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NEGRIER-BONET-GUERIN-2013-Music-Festivals-A-Changing-World Music Festivals, a Changing World Cover Design: Sandra Musy Cover Photo: Jacques Verrees (Festival Musical de Namur) Book Design: Benoît Cannaferina © Éditions Michel de Maule, November, 2013. www. micheldemaule.com Music Festivals, a Changing World An International Comparison Edited by Emmanuel Négrier, Lluis Bonet and Michel Guérin Michel de Maule List of participants — Kai Amberla is the executive director of the Finland Festivals Association in Helsinki (Finland). — Claudine Audet is a research fellow at the Ministry of Culture and Communications of Quebec (Canada). — Lluís Bonet is a professor of applied economics and the director of the Cultural Management Program at the University of Barcelona (Spain). — Luisella Carnelli is a researcher at the Performing Arts Organization and a consultant at the Fondazione Fitzcarraldo, Torino (Italy). — Tino Carreño is a cultural manager and a research professor at the Cultural Management Postgraduate Program (University of Barcelona). — Luca Dal Pozzolo is the head of research at the Fondazione Fitzcarraldo and the director of the Piedmont Cultural Observatory, Turin (Italy). — Aurélien Djakouane is a post-doctoral fellow in political science at the University of Montpellier I (France). — Michel Guérin is the director of the Observatory of Cultural Policies of the Ministry of the Wallonia-Brussels Federation (Belgium). — Marie Jourda is a CNRS senior research engineer at CEPEL, University of Montpellier I (France). 7 — Christopher Maughan is an associate research fellow at the Faculty of Art, Design and Humanities at De Montfort University, Leicester (United Kingdom). — Emmanuel Négrier is a CNRS senior research fellow in political science at CEPEL, University of Montpellier I (France). — Isabelle Paindavoine is a senior research fellow at the Observatory of Cultural Policies of the Ministry of the Wallonia-Brussels Federation (Belgium). — Béatrice Reynaerts is the director of the Documentation Center at the Observatory of Cultural Policies of the Ministry of the Wallonia-Brussels Federation (Belgium). — Diane Saint-Pierre is a professor at the National Institute for Scientific Research and the director of the Cultural Policies Department at the INRS – Chaire Fernand-Dumont for Cultural Policy (Quebec, Canada). — Sara Tannå is a sociologist (University of Umeå) and independent scholar in Stockholm (Sweden). — Ulrich Suter is the manager of the Seetaler Poesiesommer Festival. — Heidi Taskinen holds the post of senior specialist at the City of Helsinki Urban Facts Department (Finland). — Jorid Vaagland is a senior lecturer in cultural project management at Lillehammer University College (Norway). — János Zoltán Szabó is a senior development officer at the Ministry of Human Resources and a lecturer at ELTE University, Budapest (Hungary). Festival Berlioz © H. Coste Opera på Skäret © DR Festival Musical de Namur © Jacques Verrees Festival International de Jazz de Montreal © Jean-François Leb Helsinki Festival © Simo Karisalo Culturescapes © Juri Junkov Festival Internacional de Música y Danza de Granada © C. Carlos Vossa Jazz © Vossa Jazz Festival international des musiques sacrées de Québec © Louise Leblanc Klara Festival © Festival de Flandre Bruxelles Festival d’Île de France © Festival d’Île de France Trondheim Jazzfestival © Arne Hauge Acknowledgements Partners and institutions involved in this study The completion of our project, which we have baptized Festudy, has been made possible by the involvement and energetic participation of several indi- viduals and organizations, all of whom deserve our warmest thanks. National and International Festival Associations: — Festclasica (Spain), represented by Luis Lopez de Lamadrid and Jorge Cula (Presidents); — Finland Festivals, represented by Kai Amberla (Director); — The Flemish Music Festival Association, represented by Jan Briers and Sophie Detremmerie; — France Festivals, represented by Philippe Toussaint (President) and Bénédicte Dumeige (Director), associated with the networks developed by Afijma, now Jazzécroisé: Futurs Composés, Zone Franche, and De Concert! — Association of Irish Festival Events, represented by Colm Croffy (Director); — The Wallonia Festival, represented by Baudouin Muylle, and the non-profit organization Court-circuit, represented by Amandine Vandermeir (Coordinator); — Swedish Music Festivals, by Peter Eriksson (President) and Jan Ove Hafstad (Director); — Norway Festivals, represented by Tone Ystanes and Anders Rykkja (Director); — Swiss Festivals, by Jurriaan Cooiman (President). Public institutions and Research Institutes: — The Luxembourg Agency of Cultural Action (Luxembourg); — The National Center of Scientific Research – CNRS – (France); 21 — The Cepel, Center