This article was downloaded by: [Bournemouth University]On: 23 March 2 - PDF document

This article was downloaded by: [Bournemouth University]On: 23 March 2013, At: 12:40Publisher: RoutledgeInforma Ltd Registered in England and Wales Registered Number: 1072954 Registeredoffice: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Leisure StudiesPublication details, including instructions for authors andsubscription information:http://www.tandfonline.com/loi/rlst20 Glastonbury: managing themystification of festivityJenny Flinn a & Matt Frew ba Department of Management, Glasgow Caledonian University,Glasgow, UKb School of Tourism, Bournemouth University, Bournemouth, UKVersion of record first published: 14 Jan 2013. To cite this article: Jenny Flinn & Matt Frew (2013): Glastonbury: managing the mystification offestivity, Leisure Studies, DOI:10.1080/02614367.2012.751121To link to this article: http://dx.doi.org/10.1080/02614367.2012.751121 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/terms-and- conditions This article may be used for research, teaching, and private study purposes. Anysubstantial or systematic reproduction, redistribution, reselling, loan, sub-licensing,systematic supply, or distribution in any form to anyone is expressly forbidden.The publisher does not give any warranty express or implied or make any representationthat the contents will be complete or accurate or up to date. The accuracy of anyinstructions, formulae, and drug doses should be independently verified with primarysources. 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Glastonbury:managingthemysticationoffestivityJennyFlinn*andMattFrewDepartmentofManagement,GlasgowCaledonianUniversity,Glasgow,UK;SchoolofTourism,BournemouthUniversity,Bournemouth,UKReceived29May2012;nalversionreceived15November2012Therealmofmusicfestivityhasgrownintoaglobalcircuitthatrespondstothedemandforemotiveexperientialproductsandtapsintopostmodernthemesthatcelebratealifestyleattitudeofextendedyouth.Thispaperinvestigatesthephe-nomenonoffestivalculturethroughacasestudyofGlastonburyFestivalofContemporaryPerformingArts.Ithighlightshowmodernmusicfestivalshavebecomesitesofmediatedbrandmanagementwherecommodiedhyper-experiencesareconsideredasnewformsofcontestedculturalcapital.ThroughacriticalconceptualmatrixthatcombinestheworkofBourdieu,PineandGilmore,andJensentheauthorscriticallyexploretheinterplaybetweentheexperientialdimension,mysticalandfantasynarrativesandthepoliticalcontestationoffestivity.FocusingonGlastonburyFestivalofContemporaryPer-formingArts2010thestudypresentsaninnovativeinterpretationoffestivitythroughmultiandsocialmedia.Theauthorsarguethat,whilepromotedasanethicalfestivalthatcelebratesitsanti-commercialcounterculturalcool,Glaston-buryreectsamoderncathedralofconsumptionwhereexperiencesarethemed-iatedandmanageriallypuppeteeredcapitaloftheeld.However,festivityismovingbeyondmanagementasitisincreasinglydependantontheco-creativesocialmediaactivityofconsumerstoperpetuatethefantasyandcapitaloffestivity.consumerculture;culture;events;popularculture;capitalism;IntroductionFestivityisanareaofculturalconsumptionthatresonatesacrossthemodernworld.Likemusicfestivityhasauniversalitythatissteepedinancienthistory,oftenasso-ciatedwithreligion,ritesofpassage,patronageorevenasamodeofstructuralresistanceorsocialcontrol(Roberts,1999;Rojek,2005).However,fromthebibli-calreferencestothedebauchedcelebrationsofthegoldencalfthroughtothewildspectaclesoftheBurningMan,festivitytouchesthetaboo.Atitscore,festivityectsagregariouscollectivism,celebratescarnaldesireandconveysthepromiseoflibidinalrelease.Inamodernrationalisedworldofharriedanddisenchantedlife-styles(Ritzer,1999),thefantasyoffestivityexertsamagneticallureonamassSinceWoodstock,withitsarguablyiconicperformancesandimagesofHendrix,theWhoandJaniceJoplin,musicfestivalshavegrowntobecomeaglobal *Correspondingauthor.Email:jenny.LeisureStudies,2013http://dx.doi.org/10.1080/02614367.2012.751121 2013Taylor&Francis