of social social connections with previously Photography: Mongo Gushi organisation’ (O’Grady 2015: 79). unconnected attendees (Wilks 2011). Far Right: Waveney Clarion front cover, Community newspaper special on East Anglian festival, 1973

10 11 CREATIVITY: MUSIC AND MUSICIANS Festivals can be sites for musical Headliners may be internationally Festivals are often sites for showcasing However, there is little research yet That festival gig for experimentation and hybridity renowned musicians but festivals local talent and for creating a platform about the specific impacts of festivals (Hutnyk 1998; Penrose 2013; also provide platforms for up-and- for exporting musicians abroad (Payne on musicians/composers and/or genre “ us was really great Kaushal and Newbold 2015), coming (local) musicians; music festival and Jeanes 2010). They can be ‘key development (cf LeGrove 1999; Philips ... Lots of people ‘essential vehicles’ for the producers/promoters are therefore tools’ for developing new audiences for 2012), or even on the important roles of innovation and affirmation of both cultural importers and investors musicians and for genres more broadly festivals in commissioning new work or there were industry, daring artistic practices (Payne (Webster 2011), the flipside of which (Jazz Development Trust 2001). They as sites for musical premières (cf Jolliffe lots of people were 2006), where ‘moments of mutual being occasional claims of ‘cultural thus function as trusted ‘curators’ in 1999; SAM 2008). The commercialisation enrichment of the local by musics invasion’ and even elitism (Harvie which listeners are more willing to take of festivals and the need to compete reviewers ... And from elsewhere are commonplace’ 2003). Performance at particular risks in the music they experience (Pitts across markets can be seen in the we’re in talks with a (Blake 1997: 178). festivals can enhance the status of a 2005) and in the venues they attend; inclusion of ‘popular music’ into festivals musician and increase the chances indeed, some festivals even sell out such as world and folk, or other art couple of people who of further festival bookings (Morris before the acts have been announced forms such as comedy and ballet into were there about Hargreaves McIntyre 2004; Chalcraft (Frith 2007). Festivals are sites for music festivals, although this can have and Magaudda 2011); other festivals learning and personal development subsequent impacts on participants’ festivals in the future include elements of adjudication for musicians, audiences, and crew perceptions of authenticity (Hutnyk ... so possible other in which musicians are judged and (including volunteers), and may even 1998; Burns 2007; Matheson 2008). rewarded (Pitts 2004; Oroso Paleo and contribute to social inclusion via gigs may come out Wijnberg 2006). political engagement and ‘communitas’ of it as well. (Laing and Mair 2015). ” BEX BURCH, BAND LEADER, VULA VIEL, 2016

Festivals and “ weekends are like being in a sweet shop – you have to sample everything! If you miss one item … you feel cheated! ” CHAMBER MUSIC FESTIVAL-GOER, CITED IN PITTS 2008: 230 ”

Cambridge Folk Festival 2014 Photography: Richard Kaby

12 13 PLACE-MAKING AND TOURISM Festivals have become ‘ubiquitous’ Reports into festivals’ economic political, economic, environmental within tourism and place marketing impact are often (perhaps and social influence (AEA 2006; BOP campaigns (Gibson and Connell unsurprisingly) superlative-heavy, 2015). However, an influx of visitors 2005: 223) and are a cultural the authors aware of the need to is not unproblematic and can reveal mechanism for reputational gain or position their festival favourably deep-seated tensions: local authorities transformation of locale. in competitive local, regional and may use the ‘imagined tourist’ gaze international markets. For example: as ‘judgmental Other’ to sanitise parts They are vehicles for celebrating, [Notting Hill] Carnival is both a major of a town or city deemed unsightly constructing and maintaining national arts festival and the ‘largest single before a festival event, for example or cultural identity (Blake 1997; public event’ staged on a regular basis (Atkinson and Laurier 1998: 100; The Proms is one of McKean 1998; Cannadine 2008; in London (Mann Weaver Drew 2003: Waitt 2008). “ Matheson 2008; Garrod and Dowell 11; emphasis added). [Edinburgh’s the best things that 2014); diasporic and migrant cultures summer festivals] represent the has ever happened are reflected in festival practice—from ‘world’s biggest arts Festival’ (SQW The Edinburgh ‘mas’ (Trinidadian carnival) to fleadh 2005: 2; emphasis added). “ to me. I love it, and to mela. Festival obliterates everything about it. Music festivals often contribute the city: there to a positive image of a locale, I’ve told my girls, both internally to its residents and isn’t a town called I want my ashes externally to visitors, and hence Edinburgh any attract people to live in the place and scattered here … tourists to visit (Hughes 1998, 2000; more, there’s a town don’t let anyone see Jones and Munday 2001; SQW 2005; called the Edinburgh Strategic Marketing 2009; BOP 2013b; you do it, just scatter Ward-Griffin 2015). As noted above, Festival. And you them in the bushes … music festivals can play a part in the can’t escape it. ” (economic, cultural and physical) ” 77 YEAR-OLD FEMALE REGULAR regeneration of a city or region (Quinn 29 YEAR-OLD MALE AUDIENCE AT THE PROMS, CITED IN HEWETT 2005; Picard and Robinson, 2006; MEMBER, EFG LONDON JAZZ 2007: 231 Eales 2013) or enable it to expand its FESTIVAL 2015.

