Music Venues Research Articles

RAMPAK BARONG PADA PERTUNJUKAN JARANAN PAGUYUBAN TURONGGO SETYO JATI DI KABUPATEN BLITAR

Rampak Barong dance, which is in a jaranan performance of Paguyuban Turonggo Setyo Jati in Blitar is a dance that belongs to a folk dance, which is a dance that lives and develops in the local communities with the simplicity of movement, floor patterns, make-up and even costume, because all of that are the characteristics of folk dance. This study aims to reveal the form of the performance and the function of that dance. Rampak Barong dance is very popular among the local community because there are many attractive movements including forward somersaults, interesting foot movements including srimpetan and junjungan. It become more interesting not only because of all kind of movements, but also there is one of main movement called nyaplok. The theoretical basis used to answer the problem of form is Soedarsono's theory in his book entitled “Introduction to Dance Elements and Dance Problems”, and supported by Soedarsono's opinion in his book entitled “Indonesian Performing Arts in Globalization” to describe the functions. The methodology used for this research are nterview, observation, and literature study. This research used descriptive analysis method used to describe the Rampak Barong dance. The results of this researh showed that the form of the dance performance Rampak Barong Paguyuban Turonggo Setyo Jati consists of several dance offerings with several elements of the dance offerings, such as dancers, movement, make-up, music, and performance venues. The function of the Rampak Barong dance as a means of ritual, as personal entertainment and as an aesthetic presentation, namely through ticketing performances or fundraisingKeywords: Form, Function, Rampak Barong, Turonggo Setyo Jati

Social media strategies of punk and metal bands on Instagram during the COVID-19 closures of live music venues in Melbourne

The COVID-19 pandemic caused the closures of live music venues in Melbourne, Australia between March and November 2020. During this period, punk band Clowns and metal band Ocean Grove used the social media platform Instagram to engage their audiences and maintain their standing within their scene despite not being able to engage in regular activities such as live performance. This article analyses the strategies used by the bands, including fan engagement and dialogue, nostalgia for pre-pandemic times, and promotion and fundraising. When used in combination, these categories enabled the bands to solicit conversation from their fans, foster unity by reminiscing about previous successes, and promote merchandise and support organizations which mitigated the loss of income across the industry.

Valuing value in urban live music ecologies: negotiating the impact of live music in the Netherlands

ABSTRACT This paper seeks to understand the role of valuing in urban live music ecologies. It explains how multiple actors (e.g. directors of music venues, musicians, policy-makers, and real estate experts) in Dutch live music ecologies negotiate the different values of live music. To examine this dynamic, we use insights from literature on innovation ecosystems from the field of business, as well as research on live music ecologies from popular music studies literature. Enhancing the conceptualisation of live music ecologies, we distinguish four dimensions of live music ecologies (live music as a material reality, a network of actors and organisations, a social institution, and a lived cultural practice) and four values (cultural, social, economic, and spatial). We use this perspective specifically to analyse the process of valuing on the levels of musicians, venues and festivals, and cities in the Netherlands. Drawing upon 45 in-depth interviews, we demonstrate how in live music ecologies the various understandings of value need to be aligned by venues and festivals, value slippage occurs for musicians, and values should be anchored in specific places and urban policies on the city level.

