The main challenges that arise to make those artistic forms possible and formative for all are to make them attractive, participative and meaningful, whilst maintaining artistic integrity and quality.
Those projects aim to (and do) reinforce those elements, through the links between the artists and their audience, their cultural landscape and their repertoire. Plus they build links between the artists themselves, reinforcing their common projects (especially by widening their horizon, with multidisciplinary competences).
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Miriam Monaghan explains how Palisander (Recorder Quartet Based in London and member of EEEMERGING+) uses a “musical time machine”, animation and participation from the audience during concerts, to make music inclusive and accessible via performance for all (youth and others). |
This way, young audiences are part of education work for all (especially since young audiences become adults still involved). Furthermore, “young audience” can be all audiences not yet accustomed to a musical style or ensemble.
But then many questions arise and remain: questions about how to involve different audiences, of different ages but even further : how to make this action, this audience and time travel also travel through countries and involve different audiences speaking different languages? The solution is always to focus on the identity of the project and of the music, and in practical terms it can lead to use less spoken words (more music and other arts), and to engage narrators from different countries.
Involvement has different aims and can be increased by different means : video, voting, questions, feedback, interactions (with an important attention towards ages aimed).
Those projects are also attractive for the cultural institutions : helping them being convinced and convince their audience (and partners).
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To focus on Judith Pacquier, musician (cornet à bouquin) and co-artistic Director of the ensemble Les Traversées Baroques, she organizes many cine-concerts, also mixed with theater, leading to explore performances for families, from the youngest of ages, with poetic/cult movies (immediately pleasant for everyone). |
Those projects are mobile and accompanied by artistic and pedagogic workshops. This develops creativity and outreach for the ensemble, whilst reinforcing identity and core repertoire.
Budgets for those projects can also be diversified : from public subsidies (all levels, from schools to States), grants, funds, audiences…
In the end, Motivation (real and sincere) is central for those projects, otherwise they won’t work at all, neither for the audience nor for the artists and contents.
Charles Arden
