The National Eisteddfod. How this cultural festival is promoting Welsh traditions and sustainability. [C21069814]

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  Taken from the Eisteddfod Instagram

The National Eisteddfod², an age-old Welsh festival³ that encourages and promotes the creativity and inclusion of people of all gender and backgrounds. Beginning from a young age (mostly in Welsh speaking schools) kids are immersed into the world of the Eisteddfod. Individuals take part in all types of competitions⁴ from singing, dancing, poetry, and even visual art.

This may look as a once-a-year week-long festival but don’t be fooled, the preparation by organisers and competitors starts as soon as one ends. As the Eisteddfod⁵ isn’t funded by the Government it is extremely important that people are immersed into its culture to ensure its ongoing as it’s largely funded by the hosting community of that year.

Held in Wales, the festival alternates every year between North and South Wales to ensure everyone can attend. Last year, 2023, the Eisteddfod was held in North Wales in Gwynedd, known for Snowdonia, a hugely popular tourist hike that’s not for the faint of heart.

The Eisteddfod is held in August (usually nice whether but never guaranteed in Wales), but luckily the sun was shining, and this always puts the Welsh in a good mood. As you drive up to the site the closer you get, the local community have decorated in red, white and green, the signature colours of the Eisteddfod mascot, Mr Urdd. The camp site is ecstatic with people chatting, decorating, and just enjoying the Welsh culture.

This year (2024) the festival is returning to the South and is being held in the Rhondda Cynon Taf. By hosting it in different locations it allows for communities to showcase local art which is hugely important for the promotion of their county also. The Eisteddfod is a hugely important event for communities as it brings people together to fundraise from schools, local businesses, and residents.

In 2025 the National Eisteddfod is going to be held in Wrexham, I wonder if Ryan Reynolds would help out? After his investment in Welsh football why not invest into the Welsh arts. Should we start a hashtag? #RYANREYNOLDSEISTEDDFOD2025 (Catchy right!)

Filmed by S4C, 2023, sourced YouTube

The biggest challenges UK festivals are facing is their management of waste and the Eisteddfod is no different. As UK festivals produce up to 23,500 tonnes of waste every year the Eisteddfod is committed to tackle this by working with the Welsh Governments Net Zero scheme. With simple solutions already in place such as water bottle filling stations, recyclable food packaging from stalls and even the use of hay bales for seating.

The focus on sustainability within the outdoor events sector isn’t a new concept. The British Council in collaboration with the Brazilian company Oi Futuro created a scheme called Circular Cultures. This collaboration has the purpose of using these big stages to educate people while also training organisations on how they can be more sustainable when organising outdoor events such as material waste and the effects on climate change.

Although the Eisteddfod encourages old Welsh traditions, they aren’t old fashioned in their ideas towards digitalisation. I know this is a blog on sustainability but these both go hand in hand if you really think about it. Festival would normally print maps and schedules in their hundreds in order for people to understand the comings and goings.

Yet, with the use of technology events such as the Eisteddfod are now using mobile apps to communicate any information that is needed. Making it easier for people to easily understand where they are going before even entering the grounds. If you’re anything like me this is a dream as I always like to know my schedule ahead of time, making sure I’m maximising my time!

One of my favourite parts of the Eisteddfod is the independent businesses that set up stalls all around the site. Helping again to promote small businesses with a variety on offer including Welsh language merchandise. I always enjoy buying from these stalls as it feels more personal than buying from big retailers.  Also not forgetting the amazing food on offer, also with a huge variety to cater to all needs (I still dream about the fresh donuts I ate!)

As well as keeping Welsh traditions alive, in line with the Eisteddfod they hold a festival called ‘Maes B’ in the evening, which is aimed towards the younger generation. The aim is to get them to engage more with Welsh music and help promote Welsh artists. Including up and coming artists such as the band Candelas. Just an amazing way to finish off the great week!

This is a celebration of Welsh Culture where being Welsh isn’t a necessity, everyone is welcome. Hopefully I have encouraged some of you lovely readers to go and embrace Welsh culture! If not, there is always a guarantee of sunshine, good food, and good company. Maybe I’ll see you there, mwynhewch (that’s Welsh for enjoy).

Paris: hidden gems of one of the world’s most creative city. (1817755)

As a true Parisian, born and raised in the 17^th arrondissement I’ve always had a soft spot for what we call ‘The city of love’.  Named ‘the world’s most creative city’ according to Infiki as of late 2020, I wanted to uncover a different creative side to the French capital.  

Whilst most of its tourists spend their time climbing up the Eiffel tower, visiting the Louvre Museum or walking up and down Les Champs-Élysées, this city has far more to offer beyond its famous landmarks.  

IMAGE: SHUTTERSTOCK

Now, don’t get me wrong! These are some of the most beautiful World heritage sites, however some of its hidden gems are not to be missed!  

But first, what is a creative city?

First developed in the late 1980s it’s become a modern buzzword with many definitions.  Academic in the space, Charles Landry (1980), described the term as a creative milieu, where creative solutions help to shape urban planning. 