commodityofthecultureindustries(Mintel,2010).Moreover,whiletheannualyouthpilgrimagecontinues,musicfestivalsattractawiderdemographicandtapintopostmodernthemesthatreectanattitudeofextendedyouth(Green,1998;Miles,2000).Whetherarightofpassageornostalgicretro-reinventionmodernfestivalsarespectacularsitesofpromisedhyper-experienceandorgiastichedonism(Frew&McGillivray,2008).TakingGlastonburyin2010asitscasestudy,thispapercriticallyexploresthisculturalphenomenon.Itarguesthat,ratherthanasiteofspontaneousfreedom,festivityhasbecomeamanageriallymanipulatedfantasyproductwhereexperienceisconstantlycapturedandvirallymediatedtobecomethesustainingcapitaloftheeld(Bourdieu,1986a).Thephenomenalgrowthofsocialmediaplatforms,suchasYouTube,FacebookandTwitter,nowlieatthecentreofthisprocess.Socialmediaprovidesawindowofconnectionandimmediacyintofestivitywhichcreatesnewopportunitiesandchallengesforfestivalandeventorganisers.Festivalconsumers,empoweredviamobiletechnologies,instantaneouslycaptureanduploadimages,videoclipsandreviewsofeventsthatdynamicalnet-workwithothers,whichrepresentsanalternativelivenarrativetothatofmanagerialprescriptionandpromotion.Inexploringthisprocessthispaperpointstoaneweraoffestivityemergingwhereubiquitoussocialmediaisamanagerialandfestivalgamechanger.Thefantasyoffestivityismovingbeyondmanagement,andisnowaco-createdandconvergentconstruct.Socialmediaiscentraltothemodernpoliticofidentityandcanbefoundinthedynamicsofmediatedconsumerexperiencesandmanageriallyproducedfantasyproductoffestivity.Identityisnowahybridconstructwherethelocalisedephem-eralandembodiedexperiencesoffestivitydemandasimultaneousmediatedandsociallyglobalisedreection.Festivalproducersneedtoopenlyengagewiththissociallymediatedlifestyleasthemediatedexperiencesofconsumersreectthesymbolicmeaningsandcapitalthatisvaluedwithintheeld.Socialmediaplat-formsarenowthehallowedrepositoriesofadigitalselfandthelifeforceofthefantasyoffestivity.Therefore,thefantasyproductoffestivity,anditsdistinctivesustainingcapital,isnolongerinthebastionofmanagerialcontrol.FollowingQualman(2010),festi-valproducersdonothaveachoiceastowhethertoengagewithsocialmedia,itissimplyaquestionishowwelltheydoit.Thefantasyoffestivityisaco-createdconstructofsociabilitythat,ironically,dependsuponthedigitaldisplaysofaself-regulatingperformativeconsumerwhoseembodiedexperiencedemandsavirtualandviralpresence.Situatingfestivity:thecaseofGlastonburyWhilethenotionoffestivityhasbecomeembeddedinthemodernconsciousness,itsresonanceandpowerareancientandculturallyuniversal(Falissi,1997).Ofcoursefestivitytakesanumberofculturalforms,frompaganrenewal(Winters,1997),sporting(Rustin,2009),foodandbeverageboutique,(Axelsen&Swan,2010)tolocalcommunity(Carlsen,Ali-Knight,&Robinson,2008).Festivityconjuresideasofsocialrelease,escapeandmoralvacationsoftheselfasinthecarnivalesqueexperienceandinvertedsocialstructuresoftheRioCarnival(Featherstone,1991).However,itcanalsoconveyaparadoxwhere,asinthecaseofMardiGras,wild,sexualisedbehavioursitsalongsidecommunalfamilyfun(Gotham,2007).Moreover,festivityisincreasinglyseenasapolicyvehicleusedasJ.FlinnandM.Frew aformofcommunityandsocialgluetocreateeconomicimpactandregeneration(Picard&Robinson,2006).Forthepurposeofthispaper,thefocusoffestivitywillrefertothatencapsulatedunderthemusicalgenre.Modernmusicfestivalshavealong-standingandinternationaltradition,andhaveevolvedintomultistaged,facilitisedeventsthatareameccaformusicados,fansandcuriousconsumers(Stone,2008).Musicfestivityhasasymbioticrelationshipwiththestudyofpopularculture.Acleartrajectorycanbediscernedfromconnectionstothestylisticresistanceofyouth(Cohen,1987;Hebdige,1979),toneotribalism,clubculture(Thornton,1995)andpostmodernidentities(Bennett,2000;Maffesoli,1996;Redhead,1997),andtheDeleuzeancritiqueofraveculture(Jordan,1995).Althoughoftenassociatedwith60shippyidealism,resistance,theplayofidentityandcarnivalcontentwasevidentatmanyearlierfestivals(Brocken,2003;Clarke,1982)withthelikesofCambridgeFolkFestivalstillinexistencetoday(Clarke,1982;Sayer&King,2003).Nevertheless,formost,inAugustof1969,themodernmusicfestivalwascon-ceivedundertheauspicesoftheWoodstockMusicandArtFair.Asanantiwar,counterculturalstatementthispoorlyplannedthree-dayeventiswidelyheraldedasoneofthemostpivotalmomentsinpopularmusichistory(Laing,2004).However,thepowerandlongevityofWoodstockowesagreatdealtotheemergingtechnol-ogyofthetime.ThroughthepowerofTVthechaoticspectacleandexperienceofWoodstockwascapturedandburnedintotheglobalconsciousnessultimatelyestablishingthefantasyofmodernfestivity(Evans&Kingsbury,2009).WhilethescaleandmediasensationofWoodstockwaspivotal,themanipula-tionofitsmythologyandtransformationofthefestivalexperienceincreasingintegrationandcorporatisationofthelivemusicindustry2004,p.13)hasbeenrecognised.Othershavealsohighlightedtheimpactofcom-mercialisationonearlyfestivityand,intermsofthefocusofthispaper,onGlaston-bury(McKay,2000).Morerecently,thecommercialisationofthecarnivalesquehasbeencritiquedasakeyfeatureoffestivityexpectationandexpansion(Anderton,2008).EventhehedonisticandcreativechaosoffestivalssuchasBurningManhavenotescapedtheorganisingpowerofcommercialforces(Chen,2009;Kozinets,2002a).Modernfestivityincreasinglyreectsasophisticatedeldofculturalconsumption(Bourdieu,1986a)andGlastonburyhas,arguably,developedintotheiconicworldleaderofmusicfestivity.HeldannuallyatWorthyFarmnearthevillageofPilton,theGlastonburyFestivalofContemporaryPerformingArtshasgrownfromhumblebeginningsintooneofthelargestgreeneldmusicandperformingartsfestivalsintheworld(McKay,2000).Althoughbestknownforitsiconicmusicalperformances,thefesti-valfeaturesawiderangeofcontemporaryartformsincludingcomedy,dance,the-atre,circusandcabaret.ThefestivalwasconceivedbyfarmerMichaelEaviswhowasinspiredtoorganiseasmallfestivalafterattendingtheBathBluesFestivalinthesummerof1970(GlastonburyFestivalsLtd,2005).Eavissoughttodevelopanimprovedmodeloffestivitybycombiningpopularfestivalculturewithmoretradi-tionalfairsandharvestfestivalcelebrations.Moreover,andmirroringthemythologythatsurroundsWoodstock(Street,2004),EavisensuredthatGlastonburywouldcontinueitsassociationwiththeethosofthelate60sgeneration,summerofloveandhippymovement.However,fromitshumbleandideologicallydrivenrootsGlastonburyhasevolved,withgrowingsophistication,tobecomeacentralfestivalwithintheexpandingfestivaleconomy.LeisureStudies Fromitsromanticpast,thefestivalhasgrownsignicantlyfromtheoriginalandinformalgatheringof1500peoplein1970intoaspectaculareventshowcasingsome700actsplayingover80stagestoacumulativeaudienceof177,500people(Glaston-buryFestivals,2009).AlthoughGlastonburyhasattemptedtomaintainitsnon-com-mercialroots,thepressuresofthemarkethaveimpacteduponthefestival.Ironically,theethicalandenvironmentalstanceofGlastonburyandtheinvolvementofcharitableorganisations,suchastheCNDinthe1970s,sparkedthecommercialinterest(Henderson,2009;McKay,2000).Eventhoughtheseethicalandcharitableassocia-tionsunintentionallycaptivatedaspectsofcommerce,thereislittledoubtthatchangesinthemarketandtheincreasingdemandsoftodaysconsumershavesignicantlyuencedthedevelopmentofthefestival.Themodernfestivalmarketisafarcryfromthemudandmayhemofthepastandmany,suchastheVFestival,areunapologeticallycommercialwhichhasprovedpopularwithmusicfans(Anderton,2008,p.40).Thechallengesofprovidinganeventfornearly200,000peoplealongwithincreasinglydemandinglegislativeandlegalrequirementsmeansthatGlastonburyhasbeencompelledtochange,withanincreasinglyprofessionalisedapproachtothefestivalsmanagementandoperationsbeingadopted.Withitsgrowth,astrategicandmanagerialpresencecanbediscernedwithrolesandresponsibilitiesdisaggre-gatedthroughthecreationofGlastonburyFestivalLtd.NowGlastonburyevidencesadivisionalmanagementstructurewiththeMeanFiddlerMusicGroup(laterboughtoverandrenamedFestivalRepublic)buyingsharesinthelimitedcompanyin2001.Atthispoint,theyassumedresponsibilityforthelogisticalmanagementandsecurityoftheevent,leavingEavisandhisteamtoconcentrateontheartisticcontentofthefestival.Interestingly,thispartnershipendedinJune2012withitbeingsuggestedthatthepartnershiphadcometoanaturalendandthatitwastimeforEavistopickupthereinsagainandbuildforthefuture.However,itisworthnotingthatdespitethistheFestivalRepublicnancialinterestinFestivalManagementCompanyispassedtotheirparentcompanyLNG.Glastonburyhascomealongwayfromofferingfreemilkwithitsoriginal£1entrancefee.Todayitissecuredbyafenceandistechnologicallyticketed,marketedandmediated(McKay,2000).Glastonburyhasbecomeamoderneventthathasnavigatedthedemandsofcontemporaryconsumerismandlegislativechange,whilsteverawareoftheromantic,counterculturalcoolthatdifferentiatesitfromanincreasinglycrowdedmarketplace.Moreimportantly,(andechoingthemythologysurroundingWoodstock(Street,2004)),thismysticalaurahaspracticallyandsymbolicallybeenthefocusofmanagementinthecreationoftheexperientialbrandidentityofGlastonbury.Festivity:acriticalconceptualmatrixCulturalconsumptionhasbeenanareaofcriticalcredibilityforsometime(Miles,2000;Rojek,1995).However,theeldoffestivityprovidesanewseamforaca-demiccritique(Stone,2008).Whilecriticalapplicationsdrawonsocialtheory(Frew&McGillivray,2008)orbusinessandmanagement(Raj,Walters,&Rashid,2009),fewconceptualcouplingsareevident.Giventhefocusontheinterplaybetweentheexperientialdimension,mysticalorfantasynarrativesandpoliticalcon-testationoffestivity,thispaperllsagapthroughacriticalconceptualmatrix.ThisinvolvesintegratingPineandGilmores(1999)notionofexperienceeconomyandsclaimsforashifttoDreamSocietynarratives(1999)withacriticalBourdieusiananalysis.J.FlinnandM.Frew