Glastonbury: managing the mystification of festivity
2013; Routledge; Volume: 33; Issue: 4 Linguagem: Inglês
10.1080/02614367.2012.751121
ISSN1466-4496
Autores Tópico(s)Sports, Gender, and Society
ResumoAbstractThe realm of music festivity has grown into a global circuit that responds to the demand for emotive experiential products and taps into postmodern themes that celebrate a lifestyle attitude of extended youth. This paper investigates the phenomenon of festival culture through a case study of Glastonbury Festival of Contemporary Performing Arts. It highlights how modern music festivals have become sites of mediated brand management where commodified hyper-experiences are considered as new forms of contested cultural capital. Through a critical conceptual matrix that combines the work of Bourdieu, Pine and Gilmore, and Jensen the authors critically explore the interplay between the experiential dimension, mystical and fantasy narratives and the political contestation of festivity. Focusing on Glastonbury Festival of Contemporary Performing Arts 2010 the study presents an innovative interpretation of festivity through multi and social media. The authors argue that, while promoted as an ethical festival that celebrates its anti-commercial countercultural cool, Glastonbury reflects a modern cathedral of consumption where experiences are the mediated and managerially puppeteered capital of the field. However, festivity is moving beyond management as it is increasingly dependant on the co-creative social media activity of consumers to perpetuate the fantasy and capital of festivity.由于对注重感情体验的产品的需求以及后现代理论中青年一代对生活的热爱, 音乐节的范围已经扩展到了全世界。本文对格拉斯顿伯里当代艺术节的案例进行了调查研究。这体现出了现代音乐节已经成为了一种文化资产。通过一种集合了布尔迪厄, 派恩, 吉尔莫等人的理论的概念上的批判性的矩阵, 作者对音乐节进行了分析。本文注重于2010年格拉斯顿伯里当代艺术节通过多媒体和社会媒体对本身的意义做出了突破性的的分析。作者提出伦理节日庆祝具有反商业文化性。格拉斯顿伯里反映消费的现代化大教堂, 其中经验是管理和资本的媒介。然而, 节日超越管理, 因为它越来越依赖于消费者共同创作的媒体活动, 也延续了幻想和节日资本。O reino da festividade musical se tornou um circuito global que responde às demandas por produtos de experiência emotiva e está ligada a temas pós-modernos que celebram um estilo de vida de juventude estendida. Este trabalho investiga o fenômeno da cultura de festival através do estudo de caso do Festival de Glastonbury de Artes Performativas Contemporâneas. Ele destaca como os festivais de música modernos se tornaram locais de gerência de marca mediada, onde hiperexperiências mercantilizadas são consideradas novas formas de capital cultural contestado. Através de uma matriz conceitual crítica que combina os trabalhos de Bourdieu, Pine e Gilmore, e Jensen, os autores exploram criticamente a interação entre a dimensão experiencial, as narrativas místicas e de fantasia e a contestação política da festividade. Centrado no Festival de Glastonbury de Artes Performativas Contemporâneas de 2010, o estudo apresenta uma interpretação inovadora da festividade através da mídia múltipla e social. Os autores argumentam que ainda que seja promovido como um festival ético que celebra um estilo de contracultura anticomercial, Glastonbury reflete uma catedral moderna de consumo, onde experiências são o capital mediado e gerencialmente manipulado do campo. No entanto, a festividade se move para além do gerenciamento, ao passo que é cada vez mais dependente da atividade cocriativa de consumidores da mídia social para perpetuar a fantasia e o capital da festividade.Keywords: consumer culturecultureeventspopular culturecapitalismmanagement关键词: 消费文化文化事件流行文化资本管理Palavras Chave: cultura de consumoculturaeventoscultura popularcapitalismoGerência Notes1. In line with the methodology adopted and centrality of online digitised lifestyles, the paper utilises hyperlinks to content (both here and throughout the discussion). The hyperlinks here will allow further depth and insight into the workings and applications of social media metrics.2. Where appropriate the data of digital media, both formal/macro and macro social media sites, will be hyperlinked allowing readers, if they wish, to click through to view these digital narratives.
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