Whilst Richard Florida’s ideas (2002)  focused on economic activity, produced by a selected group of highly skilled workers, he named as “the creative class”.  

Paris and its creative sector aligns with both ideas, as it is an undeniable magnet for creative clusters making up 43% of all jobs in the city. This emerging creative class is creating what is now called “The New Paris”, reshaping its famed gastronomy, fashion and art sectors.  

The New Paris by Lindsey Tramuta-

So, what does this “New Paris” have to offer? Five star meals on a rocking budget!

Le Camion Qui Fume translating to the Smoking Truck:

Run by Californian Kristin Frederick, it’s the first American-style food truck in Paris. Renown for its top quality burgers and fries for just €10, it provides an alternative to Paris’ expensive Michelin-style dining. Whether you want to enjoy your meal in their vibrant and friendly restaurants or simply grab a burger along your scenic walk, Le camion qui fume will have it all.

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  IMAGE: LE CAMION QUI FUME VIA FACEBOOK

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  IMAGE: LE CAMION QUI FUME VIA FACEBOOK

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  IMAGE: LE CAMION QUI FUME

An alternative art scene:

There is a multitude of smaller, independent galleries in the city’s art scene, showcasing emerging talent and contemporary art. The Bal gallery is one of those, located in the 18th arrondissement, off place de Clichy, it focuses on video, cinema, photography and new media. They feature artists from all different backgrounds, allowing you to see art from all kinds of perspectives!

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  IMAGE: The Lab

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  IMAGE: The Lab

And it doesn’t end there! The gallery launched ‘La Fabrique du regard‘ a non-profit working with schools in underprivileged areas, to increase young people’s visual awareness around the potential they can have. It’s a great project, where creativity pushes social development and innovation.

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Children visiting the Bal exhibit. Image by Le Bal

Another compact art space subverting art forms is the gallery “Laurent Godin” located in the 13th arrondissement. This intimate space is very different to places like the Centre Pompidou which, although worth visiting, are usually packed to the brim, making it hard to enjoy artworks the way they should be. 

WANG DU, “La clinique du monde” collection. IMAGE by Laurent Godin

The exhibition’s strengths comes from its unique relationship with the twenty artists it features. Laurent Godin, owner adds:

“We try to represent artists that are interesting and relevant. For me, building relationships with artists is essential. A good collaboration means above all else trust and mutual respect”

Fashion exhibits are another type of artistic space highly popular and worth visiting in Paris. Speaking of fashion that is undeniable in this city, Parisians have the most incredible way of finding iconic pieces.

The rise of what locals call ‘les fripperies’ selling second-hand clothing, has made finding high fashion items for a slashed price much easier. It allows the customer in the face of overly standardised fashion to be unique, and put their hands on eclectic pieces. As Coco Chanel once said:

“In order to be irreplaceable one must always be different.”

Some of these shops are themed, such as Mamie Blue, set in a true retro atmosphere, where its pieces range from the 70s all the way back to the 30s.

IMAGE: Héma pose ses valises

Add to your wardrobe whilst reducing the impact of fast-fashion! Most of the clothes are much better quality too, as they were made in a time of pure craftsmanship and low scaled production.

If you want to discover the real Paris, live the experience as a local would, instead of pushing your way through the crowds in tourist hotspots, enjoy visiting the rising underground scene and what living in Paris truly looks like.

Head image: by Catarina Belova via SHUTTERSTOCK

All images and media in this blog are used under fair usage for educational purposes.

Is Digitisation the Future of Theatre? (1701295)

Rehearsals for a production by Off Main Stage. Photo by Lisken Jellings.

The year is 2020, a pandemic has spread internationally. Arts and culture have ceased to continue as we know it…

Corona virus has majorly affected all aspects of our lives. We find ourselves with a huge amount of spare time. The arts have undoubtedly become an appealing source of escapism for many. Theatre is one industry that has had to adapt. Many plays and productions have moved online, with theatres feeling the brunt of the economic effects. Which begs the question: could digitisation be the future of theatre?

What is digitisation?

PWC defines digitisation as “the mass adoption of Internet-connected digital technologies and applications by consumers, enterprises, and governments… Digitization changes the way products and services are produced, marketed, and consumed, a transformation that is especially pronounced in the creative industries “.

The outbreak of covid-19 has meant that different creative industries have had to adapt, with many products moving online in order to reach the consumer. Theatre is one such example that has had to become digital in the wake of the pandemic.

Before the outbreak of covid, theatre had been streamed in alternate ways. For example, National Theatre Live, which started in 2009, has been broadcasting productions in real-time at cinemas, in a bid to broaden their audience. However, without cinemas, National Theatre Live has been broadcasting productions on YouTube to be enjoyed by the public during the lockdown.

Via YoungVicLondon on Youtube

(I am particularly excited about the streaming of A Streetcar Named Desire available from 21^st May… check out the trailer above!)

