Search Results (53)

This study examines how Generation Z’s digital practices on TikTok and Instagram shape their music festival experiences, focusing on event perception, engagement, and the development of collective identity. The aim is to identify key factors connecting online and offline aspects of festival participation. The research adopts a quantitative approach based on an online survey of 248 respondents born between 1995 and 2010 from various regions of Serbia. Data were analyzed in SPSS 26.0 using Spearman correlation, quantile regression, and the Mann–Whitney test. Given the exploratory nature of the study, the findings should be interpreted accordingly. Findings show that frequent social media use has a positive but limited effect on how important these platforms are perceived for the festival experience. However, user-generated content created by attendees plays a more significant role in shaping engagement and attitudes than influencer content. Influencer credibility also influences how festivals are interpreted digitally. The interplay between online interaction and offline participation motivates content sharing and reinforces a sense of community. Overall, the study concludes that social media and digital narratives are central to Generation Z’s festival experience. Authentic, attendee-created content strongly contributes to collective identity, helping bridge digital and physical dimensions—insights valuable for festival organizers, influencers, and cultural tourism. Full article

The SIKUL research project examines the case of a self-organised music festival, which is understood as a social innovation in the field of arts and culture, in order to answer the following question: What effects do social innovations in arts and culture have on the members of the public involved in rural areas? How do they impact the region? To this end, a triangulation of methods has been used in conjunction with seven expert interviews that were analysed using focused interview analysis as well as a multimodal image analysis of the festival’s social media presence supplemented by a descriptive study of the festival’s cooperation, pictured on social media. The festival is a free space for the organisers. It promotes self-expression and learning. For decades and across several generations, a community of care has existed that extends beyond the festival experience into everyday life. Thus, the festival is a self-organised social space. Involvement in the festival allows participants to express and mutually reinforce their connection to the region. The festival primarily cooperates with regional stakeholders within a 10-km radius and is thus a creative driver in the region. Social innovations in arts and culture play a significant role in local cohesion and identity-building in rural regions. Full article

Music festivals have emerged as venues for the consumption of recreational drugs and novel psychoactive substances. This systematic review provides the first critical evaluation and synthesis of published wastewater analyses for detecting recreational drug use at music festivals worldwide. Following Preferred Reporting Items for Systematic Reviews and Meta-analyses (PRISMA) guidelines, we systematically searched PubMed, Embase, MEDLINE, and SCOPUS databases using terms combining music festivals, drugs, and wastewater analysis. Twenty-three studies were included, spanning festivals with 6200 to 600,000 attendees. Two primary sampling approaches emerged: wastewater sampling (16 studies) and pooled urine sampling (7 studies), using Liquid Chromatography–Tandem Mass Spectrometry or Liquid Chromatography–High-Resolution Mass Spectrometry for chemical analysis. 3,4-Methylenedioxymethamphetamine (MDMA; ecstasy) emerged as the most consistently detected substance. Regional variations included a dominance of methamphetamine in Eastern Europe, MDMA use in Western Europe, and a high prevalence of cocaine use in South America. Regarding the music genre, electronic dance music events showed markedly higher MDMA rates. Limitations include geographic underrepresentation of African and Asian countries and a gender bias in pooled urine sampling. Future research should work on enhancing sampling infrastructure, analytical capabilities, public health surveillance, and harm reduction strategies. Full article

Exploratory listening encompasses the various ways, contexts, and levels of attention with which listeners engage with their sonic environment. This paper presents findings from qualitative research conducted with audience members during the Stardew Valley: Festival of Seasons concert tour. During these events, attendees encountered music from the widely successful indie video game, reorchestrated in a new context. Just as the game encourages exploration through open-ended gameplay, the concerts prompt listeners to explore how the rearranged music refers to and diverges from its use in the game. Findings suggest that attendees deployed their attention to divergent aspects of the music. While some attendees focused on specific musical aspects like recognizable melodies and instrumentation, others focused on the broader audiovisual and community aspects of the performance. Results also indicate that highly immersed listeners experience diverse thoughts, including those not directly about the immediate musical content. Positioning music-evoked imaginings as a way listeners become immersed in musical experiences, we report on how exploratory listening shapes the dynamics of attention, immersion, and enjoyment within musical and audiovisual contexts. Full article