14 15 Festivals don’t do as “ well when there is no Glastonbury. When Glastonbury is on, it’s on the news the whole time, the BBC is pumping it out, and everyone thinks … festivals. ” FESTIVAL PROMOTERS, GLEN 2012 Why do the Ravers “ rave? At which point do enthusiasm and high jinks twist into the urge to hate and destroy? ” KENNETH ALLSOP, DAILY MAIL, 1 AUGUST 1960, ON THE ‘BATTLE OF BEAULIEU’ JAZZ FESTIVAL; CITED IN MCKAY 2005: 75

MEDIATION AND DISCOURSE

The growth in festivals has been News media contribute to the mirrored by a growth in mediation, discourse around festivals (Mann particularly in books (cf Larsen and Weaver Drew 2003; Voase 2009; O’Reilly 2009) and on radio and Johansson and Toraldo 2015) and television, which now portrays (rock/ media coverage and the estimated pop) festivals as ‘safe, friendly, valuation of such coverage is a feature and trendy events’ as opposed to of some economic impact assessments the earlier ‘countercultural and (Brookes and Landry 2002; SQW 2005; carnivalesque imagery’ (Anderton Chouguley et al 2011). 2008: 47-48). The history of festival mediation is The mediation of festival via also of interest; the 1960 Beaulieu Jazz ‘traditional’ and new media is Festival BBC live outside broadcast, important as both marketing strategy for instance, was shut down as a (Sykes 2014) and as a means of result of crowd trouble during the anticipating, sharing and extending so-called Battle of Beaulieu (McKay the experience for fans (Wall and 2004). The 1959 film of the Newport Dubber 2010); Morey et al 2014 term Jazz Festival, Jazz on a Summer’s Day the latter ‘Festival 2.0’. Multiplatform created a ‘blueprint for all subsequent mediation (television, radio, online) representations of pop festival films’ by in particular the BBC (Glastonbury, (Goodall 2015: 37), and documentaries the Proms) pushes the festival concept about festivals reconstruct the event into the national consciousness and re-present it to new generations (Webster 2014) and exports ideas (Wall and Long 2009; Bennett 2009), about and images of Britain and while festival posters have left a legacy Above left: Latitude Festival 2008 Britishness around the world (Blake of rich art and design (cf Laing and Photography: David Jones 1997; Cannadine 2008), as well as Newman 1994). Right: Cambridge Folk Festival 2014 being a useful means of audience Photography: Richard Kaby development (Service 2007). 16 17 When I come away “ from the Festival, every fibre, not just my blood, is tingling … It’s in me because I’ve listened to it so much and it just makes me alive again. ” CELTIC CONNECTIONS FESTIVAL-GOER, CITED IN MATHESON 2008: 69

