Festivalization of the city. Contemporary examples ****************************************************************************************** * Małgorzata Karpińska -Krakowiak ****************************************************************************************** Abstrakt There is unprecedented interest in festivals as a cultural phenomenon that contributes to identities, and myths. The article addresses the role of festivals as image building-block a number of success factors for festivals aspiring to become the means of urban image crea integrate people and establish inner-communities; they induce commonly shared experiences atmosphere of fun, pleasure and excitement. In this way festivals facilitate the processes pleasant experiences onto other subjects, places or phenomena related to them (i.e. onto a act as an urban image device. The purpose of this paper is to present another dimension of describe how they can perpetuate false notions and fake images about the hosting city. The city of Lodz is described, where the Festival of Dialogue of Four Cultures creates an imag city of four cultures (which it was not) and a national and cultural melting pot (which it Klíčová slova Festivalization of the city, urban image, urban identity The general idea of a festival is about organizing (mostly periodical) artistic events whi successive days in a year. It is a retrospective of achievements in a given cultural domai combined in a convention of a contest. What festivals offer to their spectators is a varie of celebration and possibilities to celebrate as well as to animate and dramatize the worl (PRENTICE and ANDERSEN 2003; ROBERTSON and WARDROP 2004). They have become a means of crea images; they transformed cities into spectacles and they also dominate the vast majority o performed by urban communities. For this reason, more and more frequently those who do res use the phrase "festivalization of the city" or urban "festival marketplaces" (HARVEY 1991 LAOPODI 2002; RICHARDS and WILSON 2004; RICHARDS and WILSON 2006). The article presents several examples of events which strongly influenced the process of f the urban space of Lodz (Łódź). The first part of the text describes the essence of these as their distinctive features. For the events have a great potential to strengthen the sen to a wider social group; they also bring dynamic, vivid and engaging feelings and most of a landscape for urban experiences. In this sense they become perfect building blocks for u and identity. In the second part of the article the case of Lodz is analyzed in order to e extent cultural events contribute to the image enhancement of Lodz. 1. Festivalization of the city With the growing popularity of issues related to symbolic economy (ZUKIN, 1995) or experie II and GILMORE, 1999) an increasing importance of culture has been pointed out as a major cities. In its variety of forms, aspects and expressions culture has become a crucial part and plays a crucial role in transforming cities into tourism destinations. Culture enables the cities, for it provides contemporary tourists - who are increasingly interested in fin attractions and consumption pleasures - with a variety of forms of urban experience. Gener culture has become the basis of urban attractiveness; it proves its uniqueness and gives p articulating identity and constructing images, myths and narratives about the cities. Contemporary cities have turned into commodities, "festival marketplaces" offering a uniqu of vivid experiences, fun, feast and pleasure (HUGHES 2000; HANNIGAN 1998a; HANNIGAN 1998b 2002; RICHARDS and WILSON 2004; RICHARDS and WILSON 2006). Qualitative and quantitative de festivals and other types of cultural events has led to what is now called "festivalizatio contemporary mechanisms organizing and shaping urban social life and the type of entertain residents and tourists. In recent studies, it is either considered as a result of people's pleasure deriving from urban consumption or as a consequence of local authorities' intenti the city by means of festivals and their potential to activate social and economic life. F leads primarily to the predominance of festivals in a cultural urban landscape, and it rei identity on the basis of such forms of entertainment as festivals and other types of cultu (LAOPODI, 2002; RICHARDS and WILSON 2004). In the economic aspect festivals increase the inflow of tourists and other stakeholders in They support economic development in terms of job creation, improvements in infrastructure restaurant facilities. They promote local cultural attractions (CROMPTON and MCKAY 1994), media exposure, which directly attracts tourist attention (LAW 1996). From the social pers activate local communities; they build a common sense of belonging and help celebrate and customs and traditions (RITCHIE 1989; MASON and BEAUMONT-KERRIGE 2004). Festivals generate high levels of commitment and emotional involvement among their "consumers" (predominantly spectators) as they proffer new reality with its own meanings, rules, and ambience. People festivities in order to socialize and grasp creative and "authentic" experiences which ext from their everyday routine. This has been thoroughly researched by urban anthropologists notion of carnival and play as a means of explaining human culture. Festivals provide sens authenticity and uniqueness and act as a point of identification (PRENTICE and ANDERSEN 20 conclude that events affect the urban space in a multi-dimensional way and simultaneously and integrate urban images and become a common denominator for its identity. Richard Prentice and