Premiered at the 2024 Adelaide Festival, Is This the Gate? is an opera excerpt composed by Nicholas Lens and set to a libretto written by J. M. Coetzee. It is adapted from the last section of Coetzee’s novel Elizabeth Costello (2003), revolving around the eponymous character’s trial before the gate in the afterworld. This article explores the literary, musical and dramaturgical elements of Is This the Gate? and contends that the adaptation, despite its brevity and incompleteness, indexes and reworks some of the most important intertexts, localities and motifs that connect Coetzee’s early and late works. Allusions to Kafka and Dante frame the scenario for Costello in limbo—a state mirroring a writer’s late-in-life predicament—while references to Australia’s weather and fauna reflect Coetzee’s relationship to his South African roots and adopted home. Further, Costello’s conviction that she is “a secretary of the invisible” holds clues to Coetzee’s deployment of voices and fictional personae since his debut, Dusklands (1974). The last few acts of the opera excerpt evoke themes of desire and mortality that chime with Coetzee’s other Costello narratives, including his latest collection, The Pole and Other Stories (2023). The adaptation ends with Costello’s declaration of her subjectivity, which suggests a writer’s yearning and resolution to go beyond the threshold of life and death. Full article

Artificial intelligence (AI) stands out as a transformative force in various sectors, offering both new opportunities and challenges. In tourism and music events, AI has proven to be a powerful tool for improving the attendee experience, personalizing artist recommendations, optimizing event logistics in real time, and enhancing audience interaction through virtual assistants and immersive visual effects, thus highlighting its transformative potential. This study aims to analyze the impact of applying AI to the experience of consumers at music festivals. In particular, the research examines the impact of AI on the quality of information delivered, the extent of consumer engagement with brands at the event, and the level of trust in the technology. A quantitative methodology was used, collecting 400 responses from Portuguese consumers who attended music festivals. The results show that the quality of information and the AI positively influence customer engagement with the brand. Greater customer engagement, in turn, increases the willingness to use AI solutions. Trust in AI is significantly shaped by the quality of the information and the reliability of the system, which further promotes electronic word-of-mouth (eWOM) and the willingness to adopt AI. In addition, eWOM plays a key role in encouraging the use of AI technologies. Finally, memorable tourist experiences positively influence the willingness to adopt AI, underlining the importance of experiential factors in promoting adoption. These results highlight the interconnected roles of information quality, trust, involvement, and user experiences in shaping attitudes toward artificial intelligence applications. This study expands the literature by analyzing how AI-driven information quality influences consumer trust and engagement, thus emphasizing the need to optimize these factors for better festival strategies. It highlights the link between trust and positive eWOM, showing that trust based on high-quality information enhances the festival’s reputation and attracts participants. A key contribution is its exploration of how trust and eWOM influence AI adoption at future festivals, which offers insights to boost credibility and acceptance. Lastly, it provides strategic guidelines that improve attendee experience and festival management. Full article

Among the most prominent Hindu festivals is the Rath Yatra, or Festival of Chariots, which is celebrated by parading three brightly decorated chariots containing statues of the deities Jagganath, Subhadra, and Balaram through the streets of a city on brilliantly decorated chariots. Rath Yatra is celebrated throughout India and increasingly throughout the world through such efforts as the Festival of India sponsored by the International Society of Krishna Consciousness (ISKCON), which stops in several prominent locations throughout North America. Within Krishna Consciousness, temple worship is an aesthetically vivid sensory experience in which the various art forms—music, dance, theater, and the visual arts—serve to attach the devotee’s senses to the Divine through worship practices, including darshan—the exchange of gazes, kirtan—the singing of sacred mantras, and lila—the re-creation of the pastimes of divine characters. The festival experience—and the Festival of Chariots in particular—can serve to bring the practices typically associated with temple worship to the public. This article draws on several Rath Yatra events, giving special attention to the annual Rath Yatra parade held in New York City, where devotees parade their deities down Manhattan’s Fifth Avenue, and that held in Los Angeles on Venice Beach. These prominent American Rath Yatras serve as a study of the spiritual necessity of beauty and the spiritual necessity of joy, which are both addressed by the festival experience, as music and vivid visual imagery serve to transform urban space into sacred space by allowing bypassers as well as devotees to come into sensory contact with sacred imagery and sacred sound. Full article

Background: Children and young people’s (CYP) mental health is a policy priority, with rates of poor mental health reported to be as much as one in five across the UK. Traditional mental health support services cannot meet demand, and new approaches are needed. The creative arts can be an effective tool in supporting mental health. However, little is known about how live music can be used to support CYP mental health and wellbeing. We facilitated three, two-day intergenerational and multi-disciplinary workshops to co-produce ideas about how live music could be delivered to this end. Results: Workshops were held in three locations in Scotland, attended by a mixture of CYP, youth workers, mental health practitioners, teachers, and musicians (n = 91). A range of co-created solutions were generated including a live music festival designed for and with CYP and free gig tickets. Barriers and facilitators for CYP accessing live music were also identified. Furthermore, these workshops were found to increase confidence for musicians in delivering live music events to CYP, and CYP felt their voices were heard in their design of the delivery. Conclusions: This study presents novel co-created solutions about how live music can be delivered to CYP that need to be tried and tested in future research. It also provides key insights for musicians, live music providers, and people supporting CYP about the best approach to delivering live music for CYP. Full article