HEALTH AND ENVIRONMENT: WELL-BEING LOCAL AND GLOBAL

Research into the health impacts Festivals have an impact on health All music festivals temporarily of which are inherently resource- of festivals ranges from those practitioners and health institutions, increase the population of a intensive and have a large carbon I hadn’t prepared offering a positive account of although seemingly less so if the locale thereby putting pressure footprint; indeed, the estimated “ myself for people festival-going, associating festival festival has an onsite medical unit on essential facilities such as total UK festival industry emissions attendance with wellness/well-being (Knight and Mulry 1996; Hewitt et accommodation, transport, (excluding travel) is 19,778 tonnes dropping their al 1996). A study in an Irish hospital infrastructure, and even policing or a positive ‘festival imaginary’ of CO2 per year (Powerful rubbish and walking (Lea 2006; O’Grady 2015; see also around the Oxegen festival in 2004, (McKay 2005). In addition, festivals Thinking 2015). away from it; or ‘Temporality and transformation’ for example, concluded that music have environmental impacts such section above) or those focusing on festivals significantly increase the as increased noise (Oakes and Whilst on the one hand, festivals are peeing on the land, more negative health impacts, such workload of local hospital services, Warnaby 2011) or anti-social highly environmentally impactful, which ruins the river as soft tissue injuries and alcohol/ even with an onsite medical unit (Nix behaviour (Lynn Jones Research they have also been sites for drug overconsumption (Britten et et al 2006). There is some evidence of 2006), including increased crime exploring and teaching about and kills the fish al 1993, 1995; Hewitt, Jarrett and festival as risky practice: levels, excessive drinking, and alternative ways of living, particularly and wildlife … I kind Winter 1996; Martinus et al 2010), at the 1991 Glastonbury litter, or injustice/inconvenience around energy usage and waste, or even (rarely) disease outbreak Festival, for instance, such as traffic congestion/parking, and many are directly attempting of hated the entire (Crampin et al 1999); there is also 2.8% of the revellers and overcrowding (Mason and to lessen their environmental crowd. I wanted to some literature on dealing with sought medical aid Beaumont-Kerridge 2004; Deery impact (Mair and Laing 2012; particular health issues such as compared to 1% at and Jago 2010; Hojman and Cummings 2014). Glyndebourne, go home. Type Diabetes 1 (Charlton and other large outdoor Hiscock 2010). for instance, installed a wind turbine ” Mackay 2010). crowd events (Britten in 2012, which provides 95% of the YORK 2015, TALKING ABOUT et al 1993). Festivals also have direct local organisation’s electricity needs HER FIRST GLASTONBURY environmental impacts on flora and (Glyndebourne n.d.); Shambala It normally takes as much as a week for me fauna: research into the impact of Festival in 2014 was powered by the Brinkburn Summer Music Festival “ 100% renewable energy for the Above left: Glastonbury 2014 to regain my sanity afterwards, although it on bat emergence, for instance, first time, after four years of striving Photography: ‘And the clean-up begins...’ found that bats left the venue – Above top: Secret Garden Party 2014 has been mentioned to me that one would (Shambala 2014); and Glastonbury’s by Nick Rice Photography: Angel Ganev Brinkburn Priory – up to 47 min later green policies include increasing Above right [top]: Kendal Calling Toilets want to be deranged to spend a weekend on festival nights (Shirley et al 2001). Above: Green Man 2008 recycling, reducing road delivery, and Photography: Emma Webster Other environmental impacts are Photography: Nicholas Smale in a medical tent in the first place. planting trees (Glastonbury n.d.). Above right [bottom]: less localised: music festivals import Right: Glastonbury 1999 drink ” Glastonbury Festival 2013 container, ‘cos the drugs don’t work’ NURSE CITED IN KNIGHT AND MULRY 1996: 42 international musicians, the logistics Photography: Malcolm Murdoch