Bourdieuoffersanewadditiontotheanalysisoffestivalcultureashisworkprovidesusefulinsightsintothesubtletransitionsofconsumercapitalismandtheroleplayedbyculturalconsumptioninidentitypolitics(Bourdieu,1986a;Frew,2006).WhileplacinghistheoreticalcontributionasthatofgeneticstructuralismBourdieupicturesindividualsasculturalbeingsandsocialactorsbounduptogether,eachbeingacontributortoandindeed,aspectoftheotherandsoclearlylocateshisworkwithinthestructureandagencydualism(Jenkins,2002,pp.1920).Thisdualism,whichhasblightedthesocialsciencesfordecades(Bourdieu,1990),ndsanewsiteofcontestationwiththedevelopmentoffestivalculture.ThroughBourdieuformula:[(habitus)(capital)]+eld=practice,Glas-tonburycanbeenvisagedasasymbolicspacethatmasksthedynamicdialecticofsystematicnatureoflife-stylesthepractice-unifyingandpractice-generatingprinciple,i.e.classhabitus(Bourdieu,1986a,p.101).Therefore,asaeldofcul-turalconsumption,Glastonburyoffersanewsitewithinwhichtocriticallyinvesti-gatehowculturalcapitalisdesiredanddeployedtogaindistinction.AsFrew(2006,p.50)suggests,eldsprovidetheobjectiveboundariesandstruc-tureswhereupontheparticularrulesofanygameareplayedout.Inthecaseofcontemporarymusicfestivals,itisclearthatthesearehighlycontrolledspaceswherecertainbehavioursareexpectedifnotsanctioned.Adherencetotheserulesfacilitatessocialstraticationwithinthefestivalviathedevelopmentofculturalcap-italamongstconsumers.Itisthismannerbywhichconsumersareattractedto,becomeimmersedinand,mostimportantly,captureandmediatethisculturalcom-petitiontotheirsocialnetworksandexternalworldthatiscentralhere.Forthismediationofcapitalreveals,theoffestivityorthatfeelingofbeingupinandbythegame(Bourdieu,1998,p.76)asconsumersjoustforpositionandprestigewithintheeld.Moreover,modernmanagementhascometoplayakeyroleinmakingthisgameworthplayingand,throughaBourdieusianlens,isseentomaintaintheprofessionalmodesofoperationproceduralrules(Fowler,1997,p.17)essentialtoperpetuatingfestivalitself.Inthiscase,theBourdieusiananalysisoffestivityisconceptuallysupportedbytheworkofPineandGilmoreandFestivalculture,asanarrayofimagecentredandemotionallyintenseexperien-tialproducts,resonateswiththeshifttoanexperienceeconomy(Pine&Gilmore,1999).Asthenextstageineconomictransition,PineandGilmorearguethatthesophisticatedmodernconsumernowdemands,andseekstodisplay,emotiveandengagingexperiences.Forthem,experiencesarenotlefttochancebutaredeliber-atelyconstructedaroundasetthemethatseekstotriggersweetspotsofintenseemotionalengagement.Consumersaretransportedto,orimmersedin,thematicworldsthatfabricateandmanagethepositivecuesofthetheme(e.g.WizardingWorldofHarryPotter,Orlando;RainforestCafé).Inthisway,magicalmomentsofplannedexperiencesareproducedandprovidethemeanstoburnbrandsintothememoryofconsumers.However,whilePineandGilmorefocusonstagingexperiences,Jensen(1999)takesthistoanotherlevelandcompletestheconceptualmatrixofthisstudy.WhereasPineandGilmoreadvocatethethematicandmateriallystagedexperience,JensenarguesthatwearemovingtowardsaDreamSocietywheretherealmoftheimmaterialimaginationiscentral.Bythishemeanssocialepochs,suchastheindustrial,aretransformingatanincreasinglyrapidpaceandwearenowmovingfromaninformationsocietytoonepremisedonthepowerofimaginationLeisureStudies orfantasystories.Products,servicesorexperiencesare,forJensen,nolongerthekeytoconsumption.Rather,consumersareseducedthroughstories,whetherrealorfabricated,whichtaptheconsciousnessand,consequentially,emotions.Therefore,whethertheromanticismofVenice,theethicsoffreerangeeggsortheenvironmen-talismofFarmersMarkets,thematerialityofproducts,stagingservicesoremotionofexperiencesneedthemysticalandmentallyengagingsugar-coatedstory.Therefore,thisconceptualmatrixessentiallyhighlightstransitionsanddevelop-mentsinBourdieusiananalysisasthecapitalofconsumercapitalismshiftswithinelds(herefestivity)andmergeswithanageofubiquitoussocialmedia.JustasBourdieuwasatpainstodemonstratehowthedynamicsubtletiesofculturalconsumptionperpetuatedominationandsymbolicviolence(Frew,2006,p.46)viamodesofculturalcapitalPineandGilmorepointtotheconsumerexperienceasanewformofemotivecapital.LikewiseJensensfocusontheemerg-ingpowerofthesugar-coatedstorylayersanemphasisontheimaginedorfantasyelementassociatedwithculturalelds.Throughthisconceptualmatrix,thispapertraceshowtheexperiential(Pine&Gilmore,1999)andtheimaginary,fantasyelements(Jensen,1999)offestivityaresoughtafterasthevaluedmarkersofdistinctionwithintheeld.Ithighlightshow,forbothconsumersandproducers,embodiedlivedexperiencedemandsadigitisedavataroffestivitywhich,beingconstantlycaptured,displayed,re-toldandre-livedacrosssocialmedianetworks,ectsthenewcapitaloftheeld(Bourdieu,1986a).Methodology:sentimentinmultiandsocialmediaThispaperisderivedfromanongoinginvestigationofthediscoursesofidentityproduction,consumptionandgovernancewithintheglobalmusicfestivalphenome-non.AlthoughGlastonburyprovidesthecasestudyfocusforthispaper,itislocatedwithinawiderseriesofprominenttraditionalandmodernfestivals(e.g.Benicassim(Spain),T-in-the-Park(Scotland),BurningMan(Nevada,USA)andCoachella(California,USA)).TherationaleforthefocusonGlastonburyispremiseduponitspivotalpositionwithinmusicfestivalculture.Moreover,asmodernfestivalcultureisrecognisedasagrowthareaoftheculturalindustries(Mintel,2010),thelongev-ityofGlastonbury,havingreachingits40thAnniversaryin2010,anditsgloballyrecognisedcounterculturalheritagemakesitanidealsitetoinvestigateculturalcon-testation.Itistheattraction,representationandcirculationofthismysticalcorethatiscentraltothemethodologyadoptedhere.However,andresonatingwiththefocusandconceptualmatrixthatanalyticallyunderpinsthispaper,themethodologytakesaninnovativeweb-basedapproach.Mediaspectaclehasalongtraditionandmanyuseswithintheeldofeventsandfestivity.WhetherthepropagandaoftheBerlinGames(Horne&Manzenreiter,2004),tourismpotentialofMardiGras(Gotham,2005)orcitybrandpromotionthroughthenight-timeSingaporeFormulaOne(Foley,McGillivray,&McPherson,2008),mediaiscentraltoeventsandfestivity.Moreover,theevolutionofmultiandsocialmediamirrorsthatofeventsandfestivityastheexperiencesofimagecentredandaestheticallyconsciouspostmodernidentitiesneedtobecaptured,mediatedanddisplayed(Frew&McGillivray,2005;Kellner,2003).Giventhissymbioticrela-tionship,anditscentralimportancetothemanagementandmaintenanceoffestivityandtheexperientialdistinctionofconsumers,multiandsocialmediaprovidetheinnovativemethodologyforthispaper.J.FlinnandM.Frew Incontrasttotraditionalempiricalapproaches,themedia-centredmethodologyadoptedherecutsacrossmacroandmicrosocialmediaplatforms.Macromediainvolvesthedocumentaryanalysis(Jupp&Norris,1993)ofprimaryTVandpresspartners,ofcialweb-basedandperipheralmedia.Specically,thisinvolvesexam-iningthesponsoringmediaoftheBBC(includingtheuseofBBCiPlayer),theGuardiannewspaperaswellastheauthorisedmainstreampressandwebmediaoffestivalproducers.Interestingly,asthecourseofthemethodologyrevealed,thenotionoftraditionalmacromediaisincreasinglyobsoleteasallformalpressisrep-licatedviaanonlinepresence.Reducingthetraditionalpapertrailgatheringacceler-atedtheprocessduetotheuseofsocialmediametricssoftware(discussedbelow);thisreectsthetransitionofformalmacromediaintotheonlineandmicroworldandintegrationofsocialmedia.Nevertheless,andashighlightedinotherstudiessuchassport(Horne&Manzenreiter,2004;Maguire,2004)andfestivity(Chen,2009;Gotham,2005),mediaanalysisprovidestheformal,produced,ormanaged,visualandverbalnarrativepromotedtothegeneralpublicandfestivalconsumer.Withauidorprocess,coherentpatternsorpicturescanbediscernedbythematicallyframingdata(Mayring,2000)aroundacorethemeorstrandofrelated(Deacon,Pickering,Golding,&Murdock,1999,p.169).Moreover,althoughthisqualitativeapproachismoreestablishedinmacromediaanalysis(Flick,2002),itprovidesabridgeofmethodologicalcontinuityintotherealmofmicrosocialmedia.Unliketraditionalmacromedia,methodologicaltrawlsofmicrosocialmediaarerelativelynew(Adamic&Glance,2005)andproblematicwiththeexplosionofsocialmedia.However,giventhatthesemediaspacesplacethelocusofcontrolandinterpretationinthehandsofindividualsandgroupsofconsumers(inthiscasefestivalfans)theyrepresentarichseamofresearchnarratives.Ashasbeenhigh-lighted,withablogcreatedeverysecond,wearelivinginatimeofthe(TapscottandWilliams2008,p.40).Theinternethasbecomethespacewherecul-turalcommunities