Review essay: Between the Material and the Ephemeral

Review essay: Between the Material and the Ephemeral

Relationships Between Social Host Policies, Youth Drinking Contexts, and Age

We examined associations of city-level policies and enforcement operations (i.e., social host laws and party patrol operations) with youth drinking, heavy drinking, and drinking-related problems in private and public drinking contexts. We also examined whether these associations were modified by age. We surveyed 580 youth (ages 16-20 years; 53% male) living in 24 midsized California cities. We used mixed-effects negative binomial and logistic regression to calculate the frequency of youth drinking and heavy drinking and odds of drinking-related problems in each context (own home, friend's home, restaurant, bar, music venue, and outdoors). There were positive associations between more comprehensive city-level social host policies and frequency of youth drinking and heavy drinking at music venues, and youth heavy drinking and drinking-related problems at restaurants. Younger youth who lived in cities with more comprehensive social host laws drank heavily less frequently in their own home than younger youth living in cities with less comprehensive social host laws. Youth ages 17 or under who lived in cities with more party patrol enforcement had higher odds of problems related to drinking outdoors in the past 12 months than those in cities with fewer party patrol operations. City-level alcohol policies and enforcement targeting underage drinking may have differential effects depending on youth drinking contexts and age. Comprehensive social host policies, which aim to decrease drinking in private contexts, may displace or increase youth drinking in other contexts, such as restaurants and music venues. Comprehensive social host policies and party patrol operations may be more influential for younger youth drinking in their own home or outdoors.

PODCAST | Music Work and Solidarity Politics in the Age of Covid-19: Some Thoughts from Greece

Professional musicians in Athens are a community notoriously lacking in solidarity and collective campaigning. Even during the so-called ‘Greek Crisis’, that exacerbated circumstances of precarity among performing artists, musicians seemed reluctant to resort to collective struggle and unionisation. However, the wake of the pandemic that resulted in the closure of music venues and cancellation of all face-to-face musical activity overnight had an unprecedented effect on the collectivisation of Greek musicians. The Panhellenic Music Union is rising in visibility and agency and a new grassroots movement called ‘Support Art Workers’ has emerged as a point of solidarity for thousands of creative artists including musicians, actors, dancers, visual artists and technicians. In this audio statement, Ioannis Tsioulakis (author of Musicians in Crisis, Routledge 2020) reflects on these new developments and provides some thoughts on why Covid-19 might be a time that cultivates collective campaigns for musicians and other precarious creative workers.

Crisis as a Catalyst for Change: COVID-19, Spatiality and the UK Live Music Industry

Since the advent of the COVID-19 pandemic, live music spaces – and the practices which produce them as economically viable – have found themselves in crisis. In spite of a UK government announcement on the 25th of July 2020 which allocated £2.25 million to support 150 music venues across the country, the processes of allocation, the conditions under which this emergency funding is allocated, and capacity to secure medium-to-long-term sustainability of the live music industries in the UK, remains unclear. In this paper, we present a Lefebvrian analysis of live music, highlighting the complex ways in which space is produced and consumed within a live music environment. By extending this framing to consider Lefebvre’s conceptualisation of dominated and appropriated space, we argue that the economic viability of live music stems from its spatiality, and that ongoing responses to the crisis require greater sensitivity to the spatial practices of music production and consumption.

Listening Space

Classical music venues in the Netherlands and throughout the world are struggling to attract new audiences. Especially younger visitors are underrepresented. Previous research emphasizes the importance of providing new, potentially interested audiences with more means to consume the music. This paper presents an exploratory case study with the persuasive gameListening Spacewhich we developed to help attract new audiences and thus preserve Western classical music heritage. In particular, we studied to what extent this game could promote more varied ways of listening to classical music and thus enrich the experience of visiting a classical music concert. We designed and executed a controlled randomized trial with surveys before and after the experiment as well as a series of in-depth interviews with participants after the experiment. Our treatment group consisted of 139 participants (both new and existing visitors). They played our digital game at their own convenience, followed by a visit to a concert in a renowned classical music concert hall. A control group of 165 participants only visited the concerts. We measured the effects of the game – changes in the ways participants listen to classical music – through self-report in questionnaires before and after the experiment. Results show thatListening Spaceseems most effective for new audiences: the game promoted more varied ways of listening in the treatment group and thus enriched their experience of visiting a classical music concert. The control group of new visitors did not show an effect and also no differences were found between the treatment and control groups of regular visitors of classical music concerts We employed regression analysis to identify predictors of the game's effect on listening styles: participants’ age and their level of appreciation of the classical music genre were negatively related to the effectiveness of the game. The way in which participants experienced the game also significantly influenced the effectiveness. This case study shows the potential of using games to promote classical music concerts: games seem to be valuable in attracting new, young audiences and, therefore, represent powerful instruments to help preserve Western classical music cultural heritage.

