Today, researchers note the relevance of the topic of understanding contemporary art by the audience of museums and art galleries. In order to improve the visitor experience of museums and galleries and contribute to audience’s understanding of contemporary art, some experts suggest that contemporary art museums and galleries can use discursive and participatory approaches in their work with visitors.<\/p>\n
Speaking about the discursive approach, Jane Deeth* argues that specialists in cultural organizations should provide visitors with the opportunity to reflect on the work they are observing. To do this, employees can ask questions and act more as listeners.<\/p>\n
Another approach, the participatory one, is more complex. Nina Simon* defines a participatory cultural organization as follows: “a place where visitors can create, share, and connect with each other around content”. The art historian believes that by involving visitors in cultural processes, organizations provide them with the opportunity to learn more about certain art objects and form their understanding based on the opinions of others. By getting engaged in participatory projects in cultural organizations, the audience can, through discussions, specific actions, and asking questions, not only seek an understanding
\nof what they see, but also socialize, and contribute to the development of artistic practices.<\/p>\n
Summing up, discursive and participatory approaches, according to experts, can contribute to the understanding of contemporary art by the audience of museums and galleries.<\/p>\n
References * Nina Simon. 2010. The Participatory Museum. Museum 2.0<\/p>\n"}],"hard_dropdowns":[{"dropdown_title":"Read blog","dropdown_content":[{"acf_fc_layout":"tekstikast","page_text":" As a teen, I used to ask my grandmother what she did when she was my age. She didn’t think twice: “<\/i>With my best friend Gabriela, we subscribed to a book club and received books in the mail once a month. We would exchange books to read more, and after a while, we would sell them. With that money, we usually bought tickets to the movies, went on dates, and met boys.”<\/p>\n Nowadays, the lives of teens are very different; there is less time for leisure activities.<\/p>\n All of this is compounded by the constant presence of social media and technological devices. Life is fast-paced and full of trends. In this context, cultural activities and practices such as reading, going to the movies, or attending a museum compete with numerous extracurricular activities, social media, and the wide range of streaming services. In this complex and tight scenario, understanding and being aware of the audience’s needs, desires, and lifestyle is key for cultural institutions to retain existing audiences and expand horizons to new ones. However, how can we achieve or gain this type of knowledge or understanding? Currently, in the cultural field, we rely on experts who answer, reflect, and analyze these questions daily. Some of these experts are Daniela Millar, Pepe Zapata, and Macarena Cuenca, among others.<\/p>\n Recently, I had the opportunity to interview Macarena Cuenca. But who is Macarena? She holds a PhD in Leisure & Human Development and is an associate professor at Deusto Business School. She is also a researcher at the Institute of Leisure Studies of the University of Deusto (Bilbao, Spain). Her main line of research is cultural audience development, the topic of her doctoral thesis. She teaches at the postgraduate level at various universities and has led and participated in several competitive European and domestic research projects.<\/p>\n In the interview, we discussed several topics related to audience development in the reading atmosphere, such as the role of audience development in public institutions like schools and libraries, the relationship with new technologies such as phones and e-books, and the differences between current readers and those in the past. There was a significant emphasis on empathy\u2014understanding who they are, what they do, how they spend their time, and what their struggles are in achieving or experiencing cultural activities.<\/p>\n Having this type of understanding can help design or create appropriate atmospheres or spaces for this group. For example, if we see that a museum is losing the number of families that visit, it is important to understand the group. What types of activities do they do on weekends? What are the challenges of going out with a family with kids? How do these families arrange their activities, and how do they find them? To gain this type of knowledge, there are several methods such as interviews, surveys, focus groups, and persona models, among others. Additionally, to understand their movements or actions in the cultural institution, one could follow the same actions that an audience member might take, such as going to an activity with a stroller.<\/p>\n Conclusion<\/b><\/p>\n In conclusion, cultural institutions such as museums, concert houses, and theaters, among others, generally desire that people engage with their programs and attend them. However, technology, social phenomena, and trends change our behavior and cultural patterns. As Macarena Cuenca mentioned in the interview, 20 years ago we didn’t have WhatsApp, and planning activities with a group of friends or family was much more rigid and structured. Currently, with the prevalence of WhatsApp and the internet being more widespread, we can change our plans last minute with friends on WhatsApp, or we can buy tickets online for a performance at the last moment. It is crucial for these types of institutions to pay attention to the attitudes and actions of audiences to integrate new audience members and improve the current audience experience.