,suchasthoseoffestivity,networktheirlivesandexperiences(Shih,2010).Assuchithasemergedasthenewfrontierofcapitalandcommerce(Solis,2012).Thisnewsphereofsociabilityhasproducednewmethodologiessuchasnetographies(Kozinets,2002b)andexaminationsofthecacophonyofblogospherevoices(Chenail,2011).Nevertheless,thesheervolumeofsocialmediapresentsmethodologicaldifculties.Thekeytoovercomingthisproblematicwastoutilisesocialmediamonitoring(oftencalledbrandmonitoring),whicharedigitalplatformsthattrackandmeasureconsumeronlinesentiment.Whileoriginallydesignedforbusiness,focusingonareassuchasproductdevelopment,campaignmonitoring,trendanalysisandconsumersupport,thesetoolsmakesocialmediaaccessibleforacademicresearch.Essentially,socialmediamonitoringenablesthetrawlandcaptureofwhatisbeingwritten,videoed,digitallycapturedanddiscussedaboutatopiconline(Bruns,Burgess,Higheld,Kirchhoff,&Nicolai,2010).Manysocialmediamonitoringtoolsarefreeandwellrecognised(e.g.googleanalytics;yahoowebanalytics),whileothersoffermorein-depthanalysis,reportsandmonitoring(e.g.sentimentmetrix;radian6).ThisstudyutilisedAlterainSM2asthemultiandsocialmediatrackingplatform.Itallowsconversations,onlinesentimentacrosssocialmediachannelssuchasblogs,wikis,microblogs,socialnetworksandvideo/photosharingsitestobetrackedandreviewed(includingFacebook,Youtube,FlickrandTwitter).VersatilesoftwaresearcheswererunacrosstheblogosphereandsocialmediaLeisureStudies platformsbysettingthemedkeywords,whichhelpsubdivideandbuildupsearchresultsforanalysisasneeded(e.g.Glastonbury(2010)addsanumberofkey-wordssuchaslaylines,pyramidstage,galleryphotos,video,merchandising,TV,sponsors,press,charityorcommerce).Additionally,settingdateparametersandreal-timealertsallowedthethematicminingandmonitoringoftherichverbalandvisualnarrativeofGlastonburytobecaptured.Therefore,throughthisdigitaldocu-mentaryoftheofcialmacroandmicrosocialmedia,andunderpinningconceptualmatrix,analternativereadingoffestivityispresented.Discussion:managingthemysticationofbrandGlastonburyAperusalofmostmusicfestivalexperienceswillrevealaplethoraofimagesrepresentinggregariousyouth,resplendentcostumesorweirdhybrid,almostaliencreations(Kozinets,2002a)withhighlyenergised,sexuallychargeddancingoftenaccentuatedbyalcohol.Thisgregariousorwildbehaviourisnothingnewbeingval-uedwithinsubculturalmovementsorthatofdanceandraveclubculture(Thornton,1995).However,whileresistantyouthareplacedonthemarginsGlastonburynotonlymirrorsthewild,outlandishimage,itactivelypromotesit.Itsofcialwebpageprovidesarunningphotogalleryandfootageofsuchimages,whicharearchivedforposterity.Again,ofcialmarketingmaterialafrmsGlastonburyasacarnivalesque,liberatingoffworld(Frew&McGillivray,2008)heraldingitasaplacewheretherulesofsocietyareabitdifferent,abitfreerFestivals,2009).Fromweb,press,BBCcoveragetoposteventreviewGlastonburycaptivatesandtitillatesthroughauniedandrepetitivelyarticulatedseriesofimages,soundsandsoundbitesthatreinforceclaimsofaliberatingunforgettable(GlastonburyFestivals,2009).Interestingly,thisauthorisedrepresenta-tionisvalidatedthroughbothmacroandmicromedia.BBCcoverageoftheevent,nowarchivedandrelivedthroughthelikesofiPlay-er,layersupontheofcialmediamanagementbycapturingthegregarious,weirdandwonderful.SocialmediasitessuchasYouTubeandFlickrmirrorthisTVcoverageofawalkonthewildsideshowingastandardisedformulaofthecrazycostumed,madcapbehaviour,youngandbeautifultotheoddandoutlandish.Moreover,experienceiscapturedandradicalbehaviourslinesofcokebeingandcelebratedininteractivecokeandcaineblogosphereplay.Interestingly,pre-eventticketpurchasingreinforcedtheofpromotionandmysticalhypeassociatedwiththefestival.Anannualticketfrenzyemergedacrosssocialmediaplatforms.Patternsofpositiveandnegativeexperiencessuchas,bestfeelingintheworldfuckingguttedwasted4hrsnoGlastoformeGlastonbury2010islikereallygoingtohappenIcantsitstillticketstotallystoked,areexpressedandpostedtoYouTube,Twitterandblogo-sphere.ManagementtapandteasethisfrustrateddesirethroughincessantwebpostsandTweetsofcountdownstofutureticketissues.EchoingCharlieandtheChoco-lateFactoryGlastonburyfuelsthisanticipationthroughitsgoldenticketandsoimbuestheobjectivecapitalofticketswithadeepermysticalrelation.FromthedistilledeuphoriatoTV,ofcialwebandphotogalleriestoFacebookposts,TweetsandFlikrlinkstheexpressiveandemotivecontentfestivalproductssuchasGlastonburyexemplifytheattractionoftheexperienceeconomy(Pine&Gilmore,1999).Eventhecelebrationsandconciliationsoverticketshighlightaninconspicuousconsumption(Miles,2000);thatfrustrateddesiretobetherenextJ.FlinnandM.Frew