The move from stage to online streaming mirrors that of the film and television industry, an industry that has been revolutionised by digitisation. The success of online subscription services like Netflix and Amazon Prime could be taken up by theatre if the move online is successful, proving there is a market for it. Theatre streaming services STAGE and BroadwayHD are currently present in the US – will the UK follow suit?

Future of theatre

So, what does the future of theatre hold? With recent news that the Nuffield Southampton theatre has gone into administration, the future of theatre appears somewhat bleak. The anxiety people may feel sitting in theatres next to strangers will potentially put people off going. Theatres will have to change the way they operate.

One suggestion could be the lay out of stage and seats, with social distancing measures put in place to put people at ease. However, if like the news of Nuffield means physical theatres cannot survive, digitisation may be the way forward!

Though many would argue ‘it’s just not the same!’ as sitting and watching a performance live in a theatre, there are clear benefits of going digital. A wider audience can be reached, meaning those unable to afford to attend a the theatre would be able to experience amazing plays and production.

Photo by Matthew Brandt from Creative Commons

Furthermore, in these unprecedented times, theatre companies, productions and the consumers cannot afford to be picky; digitisation offers a platform to be able to enjoy the art form, in the comfort our own homes, during a turbulent time! I for one think we will all benefit from the hour of escapism that online productions offer.

Would you watch plays online? Let me know in the comments below!

Bristol’s Rebirth as a Ruggedly Creative City (C2007995)

Photo by Dana Armstrong

When most envision creative cities, their minds dart to high art, high fashion, high-earning businesses, and even higher rent costs such as in London, Paris, Tokyo, and New York City. But what if a highly creative city didn’t have to come with such a high and mighty association?

Enter Bristol, England.

Once known as the UK’s shipping and industrial hotspot, Bristol is now better known for skillfully treading the line between artistry and accessibility. It’s a booming city with a rugged, independent spirit. This can be found in its myriad of independent businesses, local arts spaces, and thriving street art scene.

What makes a creative city?

Photo by Dana Armstrong

According to Richard Florida, ‘leading creative centers’ typically have an older urban center with a rebirth of creativity, innovative technology, and lifestyle amenities that appeal to the creative class and the youth. Terry Flew further specifies that creative clusters often emerge from transforming ‘old buildings and derelict industrial-era sites’ into artistic centers, creative spaces, and apartment buildings.

This transformation is exactly what Bristol did with many of its old, industrial buildings. Here are just a few examples of creative industries that have transformed in Bristol to make it one of the UK and Europe’s most creative cities.

Film

Home to Cary Grant and Aardman Animations (of Wallace and Gromit fame), Bristol is classified as a UNESCO city of film.

The converted Watershed cinema along Bristol’s harbourside
Photo by Dana Armstrong

Right along the harbourside, you can catch an independent, art film at the Watershed (converted boat-houses) and Arnolfini (a converted 19^th century warehouse). For those who prefer more intimate viewings, pop-up cinemas are organized by different churches and pubs throughout the week.

The BBC also has a broadcasting house in Bristol for its West region which has been running since 1934. The house is best known for producing natural history programming and BBC Radio Bristol.

Street Art

Take a turn down a narrow alleyway or a glance up at a building top in Bristol, and you may just discover a colorful, graphic surprise. Street artists from all over the UK and the world flock to Bristol for Upfest—an annual independently-run street art festival that repaints the city’s walls.

Commissioned art on the side of The Full Moon hostel and Attic Bar
Photo by Dana Armstrong

When Upfest isn’t in town, you can find art year-round in the Upfest Gallery or on a Banksy/graffiti walking tour. Many businesses even commission local artists to paint their buildings for advertising.

Live Performance

Bristol’s Hippodrome stages Broadway and West End musicals, plays, comedy shows, ballets, and musical concerts. But go a little further to Southville and you’ll find an independent take on live performances: Tobacco Factory Theatres—aptly named for once housing the 19^th century Wills Tobacco Company. Along with supporting local theatre productions, the Tobacco Factory features a ‘Café Bar, Makers Market, meeting spaces, the offices of several creative organisations, a performing arts school and residential apartments.’

Co-Working Spaces

Artspace Bristol operated in an empty Victorian warehouse from the mid-1970s to 1989 when it moved to the abandoned dockside buildings of Spike Island. Today, it’s a leading co-working space for artists.

‘Spike Island is one of Europe’s largest studio complexes. We are home to over 70 artists, over 35 creative businesses, over 160 Associates, and hundreds of MA/BA Fine Art students of UWE Bristol. Our community is built to support artists to develop their careers, gain new knowledge, and grow their networks.’ –Spike Island webpage

Graffiti-tagged street of Bristol
Photo by Dana Armstrong

While some argue that Bristol’s creative rebirth is part of its gentrification—which rising housing prices can attest to—others look to Bristol as inspiration for the future of other post-industrial cities.

Though physically visiting Bristol and its creative spaces may be impossible in this era of COVID-19, virtually visiting Bristol is easier than ever. Click here for a virtual vacation.

