a friend told me this summer: this year are the Deltablues a month late and in a reduced (if not resigned) and nobody has noticed? Now comes even Rowoodstock (indeed, D-Woodstock), in November, which is delayed by two months than usual (and amen), but especially in highly scaled version: a day dedicated just to music, for a festival that "the good old days "brought a whole week of artistic events.
Bella edition, however: who has played the best. But perhaps this was part of an overall feeling of having reached the grand final. The latest edition of Rowoodstock, restricted version that comes in after a summer of social events organized by the city for young people with a completely different style and amount of resources, could only be held at the Theatre Studio, that is, near the ruins of the former community center Eternit, born in the same year and died much earlier, at the same time, when we butchered the First Film Festival organized by the Theatre of Lemmings, which operates - and we are headed - the Studio Theatre. Greetings. 'm not one who clings to the past at all costs, but when you lose the experience you should at least be aware of the meaning they had: Rowoodstock proposed made sense because, say it with a hackneyed phrase, a festival organized not only for young people, but by young people themselves, that is an experience of participation. The concerts in the square this summer will do even more public, but are not the same thing. Moreover, the most difficult challenge for RoART as for many other situations, it is encouraged to participate. In short, if it is not because Rowoodstock dies RoART has "worked" evil. Nor is it because the City, as is indeed quite evident, no longer believe, even if it is in fact the sole owner of the "brand".
E 'at the festival of young people young people now participate very little. Rowoodstock has long been a point of reference for those of my generation: a place to meet, listen to their friends play, finding people who did not see for a while and notices of the absence of other people who usually did not lose an issue. Except that it really threatens to become "the roaring twenty-first century" (or at the nineties), this nostalgia for a group of young people today have more than thirty years. This is not necessarily bad, but you should then ask which of these two paths to take. One is relatively easy: we can keep our Rowoodstock, the banner of the roaring twenty-first century. " We too need our space, why not?
The second road runs for participation ("the youth festival for young people "), in short, we return to the festival for young people, although no longer" what it once was, "done as we did. And 'the most difficult and probably gives more modest results in terms of numbers but RoART's got some ideas. We'll see.
RoART this year has chosen a formula (and promotion) focused entirely on the message of going back. Festivals reduced only to the music, as in '96, with the old groups on stage. The difference is that at least once played at the Dome Theatre, downtown, and suburbs, between the cemetery and the ruins of the center. We hope this look back is the famous "review all its life in a few seconds. "
A note of hope. few years ago to kill Rowoodstock had been the junta's center Avezzù Paul, when the festival was run by the city. He jumped an issue, Then came RoART, which took over the Festival and launched the slogan funeral and optimistic "Rowoodstock RIP-Arts." Despite everything, the festival was then a prominent element of youth policy (so much so that was exploited in any way during the campaign). Merchiori Then came the era and for some years the festival was the fat. My impression, however, is that the City has always treated, as is usually in the philosophy of government agencies, to contract a service to volunteer to save money.
But for those of RoART reappropriation of the Festival was an experience of citizenship. If Rowoodstock arrived in 15 years, it's because at that time there were those who believed and did not send this enthusiasm to others. It is certainly not in the office of youth policy, which created the experiences that mark a generation.
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