New psychoactive and classic substances in pooled urine samples collected at the Ultra Europe festival in Split, Croatia.

We believe that analysing pooled urine samples for recreational drugs used at mass events can provide useful information about trends in drug use. An opportunity arose with the Ultra Europe music festival, which is attended by more than 150,000 people from over 150 countries every year. We analysed 30 pooled urine samples collected from portable chemical toilets located at or close to the Ultra Europe music festival venue in Split, Croatia in 2016–2018 to detect the presence of classic and new psychoactive substances (NPS). Four urine samples collected in 2016 were from a toilet without added chemicals (otherwise used to kill the smell) while the remaining samples were collected from toilets with added chemicals. Samples were qualitatively analysed with gas chromatography-mass spectrometry (GC/MS) using the full-scan mode. Data were compared with the Wiley mass spectral library of designer drugs and our in-house library containing about 1000 compounds and metabolites. We identified forty-six different substances and metabolites, 26 of which were classic substances/metabolites, mostly from the stimulants group, while 20 were NPS. In the NPS group, most of them were phenethylamines and cathinones. The variety of substances was the highest on the first day of the festival regardless of the year, but 2018 showed a significant drop compared to the previous two years. The results of our study revealed a stable trend of classic drug consumption, while NPS trend changed from one year to another.

Impact of COVID-19 on music venues in regional South Australia

As spaces of social, cultural and economic production, small regional music venues are an under-explored research area that can offer insights into changing music and performance practices, place-making, and the connections between urban and regional communities. Within the context of the COVID-19 crisis, the state of precarity in which such venues operate is emphasized and exacerbated. This article will present preliminary findings from our case study of a small, regional music venue in the mid-north of South Australia that has been heavily affected by the COVID-19 pandemic and associated government restrictions. The pandemic has dramatically changed the way that live music is both performed and experienced, and a case study such as this offers an opportunity to discuss its impact on niche cultural and community spaces that are geographically and socially removed from the urban milieu and its policy settings. Preliminary findings suggest COVID-19 brought about both challenges (capacity restrictions and disruption of interstate travel for audiences and artists) as well as opportunities (strengthening the presence of rural voices in policy settings). The case study also highlights the need for further research on strategies for developing and sustaining regional touring pathways throughout South Australia.

The Value of Small Live Music Venues: Alternative Forms of Capital and Niche Spaces of Cultural Production

Small live music venues rely on complex systems of cultural and social capital to bring revenue into each venue space. Although these intangible forms of value are quickly exchanged for economic capital over the bar or through the ticket vendor, their initial state conveys the intrinsic value of small venues as spaces of sociality and cultural production. Throughout this article I demonstrate the intrinsic value of small venues through an analysis of how alternative forms of capital – social, cultural, and symbolic (Bourdieu, 1984, 1986, 1997, 2002) – are generated and mobilised by individuals working in small venues, and the venue spaces themselves. This utilisation of Bourdieu and his theoretical apparatus forms the conceptual framework of this article, as I assert that much of the ‘work’ that small venues ‘do’ is intangible, and thus difficult to measure in quantitative terms. However, Bourdieu’s alternative forms of capital allow us to qualitatively assess the intrinsic value of small live music venues, demonstrating the significance of this value whilst also prompting a discussion of the nature of intrinsic and instrumental value. This article is both a review of the literature connecting Bourdieu to the study of small live music venues and an analysis of how theories of value and Bourdieusian capital(s) play out in niche spaces of cultural production such as small live music venues.