Theatreland – the creative hub of London (1737475)

UK’s theatre industry is admired worldwide for its creativity, quality and loyal fan-base. The brilliance of its productions, actors, performances and workers are unmatched. West End in London is the heart of the theatre industry in Britain and seeing a West End production is a popular tourist attraction.

Theatreland is London’s main theatre district that contains around 40 venues with more theatres that are being considered ‘West End’ even though they are not located in the district (such as Apollo Victoria Theatre or Victoria Palace Theatre in Westminster). With over 15 million attendees yearly West End theatres are bringing a significant portion of revenue to the creative industries.

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  All About Eve in Rehearsal with Gillian Anderson. Image by Jan Versweyveld

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  London’s West End. Image by Tom Eversley/Shutterstock

From the first Shakespeare performance at The Globe in 1599 the theatre evolved into fantastic industry with infinite possibilities. Today across West End there are over 200 shows every day. There is something for everyone – from comedies (The Play That Goes Wrong, The Book of Mormon etc.), ballet (Nutcracker, Ballet Revolucion etc.) through plays and dramas (Harry Potter and the Cursed Child, The Woman in Black etc.), Shakespeare (& Juliet etc.), family entertainment (Matilda the Musical, Disney’s The Lion King etc.) and ending on musicals (Hamilton, Les Miserables, Mamma Mia!, The Phantom of the Opera etc.).

But the theatres are not the only place in the West End for creatives to meet, express themselves and experience the culture.

Museums

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  The Deutsche Börse Photography Foundation Prize exhibition. Image courtesy of The Photographers’ Gallery

If you are feeling like soaking in the culture, West End has a wide range of museums and exhibitions to visit. If you wish to awaken your inner spy see the Bond in Motion exhibition in London Film Museum. Or visit The Photographers’ Gallery – the first public gallery in the UK committed to photography, and immerse yourself in endless viewpoints. The most popular spots to pay a visit are The National Portrait Gallery, The Royal Academy of Arts,  the London Transport Museum and The National Gallery, which was ranked 7^th popular museum in the world with over 6 million visitors in 2019.

Cinemas

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  The Prince Charles Cinema Screen Room. Image courtesy of The Prince Charles Cinema

London is a hub for the film industry as over a fifth of British cinema screens are based in the capital. And West End is the centre of that amazing industry as Leicester Square hosts most of the district’s cinemas and is a home of over 52 star-filled red carpet premieres. If you want to see a movie form giant screens of Odeon of Cineworld or indulge in cult pieces in The Prince Charles Cinema, West End is the place to be.

Festivals

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  Crowd celebrating Pride in London 2019. Image courtesy of Pride in London. Photo credits: James Gourley.

The West End hosts a number of exciting events and festivals. Most of the biggest parades and festivals culminate on Trafalgar Square. Thousands of people gather each year to celebrate Pride in London as diverse communities showcase LGBTQ+ culture through dance and art. Another annual event has its stop in Theatreland – New Year’s Day Parade where acrobats, dancers, arching bands and many more cheer for the new year.

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  Dragon dancers at Chinese New Year celebrations in London. Image by: Jon Mo / LCCA.

West End is also the home of the Chinese community in Chinatown, where the colourful Chinese New Year celebrations take place. The festivities include speeches, firecrackers, Chinese dance and shows as well as martial arts demonstrations. In between the celebrations taste the amazing traditional dishes from Chinatown’s restaurants and stalls.

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  Six The Musical at West End LIVE 2019. Image by: Pamela Raith

An event that every theatre buff knows is The West End LIVE – an annual two-day festival displaying the amazing quality and diversity of West End’s sensational musical theatre. Over the course of the festival the audience can expect over 50 live performances from the productions currently running in Theatreland. It is truly soul fulfilling experience for everyone who loves musicals and the culture surrounding it.

Please, do touch! – The Meet Vincent van Gogh Experience (1737475)

The Meet Vincent van Gogh is a highly immersive look at painter’s work and a journey through his creative process as well as the that emotions that went into creating his legendary pieces. The exhibition created by Amsterdam’s Van Gogh Museum, arrived in London on February 7^th 2020 after successful time in Barcelona, Beijing, and Seoul. It gives a new and innovative way to experience museums and introduce more people to attending exhibitions more often. There is something for everybody.

As a visitor you get to experience important points of van Gogh’s life narrated by the artist himself. He takes you through his creative process, challenges of a struggling artist, relationship with friends and family and his mental illness battle. This narration is based on the hundreds of letters he wrote to his beloved brother.