18 19 • Carnival Futures: Notting Hill Left: Learning at London Jazz Festival 2014 Carnival 2020, funded by King’s Photography: © Emile Holba 2014 Cultural Institute, brought together key organisations and practitioners to test alternative visions for the future of Notting Hill Carnival (2012-2014); • Festival Performance as a State of Encounter, an AHRC-funded project at Leeds University, brought together festival practitioners and academics to explore the concept of relational performance within the context of popular music festivals (2009); • Rhythm Changes, an EU HERA project led from the University of Salford (www.rhythmchanges.net) with academic partners from UK, the Netherlands, Denmark, Austria and Norway, which collaborated with jazz THE IMPACT OF ACADEMIC festivals including the EFG London RECOMMENDATIONS FOR Jazz Festival (REF 2014) (2007-13); RESEARCH ON MUSIC FESTIVALS • Negotiating Managed FUTURE RESEARCH Consumption: Young people, Overall, it is likely that economic • The Impact of Festivals, a one- Based on this review of the • Further research into the mediation Branding and Social Identification impact assessments have been year AHRC-funded project at academic and ‘grey’/cultural of music festivals; Processes, an ESRC-funded project instrumental in highlighting the the University of East Anglia, in policy literature, the following are at the University of Bath, which • Development of a longitudinal value of festivals to local authorities collaboration with the EFG London sought to understand young recommendations for further study: interdisciplinary, mixed methods and politicians (Bracalante et al Jazz Festival; report launched at people’s use of alcohol and web approach to measure economic, 2011) and to sponsors (Mead 2016). Cheltenham Jazz Festival (2015-16); • An authoritative set of cultural, 2.0 in relation to music and free historical, geographical, social, cultural and experiential • Fields of Green: Music Festivals and festivals (2007-10); impacts of festivals, including Festivals are also used as vehicles musicological, social studies of music Climate Change, an AHRC-funded qualitative analysis; to educate the public about topics The Research Excellence Framework festivals in Britain; also new work project between three universities beyond simply music, or an enriched exercise is one means of evaluating on international aspects of festivals, • Work on new theorisations and and Creative Carbon Scotland, understanding of the music (Pitts 2008; research impact: searching for including comparative between critical approaches to festival culture; exploring the sustainability of BOP 2013a). They have been sites for ‘festival’ on the REF 2014 impact case countries, but also of diasporic and Scotland’s music festivals through • Greater research into the significant public engagement and knowledge studies website returns 732 results migrant festival practices in Britain; the eyes of artists, audiences and potential on the negative aspects of exchange, academic research while ‘music festival’ returns 37. The festival organisers (2015-16); • Further research which examines festivals in order to more accurately collaboration and debate, either Wellcome Trust has also carried out music festivals using a cross-genre assess and critique their net impact; directly or indirectly (although this • Cheltenham Festivals, a public research into public engagement and approach (cf Blake 1997); appears to be the exception rather engagement partner with the AHRC found that 30% of researchers had • Analysis of networks between than the rule); recent examples of such for the dissemination of funded engaged in a festival/fair (science, • Further research on festivals as festivals and musicians’ touring knowledge exchange-oriented and academic research, including at literary, arts) in 2015 (Hamlyn et al events from within the fields of schedules to understand collaborative funded projects include: Cheltenham music and jazz festivals 2015). The National Co-coordinating classical music and opera, which competition and collaboration (2013-15); Centre for Public Engagement has seem relatively under-represented; between festivals; • CHIME, Cultural Heritage and produced a practical guide called Improvised Music in European • ‘Professors in Residence’ and • Co-produced research between • Research into the creative role of the University Engagement in Festivals Festivals, a European research ‘Researchers in Residence’ are festival organisations and academic festival promoter/producer; project supported by the JPI a recent public engagement (Buckley et al 2011). researchers in order to explore issues • Further research into the impact of Heritage Plus programme innovation at popular music and jazz of benefit and relevance to festivals (chimeproject.eu), which brings festivals, including Kendal Calling themselves; academic research on festivals. together researchers and festival (2012), EFG London Jazz Festival • Further research on the impact of organisers and agencies from the (2014-16), and Edinburgh Jazz and festivals on musicians, for example UK, Italy, The Netherlands, and Blues Festival (2016); Above: Cheltenham Jazz Festival on their career paths, and the role of Sweden (2015-17); Photography: ©George McKay festivals in commissioning new work;