Open Data Based Urban For-Profit Music Venues Spatial Layout Pattern Discovery

The spatial pattern of music venues is one of the key decision-making factors for urban planning and development strategies. Understanding the current configurations and future demands of music venues is fundamental to scholars, planners, and designers. There is an urgent need to discover the spatial pattern of music venues nationwide with high precision. This paper aims at an open data solution to discover the hidden hierarchical structure of the for-profit music venues and their dynamic relationship with urban economies. Data collected from the largest two public ticketing websites are used for clustering-based ranking modeling and spatial pattern discovery of music venues in 28 cities as recorded. The model is based on a multi-stage hierarchical clustering algorithm to level those cities into four groups according to the website records which can be used to describe the total music industry scale and activity vitality of cities. Data collected from the 2018 China City Statistical Year Book, including the GDP per capita, disposable income per capita, the permanent population, and the number of patent applications, are used as socio-economic indicators for the city-level potential capability of music industry development ranking. The Spearman’s rank correlation coefficient and the Kendall rank correlation coefficient are applied to test the consistency of the above city-level rankings. The results are 0.782 and 0.744 respectively, which means there is a relatively significant correlation between the scale level of current music venue configuration and the potential to develop the music industry. Average nearest neighbor index (ANNI), quadrate analysis, and Moran’s I are used to identify the spatial patterns of music venues of individual cities. The results indicate that music venues in urban centers show more spatial aggregation, where the spatial accessibility of music activity services takes the lead significantly, while a certain amount of venues with high service capacity distribute in suburban areas. The findings can provide decision support for urban planners to formulate effective policies and rational site-selection schemes on urban cultural facilities, leading to smart city rational construction and sustainable economic benefit.

The cultural policies of a popular music venue: the case of Strasbourg's Espace Django

PurposeThis article discusses local cultural policies addressing popular music, and the values they imply, through a case study of Strasbourg's Espace Django, a publicly financed concert venue located in a disadvantaged neighborhood.Design/methodology/approachEspace Django's structural organization and overall cultural “philosophy” are described on the basis of field interviews and several documents related to the venue; they are then discussed in relation to literature on urban cultural policies and French policies concerning popular music.FindingsEspace Django's activities embody a will to improve social interactions within local communities. The venue does not fit in either the “music city” or the “creative cluster” theoretical model. However, its policies belong to the French institutional tradition of Développement Culturel, and they express a tendency toward eventification and the experience economy.Originality/valueIn France, the public sector plays an important role in cultural practices, mostly through funding and policymaking. The example of Espace Django adds a distinct French perspective to a research field mainly centered on Anglo-Saxon countries and more liberal economies. Also, the appendix on Espace Django's response to the coronavirus disease 2019 (COVID-19) health crisis adds interesting elements for understanding what are the successful choices in the current cultural scenario.

The impact of the Queensland Government's Tackling Alcohol-Fuelled Violence Policy on live music performances in Fortitude Valley, Brisbane, Australia.

The Queensland Government's Tackling Alcohol-Fuelled Violence (TAFV) Policy was met with concern from live music venue owners who feared decreased patronage and associated revenue. This study investigates the impact of the TAFV Policy on live music venues and performances in Fortitude Valley, an inner-city suburb of Brisbane, Australia recognised as a hub of live music performances. Data relating to live music venues and performances in Fortitude Valley for the 2000-2018 financial years were obtained from the Australasian Performing Right Association (APRA AMCOS), who maintains an online data portal allowing artists to enter performance details to collect royalty payments. These data were supplemented with six precinct mapping audits of live music venues operating in the Fortitude Valley Safe Night Precinct between July 2016 and September 2019. APRA AMCOS data show increases in the number of reported live music performances and venues in Fortitude Valley between 2000 and 2019. Precinct mapping audits show minimal changes in the operation of live music venues in Fortitude Valley between 2016 and 2019. As the first study to independently document the impact of licenced venue trading hour changes on live music, this study shows the number of live performances reported to APRA AMCOS and original live music venues trading in the Fortitude Valley Safe Night Precinct were unchanged by the introduction of the TAFV. The study highlights the value of using performance returns and venue audits to track live music in a contested policy space.

The Social Distancing Festival

The Social Distancing Festival is an international, multidisciplinary online theatre festival that was created as theatres, music venues, and art galleries across Canada shut their doors owing to the spread of COVID-19. The website received hundreds of submissions, media attention from around the world, and over a quarter of a million unique visitors within the first week of launching. Artists participated from across Canada and around the world, including countries that had been severely impacted by the virus, such as China, Italy, and Spain. The process of collecting and presenting this art was deeply moving, in terms of both the quality of the work and the stories of those who submitted. This article chronicles the creation of this work, revisits some of the standout content, and details the Long Distance Art series.