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  Highly magnified painting. Image by Agata Tylki

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  Wheatfield with Crows animation. Image by Agata Tylki

The exhibition goes against the usual museum experience where the visitor is just supposed to look at the pieces. As the slogan of the experience states – Please, do touch! – you are encouraged to touch and interact with everything. While wearing the headset you get to self-guide yourself through the next stages of the exhibition. Starting your journey with 180 degree theatrical like, audiovisual scenes of the paintings such as Wheatfield with Crows or The Starry Night coming to life before your very own eyes. Going through life sized projections and extreme magnification of the paintings to see up-close the texture, details and techniques van Gogh used. For me stepping into the paintings that I admire so greatly was a soul filling experience. When saying stepping into a painting it should be taken literally – you can walk into a room from Bedroom in Arles and sit on the bed or see what’s on the table.

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  The room from Bedroom in Arles. Image by Agata Tylki

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  The room from Bedroom in Arles. Image by Agata Tylki

The viewer stops being passive and becomes active by interacting with the technology and immersing themselves in the art through mixed media (such as augmented reality) nature of the experience. You get to be the artist and create your own paintings by simply waving your arms in front of a screen and wait till paint splashes appear on the electronic canvas. Additionally, you can sit down in a class-like setting and practice sketching under careful instructions from the master himself.

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  Perspective exercise. Image by Agata Tylki

Such immersion in media is already changing perspectives on art and innovative technology. Other museums have been trying out the immersive experiences – San Francisco Museum of Modern Art with works of surrealist René Magritte in 2018 or The Lost Palace in 2016. Plenty of artists that work not only with augmented reality but also virtual one are convinced that it has the potential to become the “ultimate empathy machine”. Attitudes like this one and willingness to change with the ever-growing technology will ensure the forming people’s informed perspectives of identities, cultures and communities of others.

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  Large scale paintings. Image by Agata Tylki

Meet Vincent van Gogh is must see innovative project that brings to life the history and creativity in a new and multi-sensory way through 3D immersive exhibition using technology and computer audio-visual techniques. After going through this one in a lifetime experience I see the purpose of interacting with art closer than ever before. Saying that this exhibition could be an “ultimate empathy machine” is definitely true – as you’re walking through van Gogh’s life and experience it so intimately, you start to feel to the person that was so misunderstood during his lifetime. The Impressiveness of the exhibition makes you appreciate and value the craft of the artist and the impressive technological advancement that allow the advancements of cultural landscape.

Creativity Vs Constraint

As we head into another 3 weeks of lockdown the effects of Covid-19 are becoming increasingly apparent. Maybe you’ve been polishing up your sourdough making skills, shaved your hair off, or you know, just binge-watched Netflix attempting not to be consumed by crippling fear.

via GIPHY

But on a serious note, life has truly been turned upside down by the virus, especially for the creative and cultural industries. Covid-19 has devastated our music community as concerts and festivals have been cancelled worldwide, theatres and museums have closed their doors until further notice, and restauranteur’s have no idea when they’ll next have a house full of hungry customers. Companies that rely on visitors or audiences have had their livelihood interrupted by the pandemic, leaving thousands of creatives with uncertain futures.

However, not even a global pandemic can stop the creatives of the world. The creative and cultural industry might even be perfectly suited to tackle the pandemic.

“Constraints focus the mind and provide fertile ground for creativity”

via hainguyenrp : Pixabay

Lockdown is an opportunity to channel our creative energy and demonstrate how valuable culture and creativity is within society for mental health and well-being. What we value, however, might have shifted as the terms user-creativity and prosumer are becoming ever more significant.

Digital disruption is at play as thousands of individuals are utilising social media as a convenient and effective replacement for creative platforms. Covid-19 has generated digital transformations across the creative population as increased tech awareness has led people to satisfy their creative needs from the comfort of their own home.

Music

Times are hard, you might have even had to endure your dad attempting to play Wonderwall after one too many gin and tonics. Luckily, many musicians are here to save the day by live-streaming mini-concerts online for all to enjoy. 

James Blake is one of the many musicians that has had to cancel tours. Instead, he continues to bless our ears with live performances to virtual audiences of over 25,000 on Instagram. He even said, “This might be the biggest gig I’ve ever done”. 

But how are musicians earning any money during the pandemic? Fortunately, Bandcamp and Spotify are finding ways of ensuring money distribution directly into artists’ pockets. Financial relief is offered to those in the music community through the Spotify COVID-19 Music Relief project, by matching any public donation. Additionally, on the first Friday of every month, Bandcamp will be waiving it’s revenue for 24 hours to support struggling musicians.

Art

Due to museum and gallery closures, artists have taken matters into their own hands. Many are capturing the reality we’re all living through animation, an aspect of art that is currently thriving. Interest has peaked due to our new-found reliance on technology. Flatten the Curve, an animated compilation video created by Kathrin Steinbacher and Emily Downe puts a positive twist on self-isolation by combining 90 clips from various animators across the world to remind us of the advantages of staying at home. 

What next?

Participating in culture and creativity is now as simple as clicking on Instagram. Music and art are just some of the many sectors of creativity that we now know technology can handle. During our post-pandemic future, this increased reliance on digital platforms can’t simply disappear overnight, can it? Even if we do eventually return to the normality of 2019, we’ll be tech-dependent for the long haul. User-creativity and digital disruption could have a lasting effect on the creative and cultural industries and interest in visiting galleries, theatres, or concerts might dwindle. 