for Latin European Political Studies, University of Montpellier I (France); — University of Barcelone (Spain); — The National Institute of Scientific Research – INRS – (Quebec); — The Ministry of Culture et de la Communication (France); — The Ministry of Culture et Communications (Quebec); — The Ministry of the Wallonia-Brussels Federation, Cultural Bureau (Belgium); — The Ministry of the Flemish Community, Cultural Bureau and the Agency of Art and Heritage (Belgium); — The Wallonia-Brussels Federation Observatory of Cultural Policy (Belgium); — Wallonia-Brussels International, (Belgium); — The Piedmont Cultural Observatory, Turin (Italy); — The Regional Councils of Basse-Normandie, Languedoc-Roussillon, and Limousin (France); — The Regional Observatory on Financing Culture in East-Central Europe, Budapest Observatory (Hongrie). The organizational aspects of this project were addressed by staff members from France Festivals: Bénédicte Dumeige (Director), Anais Morais (Project Manager), and Laura Chabaud (Intern). We would also like to thank Andrew Dach for translating this work into English as well as for his French translations of many of the English chap- ters. We would equally like to thank Helen Morton for her close reading of the English version of the manuscript and for her collaboration with Andrew. We are grateful to the European Festivals Association (EFA) for welcoming our researchers during our collective workshops and for its support in pub- lishing our project. We owe our heartfelt thanks to Thierry de la Croix, editor and founder of the publishing house Michel de Maule (Paris), for his “courageous” decision to publish our complex and multilingual work within a very short space of time. Our thanks also go out to his publishing team and especially to Benoît Cannaferina for their work on the galley proofs. Finally, we would like to express our gratitude to the 390 festivals whose investment of time and energy has made this project possible. For additional information, please consult http://www.festudy.com/fr/ressources Preface The co-publication of this work is the end result of a research project con- ducted over more than three years, jointly organized by Emmanuel Négrier (CNRS researcher – France), Michel Guérin (Director of the Cultural Policy Observatory of the Wallonia-Brussels Federation), and Lluís Bonet (professor at the University of Barcelona). The technical organization necessary for this research was provided by France Festivals, the French federation of festivals of music and performing arts. This comparative study of music festivals was initiated by nine national associations of European festivals working within the European Festivals Association (EFA), later to be joined by the National Institute of Scientific Research (INRS) and the Ministry of Culture and Communications in Quebec. It is situated within a critical context for festivals. Indeed, though festivals have become one of the major tools for European cultural policies, Europe has long lacked a basic shared understanding of the political, cultural, and artistic frameworks in which these events are developed. Despite the work of a few early pioneers, it is only recently that festivals have become a major means of transmission for the performing arts. The fes- tival phenomenon is multi-faceted, expressing its diversity in terms of festival esthetics, event size, the nature of public and private funding, and its multi- ple relationships with public cultural policy. This diversity has long been an obstacle for comparative studies of the festival sector. Therefore, we have gone beyond the accumulation of monographic infor- mation concerning international festivals and have worked over a three- year period to pave the way for an integrated study, bringing together the representatives of national festival networks and their research teams. This long period of preparation has allowed us to establish a unique method for 23 collecting, processing, and analyzing data which, with a sample of 390 festi- vals, is unprecedented on the international level. We would like to express our gratitude to our partners in this international cooperative project for their involvement in this novel undertaking. We hope that music festivals, their networks, and their public and private partners will be able to use the results of this study to strengthen their projects for develop- ment and cooperation to the benefit of their constantly changing audiences. Philippe Toussaint Frédéric Delcor, Co-Editor, Co-Editor, President Secretary-General of the Wallonia-Brussels Federation France Festivals President of the Cultural Policy Observatory European Festivals Association (EFA): Arts matter! Founded in 1952, the European Festivals Association (EFA) today represents 108 music, dance, theatre
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