Remaking Culture and Music Spaces

Ian Woodward is Professor of Cultural Sociology at Syddansk Universitet, Denmark. He is an internationally recognised scholar in the sociology of consumption and material cultures, the sociology of cosmopolitanism, and aspects of cultural production and consumption in contemporary music economies. Most recently, he was co-editor of The Oxford Handbook of Consumption, and his books include Labels: Making Independent Music, The Sociology of Cosmopolitanism, The Festivalization of Culture, and Vinyl: The Analogue Record in the Digital Age.Jo Haynes is Associate Professor in Sociology at the University of Bristol. Her research focuses on the sociology of popular music, ethnicity/race, diversities, and cultural work, (digital) entrepreneurship; and the cultural industries. She has published a research monograph called Music, Difference and the Residue of Race and has published in leading journals including British Journal of Sociology, Cultural Sociology, and New Media & Society.Pauwke Berkers is Professor of Sociology of Popular Music in the Department of Arts and Culture Studies, Erasmus University Rotterdam. He is an expert in the study of inequalities in arts and culture—particularly race/ethnicity and gender. He has published in leading journals in sociology and gender studies. Berkers has coordinated several national and international research projects.Aileen Dillane is Senior Lecturer in Music at the University of Limerick. Her research interests include local/global Irish musical identities, protest music, and music festivals. Select publications include the co-edited volumes Songs of Social Protest: International Perspectives (2018), and Public and Political Discourses of Migration (2016).Karolina Golemo is a sociologist of culture, and Assistant Professor at the Institute of Intercultural Studies, Jagiellonian University in Krakow. Her research interests focus on cultural diversity of Italy, Spain, and Portugal; cross-cultural identities and integration of immigrants’ descendants, migrants and artistic expression; music in intercultural relations; and postcolonial relations in cultural perspective.

"This book gives us a very timely and important contribution for understanding how the COVID 19 pandemic has affected culture and music spaces. It estab-lishes a very useful timeline into the pandemic’s affects, including how cultural events have adjusted into new pandemic friendly formats and describes the magical social, change-making, and ritual festival spaces we have missed out on. It takes us through both challenging and innovative change for infrastructures and spaces. Finally, the collection gives optimistic and brave suggestions for the future of the cultural industry in post-pandemic times. This is certainly a book that gives producers, commissioners, and academics in the cultural field a deep and nuanced insight into the history, dynamics and challenging futures that the field is facing at the moment."Signe Brink Wehl, Head of Art and Activism, Roskilde Festival, Denmark "This volume is a valuable contribution to the evolving conversation about an extraordinary moment in cultural history. It features insightful first-hand accounts of significant experiences and transformations across the cultural landscape and introduces useful analytical interventions." Fabian Holt, author of Everyone Loves Live Music "Remaking Culture and Music Spaces offers a fascinating and thought-provoking account of the transformation and remaking of cultural and musical activities during the Covid-19 global pandemic. This edited collection clearly underscores the added value of multidisciplinary, collaborative, in-depth empirical research that covers a variety of global and cultural contexts. The collected chapters present an exceptionally rich and lucid picture of the affective, infrastructural, and spatial dimensions that shape the material and symbolic production of culture and music as well as their significance for individuals, communities, and societies, not just in pandemic times but also more generally. The book also raises pertinent questions about the post-pandemic future of cultural and musical activity. For all these reasons, it is a must read for practitioners, policy makers, researchers, students, and anyone else who cares about culture and music." Susanne Janssen, Professor of Sociology of Media and Culture, Erasmus University, Rotterdam, Netherlands "After Remaking Culture and Music Spaces we will never be able to view the pandemic in the same way again. This book takes the reader on a tour of cultural responses to the pandemic. It highlights the powerful forces that refigure combinations of spaces, objects and practices. A highly recommended read!"Prof. Martina Löw, Institut für Soziologie, Head of the Collaborative Research Centre Re-Figuration of Spaces, Technische University, Berlin, Germany

• Introduction: Making sense of culture and music space during and beyond the pandemicPart I: Affects 1. Festival atmospheres: social, spatial, and material explorations of physically distanced festivals 2. How live is live? COVID-19, live music and online performances3. ‘Like a winter without Christmas’: Interaction rituals and the disruption of the Roskilde FestivalPart II: Infrastructures4. Curating listening: The cultural production of a (commercial) experience 5. Reconceiving spatiality and value in the live music industries in response to COVID-196. Out of office: The broader implications of changing spaces and places in arts-based work during the COVID-19 pandemic 7. The sounds of silence: Concerts, musicians, and the COVID-19 pandemic8. Self-organisation in musicians’ collective workspaces before, during and after COVID-19: A model for moving forward?Part III: Spaces9. A sonic paradise in the countryside: Pop-rock festivals as drivers of creative tourism development in small cities and rural areas in the post-pandemic era10. Refiguring pathologised festival spaces: Governance, risk and creativity11. Experimenting with adulthood in the time of pandemic: The 18th edition of the Sacrum Profanum festival in Cracow12. The island of freedom on the Vltava13. The moral complexity of organising a civically engaged festival during the COVID-19 pandemic Part IV: Futures14. Unknown futures: Towards a more resilient Dutch popular music sector15. At the juncture of the liminal and the neo-liberal: Can the smaller, independent commercial music festival survive into the future?16. Regions in recovery? The significance of festivals for regenerating and reimagining regional community life17. Music missionaries: How Dutch music festivals utilised the pandemic to bounce forward