Re-imagining the arts festival in times of crisis

危机时期重新构想艺术节

• 批准号: 2750577
• 金额: --
• 依托单位: Birmingham City University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2750577
• 关键词: Re; imagining; arts; festival; times

Research Context - As a festival director and producer, I have experienced first-hand the crisis in the UK arts sector. From changes in how we communicate with audiences and funders, to how we think about programming and how we contract artists, everything has been inverted in previously unimaginable ways (Rentschler, Lee 2021; Gradinaru 2021; Davies 2020). Facing these challenges from different positions - the Producer of a thriving 40-year-old Festival in rural North Yorkshire; and Founder and Director of a much smaller, 5-year-old Festival in the Chilterns - as well as regular communication with other festival directors and cultural leaders (Bucks Cultural Leaders 2021), has given me a broad perspective on this period.One of the most significant areas of innovation and creativity has been through digital platforms (Bowen et al. 2021; Loots et al. 2021), which raises questions about harnessing these technologies for the future. Between my two festivals, we presented 17 digital concerts and a film connecting amateur and professional musicians, the platforms and funding for which did not exist previously - and countless similar achievements occurred elsewhere (ACE 2020). The inner workings of these festivals, and the leadership (Collins 2001; Heifetz, Laurie 2001) that inspired dedicated staff and volunteers to achieve such outstanding work as they faced a VUCA world (Feldman 2017) is a constant source of fascination for me and will play a significant part in this research.Research Questions1. How are festivals uniquely placed to create environments where cultural life thrives, and how in times of crisis can they continue to keep their content and communications relevant to their audience?2. How have challenges the arts world has faced recently, alongside the ongoing challenges of EDI and sustainability, changed the way festivals operate: how have audiences adapted, and how will these changes affect the future of the industry?3. How can industry leaders build robust, adaptable teams; what specific organisational challenges do festivals face; and how do the volunteers within an organisation affect how this is approached?MethodologyWorking with BAFA to evaluate the UK festivals landscape; establishing priorities and principles for the sector's recovery post-Brexit and post-Covid. Building on baseline data from BAFA (i.e. FMB4; Indigo), three case-study BAFA-member festivals will be selected.Mixed methodology: semi-structured interviews, data analysis, collaborative and co-design research processes (eg. audience forums; creative labs), historical/archival research, extensive fieldwork at case-study festivals.ImpactA practical model that can become part of BAFA's toolkit for understanding and evaluating the impact of arts festivals, as well as creating a conceptual framework for understanding the changes taking place across the sector more broadly.TimelineYear 1PG Certificate in Research PracticeScoping exercises and data analysis with BAFAEthics reviewPreliminary surveys; establishing relationships and schedules with case-study festivalsDraft literature review and methodologyYears 2 & 3Workshops and interviewsData gathering, reflection and comparisonPresentations at external conference(s)Draft thesis chaptersYear 4Analysis of case-study dataReport and recommendations for BAFA researchCompletion of thesisAnnual presentations at BAFA conference.

研究背景-作为艺术节导演和制片人，我亲身经历了英国艺术界的危机。从我们与观众和资助者沟通方式的变化，到我们如何看待节目以及我们如何与艺术家签约，一切都以以前无法想象的方式发生了逆转（Rentschler，Lee 2021; Gradinaru 2021; Davies 2020）。面对这些来自不同岗位的挑战--北约克郡乡村一个有着40年历史的蓬勃发展的节日的制作人;同时也是智利一个规模小得多、只有5年历史的艺术节的创始人和导演，并与其他艺术节导演和文化领袖定期沟通（巴克斯文化领袖2021），这让我对这一时期有了一个广阔的视角。创新和创造力最重要的领域之一是通过数字平台（Bowen et al. 2021; Loots et al. 2021），这提出了关于利用这些技术为未来服务的问题。在我的两个音乐节之间，我们举办了17场数字音乐会和一部连接业余和专业音乐家的电影，这些平台和资金以前都不存在-其他地方也取得了无数类似的成就（ACE 2020）。这些节日的内部运作，以及领导（柯林斯2001;海菲兹，劳里2001），激励敬业的工作人员和志愿者实现这样出色的工作，因为他们面对一个VUCA的世界（费尔德曼2017）是一个不断的魅力来源，我将在这项研究中发挥重要作用。节日如何独特地创造文化生活蓬勃发展的环境，以及在危机时期如何继续保持其内容和传播与观众的相关性？2.艺术界最近面临的挑战，以及持续的EDI和可持续性挑战，如何改变了艺术节的运作方式：观众如何适应，这些变化将如何影响行业的未来？3.行业领导者如何建立强大的、适应性强的团队;节日面临哪些具体的组织挑战;组织内的志愿者如何影响这一点？方法与BAFA合作评估英国节日景观;为英国脱欧和新冠肺炎后的行业复苏制定优先事项和原则。基于BAFA的基线数据（即FMB 4;靛蓝），将选择三个案例研究BAFA成员节日。观众论坛;创意实验室），历史/档案研究，在个案研究节日广泛的实地考察。影响一个实用的模型，可以成为BAFA的工具包的一部分，用于理解和评估艺术节的影响，以及创建一个概念框架，以了解整个部门发生的变化更广泛。时间表一年研究实践PG证书范围界定练习和数据分析与BAFA伦理审查初步调查;建立与案例研究节日的关系和时间表起草文献综述和方法学第2年和第3年研讨会和访谈数据收集，反思和比较在外部会议上的演讲起草论文章节第4年案例研究数据分析报告和BAFA研究的建议完成论文在BAFA会议上的年度演讲。