Vivien Andersen conducted research on the image of Scotland and Edinb tourists taking part in the most popular festivals in the region. They proved that the Edi International Festival (a combination of separate art festivals presenting achievements of and international culture) had been a factor in building the historical/cultural image of and helped in combining apparently opposing tradition with modernity. Due to the festival, perceptions about Edinburgh among the tourists referred to the city as a mix of modernity international art) and traditional "Scottishness" (represented by traditional Scottish art completed with typical Scottish landscape with its all spatial forms - e.g., monuments, re and streets, archaic squares - which evoke historical and contemporary events attached to places). Prentice and Andersen also noted that regular participants of the Edinburgh Festi foreigners) preserve a more sophisticated, coherent and meaningful image of the hosting ci festival-goers share the meanings, motivations and particular value system as far as the f imagery are considered. In the case of tourists less involved in the festival (incidental their images of the city were incongruent, simple and with more discrepancies (PRENTICE an It could therefore be concluded that events enrich the cities and enhance their images; th decorum for urban identity, often being its co-founders at the same time. Festivals' impact on urban image can be influenced by a number of individual factors out o motivation of publics seems the most important one. In their essence, festivals serve as a collecting experiences and pleasures of one's spare time (HANNIGAN 1998a; HANNIGAN 1998b); basis of contemporary research results some additional motives could be distinguished: a) SOCIALIZATION: external group interaction and socialization, sense of belonging to the entertainment, relaxation, event excitement, unusual experience b) EDUCATION: cultural exploration, building up knowledge and professional skills, emotion curiosity, event novelty c) FAMILY TOGETHERNESS: family integration, known-group socialization, spending one's leis with relatives (UYSAL, GAHAN, MARTIN 1993; MOHR, BACKMAN, GAHAN, BACKMAN 1993; BACKMAN, BA SUNSHINE 1995; SCOTT 1996; FORMICA, UYSAL 1998; CROMPTON, MCKAY 1997; LEE 2000). The classification presented above does not exclude further categorization, yet it provide information on people's motivation for taking part in festivals (whatever their profile ma mentioned groups of motives focus on interpersonal relations; they represent the meaning o interactions between spectators and show to what extent events affect social construction They clearly depict the potential of festivals to integrate people with different social a backgrounds, to establish festival inner-communities, to induce commonly shared experience encourage an atmosphere of fun, pleasure and excitement. Such an atmosphere facilitates th transferring pleasant experiences onto other subjects, places or phenomena related to the (i.e., onto a city). In this context festivals act as another urban image building and enh 2. Festivalization of multicultural Lodz The Festival of Dialogue of Four Cultures was first organized in Lodz in 2002. This cultur developed dynamically throughout the following years, eventually gaining the status of a f in Lodz and attracting attention of more and more tourists, as well as city-dwellers. Orga festival intend to refer to the historic co-existence of four nations (Poles, Jews, German within a single city at the turn of the 20th century and to re-establish dialogue between different origins which used to live in Lodz. Witold Knychalski, the initiator and founder said: "The idea grew up to recollect the dialogue which had lasted incessantly in Lodz for People, taking from four so different cultures, connected in this dialogue, used to build temples, theatres, cinemas and arenas together. (...) The dramatic history of the last cen broke this dialogue. The Holocaust, the exodus of the Germans and the drastic change of hi dramatically stigmatized the city of Lodz. The idea of the Festival refers to the beauty o Lodz, common to several nations. (...)" (http://www.4kultury.pl/history/pl/site/festiwal-2 August 30th, 2008). The festival is therefore based on the idea of simultaneous confrontat diversity and interdisciplinarity reflected in the program of the event. The essentials of greatly diversified in terms of genres: it is an international review of achievements in s art and culture, both high and popular. Theatrical and movie shows, fine arts displays, co with experts in politics and economy, exhibitions of photographs are all joined within a s Michał Mierczyński, the Artistic Director of the Festival of Dialogue of Four Cultures sta interviews: "I would call our festival a homogenized cottage cheese, in which a noble crea cheese are blended together to give a magnificent outcome." (KULTURALNY MIKS. A DOBRE TO J The Festival was intended to teach - by means of the universal language of art - tolerance knowledge about religions and cultures which used to constitute the city. The objective is and its image as an internally coherent city without any sense of discrimination and hosti events tell a story of a city of four nations and refresh it year by year with every new e presents Lodz as a multi-cultural and multi-national melting pot, in which traces of forme of four cultures - Polish, German, Jewish and Russian - are still visible. The content of however, does not reflect the historic processes which really occurred in Lodz in the 19th centuries. The Festival creates