20 21 APPENDIX 1 APPENDIX 2

ECONOMIC IMPACT ASSESSMENTS The following list shows some of the results of economic impact assessments for British music festivals but with the caveat that the different methodologies employed by each study mean that direct comparison between festivals is inadvisable, even for the various Edinburgh Festivals reports. There is no generally agreed view as to what, or how much, cultural festivals contribute to the respective local economy (Hojman and Hiscock 2010), and the heterogeneous nature of methodological approaches (for example, Jones and Munday 2004; Chouguley et al 2011) means that aggregation of economic impact assessments is problematic (cf Bracalante et al 2011).

In addition, economic impact reports tend towards the positive benefits of the festivals they assess but tend to avoid or ignore any ‘typicality’ of arts and culture festivals (Vrettos 2006). Spending on festivals by local authorities, whether via direct subsidy or through the provision of local services, can deplete resources for other projects, particularly in urban areas, where the temporary spectacle of festivals may have been fostered at the expense of longer term artistic and audience development (Hughes 2000), although research into this aspect of festivals is currently scarce.

FESTIVAL (DATE OF RESEARCH) ECONOMIC IMPACT

Brecon Jazz (2000) Disaggregated economic impacts on all industries: Output: £907,000; Input: NOTE ON £217,000; Employment (FTE): 23 person-years (Jones and Munday 2001). METHODOLOGY Cheltenham Jazz and Music Jazz: 13,000 paid-for attendances; Music: 18,000. Music, Jazz, Literature and Festivals (2002) This report is based on a literature The research was undertaken as part the CHIME project website (http:// Science festivals’ total combined contribution to local economy: c. £3m. Inward review which necessarily spans of an Arts and Humanities Research chimeproject.eu), McKay’s academia cash sponsorship: £600,000; local authority expenditure: £300,000; other grants: different disciplines and different Council-funded project called The page (http://eastanglia.academia. c. £120,000. Broadcast exposure valued at minimum of £50,000 and print media types of event. Literature was Impact of Festivals (2015-16), in edu/GeorgeMcKay), and on the coverage at £210,000 (Brookes and Landry 2002). restricted to academic books and which Webster was the postdoctoral Live Music Exchange (http://www. journals, and policy/‘grey’ literature, researcher and McKay the principal livemusicexchange.org). Notting Hill Carnival (2002) Visitor spend over the three days by Carnival-goers was over £45 million; overall but largely does not include investigator. The larger project – income impact of the Notting Hill Carnival was £93 million; Carnival supports up newspaper or magazine articles; of which this piece specifically on As stated in the introduction, one of to 3,000 full-time equivalent jobs per year (Mann Weaver Drew 2003). the search was limited to literature British music festivals was but one our findings has been that there is in English. output – is undertaken in collaboration more work pertaining to the impact Shetland Folk Festival and Combined, the festivals attracted 7,000 people. Gross estimated attendance with research partner the EFG London of festivals as events within the folk Shetland Accordion and Fiddle by tourists: 600 (14%) at the Folk Festival; 760 (27%) at the Accordion and Fiddle Library databases searched include Jazz Festival, as part of the AHRC’s and pop literature (rock, jazz, ‘world’, Festival (2002) Festival (20% of attendance for Festivals overall). Combined income: £117,129.56; the British Library, the Bodleian collaborative Connected Communities etc.) than within the classical and combined total expenditure: £115,824.69; combined direct income from tourists Library, the University of East Anglia, programme. A small number of opera literature. We are aware that was £13,980; visitor spend from tourists attending festivals in Shetland was and Oxford Brookes University, as extracts from interviews Webster our backgrounds in rock/pop and £68,652.80. Volunteer time equivalent to c. 0.5FTE (AB Associates 2002). well as the Public Library Initiative undertook for The Impact of Festivals jazz mean that we are more familiar (http://freetoviewjournals.pls.org. project more widely are included with the folk and pop literature but Sidmouth Festival / FolkWeek Estimates of economic impact range between £0.6 million and £1.4 million uk). Databases searched include as ‘pull quotes’, epigraphs for the volume of literature in these fields (based on Association of Festival for Sidmouth, and between £1.1 million and £2.4 million for East Devon the resources sections of the illustrative purposes. has outweighed the classical/opera Organisers’ 2004 data) (depending on whether the small or large net-to-gross ratio is used) (Hojman websites of Arts Council England, literature for the purposes of this and Hiscock 2010). Creative Scotland, Arts Council To enhance what we hope will be literature review by about three to of Wales, Live Music Exchange the usefulness of the report for other one. We have therefore recommended Buxton Festival (2004) Economic impact unadjusted: £4,699,012 supporting 265 jobs. Economic (http://livemusicexchange.org/ researchers interested in British that more research is undertaken impact adjusted (total when local audiences and non-local expenditure made resources), RILM Abstracts of Music music festivals, and festivals more into the impact of festivals within the by the festivals are removed): £3,312,184 supporting 181 jobs (Maughan and Literature (http://www.rilm.org/), widely, we have also produced an classical/opera field. Bianchini 2004). and the National Alliance of Arts, annotated bibliography of over 170 Health and Wellbeing (http://www. entries which is freely accessible Derby Caribbean Carnival (2004) Economic impact unadjusted: £352,431 supporting 20 jobs. Economic impact artshealthandwellbeing.org.uk/ on the project website (http:// adjusted (total when local audiences and non-local expenditure made by the resources). impactoffestivals.wordpress.com/ festivals are removed): £60,594 supporting 4 jobs (Maughan and Bianchini 2004). project-outputs), as well as on the following other sites: UEA institutional Edinburgh International Festival Estimated attendances of 334,900 (a decrease from 416,267 in 2003); £49.77 repository, McKay’s website (http:// (2004) daily expenditure per person (incl. day trips). Estimated impact in Edinburgh: georgemckay.org), Webster’s Above: Womad Festival 2012 total output: £19.3m; total income £4.7m; 375 FTEs; and 671 press and website (http://emmawebster.org), Photography: ‘The Manganiyar Seduction’ broadcast items (SQW 2005). by Duca Di Spinaci

22 23 APPENDIX 2 ECONOMIC IMPACT ASSESSMENTS CONTINUED

FESTIVAL (DATE OF RESEARCH) ECONOMIC IMPACT FESTIVAL (DATE OF RESEARCH) ECONOMIC IMPACT

Edinburgh International Jazz and Estimated attendances of 75,000 (an increase from 49,581 in 2002); £36.97 Edinburgh Jazz and Blues Estimated attendances of 37,300; £41.10 daily expenditure per person; overall Blues Festival (2004) daily expenditure per person (incl. day trips). Economic impact in Edinburgh: Festival (2010) net economic impact in Edinburgh: output £1.29m, income £0.32m; 26 FTEs; total output: £2.9m; total income: £0.7m; 53 FTEs; and 91 press and broadcast 132 articles. The Festival included a significant proportion of Scottish artists items (SQW 2005). (Chouguley et al 2011).

Edinburgh Mela (2004) Estimated attendances of 40,000; £12.05 daily expenditure per person Edinburgh International Estimated attendances of 396,713; £57.70 daily expenditure per person (incl. day trips). Economic impact in Edinburgh: total output: £800,000; Festival (2010) (paid for events); overall net economic impact in Edinburgh: output £20.84m, total income: £200,000; 16 FTEs (SQW 2005). income £5.18m; 437 FTEs; 1,952 articles (Chouguley et al 2011).

Hull International Jazz £60,000 turnover, with 50% of this generated through ticket sales, suggesting Edinburgh Mela (2010) Estimated attendances of 34,590; £11 daily expenditure per person (paid for Festival (2004) a £420,000 contribution to the local economy from the expenditure associated events); overall net economic impact in Edinburgh: output £0.49m; income: with the festival (Long and Owen 2006) £0.14m; 11 FTEs; 94 articles (Chouguley et al 2011).