<\/p>\n"}]}]},{"acf_fc_layout":"tekst_pilt","pilt":{"ID":38750,"id":38750,"title":"","filename":"IMG_20230630_100412.jpg","filesize":1792260,"url":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412.jpg","link":"https:\/\/eamt.ee\/en\/departments\/musicology\/cultural-management\/masters-studies\/blog\/img_20230630_100412-2\/","alt":"","author":"3","description":"","caption":"","name":"img_20230630_100412-2","status":"inherit","uploaded_to":22869,"date":"2023-07-06 05:42:17","modified":"2023-07-06 05:47:11","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/eamt.ee\/wp-includes\/images\/media\/default.png","width":2126,"height":2434,"sizes":{"thumbnail":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412-262x300.jpg","medium-width":262,"medium-height":300,"medium_large":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412-768x879.jpg","medium_large-width":768,"medium_large-height":879,"large":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412-894x1024.jpg","large-width":894,"large-height":1024,"1536x1536":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412-1342x1536.jpg","1536x1536-width":1342,"1536x1536-height":1536,"2048x2048":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412-1789x2048.jpg","2048x2048-width":1789,"2048x2048-height":2048,"640px":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412-640x733.jpg","640px-width":640,"640px-height":733,"768px":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412-768x879.jpg","768px-width":768,"768px-height":879,"1024px":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412-1024x1172.jpg","1024px-width":1024,"1024px-height":1172,"1280px":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412-1280x1465.jpg","1280px-width":1280,"1280px-height":1465,"1366px":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412-1366x1564.jpg","1366px-width":1366,"1366px-height":1564,"1600px":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412-1600x1832.jpg","1600px-width":1600,"1600px-height":1832,"1920px":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412-1920x2198.jpg","1920px-width":1920,"1920px-height":2198,"2400px":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412.jpg","2400px-width":2126,"2400px-height":2434,"woocommerce_thumbnail":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412-415x415.jpg","woocommerce_thumbnail-width":415,"woocommerce_thumbnail-height":415,"woocommerce_single":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412-600x687.jpg","woocommerce_single-width":600,"woocommerce_single-height":687,"woocommerce_gallery_thumbnail":"https:\/\/eamt.ee\/wp-content\/uploads\/2023\/07\/IMG_20230630_100412-100x100.jpg","woocommerce_gallery_thumbnail-width":100,"woocommerce_gallery_thumbnail-height":100}},"page_text":" Written by Asta Nykoniuk<\/p>\n Modern technologies are developing at an increasingly fast speed, therefore, to avoid being left behind by competitors and audiences, the cultural sector and museums could start adapting to the social and technological changes modern technologies brought with them, and get comfortable using them in practice, to keep relevance, interest, and attention among all visitors, and especially the younger ones. The main research question of my thesis study was, how do young people experience gamification in museums? The participants were 6 undergraduate students of the Estonian Academy of Music and Theatre.<\/p>\n","image_position":"left"},{"acf_fc_layout":"dropdown","which_dropdown":"hard","dropdowns":[{"title":"Read blog","text":" A group of EMTA Cultural Management MA students visited a Festival and Event Masterclass by Paul Gudgin in Turku, a popular <\/span>professional development programme designed to inform and inspire anyone involved in creating, managing and supporting festivals and events. The course was built upon different parts of festival management with an emphasis on the post-covid world.<\/span><\/strong><\/p>\n Festival and Events in a Post-Covid World<\/strong><\/p>\n In the Post-Covid world, the importance of finding attractive festival locations, venues and innovative ideas to catch attention and involve people. It is important to study one\u2019s hometowns and evaluate the most vital characteristics to help the city and the region thrive. After previous pandemics (like SARS in 2003) cultural events played a major role in the recovery of tourism industries \u2013 not just to attract visitors but as a signal \u201cwe are open for business\u201d. But it can take approximately 18 months \u2013 2 years for the tourism and event sector to reach its new potential. Another interesting note from Paul is that managers have to analyse people\u2019s attitudes about event participation before and after pandemic according to their age, event type, preferred safety measures and expectations they have during and after pandemic to help find new concepts that are interesting for the visitors.\u00a0<\/span><\/p>\n People and Partnerships<\/b><\/p>\n Paul gave a good overview about building how to build a festival team: which positions are needed, which have to be paid professionals and some can be done by volunteers and\/or interns. As we saw from his presentation, the percentage of full-time, part-time and volunteer positions can differ a lot by country. The definition of a partnership is wide, there are hundreds of possibilities how partners can help an event (and event help partners), it just needs creative thinking to come up with innovative ideas to attract partners to events.<\/span><\/p>\n Again, it is a very intriguing subject we often need to search for volunteers and volunteering is not so natural part of Estonia. It is easier to find volunteers in the UK (and many other \u201cold\u201d European countries) as people are used to volunteering and thanks to higher living standards they also have more free time.<\/span><\/p>\n Nevertheless, we need to take into consideration the ethical questions in using voluntary help and open up a discussion of fair remuneration and recognition for volunteer work. Inters would be a great opportunity to involve them in festival management, but it might not be a prevalent practice in many countries and the internship fees are ridiculously low. A lot of young people have to collect money long in advance to do an internship.<\/span><\/p>\n Programming<\/b><\/p>\n When planning a festival, one must be bold and not be afraid of new ideas. Cultural managers should ask – what is different in the festival you\u2019re planning from other existing festivals? In other words, why would people come to your festival, and not one of the existing ones that already have a sizeable audience? Considering new and unique spaces can offer a different kind of experience to your audience and also open the festival up to new ones. If people prefer to listen to jazz, why not give them an opportunity to have that experience somewhere special, such as Jazz in the sky, or for theatre lovers, why not organize a Shakespeare story with breakfast?