Ce livre se penche sur le travail invisible, sur la face cachée de l’événement spectaculaire qu’est la Fête des Vignerons, qui ne se produit qu’une fois par génération. Alors que l’attention du public, des médias et du monde de la recherche porte principalement sur la partie visible du spectacle, sa charge symbolique et la part de créativité artistique qu’il exhibe, il s’agit ici de s’intéresser aux travailleuses et aux travailleurs de l’ombre – professionnel·le·s et bénévoles – et aux défis auxquels ils et elles se confrontent pour que le spectacle soit pure fête, art et tradition. Leur travail est considérable, suppose compétence et engagement de leur part, mais aussi créativité et innovation. Il se réduit rarement à de la pure et simple exécution ; au contraire, il demande des compétences, de la débrouille, et même parfois du génie, tout en gardant bien l’esprit de la fête et sa singularité pour façonner l’infrastructure qui convient. L’ouvrage enquête sur les arcanes du spectacle en portant l’attention au travail d’organisation et de façonnage des infrastructures.
Dominique Vinck est professeur à la Faculté des sciences sociales et politiques de l’Université de Lausanne. Il est spécialiste des sciences et des techniques.
Elisa Salvador, ESSCA School of Management, France, corresponding editor
Elena Castro-Martínez (INGENIO-CSIC, UPV, Valencia, Spain)
Ana Maria Botella Nicolás and Rosa Isusi Fagoaga (University of Valencia, Spain)
In recent years, festivals attracted increased attention because of their remarkable increase in number (del Barrio et al., 2012; Baez-Montenegro, Devesa-Fernandez, 2017). As well, the digital revolution and the information and communication technologies (ICTs) diffusion impacted cultural festivals. Notwithstanding, one cannot take for granted that digital technologies had a disruptive effect on dissemination events like small festivals because of their peculiarities linked to the local territory and to the unique experience they assure to visitors, that cannot easily be replaced by digital tools. On the one hand, these festivals obtain customer loyalty and increase visitors more through “word of mouth” than through digital channels and they look for new audiences also through educational programs involving students. On the other hand, festivals’ setting, and organization are a tricky matter: these events are characterized by temporality and a project focus that require a motivated workforce under intensive collaborations and the leadership of a few persons (Abfalter et al., 2012).
Consequently, one may wonder what the very final influence and impact of the digital revolution on the organization and management of cultural festivals is. Is it possible to talk about new dynamics strengthening the success of festivals? Is digital proximity replacing or completing physical proximity in these events’ organization?
The aim of this Special Issue is to investigate the actual context of festivals’ structure, organization, and management, also considering the actual challenges of the digital age. Cross comparisons between festivals taking place in different countries will be welcome. They are expected to consider the place, the structural organization and the impact of some selected festivals organized in small or large cities.
An important question at stake is to understand on what elements is nowadays based the potential success of festivals, their economic model, the nature of their offer, the services and experience that they propose as well as their links with the various types of local stakeholders and city facilities and structures. One may wonder what tie between a festival and the city organizing it comes up and what city’s identity and brand is fostered by the festival itself.
Exemplary research questions and topics include, but are not limited to, the following:
• The economic revival and local/regional interest about festivals: what are the main reasons?
• The place, the structural organization and the impact of festivals organized in small cities: do they survive, or they are a real success?
• What about the role of festivals in the digital age?
• What about the economic model of festivals in the digital age?
• Social innovation and cultural festivals: actual challenges and perspectives
• New approaches and new audiences, considering the role of digital technologies
• New approaches and challenges to educational programs of cultural festivals and their possible impact from the digital revolution
• Local festivals and local cities: what links between digital technologies and brand identities?
We welcome qualitative or quantitative propositions, covering different countries, in the form of theoretical, conceptual, and empirical contributions.
Review process for the selection of articles
Submitted articles will be subjected to double-blind review and will be evaluated by the Guest Editors for this issue of the Journal. Authors should prepare their manuscripts for blind review and submit them to ijam@hec.ca before 1st February 2020.
Manuscripts must follow the International Journal of Arts Management presentation rules.
References
Abfalter D., Stadler R., Muller J. (2012), “The Organization of Knowledge Sharing at the Colorado Music Festival”, International Journal of Arts Management, vol. 14, n. 3, pp. 4-15.
Baez-Montenegro A., Devesa-Fernandez M. (2017), “Motivation, satisfaction and loyalty in the case of a film festival: differences between local and non-local participants”, Journal of Cultural Economics, vol. 41, pp. 173-195.
Del Barrio M. J., Devesa M., Herrero L. C. (2012), “Evaluating intangible cultural heritage: The case of cultural festivals”, City, Culture and Society, vol. 3, pp. 235-244.
La première journée d’études du projet Carrières et notoriété: le rôle de l’événementiel a eu lieu à Sciences Po Grenoble le vendredi 20 décembre 2019. Les membres du projet y ont présenté les premiers résultats de leurs enquêtes.
9h15-10h Réunion d’équipe
10h-12h #WP1: Secteurs et carrières en voie d’internationalisation – Introduction (Sidonie Naulin) – Marieke Louis, « Conférences et sommets internationaux dans la construction d’une communauté/espace patronal transnational » – Sidonie Naulin, « Les festivals internationaux de cuisine et la construction d’une scène gastronomique internationale » – Thomas Collas, « Événements professionnels brassicoles et définitions transnationales de la craft beer »
12h-13h15 Pause
13h15-15h15 #WP2 : Secteurs matures et intensification de la concurrence – Introduction (Olivier Zerbib) – Anne Jourdain, « Quand le salon fait le groupe professionnel. De la petite exposition de céramistes d’art à la foire internationale de la décoration Maison&Objet (1949-2019) » – Olivier Zerbib, « Slalomer entre les pièges du terrain, éviter les sorties de pistes et remonter la pente : le Sommet des arcs comme instance de régulation de tensions économiques et interprofessionnelles » – Pascale Trompette et Victor Potier, « Le salon du funéraire »
15h15-15h30 Pause
15h30-17h30 #WP3: Secteurs d’activités et professions émergents – Introduction (Anne-Sophie Béliard) – Tatiana Rubtcova, « Carrières des événements et carrières de wedding planners » – Anne-Sophie Béliard, « Voir, rencontrer et apprendre : les festivals comme espaces de définition de la profession de scénaristes de séries » – Romain Gandia et Charles-Clemens Rüling, « Failing to configure: Life and death of the Forum Blanc » – Flavie Genatio, « Makerspaces : l’organisation d’événements comme outil de structuration du mouvement »
The aim of this International Workshop and the subsequent Special Issue is precisely to investigate the actual context of Festivals’ structure, organization and management, also considering the actual challenges of the digital age. Cross comparisons between Festivals taking place in different countries will be welcome. They are expected to consider the place, the structural organization and the impact of some selected Festivals organized in small or large cities.
Organizers
Ana Maria Botella Nicolás [University of Valencia · Spain] [info]
Elena Castro-Martínez [INGENIO-CSIC-UPV, Valencia · Spain] [info]
Rosa Isusi Fagoaga [University of Valencia · Spain] [info]
Elisa Salvador [ESSCA School of Management ·France] [info]