Leicester Belgrave Mela (2004) Economic impact unadjusted: £3,224,520 supporting 163 jobs. Economic Celtic Connections (2010) Number of unique visitors to the festival: 61,593. Visitors to Celtic Connections impact adjusted (total when local audiences and non-local expenditure made 2010 generated a net expenditure of £6,452,935.60, resulting in an output of by the festivals are removed): £580,414 supporting 29 jobs (Maughan and £10,131,108, an income of £2,774,762, and 142.6 FTE jobs (for one year) in Bianchini 2004). Glasgow (Glasgow Grows Audiences 2010).

Bradford Festival (incl. Mela) Estimated to turnover approximately £640,000, suggesting a £1.78m T in the Park (2010) The economic impacts for the event were: Perth & Kinross level – £2,714,572 (2005) contribution to the local economy from the expenditure on the festival alone, (£1,117,200 of expenditure from visitors & £1,597,371 from organiser’s assuming a multiplier of 2.78. Around £300,000-£340,000 is invested by Bradford expenditure); Tayside level – £3,753,663 (£1,803,455 of expenditure from Council in the festival each year (Long and Owen 2006). visitors & £1,950,208 from organiser’s expenditure); Scottish level – £9,575,595 (£4,523,184 of expenditure from visitors & £5,052,411 from organiser’s Harrogate International Gross ticket sales of £226,000 and £176,000 from sponsorship, donations and expenditure) (EKOS 2011). Festival (2005) individual contributions towards its activities. This sum amounts to 35% of the organisation’s tangible income – ‘a significant proportion when compared with a Shrewsbury Folk Festival (2013) Generated £548,077 additional spending in the area. 73% were first-time or national average of 7% for combined arts organisations’ (Long and Owen 2006). infrequent visitors, 85% were ‘very likely to return to Shrewsbury’, and 92% were very likely to recommend Shrewsbury (Shropshire Council 2013). Brecon Jazz (2006) Generated between £1.86m and £2.2m of direct expenditure in Brecon and the overall gross value was estimated to be between £2.9m and £3.37m in the Welsh Manchester Jazz Festival (2013) Audience expenditure: £985,126.58; festival-goer expenditure: £13,175.64; economy; the festival created or safeguarded between 63 and 73 FTE jobs (Lynn direct economic impact: £1,000,428.22. Total funding: £145,595 (incl. local Jones Research 2006). funding: £29,100; Arts Council England: £90,146). Each £1 of public sector investment generated £6.87 of new income into Manchester. Audiences from T in the Park (2005) The 2005 T in the Park event generated net additional impact of: £1.42m and outside Manchester: 68.7%; performers from outside Manchester: 78.5% 34 annual FTEs at the Perth and Kinross level; £2.09m and 53 annual FTEs at (Li and Chen 2013). the Tayside level; and £7.30m and 236 annual FTEs at the Scottish level. The event also generated net additional GVA of £0.53m at the Perth & Kinross level, Norfolk and Norwich Generated £2,397,464 of economic activity; festival-goers spent on average £0.83m at the Tayside level and £3.69m at the Scottish level (EKOS 2006). Festival (2013) £46 per head whilst attending the event (excluding their ticket purchase); 124 volunteers. Nearly half the expenditure was on the artistic programme (42%), V Festival (2006) Gross direct expenditure in the East of England region: £7.4m; Essex: £7.2m and 35% on staffing and overheads, 17% on education, and 6% on marketing and Chelmsford for £6.6m. Total direct overall expenditure by Metropolis Music, their development (Norfolk and Norwich Festival 2013). contractors and visitors: £8.2m (Chelmsford City Council 2006). Glyndebourne (2013) Lewes: gross economic impact is £8.6m, leading to a GVA of £5.4m, equivalent Glastonbury Festival (2007) 177,500 Festival visitors with over 700 acts playing 80 stages or performance to supporting 354 jobs. East Sussex: gross economic impact of £16.2m, leading spaces. Total gross direct spend estimated at £73,286,500, which equates to an to a GVA of £10.8m, equivalent to supporting 682 jobs (BOP 2013a). expenditure of £2.45 by visitors to the Festival for every £1 of expenditure by Glastonbury Festivals. Estimated employment generation in South West region: T in the Park (2014) The economic impacts for the event were: Perth & Kinross level – 1,110 FTE jobs (Baker Associates 2007). £2,743,156 (£1,271,424 of expenditure from visitors; £1,471,732 from organiser’s expenditure); Tayside level – £3,586,032 (£1,447,215 of Income totalled £1.7m (2007: £1.6m); annual sales of 18-20,000 tickets, with a Henley Festival (2008) expenditure from visitors; £2,138,817 from organiser’s expenditure); box office value in 2008 of just over £900,000; free events attended by a further 4-5,000 people annually; 23,000 visitors in 2009 (70% of whom are from the and Scottish level – £15,395,013 (£7,487,459 of expenditure from visitors; Thames Valley); £38,000 profit (2007: £24,200) was donated to the Henley Festival £7,907,553 from organiser’s expenditure) (EKOS 2014). Trust (DPA 2010).