<\/span><\/p>\n \u00a0<\/span><\/p>\n Sponsorship and Fundraising<\/b><\/p>\n Sponsorship and fundraising is an important aspect of festival management to have sufficient funds to carry out ideas. To find valuable partners, managers have to choose the right companies who have the same values and align their mission with theirs. When presenting for a partner, tell a story –\u00a0 with an emphasis on what the partner will get if they support your festival. The vision sells more than your needs, and sometimes listening to your partner can open up new opportunities to work together. However, there are other sources of income for the festivals like merchandise, festival markets, mobile donations, advertising, etc. When doing merchandise make sure to make it interesting that people would like to buy it. For example, it is better not to put the year on the merchandise, since if it is not sold, you can resell them next year.<\/span><\/p>\n Festival marketing, festival tourism, and destination branding<\/b><\/p>\n Successful marketing of the events starts by identifying the targeted audience and their habits in order to plan promotions. We also need to remind ourselves of the political, environmental and cultural spheres that the event is positioned as it may open new opportunities. The financial side of promotion has to be analysed, in some cases, internet ads are more useful whereas paper ads might be less useful. Festival tourism is another aspect that significantly can affect the economic situation as the events would likely attract a huge number of participants from abroad, which would increase the tourist flow and related income to the country. However, it is important to understand how it would affect the lives of local residents. For example, drawbacks of the festival can increase the level of pollution in the area, resulting in increased expenses aimed to clean up the area. These small details matter from ethical, social, environmental, economic, and cultural perspectives, therefore, they need to be estimated thoroughly before organizing a festival.<\/span><\/p>\n Destination branding refers to finding the most appealing traits and specifics of a place and then advertising it in a way to highlight why it is better than its competitors. However, brands cannot be created artificially, it is co-created with the tourists. In this way, the promotion organizations use a concept that already satisfies visitors and helps to create fame and reputation for a place. One can also hire famous bloggers and celebrities, social media to promote the place and attract a wider local or international audience.\u00a0<\/span><\/p>\n Venues, Festival Infrastructure and Media<\/b><\/p>\n Festival venues can be everywhere – sometimes it is a historical place, sometimes a cave! Outdoor venues and event production present a gamble, especially due to climate. It is the festival organizer’s responsibility to ensure that the strength and integrity of the infrastructure of the operational staff at the venue can effectively support and plan their events. Choosing a venue that doesn’t have all the necessary amenities means using temporary structures that can be temperamental, especially in bad weather. This increases the safety risk for staff and festival attendees. In infrastructure preparation, we should always have a plan B.<\/span><\/p>\n Due to the multidimensional contribution of the festivals to the country’s economy and the region where they are held, it is important to increase their awareness in the international arena and the number of participants. The fact that the websites of the festivals have effective content and the media have an important place in the marketing efforts to be implemented. Increasing awareness of festivals on the web, sharing festival experiences and facilitating reaching potential consumers, and promoting festivals at much lower costs play an important role in the media.<\/span><\/p>\n Festival and Event Evaluation<\/b><\/p>\n There are three main criteria to evaluate events – audience, knowing your sector and geographical aspect. It is important to take into account the impact that the event has on the city and country economics, social life and sustainability. Paul shared a chart with us, that is useful to make pre and post-analysis. In the end, the evaluation can help managers educate themselves and find new innovative approaches to make negative into a positive.\u00a0<\/span><\/p>\n In conclusion, this was an interesting and eye-opening course for the group, especially getting more insight into the UK event sector. However, the Baltic and European sectors can differ and might not meet the needs of our region. Of course, the framework of a festival built-up and values can be the same but it could have more valuable to hear examples from our region.<\/span><\/p>\n They generally reported the beneficial impact of gamified technologies on their visitor experience, learning, attention, motivation, interest, engagement, and well-being. The importance of the balance between gamified learning, non-gamified learning, and the human factor in them was pointed out, as well as the balance between different types of technologies used. Participants highlighted that all the information should be available in both, gamified and non-gamified ways, and all the sensory receptors should be stimulated, not just visual ones. Gamification needs to make visitors comfortable to play, touch, and experience things, and encourage them to participate and not just look from aside, for an improved visitor experience. My thesis study puts focus on the development orientation and gives suggestions for future research and managerial application of the findings.<\/p>\n This project was financed by the Estonian Ministry of Foreign Affairs from the funds of development cooperation and humanitarian aid. Their grant enabled me to devote all my free time to the research and thus significantly increased its quality and academic value. This, in turn, benefited the cultural sector of both, Estonia and my home country Ukraine, as both now have one more specialist at their disposal (me), who will indubitably work on further theoretical and practical implementation of this knowledge in the future, in both countries.