Illicit drug use is common among attendees of electronic dance music (EDM) festivals, but is often significantly underreported by participants. The current study aimed to compare the prevalence and over- and under-reporting of illicit drug use among attendees at EDM festivals in two European countries with distinct drug laws and cultures. Self-reported data regarding recent drug use were collected through interviews. Participants’ blood alcohol concentrations were measured using a breathalyzer. Recent illicit drug use was assessed through sampling microparticles in the breath and consequent off-site analysis through liquid chromatography and tandem mass spectroscopy. Illicit drug use was higher in Belgium than in Sweden as indicated by self-reports (56.8 vs. 4.3%) and drug testing (37.2 vs. 12.5%). Underreporting was higher in Sweden than in Belgium; in Sweden, only 2.6% reported taking an illicit drug other than cannabis, whereas 11.6% tested positive, while the corresponding figures in Belgium were 36.5% and 36.9%. In both countries, results from self-reporting and drug testing for specific drugs matched poorly at the individual level, indicating unwitting consumption of substances. This study indicates that the drug use prevalence and the likelihood of disclosure may differ between countries or cultures, which should be considered when choosing methods to investigate drug use prevalence. Full article

In this text, we discuss the “Beyond Quantum Music” project, which inspired pianists, composers, researchers, and innovators Sonja Lončar and Andrija Pavlović (LP Duo) to go beyond the boundaries of classical and avant-garde practices to create a new style in composition and performance on two unique DUALITY hybrid pianos that they invented and developed to create a new stage design for multimedia concert performances and establish a new musical genre as a platform for future musical expression. “Beyond Quantum Music” is a continuation of the groundbreaking art and science project “Quantum Music”, which began in 2015; we envisioned it as a long-term project. In order to build an experimental dialogue between music and quantum physics, we created the DUALITY Portable Hybrid Piano System. This innovative instrument was essential for expanding the current sound of the classical piano. As a result, new compositions and new piano sounds were produced using various synthesizers and sound samples derived from scientific experiments. The key place for this dialogue between music and science was the Delft University of Technology, the Netherlands, where Andrija Pavlović, as a Kavli artist in residence, and Sonja Lončar, as an expert, spent several months in 2022 collaborating with scientists to compose new music. Later on, we collaborated with the visual artist “Incredible Bob” to develop the idea for the multimedia concert “LP Duo plays Beyond Quantum Music” to be performed at various locations, including the Scientific Institute MedILS Split (Croatia), the Theater Hall JDP Belgrade (Serbia), the Congress Hall TU Delft (the Netherlands), and open-air concerts at the Kaleidoskop Festival (Novi Sad, Serbia) and Ars Electronica Festival in Linz (Austria). Full article

Organized as part of the annual Art Days festival in the capital of the Latvian SSR, the First Exhibition of Approximate Art comprised a cacophonous and provocative mashup of music, dance, performance art, and design. At the center of the event was a demonstration of mixing and scratching records by Maximilian Lenz, also known as Westbam, one of the leading DJs in West Berlin. Mining archival sources in Berlin and Riga, this article reconstructs the complicated path by which the DJ came to perform at the event. It reveals a surprising network of relations and alliances operating in tandem behind the scenes, featuring a Riga artist dedicated to enacting a vision of postmodern performance in his city, an ambitiously networking émigré Latvian living in exile in West Germany, and a pair of Soviet offices under direct control of the KGB, charged with managing cultural exchanges with the West in hopes of currying sympathies for Soviet culture and policy. Complementing and extending research on the “gaps” and “holes” in the Soviet system that sometimes allowed for the staging of otherwise unacceptable works of art, the story of the First Exhibition of Approximate Art reveals how personal connections and interpersonal networks within even the most highly monitored parts of the system itself—the state security apparatus—could open doors for artistic projects unanticipated and even undesired by the bureaucratic state. Full article

