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Flygtige forbindelser og midlertidige mobiliseringer - Om kulturel produktion på Roskilde Festival

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The dissertation explores how cultural production is unfolding at Roskilde Festival– the biggest music- and culture festival in Denmark. The overall question beingadressed is how the festival is assembled. The question is explored through foursubquestions related to the cultural expressions, identity and materiality of thefestival.The first part of the dissertation investigates the specificity of the festival’s audience-based culture. The symbolic and historical connections between the festivaland the 1960s’ cultural activism is argued to be of an importance to the socioaesthetics,performed jointly by audience as well as performers.The dissertation further investigates how the identity of the festival is being negotiatedbetween a number of different commercial and cultural actors: sponsors,volunteers and artists among others. The many different economic and culturalpractices and values converge when the festival ground is being transformed fromanonymous space to festival space embracing both cultural and commercial content.In this regard the dissertation investigates how the valuebased economiclogics of subcultural production is debated and negotiated during the pratices ofmaterializing space. It is argued that the complexity of the festival identity addsto the credibility of the festival and its many different producers.The second part of the dissertation is a socio-material analysis of two festivalprojects. One is the hybrid festival area Cosmopol, the other is the Orange Stagearea. The analyses are based on a research agenda developed by the Actor-Network-Theory (ANT) which explores how ideas are materialised through procesesof interaction, translation and involvement. The explorations explain how subculturalattitudes, practices of transgression and oppositional identity are distributedthrough an ephemeral network of actors including humans (volunteers, artists,performers) and things (scenes, art works, graffiti, pictures and music) which forgeperformative alliances with the festival audience.

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Kristine Munkgård Pedersen

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