<\/p>\n Written by Elinor Onga<\/p>\n Elinor Onga is a cultural management student at the Estonian Academy of Music and Theatre whose pursuit for bettering the situation of local urban live music ecologies has led her to write her thesis on the same topic, with a focus on the socio-spatial aspects of live music ecologies and how to better support them through different infrastructural and policy measures. Having been active in more alternative cultural circles for years, she has seen first-hand the cultural and social significance of small-scale venues and DIY events and recognizes their struggle for survival. She is also passionate about fostering healthy nightlife culture, which would support creative communities and create inclusive cities with strong identities. She graduated Tallinn University in 2020 with a degree in philosophy and cultural studies and finished the INTRO program at Music Estonia in 2022.<\/p>\n","image_position":"left"},{"acf_fc_layout":"dropdown","which_dropdown":"hard","dropdowns":[{"title":"Read blog","text":" A group of EMTA Cultural Management MA students visited a Festival and Event Masterclass by Paul Gudgin in Turku, a popular <\/span>professional development programme designed to inform and inspire anyone involved in creating, managing and supporting festivals and events. The course was built upon different parts of festival management with an emphasis on the post-covid world.<\/span><\/strong><\/p>\n Festival and Events in a Post-Covid World<\/strong><\/p>\n In the Post-Covid world, the importance of finding attractive festival locations, venues and innovative ideas to catch attention and involve people. It is important to study one\u2019s hometowns and evaluate the most vital characteristics to help the city and the region thrive. After previous pandemics (like SARS in 2003) cultural events played a major role in the recovery of tourism industries \u2013 not just to attract visitors but as a signal \u201cwe are open for business\u201d. But it can take approximately 18 months \u2013 2 years for the tourism and event sector to reach its new potential. Another interesting note from Paul is that managers have to analyse people\u2019s attitudes about event participation before and after pandemic according to their age, event type, preferred safety measures and expectations they have during and after pandemic to help find new concepts that are interesting for the visitors.\u00a0<\/span><\/p>\n People and Partnerships<\/b><\/p>\n Paul gave a good overview about building how to build a festival team: which positions are needed, which have to be paid professionals and some can be done by volunteers and\/or interns. As we saw from his presentation, the percentage of full-time, part-time and volunteer positions can differ a lot by country. The definition of a partnership is wide, there are hundreds of possibilities how partners can help an event (and event help partners), it just needs creative thinking to come up with innovative ideas to attract partners to events.<\/span><\/p>\n Again, it is a very intriguing subject we often need to search for volunteers and volunteering is not so natural part of Estonia. It is easier to find volunteers in the UK (and many other \u201cold\u201d European countries) as people are used to volunteering and thanks to higher living standards they also have more free time.<\/span><\/p>\n Nevertheless, we need to take into consideration the ethical questions in using voluntary help and open up a discussion of fair remuneration and recognition for volunteer work. Inters would be a great opportunity to involve them in festival management, but it might not be a prevalent practice in many countries and the internship fees are ridiculously low. A lot of young people have to collect money long in advance to do an internship.<\/span><\/p>\n Programming<\/b><\/p>\n When planning a festival, one must be bold and not be afraid of new ideas. Cultural managers should ask – what is different in the festival you\u2019re planning from other existing festivals? In other words, why would people come to your festival, and not one of the existing ones that already have a sizeable audience? Considering new and unique spaces can offer a different kind of experience to your audience and also open the festival up to new ones. If people prefer to listen to jazz, why not give them an opportunity to have that experience somewhere special, such as Jazz in the sky, or for theatre lovers, why not organize a Shakespeare story with breakfast?<\/span><\/p>\n \u00a0<\/span><\/p>\n Sponsorship and Fundraising<\/b><\/p>\n Sponsorship and fundraising is an important aspect of festival management to have sufficient funds to carry out ideas. To find valuable partners, managers have to choose the right companies who have the same values and align their mission with theirs. When presenting for a partner, tell a story –\u00a0 with an emphasis on what the partner will get if they support your festival. The vision sells more than your needs, and sometimes listening to your partner can open up new opportunities to work together. However, there are other sources of income for the festivals like merchandise, festival markets, mobile donations, advertising, etc. When doing merchandise make sure to make it interesting that people would like to buy it. For example, it is better not to put the year on the merchandise, since if it is not sold, you can resell them next year.<\/span><\/p>\n Festival marketing, festival tourism, and destination branding<\/b><\/p>\n Successful marketing of the events starts by identifying the targeted audience and their habits in order to plan promotions. We also need to remind ourselves of the political, environmental and cultural spheres that the event is positioned as it may open new opportunities. The financial side of promotion has to be analysed, in some cases, internet ads are more useful whereas paper ads might be less useful. Festival tourism is another aspect that significantly can affect the economic situation as the events would likely attract a huge number of participants from abroad, which would increase the tourist flow and related income to the country. However, it is important to understand how it would affect the lives of local residents. For example, drawbacks of the festival can increase the level of pollution in the area, resulting in increased expenses aimed to clean up the area. These small details matter from ethical, social, environmental, economic, and cultural perspectives, therefore, they need to be estimated thoroughly before organizing a festival.