However, if lockdown has made me realize anything, it’s how much cultural and creative activities were taken for granted. Longing for shared experiences and feel-good content could spark new-found respect and value for the industry within our society. Life after lockdown currently feels inconceivable, but one thing is for certain, 2020 will be a defining moment for the creative and cultural industries. 

The Cultural Industries are Going Digital During ‘Covid19’, but what does this mean for the future of the ‘3C’s’?

Coronavirus, Photo by TheDarkNut

Whilst flicking through my phone for the 1000th time during lockdown, the one thing that I cannot moan about is that ‘I have nothing to do’.  Fuelled by a seemingly contrary combination of both necessity and generosity, creators of the arts are allowing their work to go online for some much needed [albeit confined to our rooms] escapism. In fact, with the creative industries shutting down amidst lockdown, creative workers are having to get EXTA creative with digital technologies, which has made way for some unprecedented digital content.

Recently, the announcement that American crime drama, The Blacklist, is going to add animation to its partially-taped Season 7 finale, and the release of Little Mix’s new music video ‘Break Up Song’, which has combined animation and at-home filming to get around the Covid-forced shutdown, has shown what a unique period of history we are living in for the CCIs.

 So, whilst the pandemic is a nerve-wracking time for the cultural industries, it is also proving to be a time of exciting digital innovation.

As said by Jonathan Whiteside in 2020,

“The digitization of operational processes has been on the radar for companies of all sizes for a while, but has usually landed in the we’ll get round to it eventually column”.

Covid19 however seems to have expedited digital transformation as businesses are being forced to adapt to remote working. In an era of digital disruption, having to think in new ways to keep up with technological transformation has been central to the creative industries since the world went digital, but lockdown is proving that necessity really is the mother of invention. In a macabre twist of events, the saying ‘keep up or die’ bears a morbid resonance.

Despite this, I question whether the influx of online content will prove to be a good thing for the future of the creative industries, or whether it will exacerbate some of the issues already posed by digitization. In particular, what does mean for the ‘3Cs’: Cultural Value, Creative Copyright and the Creative Economy.

Cultural Value

Faced with so many options, you can presently find me juggling between listening to the radio production of James Baldwin’s Giovanni’s Room, recently made available by the Internet Archive’s National Emergency Library, pretending I am in Covent Garden’s Royal Opera house watching one of the numerous ballets and operas they have made available for free on YouTube, or having a 360° virtual stroll around the historic Crystal Palace.

Young Woman Watching Movie in Headphones in Messy Room, Photo by Andrea Piacquadio

With all this choice, despite being imprisoned within my uni-house, I, rather ironically, feel the most cultured I have in all my life. In fancier words, my ‘cultural capitol’, which DiMaggio and Useem define as the ‘knowledge of high culture’ has never been higher (for a student with a limited budget for leisure expenditure and a trip to CineWorld standing in for the epitome of high-class culture.)

Yes, the bombardment of online content is highlighting the democratising merits of digitization in all its glory, and things like the ballet and museums are now accessible without time, money, or location barriers for perhaps the first time ever… 

Turned-on Black SmartPhone, Photo by Waldemar Brandt

But, am I kidding myself that watching The Metamorphosis online, in my own, natural environment is really the same as seeing it in person? Does the online, dematerialised virtual tour of Crystal Palace really carry the same historical weight as walking around the site IRL? Am I really as lah-te-dah cultured after all this as I thought?

Whilst this 2017 panel discussion on a report commissioned by Google and created by the Economist Intelligence Unit entitled “A New Age of Culture: The Digitization of Arts and Heritage”, indicates that digitization actually improves physical engagement in cultural institutions (go to 17.00-18.00 minutes)…

I question, as Ruth Towse did in 2017, whether they are merely ‘substitutes or complements of the real, in-house performance‘.

When products become dematerialised, they become replicable, which surely decreases their cultural value?

Cultural products have a heritage, a story behind them, and confining them to an online space changes how we are connected to that product in a variety of emotional and psychological ways.  Personally, I’m not quite certain that the history of the 1851 ‘Great Exhibition of Crystal Palace’ really feels quite so poignant against the backdrop of next door’s drum and base, and a suspicious mattress stain serving as my most prominent reminder of people of the historical past.

Copyright

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Photo by Markus Spiske

The availability of so much new online content also raises questions that first arouse with the digitization of the music industry and the impact of piracy. Cultural objects that are streamed online can be copied and widely distributed, too affecting the cultural weight of a product. Hesmondhalgh states that “making a product in the cultural industries, amongst many other factors, depends on the production of artificial scarcity“, which is achieved through copyright or by limiting access to a product.

But digitization threatens artificial scarcity, a key feature of the traditional model of cultural production, by making everything easier to copy, and inevitably, less special. The Internet Archive’s recent launch of a national emergency library, making 1.4 million books free online, has already been critiqued for using Covid19 as an excuse for piracy.