Creamfields (2008) 48,000 people attended the event which generated £7.2m (inclusive of ticket prices). Average spend per person was £150.83 over the duration of their trip and the majority of festival-goers were economically active; 61% were in social grades A/B/C1) (cited in Mersey Partnership 2009).

24 25 APPENDIX 3 TABLE OF ECONOMIC BIBLIOGRAPHY IMPACT OF MUSIC To accompany the review, a 170-entry 63,000-word annotated bibliography has also been produced, which is accessible online via the project website (https://impactoffestivals.wordpress.com/ FESTIVALS BY UK project-outputs/). REGION IN 2014 For a selection of historical and critical literature on specific British festivals, see the Impact Disaggregated data from of Festivals Resources section (https://impactoffestivals.wordpress.com/resources/). report by UK Music (2015)

AB Associates. 2003. Social and Economic Beam, Alan 1976. Rehearsal for the Year Brookes, Fred and Charles Landry. 2002. REGION TOTAL DIRECT NO. OF MUSIC PROPORTION NO. OF FULL- Impact Assessment of Shetland Music. 2000. London: Revelaction Press. Good Times: The Economic Impact of TOURISTS OF LIVE MUSIC AND INDIRECT TIME JOBS: Scalloway: AB Associates. Bengry-Howell, Andrew, Christine Griffin, Cheltenham’s Festivals. Accessed SPEND: generated ATTENDING AUDIENCES: sustained by 29-Nov-15. Via email from authors. FESTIVALS Abreu-Novais, Margarida and Charles Isabelle Szmigin, and Sarah Riley. 2011. by music tourism that are music music tourism Arcodia. 2013. ‘Music festival motivators Negotiating Managed Consumption: Bruce, George. 1975. Festival in the North: for festivals tourists at festivals at festivals for attendance: developing an agenda for Young People, Branding and Social The Story of the Edinburgh Festival. research’. International Journal of Event Identification Processes. ESRC End of London: Robert Hale. East of England £273m 194,000 66% 1,367 Management Research, 8(1): 34-48. Award Report, RES-061-25-0129. Buckley, Nicola, Joanna McPhee and Eric AEA [Consulting]. 2006. Thundering Swindon: ESRC. Jensen. 2011. University Engagement East Midlands £146m 166,000 79% 1,125 Hooves: Maintaining the Global Bennett, Andy, ed. 2004. Remembering in Festivals: Top Tips and Case Studies. Competitive Edge of Edinburgh’s Festivals. Woodstock. Aldershot: Ashgate. Bristol: National Co-ordinating Centre for London: AEA Consulting. Public Engagement. London £184m 341,000 67% 1,345 Bennett, Andy. 2009. ‘‘‘Heritage rock’’: Ali-Knight, Jane, Martin Roberston, rock music, representation and heritage Burland, Karen & Stephanie E. Pitts. 2010. Alan Fyall and Adele Ladkin, eds. 2009. discourse’. Poetics, 37: 474-489. ‘Understanding jazz audiences: listening North East £8m 8,000 64% 61 International Perspectives of Festivals Bennett, Andy. 2013. Music, Style, and and learning at the Edinburgh Jazz and and Events: Paradigms of Analysis Aging: Growing Old Disgracefully? Blues Festival’. Journal of New Music North West £177m 229,000 64% 1,435 London: Elsevier. Philadelphia: Temple University Press. Research, 39(2): 125-134. Andersson, Tommy D. and Donald Getz. Bennett, Andy, Jodie Taylor and Ian Burns, Robert G. H. 2007. ‘Continuity, Northern Ireland £43m 51,000 64% 357 2008. ‘Tourism as a mixed industry: Woodward, eds. 2014. The Festivalization variation, and authenticity in the English differences between private, public of Culture. Farnham: Ashgate. folk-rock movement’. Folk Music Journal, and not-for-profit festivals’.Tourism 9(2): 192-218. Scotland £155m 201,000 64% 1,196 Blake, Andrew. 1997. The Land Without Management, 30: 847–856. Music: Music, Culture and Society in Burr, Angela. 2006. ‘The “freedom of South East £181m 309,000 48% 1,931 Anderton, Chris. 2006. (Re)Constructing Twentieth-Century Britain. Manchester: slaves to walk the streets”: celebration, Music Festival Places (PhD thesis, Manchester University Press. spontaneity and revelry versus logistics at University of Wales, Swansea). the Notting Hill Carnival’. In Picard and BOP [Consulting]. 2013a. Economic impact South West £221m 272,000 64% 2,005 Robinson 2006, 84-98. Anderton, Chris. 2008. ‘Commercializing of Glyndebourne. Lewes: Glyndebourne the carnivalesque: the V Festival and East Sussex County Council. Cannadine, David. 2008. ‘The “Last Night Wales £69m 80,000 64% 541 and image/risk management’. Event of the Proms” in historical perspective’. BOP [Consulting]. 