an image of a city of four cultures. But the real past of was slightly different... Researchers in the history and culture of Lodz emphasize that this industrial city was bui by three nations: Germans, Jews and Poles (MROCZKA 1987; Dzieje Żydów w Łodzi 1991; KOPCZY 1999; POD JEDNYM DACHEM 2000). In the early 19th century first German-speaking textile cra Lodz from Saxony, Bavaria, Prussia and Silesia. As time went by, their descendants became factories and staffed their technical posts. Descendants of German settlers also often adm textile factories in Lodz. Germans dominated the city until the World War I. The number of increased steadily. They worked in trade, cottage industry and banking. They also establis From the late 1860s until the beginning of World War I Jews and Germans possessed ca 94% o factories in Lodz (PYTLAS 1994: 52). Poles rolled in from neighboring villages and towns t (mostly unqualified) in textile factories. In the 1860s 44% of the inhabitants of Lodz wer 35% were Poles, and Jews 21% (JANCZAK 1988: 218). The presence of Germans, Jews and Poles observable in the visual environment of the city. It manifested itself in activities of cu institutions, city ceremonies and feasts, as well as in plain day-to-day activities. Next residences and factories they built tenement houses and housing developments for workers. schools, orphanages and shelters, temples, shops and hospitals. They erected an urban mono related to the textile industry which comprised three religions, nationalities and culture three nations created the myth of industrial Lodz - a capitalistic metropolis second in th Poland only to Warsaw. Notwithstanding what the Festival of Dialogue of Four Cultures depicts, Russians were not of the inhabitants of the city. In 1897 there were only 7,400 Russians in Lodz (at the sam were 145,000 Poles, 92,400 Jews and 67,300 Germans). By 1913 the population of Russians de 6,300 people (whereas the population of Poles grew to 251,700; that of Jews grew to 171,90 Germans to 75,000). In 1921 there were only 700 Russians living within the city of Lodz, w the Russian community comprised 1,718 people (with the total population of Lodz estimated (GÓRECKI 1999: 18-20). Russians lived their own lives in Lodz and established a rather closed community. They did in industry; they became neither factory workers nor factory owners (with the single excep Stolarov, a factory owner who eventually, after World War I, acquired Polish citizenship) 19). Their role in the city became more important after the failure of the January Uprisin as a result of the Russification policy imposed by the authorities of the occupant. The Ru representatives of the Tsar's administration and they established a state apparatus of coe comprised the police and the army. Wojciech Górecki wrote: "Inhabitants of Lodz of other n often perceived the Russians as corrupted officials, a brutal constable (there was a gallo or a soldier. More aware Poles associated them with Russification and enslavement." (GÓREC Therefore, the image of Russians in the history of Lodz is negative; they were perceived a oppressive occupant (POMIAN 2008). Traces of Russian existence in Lodz can be found in architecture (two Orthodox churches an and literature (in one of Julian Tuwim poems, Polish Flowers) It is the Festival of Dialog Cultures that introduced and embedded in the collective memory the image of Lodz built by fact that one of the editions of the festival was devoted solely to Russian cultural herit this false image of the great input of Russians in creating the culture of the city. The Festival of Dialogue of Four Cultures also creates an image of Lodz as a national and pot, i.e., a city of co-operation, assimilation and harmony of four cultures. In its core assimilation processes which could be observed among the communities in Lodz. However, suc tolerance and openness of various nations living in Lodz towards "others" or "aliens" seem and ambiguous. Assimilation processes could have been observed among the Germans (particularly Roman Cath quickly attracted by Polish culture and tradition. Cultural researcher, Bronisława Kopczyń comments on this phenomenon: "(...) as time went by, the privileged position of the German away as a result both of spontaneous Polonization of the foreign settlers, mainly through and of regaining independence (after World War I - note: M.K.K.), by means of organized ed and administrative activities of Polish authorities (e.g., enabling access to vocational e Polish workers, compulsory Polonization of administration of factories, etc.)" (KOPCZYŃSKA 59). Such processes of assimilation and emancipation were also observed (far less frequent among the Jews. They were a result of the spread of ideas of the Haskalah movement (the so Enlightenment, pressing for better integration into European society and increased educati of the Jews, however, Germanization instead of Polonization was a more common phenomenon ( ARCHITEKTONICZNY 1992). Effects of interactions between cultures, religions and traditions today, for instance, in celebrating typical German customs (such as the city carnival ball Day or the Easter Bunny) (KOPCZYŃSKA-JAWORSKA 1999: 50). It needs to be underlined that nationalities of Lodz never constituted an integrated local Divisions among the inhabitants of the city were preconditioned by linguistic and religiou distinctiveness, which made trans-national contacts very difficult. Other reasons for thes were different financial positions, as well as social and economic aspirations. Discrepanc salaries, social statuses, education and linguistic