As professionalization, commercialization and competition have increased,

the (festival) sector has appeared to transform or shed the heritage of the
countercultural carnivalesque (Anderton, 2011:151)

This essay agrees with Andertons (2011) statement that the (festival) sector has
appeared to transform or shed the heritage of the countercultural carnivalesque. In
this manner, it will attempt to clarify the functional connection between carnivalesque
and commercialization. Carnivalesque derives from carnival which is a term by
literary theorist and philosopher Mikhail Bakhtin and described as a historic spectacle
(Bakhtin 2010). Furthermore, he described carnival as a secondary life of people
who for a time entered the utopian realm of community, freedom, equality, and
abundance (Bakhtin and Iswolsky 1984, p. 9) which concept has later also been
adapted to various cultures such as the events, music and dance as stated by
Matheson and Tinsley (2014). However, as Andertons (2011) statement makes clear,
the countercultural history appeared to shed or being overshadowed by
commercialization and the usage of mass media advertisement in order that events
such as music festivals become bigger and better.
During the past decade, the music events/festival sector has significantly grown with
music events being by far the largest component in the British market. Uniquely in
the United Kingdom 60 million visitors attend music concerts each year, producing an
approximately yearly revenue of 2 billion (Mintel, 2008). In addition, music festivals
(especially rock and pop festivals) are a fast-growing creative phenomenon within in
the events industry with around 600 festivals been held annually in Britain alone
(Bladen, 2012, p. 333). Although rock and pop festivals are not the only music genres
being popular this market deems to be the most dynamic and attract the largest
audiences (Bladen, 2012, p. 333-334). However, not all events of this type are
promised a significant durability, as pointed out by Anderton (2009, p. 40) who stated
that between 2003 and 2006 more than 150 new music festivals were inaugurated
but at least a quarter of them discontinued their activity by the year of 2007. There
are many key reasons for this lack of longevity for example adverse weather
conditions and poor marketing/promotion, financial consideration related to licensing
terms, the increasing costs of policing, security and insurance etc. (Getz, 2002;
Anderton, 2009).

As mentioned earlier in the description, this paper will attempt to clarify the functional
connection between carnivalesque and commercialization. In order to examine this
case, the essay will basically attempt to give a brief understanding to fully
comprehend the development from the once carnivalesque countercultural music to
todays commercialized music festivals. Beginning in the USA with Monterey (1967)
and Woodstock (1969), British rock and pop festivals arose during the mid-1960s
with the Isle of Wight Festivals (1968-1970) and Glastonbury (1970) being one of the
firsts (Getz and Page, 2016). Granted the connection between the sector and the
counterculture of hippies, which helped the growth of rock festivals, happened after
BBC Radio 1 started a broadcast promotion for psychedelic pop and rock groups
(Anderton, 2011). The financial support which was caused by an explosion in the
fashion industry (Clarke, 1982, p. 25) followed by the international student and youth
movement set a stage for the current youth. This countercultural youth was defined
by Michael Holquist as a time when generations were presented with unusual
dangers and unique opportunities (1982). Throughout this time music festivals were
providing a place where groups of people, especially the youth culture, could rejoice
about common meanings and interests, such as experimentation with sexual
relationships without marriage, anti-authorism and drug consumption while creating a
feeling of understanding community. Outdoor festivals were a place in which the
ordinary individual could escape the norms of society without a complete denial or
rejection of that specific society (Clarke, 1982, p. 25-26). Mikhail Bakhtin described
this countercultural carnivalesque encounter as a spectacle seen by people; they
live in it, and everyone participates because its very idea embraces all people.
Throughout this the life outside that specific occurrence got dismissed from all minds,
considering that the carnival time is a period life is subject only to its laws, that is, the
laws of its own freedom (1984, p.7). Nevertheless, pop and rock festivals became
heavily criticized by the counterculture during the late-1960s and early-1970s for
being characteristically moneymaking events (Anderton, 2011, p. 147). For example,
the Isle of Wight Festival was criticized by an organization by the name of The White
Panthers Ministry of Information for being a clear sample of capital interest seeking
to exploit the energy of the peoples music (Worthington, 2004, p.33-34). It was also
throughout this time that considerable rock bands became significantly successful in
terms of commerce nationally and internationally-wise (Laing, 2004; Brennan, 2010).
Notwithstanding outdoor festivals were still held during the 1970s and 1980s but

