Hostname: page-component-cd9895bd7-hc48f Total loading time: 0 Render date: 2024-12-25T20:27:30.525Z Has data issue: false hasContentIssue false

Do music festival communities address environmental sustainability and how? A Scottish case study

Published online by Cambridge University Press:  01 May 2019

Matt Brennan
Affiliation:
School of Culture and Creative Arts, University of Glasgow, Glasgow, UK E-mail: [email protected]
Jo Collinson Scott
Affiliation:
School of Creative and Cultural Industries, University of the West of Scotland, Ayr, UKE-mail: [email protected]
Angela Connelly
Affiliation:
School of Environment, Education and Development, University of Manchester, Manchester, UKE-mail: [email protected]
Gemma Lawrence
Affiliation:
Creative Carbon Scotland, Edinburgh, UKE-mail: [email protected]

Abstract

This article discusses the findings of an Arts and Humanities Research Council project researching how music festival communities in Scotland can address issues of environmental sustainability and climate change. It investigates how music festival communities are constructed with a focus on what role, if any, they might play in responding to the global challenge of environmental sustainability. Using music festivals in Scotland as a case study, we employed a variety of research methods to interrogate different constituents in music festival communities about their views and behaviours regarding climate change and environmental sustainability. These included festival audiences via onsite questionnaires; festival organisers and promoters via interviews and focus groups; and musicians via creative practice-led research. We conclude that rather than necessarily being a site for progressive or utopian socio-cultural experimentation (as they are occasionally portrayed in festival literature), music festival communities engage in complex and often contradictory behaviours when it comes to responding to – and making sense of – their own complicity in social challenges such as climate change.