<\/span><\/p>\n Destination branding refers to finding the most appealing traits and specifics of a place and then advertising it in a way to highlight why it is better than its competitors. However, brands cannot be created artificially, it is co-created with the tourists. In this way, the promotion organizations use a concept that already satisfies visitors and helps to create fame and reputation for a place. One can also hire famous bloggers and celebrities, social media to promote the place and attract a wider local or international audience.\u00a0<\/span><\/p>\n Venues, Festival Infrastructure and Media<\/b><\/p>\n Festival venues can be everywhere – sometimes it is a historical place, sometimes a cave! Outdoor venues and event production present a gamble, especially due to climate. It is the festival organizer’s responsibility to ensure that the strength and integrity of the infrastructure of the operational staff at the venue can effectively support and plan their events. Choosing a venue that doesn’t have all the necessary amenities means using temporary structures that can be temperamental, especially in bad weather. This increases the safety risk for staff and festival attendees. In infrastructure preparation, we should always have a plan B.<\/span><\/p>\n Due to the multidimensional contribution of the festivals to the country’s economy and the region where they are held, it is important to increase their awareness in the international arena and the number of participants. The fact that the websites of the festivals have effective content and the media have an important place in the marketing efforts to be implemented. Increasing awareness of festivals on the web, sharing festival experiences and facilitating reaching potential consumers, and promoting festivals at much lower costs play an important role in the media.<\/span><\/p>\n Festival and Event Evaluation<\/b><\/p>\n There are three main criteria to evaluate events – audience, knowing your sector and geographical aspect. It is important to take into account the impact that the event has on the city and country economics, social life and sustainability. Paul shared a chart with us, that is useful to make pre and post-analysis. In the end, the evaluation can help managers educate themselves and find new innovative approaches to make negative into a positive.\u00a0<\/span><\/p>\n In conclusion, this was an interesting and eye-opening course for the group, especially getting more insight into the UK event sector. However, the Baltic and European sectors can differ and might not meet the needs of our region. Of course, the framework of a festival built-up and values can be the same but it could have more valuable to hear examples from our region.<\/span><\/p>\n THE IMPORTANCE<\/strong><\/p>\n Recent research has turned towards an understanding of live music spaces as an integral part of the cultural, social and economic relevance of a modern urban city. The post-industrial space has become a tool to reach all those objectives through urban planning and infrastructural measures, yet many still undermine the importance of the cultural and social over the economic. This issue is noticeably prevalent in live music ecologies, such as venues, festivals and temporary spaces, where a lack of regard or priority towards these places in urban planning causes them to suffer the consequences by the impact of their environment. These consequences prevent the healthy flourishing of small grassroots live music ecologies, which in turn have a negative effect on creative communities, diversity, inclusivity, and the city itself.<\/p>\n <\/p>\n THE PROBLEM<\/strong><\/p>\n Live music needs somewhere to take place and because of this it is constantly affected by its environment and inversely also affects its environment. This issue mostly manifests either with a lack of place between residential and commercial areas with live music spaces becoming an annoyance to the people living and working there because of obstreperous crowds and the venues having an inconvenience with finding a solution to the complaints. Densification is forcing these ecologies to move their operations to more derelict areas of town where previous examples have shown the emergence of culture and nightlife assuredly brings about the gentrification of the area. This gentrification brings its own issues, with rent prices surging and the buildings being rented out to more high-value renters. Because these venues often can\u2019t keep up with the rising prices and start facing further complaints from their new neighbors, they are once again forced to move or close down. Gentrification is a global epidemic and not only are live music spaces in danger, which is why modern urban planning must consider the problem before struggling with it. Ironically, while culture is often used to attract new people to previously run-down areas of town, the subsequent gentrification often leads to such high rent prices that the artists and venue owners can no longer afford to stay there. A bitter turn of events, since it is their work that improved the image of the area in the first place.<\/p>\n Live music ecologies then lack a proper support system, financial aid and consequently, good urban planning considerations that could help them thrive in an area. It almost seems as if in some urban cities they are doomed to live in constant change with no certainty of their future.