The Sites and Sounds of Placemaking: Branding, Festivalization, and the Contemporary City

Wynn, Jonathan R.; Yetis-Bayraktar, Ayse

doi:10.1111/jpms.12169

Cited by 11 publications

(8 citation statements)

References 14 publications

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“…Although this implies that live music is now a solid aspect of urban policies, various researchers have actually raised awareness of the negative consequences of using music in places under development. Wynn and Yetis-Bayraktar (2016: 204) state that the “the marriage of music culture and urban placemaking” results in a commercialization of urban life, for example in the case of the corporate branding of music festivals. Consequently, places allegedly become so polished and sterile that this is hard to reconcile with popular notions of creativity and authenticity ( Cohen, 2007 ).…”

Section: Conceptualising Spatial Valuementioning

confidence: 99%

The spatial value of live music: Performing, (re)developing and narrating urban spaces

Hoeven

Hitters

2020

Geoforum

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Highlights Provides a conceptualisation of the spatial value of live music. Spatial value concerns performing, (re)developing and narrating urban spaces. Examines the relationship between live music and the built environment. Challenges to achieving spatial value include gentrification and densification. Discusses how the spatial of value can be supported in urban policies.

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Section: Conceptualising Spatial Valuementioning

confidence: 99%

The spatial value of live music: Performing, (re)developing and narrating urban spaces

Hoeven

Hitters

2020

Geoforum

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“…Although British national policy has reformed since the 1980s to confront issues of urban renewal, governance and cultural assimilation, predictions in how cities advance by creative-led approaches varies significantly (Miles and Paddison, 2005; O’Brien and Matthews, 2016). Indeed, as culture-led initiatives have altered the image of social landscape, particularly in post-industrial cities (Glasgow, Liverpool and Hull), there is a danger that replication of the same model across cities can lead to cultural homogenisation (Richards, 2014) where the uniqueness of place imageability becomes globalised and generic (Friedmann, 2010; Wynn and Yetis-Bayraktar, 2016). Further, Markusen and Gadwa (2010) acknowledge that so-called “creative placemaking” will not work in all contexts.…”

Section: Using Culture As An Interventionist Strategy In Placementioning

confidence: 99%

Bidding for UK city of culture

Cunningham

Platt

2019

JPMD

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Purpose The UK city of culture (UKCoC) scheme developed out of Liverpool’s year as European Capital of Culture in 2008 and is synonymous with urban renewal. The purpose of this paper is to examine the challenges of bidding for this scheme. Design/methodology/approach The authors conducted semi-structured telephone interviews with bid team members from four out of the five short-listed cities for the 2021 award. Respondents were situated across the country and, at the time, finalising their Stage 2 bids. Thematic analysis was conducted to analyse the responses. Findings The UKCoC scheme is a top-down scheme which is delivered “in place”. The danger of the top-down vision is that local people cannot often conceptualise what it might mean within the context of their own locality. The findings here suggest that bid team members are attempting to do this despite obvious time pressures. The research presented here suggests that cities are reconciling the top-down, criteria-led nature of the scheme with a real reflection on how to make that work for their locality which is distinctive. Social implications The UKCoC scheme has proved to galvanise communities to reflect on the nature of their places and think about what makes them unique in comparison to the other bidding cities. The bidding teams acknowledge the challenges of bidding but there is a sense that competing is worth the investment. Originality/value This paper offers a unique insight into a recent competitive placemaking scheme and reflects on how placemaking can potentially be reconciled as both top-down and place-based.

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“…Peça chave na autoria e na consolidação dessa imagem, os aplicativos de telefonia móvel de função social têm sido decisivos para o funcionamento da lógica das memórias partilhadas (Maia & Nunes Junior, 2017). De um lado, as empresas de ativação de marca vinculadas aos festivais urbanos baseiam-se cada vez mais na dimensão subjetiva do indivíduo para a construção de suas retóricas discursivas em diferentes partes do mundo (Doğan, 2011;Wynn & Yetis-Bayraktar, 2016;Dinardi, 2017). De outro, as sociabilidades em redes virtuais têm exigido cada vez mais não apenas viver a experiência, mas sobretudo colocá-la em circulação nas mídias sociais (Pereira, 2017).…”

Section: E Do Capítulo De Susan Luckman Intituladounclassified

“…Ao pensarmos sobre a relação entre identidades culturais e cidades na contemporaneidade, há alguns pontos que se convergem. Juntamente a interesses comerciais do turismo e da construção de imagens por diferentes processos de placemaking (Wynn & Yetis-Bayraktar, 2016), a produção de bens imateriais é hoje intensificada pela agregação da noção de experiência ao lugar por meio da etiqueta do evento cultural. Nesta perspectiva, Harvey (2008) nos indica que o capitalismo tem se tornado cada vez mais sensível às qualidades do lugar, enfatizando-as para criar magnetismo com o capital móvel.…”

Section: Introductionunclassified

Fotografia Selfie em festivais: Experiência cultural como dispositivo para a nova imagem urbana

Nunes

Maia

2018

Vista

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O crescimento exponencial da fotografia vem gerando forte impacto na veiculação da imagem cultural das cidades contemporâneas, especialmente quando colocamos em discussão o gênero fotográfico selfie. Este texto tem por intenção discutir a revitalização da imagem urbana pela cultura e o papel ocupado pela fotografia neste processo. Seus usos sociais, tão comuns no cotidiano das redes sociais, têm deslocado a produção da identidade da cidade para o âmbito da experiência. Como este processo vem sendo agenciado significativamente pela cultura, o artigo colocará foco em torno de festivais de música e outras iniciativas do gênero que, de uma forma ou de outra, têm demonstrado evidências importantes para o funcionamento das selfies. A partir da interação entre público e lugar (fotografia e vídeo), criam-se espaços físicos simulados, interferindo na estrutura das cidades em larga medida pela ordem imagética. O dispositivo fotografia-memória-experiência, acionado durante as diversas práticas de consumo cultural urbano, modifica o modo como o sujeito vivencia a cidade e fornece a ela uma retórica imaterial que a reconstrói, ressignificando sua imagem a cada share ou like conquistado nos canais virtuais.

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The Sites and Sounds of Placemaking: Branding, Festivalization, and the Contemporary City

Cited by 11 publications

References 14 publications

The spatial value of live music: Performing, (re)developing and narrating urban spaces

The spatial value of live music: Performing, (re)developing and narrating urban spaces

Bidding for UK city of culture

Fotografia Selfie em festivais: Experiência cultural como dispositivo para a nova imagem urbana

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