Type
Articles
Copyright
Copyright © Cambridge University Press 2019 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Allen, A., and Dawe, K (eds). 2016. Current Directions in Ecomusicology: Music, Nature, and Environment (New York, Routledge)Google Scholar
Allen, A.S., Titon, J.T. and Von Glahn, D. 2014. ‘Sustainability and sound: ecomusicology inside and outside the university’, Music and Politics, 8(2), pp. 126Google Scholar
Anderson, B., 2002. ‘A principle of hope: recorded music, listening practices and the immanence of utopia’, Geografiska Annaler. Series B, Human Geography, 84, pp. 211–27Google Scholar
Anderton, C. 2015. ‘Branding, sponsorship and the music festival’, in The Pop Festival, ed. McKay, G. (London, Bloomsbury Academic), pp. 199212Google Scholar
Arts and Humanities Research Council. 2015. Public Policy Highlight Notice in the AHRC Leadership Fellows Scheme (Swindon, AHRC)Google Scholar
Barr, S., Shaw, G., Coles, T., and Prillwitz, J., 2010. ‘A holiday is a holiday: practicing sustainability, home and away’, Journal of Transport Geography, 18, pp. 474–81Google Scholar
Barry, A., Born, G. and Weszkalnys, G. 2008. ‘Logics of interdisciplinarity’, Economy and Society, 37(1), pp. 2049Google Scholar
Bell, D.M. and Pahl, K. 2018. ‘Co-production: towards a utopian approach’, International Journal of Social Research Methodology, 21(1), pp. 105117Google Scholar
Bottrill, C., Lye, G., Boykoff, M., and Liverman, D. 2007. First Steps: UK Music Industry Greenhouse Gas Emissions for 2007 (Oxford, Julie's Bicycle)Google Scholar
Bottrill, C., Anable, J., Bumpus, A., Elkington, J., Morel, A., Smith, T., Tsiarta, C., White, R., and Heathfield, H. 2010. Moving Arts: Managing the Carbon Impacts of our Touring (London, Julie's Bicycle)Google Scholar
Brennan, M., and Webster, E. 2010a. The UK Festival Market Report (London, UK Festival Awards)Google Scholar
Brennan, M. and Webster, E. 2010b. ‘Why concert promoters matter’, Scottish Music Review, 2(1), pp. 125Google Scholar
Brennan, M., Lawrence, G. and Connelly, A. 2016. Fields of Green: Towards Sustainable Scottish Music Festivals. https://www.research.ed.ac.uk/portal/files/25064579/CCS_FOG_guide_FINAL.pdf (accessed 2 March 2019)Google Scholar
Chilvers, J., and Longhurst, N. 2016. ‘Participation in transition(s): reconceiving public engagements in energy transitions as co-produced, emergent and diverse’, Journal of Environmental Policy & Planning, 18(5), pp. 585607Google Scholar
Clarke, M. 1982. The Politics of Pop Festivals (London, Junction Books)Google Scholar
Connelly, A., Guy, S., Wainwright, D., Weileder, W. and Wilde, M., 2016. Catalyst: reimagining sustainability with and through fine art. Ecology and Society, 21(4): p. 21. http://dx.doi.org/10.5751/ES-08717-210421Google Scholar
Cummings, J. 2014. ‘The greening of the music festival scene: an exploration of sustainable practices and their influence on youth culture’, in The Festivalization of Culture, ed. Bennett, A., Taylor, J., & Woodward, I. (Farnham, Ashgate), pp. 169–86Google Scholar
Devine, C, 2014. ‘What next for the Fife Diet's Mike Small?’, The Sunday Herald, 7 February 2014. http://www.heraldscotland.com/arts_ents/13144581.What_next_for_the_Fife_Diet_s_Mike_Small/Google Scholar
Devine, K. 2015. ‘Decomposed: a political ecology of music’, Popular Music, 34, pp. 367–89Google Scholar
Eisner, E.W. 1997. ‘The promise and perils of alternative forms of representation’, Educational Researcher, 26(6), pp. 410Google Scholar
Galafassi, D., Kagan, S., Milkoreit, M., Heras, M., Bilodeau, C., Bourke, S.J., Merrie, A., Guerrero, L., Pétursdóttir, G. and Tàbara, J.D., 2018. ‘Raising the temperature’: the arts on a warming planet. Current Opinion in Environmental Sustainability, 31, pp. 7179Google Scholar
Grossberg, L. 1993. ‘The framing of rock: rock and the new conservatism’, in Rock and Popular Music: Politics, Policies, Institutions, ed. Bennett, T., Frith, S., Grossbeg, L., Shepherd, J. and Turner, G. (London, Routledge) pp. 193208Google Scholar
Hawkes, J. 2002. ‘Creative engagement’, Artwork Magazine, 54, pp. 1015Google Scholar
Henry, G.T. 1990. Practical Sampling (London, Sage)Google Scholar
Holden, E., and Linnerud, K. 2010. ‘Environmental attitudes and household consumption: an ambiguous relationship’, International Journal of Sustainable Development, 13, pp. 217–31Google Scholar
Johnson, C. 2015. The Show Must Go On: Environmental Impact Report and Vision for the UK Festival Industry (London, Powerful Thinking)Google Scholar
Jones, M. 2014. Sustainable Event Management (London, Routledge)Google Scholar
Julie's Bicycle. 2015. Presentation slides for Fields of Green roundtable event, October 16Google Scholar
Kagan, S., and Kirchberg, V. 2016. ‘Music and sustainability: organisational cultures towards creative resilience – a review’, Journal of Cleaner Production, 135, pp. 1487–502Google Scholar
Knowles, J.G., and Cole, A.L. 2008. ‘Arts-informed research’, in Handbook of the Arts in Qualitative Research, ed. Knowles, J.G. and Cole, A.L. (Thousand Oaks, CA, Sage), pp. 5570Google Scholar
Knowles, G.J., and Promislow, S. 2008. ‘Using an arts methodology to create a thesis or dissertation’, in Handbook of the Arts in Qualitative Research, ed. Knowles, J.G. and Cole, A.L. (Thousand Oaks, CA, Sage), pp. 511525Google Scholar
