Festivals - Tartu

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The most useful networks seem to be the informal ones among professionals, artists, operators and organizers worldwide, followed by relations with similar festivals and the personal net of contacts. The risk of crisis seems fairly irrelevant: few have experienced some, due to incidental unexpected events (the Swedish foreign minister fatally stabbed just before the festival; sudden unexpected death of the initiator of the festival idea), or other external causes such as the weather problems (cold, rain) or some contextual problems (locations) or simply because of unfavourable criticism from press. Only one festival stresses the importance ‘to foresee every problem and be able to find quick compromises’. Projections in the future show a general expectation to improve in several aspects: increasing artistic and cultural quality, reinforcing and diversifyng the sources of income such as the European Commission, sponsorship and merchandising, sponsorships, prolonging the duration of the festival and enlarging its activities, enhancing the programs every year so as to keep interest alive, obtaining an international recognition, improving young professionals skills and opportunities, increasing cooperation with local and international institutions, improving the relationship with the environment. From the comparison and analyses of the eleven festivals questionnaires, the main critical weakness emerging can be resumed as follows: a tendency to follow standard tools and practices, with a not so prominent creative effort to find more adequate instruments and topics as regards position, management and development of the festival; a lack of professional competences, especially in project management and fundraising; a not so functional organization and deployment of specific roles and human resources (e.g. the need to cover some neglected aspects such as documentation, volunteers involvement, etc.) unexploited potentialities of relationships, partnerships and support; the lack of effort and instruments in monitoring audience; the lack of attention and instruments in evaluating the festival experience and in communication with the policy makers and public opinion, in order to demonstrate the role, the potential and the impact on the local community . 26
Festivals and the persons in charge of answering the questionnaires: Viljandi Folk Music Festival, Ants Johanson – Press Director Uppsala Culture Night, Elise Rhodin - Director, Culture Officer of Uppsala Municipality Hanseatic Days Festival in Tartu, Ülle Külv - Director International Dance Activity – IDA festival in Tartu, Mare Tommingas - Director Tartu Music Festival, Juta Kuhlberg - Director Festival Improvizz in Tartu, Aleksander Sünter Soup City Days Festival in Tartu, Aleksander Sünter Regiöö, Aleksander Sünter - Director Tartu Student Spring Days, Marleen Parman, Kulno Kungla Turku the Christmas City of Finland, Maarit Keto – Seppälä Project Manager, Turku City Project Office Ferrara Buskers Festival, Simona Callegari - Assistant to Stefano Bottoni (Artistic Director) 27
Page 1: Festivals: Challanges of Growth, Di
Page 4 and 5: PREFACE Background Tartu is a stude
Page 6 and 7: However, festivals of the first typ
Page 8 and 9: amplifiers and larger musical group
Page 10 and 11: PART ONE An overview of the festiv
Page 12 and 13: There are special programs offered
Page 14 and 15: During I.D.A. IV, the plays of youn
Page 16 and 17: The purpose of the festival is to u
Page 18 and 19: of specialists and other interested
Page 20 and 21: Turku, the Christmas City of Finlan
Page 22 and 23: tourists, crowded the 200,000 squar
Page 24 and 25: In terms of the financial balance,
Page 28 and 29: PART TWO Challenges and Strategies
Page 30 and 31: An opposite case is L’Automne de
Page 32 and 33: Programming internationally means i
Page 34 and 35: Beside this policy of good will and
Page 36 and 37: discover such unexpected locations
Page 38 and 39: More radically, a site specific fes
Page 40 and 41: and theatrical life is divided into
Page 42 and 43: only think of those festivals that
Page 44 and 45: etter to construct the communicatio
Page 46 and 47: The success of this venture is clea
Page 48 and 49: authorities but also of the players
Page 50 and 51: The Mantova Festival of Literature,
Page 52 and 53: for a limited and very often ineffe
Page 54 and 55: Festivals need to seek distinction
Page 56 and 57: ALESSANDRO BOLLO (1972) One of the

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