Cultural Economy

The Internet Archive library denying authors of sales of books that are still under copyright also demonstrates how the acceleration of digital content under Covid19 may have a long-term effect on the creative economy.

Are people really going to want to pay for a book, or a ballet performance if they can see it for free, online?

What is the financial burden of increasing digitization for museums? It isn’t a totally new concern; the concept has been talked about during the lead up to the millennium, and NESTA have already been encouraging museums to adopt digital technology.

National History Museum , Photo by just-pics

 But with lockdown proving that it can be done, and NEMO (the National European Museums Organisations) recognising that stakeholders need to invest more in their digital efforts in the future because of the significant ways ‘digital cultural heritage is contributing to people’s enjoyment and creativity in lockdown’, it seems further pressure will be mounted on museums to follow suit. Will it only favour larger, better-funded companies that can afford the facilities? If we look back to this panel discussion (go to 1.31.00-1.34.50), even state-funded museums that can easily get ‘capital funding’ to build a project, struggle to secure ‘operational funding’ that keeps a project running, underscoring whether these digital initiatives can be self-sustaining. Will charges have to incur, complicating the long-standing debate that museums should be free? Or, on the plus side, will digitization attract youth employment that wouldn’t have usually been interested in cultural heritage?

In an age of digitization, the non-digital part of the creative economy is generally stagnating anyway, and some creative jobs are disappearing. Will lockdown prove that everything really can go online, further marginalising non-digital skills and dissolving real-life ‘physical’ experiences?

 We’ve already seen the effects of disintermediation render intermediaries like HMV and Blockbusters a nostalgic signifier of the ‘good olden days’, but if museums can exhibit collections digitally, what will happen to jobs like the curators, and will there be any need for the museum site itself?…

With lockdown having a profound effect on online content, ‘when all this is over’, will it have changed the future of the creative industries for good?

Maybe people will continue to want to stay safely in their houses, too scared to venture out into the strange apocalyptic world we now inhabitant, further pushing for innovative digital growth.

Or will lockdown have proved the necessity and social virtues of real-life, physical, cultural experiences. Will people, sick of the sight of another screen, be flocking to the nearest museum in gleeful abandon within a millisecond of an official ‘get-go’, reversing the trend of increasing digitization?

With so many unknowns, one thing is for sure; whilst we are living through a time of huge uncertainty, the arts have proved to be a small-time hero, moral booster, and beating heart of the world, perhaps proving that the true value of the arts is to bring happiness, no matter how digital they become.

Three Children Looking at a Tablet Computer, Photo by Harrison Haines

Building a creative gem in a commercial city

Downtown Atlanta is the city’s central business district and home to multiple major global business corporations: The Coca-Cola Company, Delta Air Lines, United Parcel Services… the list stretches on. Home to the world’s busiest airport and a heap (2.5 million m² to be exact) of office space just in downtown alone, it’s safe to say that Atlanta is kind of a big deal when it comes to talking business in a busy city. Also classified as one of the world’s ‘alpha-world cities’ ,this metropolitan giant contributed its fair share towards the global economic system. However, while Atlanta may live up to their alpha status within the business arena, it can sometimes be easy to miss the thriving art and creative community that is dampened by all the surrounding commercial noise.

Situated just a short-way east of downtown is an up-and-coming creative and cultural hub. Little Five Points (L5P) has not only developed a reputation for the arts but also as a well-known gathering spot for all sub-cultures around the city. But the path to gaining reputation as a creative community is not an easy one. During its past, economic development and gentrification saw L5P struggle with issues of abandonment and economic and structural disrepair, which challenged L5P’s existence as a retail and art scene. Fortunately, restoration in the neighbourhood in the late 80s and 90s welcomed a new community with new energy; artists, creative-ists and student, who redeveloped L5P into an ‘intown cool’, alternative local marketplace bursting with arts, unique fashion, delicious food and live music

Here are some spots that make L5P unique:

1. Vortex Bar & Grill

The skull-shaped entrance has increasingly become recognised as the iconic ‘entrance’ of L5P. True to its eye-catching colours architecture, Vortex captures the eccentric qualities that encapsulate the area. They also serve Atlanta’s best burgers!

2. Junkman’s Daughter

Junkman’s Daughter is one of the oldest in the community and perfect for a throwback – there is something for every generation. Named the ‘Alternative Super Store’ by its owners, it’s a testament to the diversity and creativity that L5P represents. Its peculiar yet remarkable exterior is also a marvel in itself.

Junkman’s Daughter Entrance

Junkman’s Daughter Exterior

3. Variety’s Playhouse

Home to famous live-music acts in the Atlanta area, Variety’s Playhouse was once a 1940s theatre that has now transformed into a local live-music venue showcasing national and local acts. It has retained its vintage art-deco interior and exterior, making it the distinctive and popular music venue it is today.

