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Resumo(s)
O presente trabalho pretende analisar a criação, produção e promoção de festivais no âmbito
restrito da música experimental, analisando em particular os diversos modelos financeiros e as
interações produzidas. Procurando implementar a promoção e divulgação da música
experimental em Portugal (das vertentes mais acústicas às mais eletrónicas) alguns agentes
nacionais, têm produzido ou ajudado a produzir ao longo dos anos, diversos eventos sob a
forma de festivais ou de acontecimentos pontuais, que por razões pouco compreendidas têm
colapsado, ou entrado em “hibernação”. Apesar do esforço efectuado ao longo dos anos,
encontrámos apenas onze festivais dedicados a este género de música, sendo que apenas sete
se encontram ativos e apenas dois (MadeiraDig e Out.Fest ) contam com mais de 10 edições.
Tendo em conta esta descontinuidade na produção deste género de festivais em Portugal,
quisemos compreender, primeiramente, a evolução da música experimental ao longo do
último século, observando os modelos de criação e produção concebidos durante este tempo,
proporcionando uma rutura com os modelos tradicionais de composição musical (Cascone,
Cage). Em segundo, procuramos compreender a proliferação destes novos modelos de
produção e criação de obras sonoras, e saber de que forma os festivais podem resultar como
meio de escoamento destas criações. Começamos por observar e analisar os festivais, artistas
e editoras no contexto internacional, que ao longo dos anos surgem como referências à
difusão e promoção da música experimental. Por outro lado, iniciamos um processo de
inquirição dirigido a (1) programadores/produtores de festivais, (2) programadores de
espaços/entidades e (3) editoras nacionais que se relacionam profissionalmente com a
música/arte experimental. Este processo é constituído por três inquéritos moldados em função
das suas atividades profissionais adoptando um processo evolutivo em relação às questões de
forma a obter dados correspondentes ao objeto de estudo.
Os resultados obtidos nesta pesquisa mostram que os modelos de produção dos festivais de
arte experimental com incidência na música, em Portugal, não se regem ou seguem qualquer
norma de produção em especial. Relativamente à sua descontinuidade, podemos apontar como
fatores prováveis, a forte dependência dos apoios estatais, sendo que a receita obtida durante
os eventos, tendencialmente, não cobre os custos de produção pois o núcleo de espetadores é
muito restrito e não contribui grandemente para uma valorização destes eventos.
The present work aims to analyse the creation, production and promotion of festivals in the restricted scope of experimental music, taking into account particularly the various financial models and the produced interactions. Trying to implement the promotion and publicity of experimental music in Portugal (from the accoustic music till the more electronic one), some national agents have produced or helped to produce along the years several events under the form of festivals or one-off events, that for unknown reasons have collapsed or entered into "hibernation". Despite the efforts made over the years, we found only eleven festivals dedicated to this type of music, but only seven are active and only two (MadeiraDig and Out.Fest) have more than 10 editions. Given this discontinuity in the production of this kind of festivals in Portugal, we wanted to understand firstly the evolution of the experimental music over the past century, observing the creative and productive models generated during this time, providing a disruption from the traditional models of musical composition (Cascone, Cage). In second place, we want to comprehend the proliferation of these new models of production and creation of sound pieces and understand how the festivals may result of the produced information flow. We begin to observe and analyze the festivals, artists and publishers in the international context, which over the years, references emerge to the diffusion and promotion of experimental music. On the other side we started a inquiry process directed to the developers / producers of festivals, programmers of spaces / entities and labels in the national context whitch is professionally related to the music / experimental art. This process is constituted by three surveys molded according to their professional activities adopting a process evolutionary in relation to the questions to obtain data corresponding to the object of study. The obtained results in this research show that prodution models of experimental music festivals with impact on music in Portugal, are not governed by a basic pattern of prodution in special. We can point as factors to the discontinuity of these festivals a strong dependence on State and private supports, as the revenue obtained during the event is not superior to the costs of production. The restricted core on the number of spectators also contributes to the devaluation in performing these events, since the financial return of those is non-existent.
The present work aims to analyse the creation, production and promotion of festivals in the restricted scope of experimental music, taking into account particularly the various financial models and the produced interactions. Trying to implement the promotion and publicity of experimental music in Portugal (from the accoustic music till the more electronic one), some national agents have produced or helped to produce along the years several events under the form of festivals or one-off events, that for unknown reasons have collapsed or entered into "hibernation". Despite the efforts made over the years, we found only eleven festivals dedicated to this type of music, but only seven are active and only two (MadeiraDig and Out.Fest) have more than 10 editions. Given this discontinuity in the production of this kind of festivals in Portugal, we wanted to understand firstly the evolution of the experimental music over the past century, observing the creative and productive models generated during this time, providing a disruption from the traditional models of musical composition (Cascone, Cage). In second place, we want to comprehend the proliferation of these new models of production and creation of sound pieces and understand how the festivals may result of the produced information flow. We begin to observe and analyze the festivals, artists and publishers in the international context, which over the years, references emerge to the diffusion and promotion of experimental music. On the other side we started a inquiry process directed to the developers / producers of festivals, programmers of spaces / entities and labels in the national context whitch is professionally related to the music / experimental art. This process is constituted by three surveys molded according to their professional activities adopting a process evolutionary in relation to the questions to obtain data corresponding to the object of study. The obtained results in this research show that prodution models of experimental music festivals with impact on music in Portugal, are not governed by a basic pattern of prodution in special. We can point as factors to the discontinuity of these festivals a strong dependence on State and private supports, as the revenue obtained during the event is not superior to the costs of production. The restricted core on the number of spectators also contributes to the devaluation in performing these events, since the financial return of those is non-existent.
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Palavras-chave
Música experimental Festivais Artes performativas Arte experimental Produção de eventos Turismo cultural Experimental music Festivals Performing arts Experimental art Event production Tourism culture