became Free Festivals instead (e.g. Reading Rock which was basically a relaunch
of Glastonbury Festival from 1979). Those were nonprofitmaking events in which
bands played for free, no admission or camping charge and a smallest of
administrative organisation and was allied by the New-Age travellers which was
basically a new name for the post-hippie counterculture (McKay, 2000).
Eventually, countercultural festivals were cut short after Margaret Thatcher started
her conservative administration and consequently events were prevented by police
action in the mid-1980s and supressed the new Free Festival movement (McKay,
2000; Worthington, 2004, 2005). Despite the brief attempt of reviewal for the free
festival movement (e.g. Castlemorton Common) in the early 1990s, further anti-free
festival provision in the Criminal Justice and Public Order Act 1994 were taken (Collin
and Godfrey, 1997; Halfacree, 1996; Worthington, 2004) which was basically the start
of the overshadowing of the countercultural carnivalesque in the festival sector,
considering that it had become more and more difficult for the movement to arrange
parties without any licensing, so that eventually even this era slowly vanished or
became sporadic. Which may be an interconvertible fact for Andertons theory in
2011.
In consequence of all the legal and financial disagreements assumptions that the
increasing sense that cash cow in British pop and rock music was becoming more
and more unsuccessful in an increasing market which was mainly Americandominated (Blake, 1999). Editors and contributors Laing and Frost (cited in Getz and
Page, 2016, p. 72) affirm that traditional events and the identities they support are
increasingly being challenged and rituals may be lost. However, Getz and Page
(2016) emphasize that societies and events have been increasingly striving against
the standardising aftereffects of globalisation by re-forming or creating new rituals
(some of them borrowed from other events) in order to achieve something unique.
Unfortunately, efforts come with side effects; thus, communities might struggle with
the execution. For instance, being attached to customs and tradition in a world which
is now mainly affected by globalisation created progressively pressure to make
festivals more wonderful and attract greater audiences (Clarke and Jepson, 2016),
which is mainly supported by sponsorships and partners. As mentioned earlier
festivals that used sponsorship have been mocked for being commercial back in the
1960s. Nevertheless, it is needless to say that todays festivals will not be able to
finance themselves without any sponsorship or similar partnerships. Since the legal

disagreements back in the twentieth-century music festivals are compelled to

advertise respectively take counter-measurements against potential dangers such as
alcohol abuse and the importance of safe sex and even provide qualitative sanitary
facilities (e.g. toilets and showers) as mentioned by Alan Clarke (1982).
Simultaneously the pressure to deliver an unforgettable experience not only for the
festivalgoers but also for the artists cost-intensive requirements have to be made
(e.g. CCTV, technologies, stage shows, artist fees, insurance) that also allows the
organisers to secure previous mentioned services (Anderton, 2009). There is also,
however, a further point to be considered: music festivals are not the only ones that
benefit from sponsors, since both parties have a grant reciprocal treatment to each
other. This is mainly because they [music festivals] allow the company to negotiate
with promoters rather than with individual bands (Anderton, 2011) which decreases
potential disagreements and costs. This point is also sustained by the work of Adams
and Goldbrand (cited in Ali-Knight, 2008) who underline that having Partners is a way
of demonstrating principles of active participation and the acceptance that all cultures
are equal.

Summarizing it is clearly to say that despite these criticism, of music festivals

transform their counterculture carnivalesque heritage its popularity remains high.
Especially with the point that commercialization suppressed that heritage and
transformed festivals into spectacles (Ehrenreich, 2006). British pop and rock festival
still remain with their heritage, due to the fact that both in the 20 th century and the 21st
century even today festivals have a particular sense of life, particular community of
experience that hardly needs explanation (Williams, 1965) that is principally for the
reason that music festivals used to be a stage for sharing emotions, beliefs and
communication that would not be possible in the standard of living; on the whole a
sense of enthusiasm (Bakhtin, 1984; Derrett cited in Ali-Knight, 2008). Furthermore, it
is unambiguous that there is still audience to be found since they continue to find a
special factor during festivals which is far beyond a simple spectacle. Clarke and
Jepson (2016) also agree that festivals, no matter if in the previous century or in the
present days, still serve a stage where festival-goers are able to retreat and remain in
a state where [] there is more to this communion than mere talking - there is trust
(Carter cited in Ali-Knight, 2008). In the end, beside of all previous mentioned
aspects, the only need for attendees is to find a place where good times can be

shared and no need for exhausting infrastructure, since this could be organised by
existing resources; like the need of being with individuals who stand on the same
mind which deems to be of the prior importances.
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