competences made integration virtually the nationalities that lived in Lodz without any doubt were dependent on others, yet it is to support a thesis that they established a single and uniform community: a) At that time the Jews were the intellectual and economic elite; distinctions in languag made them an isolated community in Lodz; b) Germans constituted predominantly a highly-qualified workforce in the industry of Lodz. beginning of World War I they were the most needed group of workers, due to their educatio qualification (the majority of them graduated from technical schools in Mulhouse and Mönch factors as the unwillingness of the Germans to share vocational qualifications and experie their growing sense of civilizational superiority observed particularly in the 1930s (in t growing fascination of the Third Reich) did not support integration processes at all (KOPC 1999; POMIAN 2008). Another important factor was a mere lack of will to belong to the same qualified factory workers (mainly Poles). The examples given above show how an event may transform into a great means of creating an urban image. It is worth considering which distinctive features of the Festival of Dialogu Cultures were decisive in relation to its success as far as promotion of a multicultural a tolerance is concerned. A few features have to be pointed out: a) contemporarily significant ideas and contents of the event (tolerance, acceptance of di social sensibility, openness towards other cultures: such ideas are always trendy, useful perfectly integrate and activate people); b) open formula - allows the expressive presentation of the co-existence of four cultures space. The Festival of Dialogue of Four Cultures dominates the city landscape year by year exhibitions, displays, parades, concerts, shows staged in various spaces, not necessarily to institutions of culture. The festival is in the streets and in pubs, in a synagogue and events take place in industrial workshops and in ballrooms of factory owners' palaces; c) omnipresence of festival activities and events gives an impression of co-operation, int and harmony. During the Festival of Dialogue of Four Cultures the pulse of the whole city beats to the Russian, Jewish, German and Polish songs. The city takes part in ceremonies of various rel watch shows in four languages. It makes the story of Lodz - the city of four cultures - mo as it reaches the mass of people who constitute the festival community and whose sense of festival community is incredibly strong. 3. Supporting the image of the city - key features It needs to be emphasized that creative functions of events depend greatly on several orga factors related to logistics of the event and its promotion, as well as the public's profi organizational formula and proper executive management of a given event may support the pr defining the city (ROBERTSON and WARDROP 2004). It has to be strategically tied with ident and needs to stay consistent in the long run (HALL, 1992). Academics and researchers have importance of a strong connection between identity and image, as authenticity and consiste make them a forceful motivation and communication device (BENNETT and KOUDELOVA, 2001, p. therefore important to convey a credible message which develops into a point of identifica consumers (e.g. tourists, business investors, residents, workers, etc.) in a crowded marke The fundamental success factors for events aspiring to become the means of urban image cre follows: a) event size (including the number of dimensions, i.e., its scope, its length and the phy occupied); b) event marketability, including - media exposure (promotional appearance and effective media coverage significantly impact perceptions, thus the higher probability of visitors forming coherent and powerful imagery - event ability to generate additional symbolic and valuable actions, celebrations or beha spectators' part (e.g., world-famous celebrities visiting the festival and the city, unvei of new monuments or commemorative plaques, building the walk of fame, renovation of some i urban architecture, additional trade shows); c) event message, design and its context: - program content - its structure and attractiveness for the audience; professional status speakers and spectators; - costs of participation - as a function of time, effort and money spent at the event; - organizational values (meeting international standards in terms of the flow of coherent proper timing, professional event logistics, etc.); - community building power (development of the "festival society"; festival as a means of encouraging one's sense of belonging). Additionally, consistency with expectations of the city inhabitants and with their sense o the city is another important aspect of every festival. Social acceptance and development attitudes towards a given event effectively support the process of its inclusion into coll well as into public urban space. All the factors mentioned above may influence the intensity of spectators' feelings and im eventually turn any festival into a mechanism that perpetuates urban image and reputation. of Dialogue of Four Cultures helped to create an image of Lodz as a multicultural city of The advantages for the city are obvious: it began to be perceived (particularly by the "no visitors, and external tourists) as open, hospitable, creative and versatile. Lodz - the c cultures and tolerance - remains a myth, yet a very useful and modern one, as it opens the world and refers to a way of thinking and ideas which are clearly understood and promoted Europe. 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