Cultural Practices in France in 2018

Principal Investigators: Aurélien DJAKOUANE and Emmanuel NEGRIER.

The rise in festival attendance is one of the most notable findings of the latest edition of the survey on French cultural practices. Nineteen percent of French people over the age of 15 report having attended a festival in the past twelve months. That figure was only 16% in 2008 and 8% in 1973. We can therefore safely assume that festivals are a relevant space for observing contemporary shifts in our relationship with culture—and perhaps even participating in them. Indeed, the very nature of the festival format—short duration, intensive participation, diverse offerings, aesthetic experience, and social inter
—represents a break from the more conventional nature of attendance at cultural seasons. Furthermore, the diversity of festivals attracts audiences from varied sociological backgrounds and fosters equally diverse patterns of participation: intense or intermittent, with family or friends, and so on.

This research project aims to explore the sociography of festival audiences and festival participation from three perspectives. The first step will be to describe the sociological profile of festival-goers, how it has evolved over the years, and to compare it with other leisure activities and the very nature of festival participation (social and geographic context, practical aspects). The proposed lens is that of an internal comparison within the performing arts in all their diversity (primarily theater, dance, music, circus arts, and street arts). The second perspective of this research focuses on festival-going as a space for transforming one’s relationship to culture. Here, the aim is to address the question of the value of the festival experience itself and its evolution over time and across the “careers” of festival-goers. Finally, the third perspective focuses more specifically on describing the expansion of the realm of negotiation within the contemporary construction of cultural tastes and the role that digital technology now plays within the festival context. These three perspectives unfold through a constant back-and-forth between the PCF survey and our own quantitative and qualitative, local and global surveys of festival audiences.

Given that nearly all festivals were canceled in 2020, these questions take on particular significance. We believe that addressing them will shed light on the French public’s attachment to these venues for cultural expression and on some of the changes in their relationship with culture.

Amount: €39,800

Duration: October 16, 2020, to October 15, 2022