Variety Playhouse (Image Credits: Jbarta via Wikipedia. Licensed under Creative Commons 3.0) 

4. Everywhere and Anywhere! The streets of L5P are filled with unique and expressive murals and art displays that add to the vibrancy of the area. Colourful and inspirational, even adverts are not adverts are not your typical ones at L5P!

Street Art/ Sun Trust Advert in L5P

Street Art in L5P

Art Mural in L5P

L5P is uniquely located between two affluent neighbourhoods that urged the community to integrate alternative ideas of culture, style and community, and to contribute to the overall development of L5P’s creative scene and identity. Free from any big-box brands, it allows opportunities for local independent businesses to strive, reflecting the various mixture of cultures and ideas present in Altanta’s growing creative community.

Atlanta may not be on track to become the next global creative city, but by embracing subcultures and celebrating overlooked communities, it has cultivated a creative hub that is symbolic and representative to the area’s rich history and allow L5P to define their own sense of ‘creativity’. This perhaps foregrounds the notion that it is not always about striving for global recognition for creativity, but about being recognised as a city that is home-grown and nurtured, and reflects personal history and community. As the NBA Atlanta Hawks would say, “the people of the city are definitely #TrueToAtlanta”

Header image credits to Wally Gobetz via Flickr (Licensed under CC BY-NC-ND 2.0) 

All other photo credits to Lorria Sahmet unless stated otherwise.

A secret Berlin: 5 things you really need to see

With its swanky architecture, creative vibes and outrageous parties, Berlin should definitely be on the top of your list. Since the fall of the famous Berlin wall (Berliner Mauer for you language folk), it’s become a place where “anything-goes” and by anything, they mean anything.

From Berghain to Aquadom this list will guide you through five of the best and most unusual sights of Berlin, starting with Spreepark.

Spreepark

Abandoned amusement park, Berlin (photographer: Jan Bommes)

Spreepark takes residence in the north of the Plänterwald in South East Berlin. It’s been abandoned for the last ten years now, and it doesn’t try to hide it. Every inch of the park is littered with the remnants of rides and life-sized dinosaurs, including a broken roller coaster leading into the mouth of a mysterious raving-rabid creature. But this doesn’t stop trails of explorers from venturing inside. A prominent setting in horror film “Hanna”, the park is admittedly difficult to enter but with the hop of a fence, anything is possible.

Berghain

Berghain at night (photographer: Michael Mayer)

Berghain is pure ecstasy in its physical form. It is a place of mystery, stimulation and hardcore booze, drugs and techno fuelled pleasure. A short walk from Berlin’s main station (Ostbahnhof), Berghain has made its mark worldwide, perhaps due to its exclusive selection process as well as its crazy powerful sound system. Literally anything DOES go there, so don’t be expecting any rules. Berghain has become a cultural icon, famous for being the techno capital of the current world but of course that all depends on if you can get in. Wear black. And lots of it. But don’t try and be something you’re not. Because they will know. The quite honestly terrifying bouncers will pry on each and every detail of your trying-not-to-be-edgy outfit. Click here to find out exactly how to get into Berghain. It opens at 10pm on a Friday night and stays open until 4am on Monday morning. Two final words: good luck.

AquaDom

Aquadom in the Radisson SAS hotel (photographer: Tobias Wutzow)

Berlin’s AquaDom is famous for being the world’s largest free standing aquarium in the world: standing at over 25 metres in height and 12 metres in diameter. Containing over one million litres of water, a coral reef and almost 2,600 fish, it really is a wonder to behold. Not a sight to be seen from ground-level, the ingenious attraction uses an elevator to allow guests a full 360 degree experience of the 56 species of fish as well as the divers who care for the tank. A visit to AquaDom promises you a real-life experience of a coral reef, so don’t miss out. I promise you won’t regret it.

Liquidrom

The large saltwater pool at Liquidrom (photographer: Aaron Muszalski)

Feel the future with a trip to the Liquidrom, where you can float around in a pool of saltwater amidst the rhythms of underwater techno. Designed by German architects GMP, the complex is shaped like an abstract tent erected so high it scrapes the Berlin sky. Ultra-modern spa facilities make up the Liquidrom, including an outsize sauna, an aromatherapy steam bath and a hot tub inspired by the Japanese hot springs. Offering a number of unusual yet soothing massage treatments, the Liquidrom’s centrepiece is the incredible salt water pool. Masses of neon lights filter into the dome, bringing colour and illumination into the dimly lit room. If you want to relax in the style of the future, you won’t want to miss this.

Design Panoptikum

Design Panoptikum is a “surrealist” museum of industrial objects so, if you like quirky things, you’ll love this. Behind Torstaße is architect Vlad Korneev’s unique museum filled with a bizarre collection of crazy curiosities of the most eccentric kind. Amidst the shadowy rooms emerge an assortment of mechanical monsters made up of spare pasts and parts. Dolls, lamps and instruments of every industry come together to form a ghostly atmosphere beyond even a child’s imagination. For all things weird and wonderful, visit Design Panoptikum.