The Impact of the COVID-19 Global Pandemic on the Cuban Tourism Industry and Recommendations for Cuba’s Response


 Cuba has been affected by the COVID-19 global pandemic as has most countries. The pandemic has all but shut down the tourism industry, with global flights being cancelled and governments taking drastic actions to stop the spread of the virus. The impact will especially hurt developing countries without strong economies and those heavily reliant on the tourism industry, such as Cuba. Government initiatives have included stay at home orders and temporarily closing businesses, restaurants, sports, and music venues as well as manufacturing facilities. With these shutdowns, there exists the probabilities that many businesses will not survive, but for those with sufficient cashflow, this presents opportunities for organizations and governments to re-tool, re-balance and alter their methods of operations. Cuba is different, in that they have a centralized planned economy and do have an opportunity to make significant changes to their industries which can improve the future of Cuba. The present paper looks to evaluate the impact of this on the country and the tourism industry and make economic recommendations in order for the Cuban government to move forward.

SILENCE

This piece identifies some of the unique challenges of the COVID-19 pandemic for non-profit arts administration. It profiles Silence, Guelph a small music venue, art gallery and community space and how we have experienced the pandemic and continue to learn from and grow through the challenges it presents.

Contributors’ Notes

Contributors’ Notes

Híres kávéházi asztaltársaságok a 19. századi Pesten

The 19th-century cafés in Pest meant more than simple entertainment venues for people of the age. Their basic function, of course, was hospitality, but they gave much more than that to citizens, aristocrats, and rural people or foreigners traveling through the city. Travelers remembered the city’s brilliant cafés in many colorful travelogues. The lively social life that took place here in the 19th century attracted many to the town of cafés. In my study, my primary goal was to present the best-known tableware companies of 19th-century cafes, along with their implications for social and political life. We have seen that, in addition to cultural and professional debates, participants have paid close attention to discussing current political issues of the age, focusing on the operation of table companies in the early and middle centuries. The first revolutionary aspirations also started from the cafés. However, after the defeat of the War of Independence, the role of literary cafés, once revolutionary centers, changed. From the 1850s onwards, their primary task was to provide shelter for those actively involved in the revolution. With the selfless help of many coffee shop owners, the literary and cultural life of the coffee shop rebounded and life began to return to its old wheel. Then, in the 1890s, coffee shops had to adapt to the needs of the modern era, also due to increasing foreign influences. By then, the city is no longer just about cafes in the classical sense of the word. There is also an increasing place for musical entertainment venues that provide modern forms of entertainment. In cafes, however, despite modernization, we can find the classic table companies of previous decades, proving that the arts have also found their audiences in a renewable café environment.

Loud Music Listening

Over the past four decades, there has been increasing interest in the effects of music listening on hearing. The purpose of this paper is to review published studies that detail the noise levels, the potential effects (e.g. noise-induced hearing loss), and the perceptions of those affected by music exposure in occupational and non-occupational settings. The review employed Medline, PubMed, PsychINFO, and the World Wide Web to find relevant studies in the scientific literature. Considered in this review are 43 studies concerning the currently most significant occupational sources of high-intensity music: rock and pop music playing and employment at music venues, as well as the most significant sources of non-occupational high-intensity music: concerts, dicotheques (clubs), and personal music players. Although all of the activities listed above have the potential for hearing damage, the most serious threat to hearing comes from prolonged exposures to amplified live music (concerts). The review concludes that more research is needed to clarify the hearing loss risks of music exposure from personal music players and that current scientific literature clearly recognizes an unmet hearing health need for more education regarding the risks of loud music exposure and the benefits of wearing hearing protection, for more hearing protection use by those at risk, and for more regulations limiting music intensity levels at music entertainment venues.