Festivals have emerged as a compelling subject of study within the realm of the social sciences, with disciplines like popular musicology showcasing festivals as a prominent area of investigation. These cultural events have demonstrated a profound and enduring impact on various generations, solidifying their significance in contemporary history. In the ever-evolving landscape of rapid social change, festivals have evolved into both traditions and heritage. Our research centered on the musical landscape in the city of Cáceres has culminated in the creation of a Festival Route rooted in the pertinent facets of its history and unique sociocultural context. The methodology employed in this study revolves around the development of comprehensive databases that encompass various parameters, principles, and elements. These databases are instrumental in crafting adaptable musical itineraries tailored to the individual participant’s characteristics, including age, educational background, place of origin, and explicit or intrinsic interests. Moreover, they factor into the duration of the route. These databases draw upon the findings of historiographic and ethnographic research, shedding light on the music performed and cherished within the city of Cáceres throughout its rich history. This paper primarily delves into the educational aspects derived from the socio-cultural phenomenon of festivals, specifically in the realms of music pedagogy and value-based education. Our Festival Route is designed with a particular focus on youth engagement, weaving together key locales within the city to create an enriching and educational experience. Full article

During the COVID lockdowns of 2020/21, the transmission of live or recorded concerts grew exponentially as festival makers embraced digital technologies to a greater degree. Investigating how this digital pivot interrupted festival-making practices is now important given that online and hybrid modes will potentially be used in conjunction with in-person events in the future. This task has relevance for rural areas where digital infrastructures can be under-developed. Yet, place-based, community-organised festivals can play a significant role in sustaining local communities. In this context, we explore the recent digital programming practices of music festivals in West Cork, Ireland. Methodologically, the study adopted a qualitative research design and generated data from fieldwork observations and in-depth interviews with festival practitioners in West Cork. This area was chosen for study because it is characterised by intensive arts and festival activity, high tourism activity, and a significant level of social change. The findings show that the ability of festivals to move practices online was variable and highly resource dependent. Overall, they suggest that in times of crisis the role of festivals became even more important than normal. Festivals played an important role in sustaining social connectivity, cultural participation and employment, with festival organisations demonstrating a strong sense of care and responsibility towards participants. Full article

Based on fieldwork and the analysis of the historical literature, this article studies the development of material culture in the cult of popular goddess Mazu, exploring in particular the materialization mechanisms and strategies deployed by various actors in her worship nowadays. Through the ages, people in China have expressed their religious feelings and experiences in the objects they display, worship, and exchange, as well as in the spaces that they build and inhabit. In this process, religious beliefs are externalized in forms of material culture, including symbols, texts, relics, music, and temples. As a result, these artifacts and places carry individual and collective memories and affects that allow believers to experience religion not only at special events like festivals and pilgrimages, but in everyday life. In modern China, the connotations and forms of material carriers have diversified. The rise of souvenirs and other forms of cultural consumption have transformed the materialization of religiosity. In the worship of Mazu, the relationship between pilgrimage, tourism, entertainment, and the production and circulation of commodities has become increasingly tight, changing the cult’s beliefs and their physical expression. That connection also brings social and economic sustenance to the local community. Taking the Mazu Temple in Meizhou as a case, this paper adopts a multidisciplinary and interdisciplinary approach to examine the pilgrimage–tourism–commerce nexus, as well as other contemporary forms of the materialization of her cult. Full article

Putting to work the dialectical concept of ‘un/mapping’, this paper examines the immateriality of cultural memory as coalescent in and around songlines: spatial stories woven from the autobiogeographical braiding of music and memory. Borrowing from Erll’s concept of ‘travelling memory’ (2011), the idea of songlines provides a performative framework with which to both travel with music memory and to map/unmap the travelling of music memory. The theoretical focus of the work builds on empirical studies into music, place and cultural memory in the form of interviews conducted across the UK in 2010–2013. The interviews were designed to explore the way peoples’ musical pasts—memories of listening to music in the domestic home, for example, or attendance at concerts and festivals, music as soundtracks to journeys, holidays or everyday commutes to work or school, music at key rite of passage moments—have coloured and given shape to the narratives that structure a sense of embodied selfhood and social identity over time. Songlines, it is shown, tether the self to spaces and temporalities that map a tangled meshwork of lives lived spatially, where the ghosts of musical pasts are as vital and alive as the traveller who has invoked them. Analysis and discussion is centred around the following questions: How should the songlines of memory be mapped in ways that remain true and resonant with those whose spatial stories they tell? How, phenomenologically, can memory be rendered as an energy that remains creatively vital without running the risk of dissipating that energy by seeking to fix it in space and time (to memorialise it)? And if, as is advocated in the paper, we should not be in the business of mapping songlines, how do we go about the task of singing them? Pursuing these and other lines of enquiry, this paper explores a spatial anthropology of movement and travel in which the un/mapping of popular music memory mobilises phenomenological understandings of the entanglements of self, culture and embodied memory. Full article