<\/p>\n <\/p>\n THE SOLUTION<\/strong><\/p>\n Yet, the situation is not hopeless, and measures exist to potentially solve this issue. The foundation for the solutions starts with live music spaces being supported by urban planning and infrastructural measures. This includes having designated areas for cultural activities where they wouldn\u2019t face the issue of gentrification or noise complaints by bringing together different actors with similar goals. These can be planned in otherwise unused areas of town and secured against gentrification through policies and agreements to keep the essence of the space for cultural activities only. This would also solve the issue of noise complaints since residential areas would be kept at an appropriate distance. Public stages and festival areas could be built for outdoor events, which also consider the area in a way that it doesn\u2019t inconvenience near neighborhoods. Town could also adopt the agent of change principle which ensures that new neighbors are aware of the venue that was previously there and have to consider the possible noise issues.<\/p>\n In essence, urban planning should support the social and cultural values instead of focusing on maximizing economic gain, which usually leads to a densified and messy infrastructure for cultural activity.<\/p>\n"},{"acf_fc_layout":"galerii","images":[{"ID":33094,"id":33094,"title":"kumu reiv 2021","filename":"kumu-reiv-2021-scaled.jpg","filesize":217501,"url":"https:\/\/eamt.ee\/wp-content\/uploads\/2022\/12\/kumu-reiv-2021-scaled.jpg","link":"https:\/\/eamt.ee\/en\/departments\/musicology\/cultural-management\/masters-studies\/blog\/kumu-reiv-2021-2\/","alt":"","author":"3","description":"","caption":"","name":"kumu-reiv-2021-2","status":"inherit","uploaded_to":22869,"date":"2022-12-22 07:58:17","modified":"2022-12-22 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Written by Anni Leino<\/p>\n A group of EMTA Cultural Management MA students visited a Festival and Event Masterclass by Paul Gudgin in Turku, a popular <\/span>professional development programme designed to inform and inspire anyone involved in creating, managing and supporting festivals and events. The course was built upon different parts of festival management with an emphasis on the post-covid world.<\/span><\/strong><\/p>\n Festival and Events in a Post-Covid World<\/strong><\/p>\n In the Post-Covid world, the importance of finding attractive festival locations, venues and innovative ideas to catch attention and involve people. It is important to study one\u2019s hometowns and evaluate the most vital characteristics to help the city and the region thrive. After previous pandemics (like SARS in 2003) cultural events played a major role in the recovery of tourism industries \u2013 not just to attract visitors but as a signal \u201cwe are open for business\u201d. But it can take approximately 18 months \u2013 2 years for the tourism and event sector to reach its new potential. Another interesting note from Paul is that managers have to analyse people\u2019s attitudes about event participation before and after pandemic according to their age, event type, preferred safety measures and expectations they have during and after pandemic to help find new concepts that are interesting for the visitors.\u00a0<\/span><\/p>\n People and Partnerships<\/b><\/p>\n Paul gave a good overview about building how to build a festival team: which positions are needed, which have to be paid professionals and some can be done by volunteers and\/or interns. As we saw from his presentation, the percentage of full-time, part-time and volunteer positions can differ a lot by country. The definition of a partnership is wide, there are hundreds of possibilities how partners can help an event (and event help partners), it just needs creative thinking to come up with innovative ideas to attract partners to events.<\/span><\/p>\n Again, it is a very intriguing subject we often need to search for volunteers and volunteering is not so natural part of Estonia. It is easier to find volunteers in the UK (and many other \u201cold\u201d European countries) as people are used to volunteering and thanks to higher living standards they also have more free time.<\/span><\/p>\n Nevertheless, we need to take into consideration the ethical questions in using voluntary help and open up a discussion of fair remuneration and recognition for volunteer work. Inters would be a great opportunity to involve them in festival management, but it might not be a prevalent practice in many countries and the internship fees are ridiculously low. A lot of young people have to collect money long in advance to do an internship.<\/span><\/p>\n Programming<\/b><\/p>\n When planning a festival, one must be bold and not be afraid of new ideas. Cultural managers should ask – what is different in the festival you\u2019re planning from other existing festivals? In other words, why would people come to your festival, and not one of the existing ones that already have a sizeable audience? Considering new and unique spaces can offer a different kind of experience to your audience and also open the festival up to new ones. If people prefer to listen to jazz, why not give them an opportunity to have that experience somewhere special, such as Jazz in the sky, or for theatre lovers, why not organize a Shakespeare story with breakfast?<\/span><\/p>\n \u00a0<\/span><\/p>\n Sponsorship and Fundraising<\/b><\/p>\n Sponsorship and fundraising is an important aspect of festival management to have sufficient funds to carry out ideas. To find valuable partners, managers have to choose the right companies who have the same values and align their mission with theirs. When presenting for a partner, tell a story –\u00a0 with an emphasis on what the partner will get if they support your festival. The vision sells more than your needs, and sometimes listening to your partner can open up new opportunities to work together. However, there are other sources of income for the festivals like merchandise, festival markets, mobile donations, advertising, etc. When doing merchandise make sure to make it interesting that people would like to buy it. For example, it is better not to put the year on the merchandise, since if it is not sold, you can resell them next year.