2013b. The Economic, Management, 12(1): 39-51. Historical Research, 81(212): 315-349. Social and Cultural Impact of the City Arts West Midlands £158m 195,000 66% 1,247 Anderton, Chris. 2011. ‘Music festival and Culture Cluster. London: City Carnwath, John D. and Alan S. Brown. sponsorship: between commerce and of London Corporation. 2014. Understanding the Value and carnival’. Arts Marketing: An International Impacts of Cultural Experiences. London: Yorkshire & Humber £121m 149,000 60% 933 BOP [Consulting]. 2015. Edinburgh Journal, 1(2): 145-158. Arts Council England. Festivals: Thundering Hooves 2.0: Totals £1,736m 2,195,000 Average: 64% 13,543 Anderton, Chris. 2015. ‘Branding, A Ten Year Strategy to Sustain the CEBR [Centre for Economics and Business sponsorship and the music festival’. Success of Edinburgh’s Festivals. London: Research]. 2013. The Contribution of the In McKay 2015a, 199-212. BOP Consulting. Arts and Culture to the National Economy: (£1.7 billion) An Analysis of the Macroeconomic Atkinson, David and Eric Laurier. 1998. Bracalente, Bruno, Cecilia Chirieleison, Contribution of the Arts and Culture and ‘A sanitised city: social exclusion at Bristol’s Massimo Cossignani, Luca Ferrucci, Marina of Some of Their Indirect Contributions 1996 international festival of the sea’. Gigliotti and M. Giovanna Ranalli. 2011. Through Spillover Effects Felt in the Wider As can be seen, festivals have significant economic impacts across the UK: they generate major amounts Geoforum, 29(2): 199-206. ‘The economic impact of cultural events: Economy. London: Arts Council England. of direct and indirect spending (£1.7bn), attract high numbers of music tourists (2.2m), and sustain a large Baker Associates. 2007. Economic Impact the Umbria Jazz music festival’. Tourism number of jobs (13.5K). of Glastonbury Festivals 2007. Shepton Economics, 17(6): 1235–1255. Chalcraft, Jasper and Paolo Magaudda. 2011. ‘“Space is the place”: the global Mallet: Mendip District Council. Britten, Simon, Mark S. Whiteley, Peter localities of the Sonar and WOMAD music Bakhtin, Mikhail. 1984. Rabelais and F. Fox, Mark I. Goodwin and Michael It should be noted that the festivals included in the UK Music report were largely driven by data from festivals’. In Delanty et al 2011, 173-189. large and medium sized festivals and do not necessarily capture the smaller festivals, therefore these His World (trans. Helene Iswolsky). Horrocks. 1993. ‘Medical treatment at Cambridge: MIT Press. Glastonbury Festival’. British Medical Charlton, Jacqui and Liz Mackay. 2010. totals are likely to be on the conservative side. ‘Type 1, tents, take-aways and toilets: how Bartie, Angela. 2013. The Edinburgh Journal, 307(6910): 1009-1010. to manage at a music festival’. Practical Festivals: Culture and Society in Britten, Simon, Mark S. Whiteley, Peter Diabetes International, 27(7): 272-275. Postwar Britain. Edinburgh: Edinburgh F. Fox, Mark I. Goodwin and Michael University Press. Horrocks. 1995. ‘The Glastonbury Chelmsford City Council. 2006. ‘The value Of “V”: an evaluation of the economic BBC. 2008. ‘Glastonbury licence Festival 1993: pattern of attendances and impact of the V Festival 2006’. Chelmsford: “is assured”’. 2008. BBC News website, admissions to an NHS Trust’. Journal Chelmsford City Council. 30 November. of Accident and Emergency Medicine, 12: 30-31.

26 27 BIBLIOGRAPHY CONTINUED

Chouguley, Ulrike, Richard Naylor, and Falassi, Alessandro. 1987. ‘Festival: Hojman, David E. and Julia Hiscock. Larsen, Gretchen and Daragh O’Reilly. McKay, George, ed. 1998. DiY Culture: Norfolk and Norwich Festival. 2013. Cristina Rosemberg Montes. 2011. definition and morphology’.Time Out of 2010. ‘Interpreting suboptimal business 2009. Festival Tales: Utopian Tales. Party & Protest in Nineties Britain. Norfolk and Norwich Festival Annual Edinburgh Festivals Impact Study. London: Time: Essays on the Festival, edited by outcomes in light of the Coase Theorem’. University of Bradford Working Paper London: Verso. Review. Norwich: Norfolk and Norwich BOP Consulting. Alessandro Falassi, 1-10. Albuquerque: Tourism Management, 31: 240-249. Series, 9(1): n.p. McKay, George. 2000. Glastonbury: Festival. Clarke, Michael. 1982. The Politics of Pop University of New Mexico Press. Hughes, Howard Leslie. 1998. The Lea, Jennifer. 2006. ‘Experiencing A Very English Fair. 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