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-------------------------------------------------- From: "Sjaak Overgaauw" <tcplugin@gmail.com> Sent: Friday, December 11, 2009 3:15 PM To: <Loopers-Delight@loopers-delight.com> Subject: Re: What public is attracted by a Y2K Sampler Video? > Interesting thread and I wanted to add my thoughts to the "Art vs > Process" remark of Miko because I have been thinking about this many > times the last year. The first thoughts which came to mind were: it > all depends on what your goal is, your interest and your role. What do > you want to achieve? Who's the public? Are you a professional musician > yes or no? > > Btw: I'm speaking as a festival organizer now. It's my ambition to > show the "regular" public the power of live looping as an art form. > And let me be honest, my personal interest here is to provide myself a > platform to play and do my thing. Building a network in the music > scene is a 3rd element and that's something you need to get the most > out of what you do. But how do you sell a live looping festival to the > public? > > First of all, you have to know what you are selling. For me, > personally, live looping is about sound sculpture, a great way to > create improvised music. > > After the Antwerp loopfest of last May, I've done some research to > find answers on the very same question and others like "Who's > interested in live looping", "Who is going to watch a live looping > festival", "How do you sell live looping". In general, you are talking > about a niche, a technique not known by the general public or press, > only known by a small number of musicians and not related to any > specific genre or style. Most people who came to the festival were > personal friends and musicians, fans of musicians and people > interested in experimental music. > > Not a surprise, my conclusion is that this concept is almost > impossible to sell ;-) Why? > > 1) The public, at here here, usually is not interested in what gear or > techniques you use on stage, but what the result is of what you > do...the music. It's a cliche but people don't buy a ticket because > Mr. or Mrs. X is world champion the live looping of 2009, but because > he makes interesting music. > > 2) Live looping is not a genre like rock or jazz. So imo, if you give > your festival a direction in terms of the style/genre of your acts, I > think you reach more people who share a similar interest. That's why I > have turned Antwerp into an live looping festival with "Ambient" as > main genre and keywords such as soundscapes, drones and live > improvisation. I might even change the name in the future if that > serves the goal. > > 3) If you want to bring live looping to the masses, you need a few > known artists, with good reviews and a good reputation. Not > necessarily famous, but musicians with a fan base means there's public > out there for your festival. The thing here is how to finance it but > I'm seriously thinking about bringing a "big name" to Antwerp in the > future. It's simply a matter of "revenue - costs" so if you can find > someone to finance it, it can be done and you might be able to > organize an a event with 5 support acts + a big name. Everything is > possible and this might sell better than the current approach. > > Stupid question: what would Fripp ask for a gig? ;-) Hm, I dunno whether you'd ask DGM or Toyah, or RF himself via the Myspace or DGM channels. > Sjaak Overgaauw > http://premonitionfactory.com/ > http://livelooping.be/ > http://euroloopfest.com/