Lashua, B., and Cohen, S. 2010. ‘Liverpool musicscapes: music performance, movement and the built urban environment’, in Mobile Methodologies, ed. Fincham, B., McGuinness, M. and Murray, L. (London, Palgrave Macmillan), pp. 7184Google Scholar
Lipsitz, G. 1994. Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place (New York, Verso)Google Scholar
Luckhurst, K. 2014. ‘Tens of thousands of tents are discarded at festivals – and I know why’, The Guardian, 13 June. https://www.theguardian.com/theobserver/she-said/2014/jun/13/tens-of-thousands-of-tents-are-discarded-at-festivals-and-i-know-whyGoogle Scholar
Mair, J., and Jago, L. 2010. ‘The development of a conceptual model of greening in the business events tourism sector’, Journal of Sustainable Tourism, 18, pp. 7794Google Scholar
Mair, J., and Laing, J. 2012. ‘The greening of music festivals: motivations, barriers and outcomes. Applying the Mair and Jago model’, Journal of Sustainable Tourism, 20(5), pp. 683700Google Scholar
Mair, J. and Laing, J. 2013. ‘Encouraging pro-environmental behaviour: the role of sustainability-focused events’, Journal of Sustainable Tourism, 21(8), pp. 1113–28Google Scholar
Mark, A. 2016. ‘Don't organise, mourn: environmental loss and musicking’, Ethics and the Environment, 21(2), pp. 5177Google Scholar
McKay, G. (ed.) 2015. The Pop Festival (London, Bloomsbury)Google Scholar
Nelson, R. 2013. Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances (Basingstoke, Palgrave Macmillan)Google Scholar
Nurmis, J. 2016. Visual climate change art 2005–2015: discourse and practice. Wiley Interdisciplinary Reviews: Climate Change, 7(4), pp. 501516Google Scholar
Partridge, C. 2013. The Lyre of Orpheus: Popular Music, the Sacred, and the Profane (Oxford; Oxford UP)Google Scholar
Pedelty, M. 2012. Ecomusicology: Rock, Folk, and the Environment (Philadelphia, PA, Temple UP)Google Scholar
Pratt, R. 1994. Rhythm and Resistance: Explorations in the Political Uses of Popular Music (New York, Praeger)Google Scholar
RAC. 2014. RAC Report on Motoring 2014 Britain on the road. http://www.rac.co.uk/pdfs/report-on-motoring/rac-rom-2014-v16-compressed (accessed 2 March 2017)Google Scholar
Ravetz, J. 2000. City-Region 2020: Integrated Planning for a Sustainable Environment. Earthscan: AbingdonGoogle Scholar
Redclift, M. 2005. ‘Sustainable development (1987–2005): an oxymoron comes of age’, Sustainable Development, 13(4), pp. 212–27Google Scholar
Rehding, A. 2002. ‘Eco-musicology’, Journal of the Royal Musical Association, 127(2), pp. 305–20Google Scholar
Resource Futures and Kambe Events on behalf of Bristol Festivals Forum, 2015. ‘Environmentally friendly toilets: an analysis of options for Bristol Event Organisers’ (Bristol: Kambe Events)Google Scholar
Robinson, R. 2015. Music Festivals and the Politics of Participation (London, Routledge)Google Scholar
Sandri, O.J. 2013. ‘Exploring the role and value of creativity in education for sustainability’, Environmental Education Research, 19(6), pp. 765–78Google Scholar
Scott, J. & Scott, D. 2017. ‘The portfolio career in practice: key aspects of building and sustaining a songwriting and performance career in the digital era’, in The Singer–Songwriter Handbook, ed. Williams, J. and Williams, K. (New York City, Bloomsbury Academic) pp. 191206Google Scholar
Scottish Government. 2013. ‘Low carbon Scotland: meeting our emissions reduction targets 2013–2027. The second report on proposals and policies’, p. 9. https://www.gov.scot/publications/low-carbon-scotland-meeting-emissions-reduction-targets-2013-2027-second/Google Scholar
T in the Park website. 2016. ‘To the best audience in the world …’. http://tinthepark.com/Google Scholar
Takach, G. 2016. Scripting the Environment: Oil Democracy and the Sands of Time and Space (Cham: Palgrave Macmillan)Google Scholar
Tjora, A. 2016. ‘The social rhythm of the rock festival’, Popular Music, 35(1), pp. 6483Google Scholar
Tyszczuk, R. and Smith, J., 2018. Culture and climate change scenarios: the role and potential of the arts and humanities in responding to the ‘1.5 degrees target’. Current Opinion in Environmental Sustainability, 31, pp. 5664Google Scholar
UK Government. 2003. Water Environment and Water Services (Scotland) Act. http://www.legislation.gov.uk/asp/2003/3/contentsGoogle Scholar
UK Music. 2015. Wish you were Here 2015: Music Tourism's Contribution to the UK Economy (London, UK Music)Google Scholar
Walsh, C.A., Rutherford, G., and Crough, M. 2013. ‘Arts-based research: creating social change for incarcerated women’, Creative Approaches to Research, 6(1), pp. 119–39Google Scholar
Webster, E., and McKay, G. 2016. From Glyndebourne to Glastonbury: The Impact of British Music Festivals (Norwich, Arts and Humanities Research Council/University of East Anglia)Google Scholar
Williamson, J., and Cloonan, M. 2007. ‘Rethinking the music industry’, Popular Music, 26(2), pp. 305–22Google Scholar
Zammit-Lucia, J. 2013. ‘The art of sustainability: imagination, not spreadsheets will create change’, The Guardian, 24 May.Google Scholar

Discography

Jo Mango and Friends, Wrack Lines. Olive Grove Records. 2016Google Scholar