<\/span><\/p>\n Festival marketing, festival tourism, and destination branding<\/b><\/p>\n Successful marketing of the events starts by identifying the targeted audience and their habits in order to plan promotions. We also need to remind ourselves of the political, environmental and cultural spheres that the event is positioned as it may open new opportunities. The financial side of promotion has to be analysed, in some cases, internet ads are more useful whereas paper ads might be less useful. Festival tourism is another aspect that significantly can affect the economic situation as the events would likely attract a huge number of participants from abroad, which would increase the tourist flow and related income to the country. However, it is important to understand how it would affect the lives of local residents. For example, drawbacks of the festival can increase the level of pollution in the area, resulting in increased expenses aimed to clean up the area. These small details matter from ethical, social, environmental, economic, and cultural perspectives, therefore, they need to be estimated thoroughly before organizing a festival.<\/span><\/p>\n Destination branding refers to finding the most appealing traits and specifics of a place and then advertising it in a way to highlight why it is better than its competitors. However, brands cannot be created artificially, it is co-created with the tourists. In this way, the promotion organizations use a concept that already satisfies visitors and helps to create fame and reputation for a place. One can also hire famous bloggers and celebrities, social media to promote the place and attract a wider local or international audience.\u00a0<\/span><\/p>\n Venues, Festival Infrastructure and Media<\/b><\/p>\n Festival venues can be everywhere – sometimes it is a historical place, sometimes a cave! Outdoor venues and event production present a gamble, especially due to climate. It is the festival organizer’s responsibility to ensure that the strength and integrity of the infrastructure of the operational staff at the venue can effectively support and plan their events. Choosing a venue that doesn’t have all the necessary amenities means using temporary structures that can be temperamental, especially in bad weather. This increases the safety risk for staff and festival attendees. In infrastructure preparation, we should always have a plan B.<\/span><\/p>\n Due to the multidimensional contribution of the festivals to the country’s economy and the region where they are held, it is important to increase their awareness in the international arena and the number of participants. The fact that the websites of the festivals have effective content and the media have an important place in the marketing efforts to be implemented. Increasing awareness of festivals on the web, sharing festival experiences and facilitating reaching potential consumers, and promoting festivals at much lower costs play an important role in the media.<\/span><\/p>\n Festival and Event Evaluation<\/b><\/p>\n There are three main criteria to evaluate events – audience, knowing your sector and geographical aspect. It is important to take into account the impact that the event has on the city and country economics, social life and sustainability. Paul shared a chart with us, that is useful to make pre and post-analysis. In the end, the evaluation can help managers educate themselves and find new innovative approaches to make negative into a positive.\u00a0<\/span><\/p>\n In conclusion, this was an interesting and eye-opening course for the group, especially getting more insight into the UK event sector. However, the Baltic and European sectors can differ and might not meet the needs of our region. Of course, the framework of a festival built-up and values can be the same but it could have more valuable to hear examples from our region.<\/span><\/p>\n Digital Leap is a two-year international project that offers dance and circus professionals learning opportunities for deepening understanding of digital environments and their possibilities in performing arts. The key question behind the project is, how to promote and distribute performances digitally and virtually, without compromising the essential live experience.<\/p>\n As part of the Estonian Academy of Music and Theatre\u2019s open seminar module, I participated in the project\u2019s third set of workshops organised in Terrassa, Catalunya, on Oct 4-8, 2022 by the local partner Institute Ramon Llull. The project\u2019s themes are closely related to my MA thesis which concentrates on opportunities for online events in performing arts promotion. Dance Info Finland supported my trip to Terrassa.<\/p>\n Digital Leap is an EU-funded Erasmus+ project organised by Dance Info Finland, and Circus Info Finland, together with ARTCENA (FR), Arts and Theatre Institute (CZ), Danscentrum Sverige (SE), Institut Ramon Llull IRL (ES), Lithuanian Dance Information Centre (LT) and Performing Arts Hub Norway (NO). More information on the project can be found here<\/a>.<\/p><\/blockquote>\n <\/p>\n In the Terrassa module, the project invited participants to reflect on the possibilities that the internet has to offer in the realm of performing arts distribution. A selection of experts was there to provoke thinking outside the box and expand the tangible limits of artistic practice to reach new targets and get new communities online to broaden engagement.<\/p>\n The main venue for the workshops was a beautiful old theatre Teatre Principal in the centre of Terrassa. Re-scheduled and routed flights got us to Terrassa one day later than planned so I missed Tuesday’s keynote speech on the topic of \u201ccontext is content\u201d by Bani Brusadin & Nil Mart\u00edn and the panel discussion about \u201csoftware for online distribution\u201d. Anyhow arriving later than others didn\u2019t cause too much harm and on Wednesday we continued with the second part of the lecture by Brusadin & Mart\u00edn.<\/p>\n The ones who attended the first class on the previous day were asked to look for social media phenomena that interest them, not necessarily a viral thing, but more like a subculture, weird, intriguing, online movement (one example was brought up from Reddit was called worn out \u2013 people posting pictures of new stuff and then pictures of the stuff after its totally used with no explanation). Brusadin and Martin were leading and moderating the discussion which flowed from the concept of online phenomena to the power of algorithms (we all see different stuff), to online subcultures and communities, and imitation as social online phenomena (is there anything unique anymore?), to online culture and memes etc.<\/p>\n Overall the discussion was very interesting, pushing gently towards playfulness and inspiration instead of the usual \u201cyou have to be on social media\u201d. Reddit\u2019s collective artwork<\/a> was an exciting example of collective online art, where users could buy pixels that would form a piece of visual art. We talked about how niche contemporary artists could find a global audience online but how it requires a willingness to discuss and be in dialogue online (though this could mean something else than just writing or talking). A great example of playfulness in an online context was the Art bot<\/a> which is an algorithm that turns the latest media headlines into artistic concepts. As an example of how the meaning of content put online can drastically change. Later on, I watched the documentary on Feels Good Man<\/a> meme that showed how something innocent created online can turn out to be used for opposite purposes.<\/p>\n The afternoon lecture was about socially responsible tools for online management by Collective Colectic. It was a deep dive into open-source software as a social movement (which I have never thought about!). The lecture rouse the question of human rights in the era of the internet and made it clear how the legislation often comes behind innovation, applications and digital rights. how do we ensure that the software we use is ethical or ecologically produced? It can be hard (if not impossible) for an individual to know. Also, being able to critically choose the apps and platforms we use is a privilege we should acknowledge.<\/p>\n In the evening we took a bus ride to Barcelona to visit Institute Ramon Llull\u2019s premises. There we took part in a panel discussion on the topic of hybrid performing arts curation from Colette Sadler (Curator, Present Futures Digital Festival,<\/a> Glasgow Scotland), Vicens Vibla (Director, Euphonic Festival<\/a>, La R\u00e0pita, Catalonia) and Charles Carcopino (Programmer, Canal Connect – Teatros del Canal,<\/a> Madrid Spain).<\/p>\n <\/p>\n Thursday, Oct 6, continued with context is a content workshop by Bani Brusadin & Nil Mart\u00edn. This time the conversation went deep into digital art and its forms of it. As one of the case examples Swedish artist Jonas Lund’s project Token<\/a> was introduced. The Token is a distributed decentralised autonomous artistic practice created by Lund that aims to optimise and streamline the decision-making process in art production and the strategic decisions concerning a career path. Anyone could participate in the piece by purchasing tokens (sort of NFT) from Lund’s webshop. Another example of an artist working with digitality was Lauren Lee McCarthy<\/a> who examines social relationships in the midst of a surveillance, automation, and algorithmic living. We also discussed \u201cperformative activism\u201d in the digital context where there were interesting examples of individuals taking over e.g app store\u2019s discussion boards. Led by the examples, we had an extremely interesting discussion on digital art and creativity which in a digital format often lies in the concept.<\/p>\n Afternoon there was a second class on socially responsible tools for online management<\/em> by Collective Colectic where we got introduced to an open-source software called Dolibarr<\/a>. The day ended with a mock trial which was a rather similar group exercise we did in the law and intellectual property course at Estonian Business School. In Terrassa we had three actual court cases handling the artists’ intellectual property rights in a digital context, three law experts and us, the participants shared in three different groups forming the jury for each case. For each case, we voted and after the vote, we heard the real-life court\u2019s decision on the case. The exercise and discussion among the group and with the experts were super interesting and made it clear that the legislation doesn\u2019t know all of the possible cases in the context of digitality, social media and digital rights and how legislation is actually constantly updated based on new cases.<\/p>\n <\/p>\n On Friday, Oct 7, we didn\u2019t have workshops or lectures but headed to the biggest art marketplace in Spain, Fira Mediterr\u00e0nia de Manresa<\/a>. Manresa was an approximately one-hour bus ride from Terrassa to the north. The day started there with a pitching session where we heard 15 local music and dance artists presenting their work to international buyers. For me taking part in such an event as an international delegate was a learning experience itself and I made a lot of notes on how to develop the events I\u2019m working in. We saw many performances in different venues which is always a blast.<\/p>\n
\nJane Deeth. 2012. Engaging Strangeness in the Art Museum: an audience development strategy.<\/a><\/p>\nAfterthoughts of a recent graduate from Ukraine<\/h2>\n
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live music through spatial measures in the post-industrial urban space<\/h2>\n
<\/p>\n<\/p>\n
\n<\/b><\/p>\n<\/p>\n"}],"hard_dropdowns":[{"dropdown_title":"Read blog","dropdown_content":[{"acf_fc_layout":"tekstikast","page_text":"Taking a digital leap in performing arts \u2013 study trip report from Terrassa, Catalunya<\/h2>\n
<\/p>\n<\/p>\n
\n<\/b><\/p>\n<\/p>\n"}],"hard_dropdowns":[{"dropdown_title":"Read blog","dropdown_content":[{"acf_fc_layout":"tekstikast","page_text":"Expanding artistic practices at the computer desktop<\/h2>\n
From creative online content to mock trial<\/h2>\n
Taking time for exploring together is a luxury thing<\/h2>\n
![\"\"](\"https:\/\/eamt.ee\/wp-content\/uploads\/2022\/12\/Songvakeppnin-warmup-Gunni-og-Felix-scaled.jpg\")
<\/p>\n![\"\"](\"https:\/\/eamt.ee\/wp-content\/uploads\/2022\/12\/Tural-with-Systur-Songvakeppnin-winners-scaled.jpg\")
<\/p>\n![\"\"](\"https:\/\/eamt.ee\/wp-content\/uploads\/2022\/12\/Tural-at-glaciers-scaled.jpg\")
<\/p>\n![\"\"](\"https:\/\/eamt.ee\/wp-content\/uploads\/2022\/12\/Tural-Black-Sand-Beach-scaled.jpg\")
<\/h2>\n