andthepowerfulallureofthefestivalexperience.Inatimewherepredomi-natelywesternlifeisatomised,harried,insecureandinterpersonallydisconnected,momentsofcollectiveornetworkedemotionalintensityappeartobehighlyvalued.Theexperienceeconomythatlookstotheme,accentuatepositivecuesandemotivelyimmersetheindividual,isallaboutcreatingmagicalmysticalmoments.AsemotivemedianetworksechotheexperienceeconomyGlastonburyseekstotransporttheindividualintoitsmysticalexperientialbubbleor,moreappropriately,brand.However,andmoreimportantly,itisnotenoughtocapture,circulateandreliveemotiveexperiences.Inlinewiththethemedcoreoftheexperienceeconomy,theGlastonburyexperientialbrandmusttickcertainboxestoremain.Forabrandtoendure,itmustbemorethananameorlogo.Brandssayanddomore;theyconveysymbolicmeanings,values,aspirationsandassociations(Moor,2003).Brandsseektobepersonal,tospeaktous,touchingusatourcore.Therepetitivearticulationandreferencetotheiconicimages,symbolicsignsandtheirmysticalassociations,demonstrateanastuteaspirationalbrandinaction.FollowingJensen(1999)organisersstrategicallydeploysymbolicmythologyandpagantraditionstobuildmysticalnarrative(GlastonburyFestivals,2009),whichrepetitivelyarticulatesthebrandstorydirectlyintothesocialmedianetworksandconsciousnessofandalreadymalleablemassoffestivalconsumers.ThePyra-midStage,itsreferencetoGlastonburyAbbey/Stonehengeleylineswheretheapexdrawsenergyupwhilealsodrawingenergydownfromthesunandstars,isaectionofmarketedmystique.ThisisadistinguishingmarkofGlastonburyandpoweroffestivalstoriesthatoffersconsumersanopportunitytoescapeintoafan-tasyworld,ofthecounterculturalcarnivalesque(Anderton,2008,p.40).Thepyramidstage,stonecircleorcounterculturalhippyheritagewascontinu-ouslyandconsciouslyreferencedalongwiththegregarious,ofmorehedonistic,sitesofTrashCityandShangri-La.FromthepeacefulspiritualvibeoftheGreensoulsearchingoldhippyfaithfulvibesfromthestonecircleareamaz-congaatthePyramid,thesymbolismofGlastonburywascentralacrossweb,press,blogs,TVandonlinecommunities,whichfeedsdesireformysticalsto-ries(Jensen,1999).Notwithstandingcommentary,theseimagesbecomethevisualandobjectivemarkersofcapital,whicharecirculatedforcommentbetweenthesocialmedianetworksofconsumers.Morerecently,thesecompetitionsofcool-huntingimagery(Klein,2001)havebeenaccentuated,bythefestivalsintensicharitableenvironmentalstance(Henderson,2009).IneffectthisenvironmentalfocusrepresentsasubtlebrandingshiftforGlastonburyas,withchangingsocietalconcerns,itpositionsitselfasachampionofemergingenvironmentalandethicalagendas.Glastonbury(2010)wasawashwithpartnerlogoswithGreenpeace,WaterAidandOxfambeingvisiblethroughoutallelementsoftheeventfromthetickets,wristbands,merchandise,programme,post-eventreviewstothepyramidstage.WiththewindturbinebesidethePyramidStage(since1994),anothersymbolicandethi-caliconhasbeenlayeredontotheGlastonburymythology.WhileclearlyaddingtotheunderpinningfantasystoryandstatusvalueofGlastonbury,Twitterdebatesandblogsalsolegitimatetheexcessiveexperienceoffans;activism,supportforgoodcausesand24hrhedonismliveonsallforagoodcausethemanypartnercharitiesreceivetheproceeds;wastednaddingtothechaosbutwicharity.Withthisthecoolofthecarnivalesqueexperienceminglesandmergeswithanenviron-mentalandcharitableconscience,whichfurthersthedistinctionofGlastonburyasagregariousadventureloadedwithanexperientialandethicalcapital(Bourdieu,LeisureStudies 1986b;Kozinets,2002a).Essentially,theGlastonburyexperiencedoesnotjusthap-pen;itisnotlefttochance.Itisamanagedandmanicuredproductwhereiconogra-phy,symbolicmeaning,ethicalandcharitableassociationarenotonlyessential,theyareananticipatedandexpectedelementoftheGlastonburyexperienceandsugar-coatedstory.Whilethesehedonisticescapeattemptsandthecontestationofexperientialcapitalarefundamentallyimportanttofestivalculture,theyaremovingbeyondmanagement.Withtheexplosionofsocialmediathefantasystoryandexperientialcore,theheartofthefestivalbrandisincreasinglyintheprecarioushandsorsmartphonesandkeyboardsofconsumers.ExperientialcapitalincathedralsofconsumptionThedayswhenmusicfestivitywasabastionoftheyoung,andnotforthefainthearted,havebeentransformedbyanageofretro-reinvention(Miles,2000)wherestructuralassociationsofyoutharereplacedbyattitudesofextensionandathirstforstagedauthenticity(MacCannell,1989).However,inrespondingtothechal-lengesofauidandfracturedpostmodernage,modernfestivityreectsanobses-sionwithconsumption.Glastonbury,withitsmysticalnostalgiaandethicalstance,reignssupremeasitjugglestheapparentcontradictionbetweenunfetteredchaosandcommercialism.SuchcommercialismhasnotgoneunnoticedwithfansbloggingtheirrantaboutOrangeCorporateplaceandpostinggrievancethatagsatGlastonburyjustanotherstepalongthepathofcommercialismEvenofcialpartnerpostscapitaliseontheconictofcommercewithandwhererichcampinstyle.Therefore,whilesocialmediaforumspro-getoffurfaceinTrashCitythehedonisticcarnageoftheDanceVillageandthepresshighlightmud,musicandhippies[with]fansabsorbedbygiantalongsidedreadlocks,Mohicansandnakedmudwrestling2010,p.25)Glastonburycapitalisesonthisdominantdiscourse.AsAnderton(2008)highlightsfestivityhasbecomeanuncriticalsiteofmanagementandcreep-ingcommerce.Glastonbury,beingthefocusofcriticalgazehere,evidencesthistrajectoryinitsoperationalprocedures,provisionandpractices.Thegrowingpop-ularityofGlastonbury,itsinabilitytoretaincontrolandsecurity,aswellasnewlegislation,haveacceleratedandlegitimatedthedemandanddiscoursefornewmodernmanagement.CocoonedwithinasteelsuperfenceGlastonburyisaslickmanagerialmachineofsystematiccontrolandcompartmentalisation.WithinthesuperfenceGlastonburyisanexperientialcityrangingfromtheGreenFieldswherefanscanlearnhowtoreleasetheirownpotentialanddiscoverhowtochangetheworldtoTrashCity,anapocalypticdream-worldstraightfromthepagesofa2000ADcomic,wherespacepirates,bootleggers,illegalaliensandallthescumoftheuniversecancomeandpartythenightawayFestivals,2009).Despitethevastrangeofofferingswithinthebiggestfestivalintheworld(Henderson,2009,p.12),theGlastonburyexperienceisaboutengagingwithaseriesofrationalisedspacesthatareliterallymappedout,containedandcon-trolled.Fromcolour-codedcampingandthemedvillagessuchasthosementionedabovetogenrestagesandmasstents,Glastonburyispartitionedinspaceandtime.ThefestivalfanofmodernGlastonburyisfreetoroambutwithindesignated.Forsome,resistanttoitsgovernedcommerce,postscomplaintsthatthisitslikeaprisoncampothersvideoanddebatethismilitarystylesecuritywiththosewhosimplyseethisasnodifferenttowhatyouseeatotherfestivalsJ.FlinnandM.Frew Regardless,uponentrytothefestivalsitee-ticketingisphysicallyreplacedbyphototicketing,barcodescanningandsecuritychecks.Thisisaccentuatedbydifferentialcolouringofwristbands,lanyardsandpassescorrespondingtocompartmentalisedvillages,campsites,statesandtents,andlikewisethelevelofaccessaffordedtotheirsegregatedspaces.Importantly,allthissecuritisationofspaceisnormalisedforfanswhohappilyblogandTwittersitelocations,FlikrwristbandaccessandpostexperiencesonYouTubeunawarethattheirhedonismis,largely,manageriallypuppeteered.Beforetheyevenarriveandinthesafetyofhome,atthatdistantmomentwhenwebconnectionismadeande-ticketselected,theconveyorbeltofcategorisationandcontainmentissetinmotion.Highlightedbythepress-centredcelebrityVIPWinnebagohospitalityparktoblogforumslayingmymittsonacoupleofVIPsgotaBBCcompoundpassknowtherearecorporateticketstheconcentriccontainmentofGlastonburycanonlybenavigatedthroughthereading,orscanningoflanyards,passesandwrist-bands.Moreover,ascapturedintheBBCcoverage,interviewsandrovingreports,rulesofthegame(GlastonburyFestivals,2009),securityandsurveillanceoperationaliseamorecovertroleinculturalcompetition.Effectively,theyarethegatekeepersofdifferencesecuringthecompartmentalisedspacesofGlastonbury.Tickets,passesandwristbandsaremarkersofcategorisationand,bytheaccesstheyaffordtoVIPorbackstageareas,sponsortentsorartistafter-parties,theyaresignsofobjectivecapital,whichfansarekeentoYouTube,commentorpostFlickr.Inmodernmanagedfestivitybandingbecomesbranding,visibleexternalmark-ersreectmorethaneconomicpowerwiththetastesofculturalcapitalinternalisedviathehabitus.Tastecategoriesrevealthesmaterialconditionsofexis-tence[they]ingrainahabitusorsetofdispositions,whichinturngeneratesculturalandasfacilitatetheaccumulationofculturalcapital(Gartman,2002,p.257).Thefestivalfan,withtheirlevelofcapitalondisplay,linkstoadeeperandwideridentitypolitics.Glastonburyoffersamicrocosmofevolvingconsumercapitalismandtransitionsinculturalcapital.JustassocialmediaisresplendentwiththosehappytonetworkgettingaticketandperformingthemudandmayhemthosewiththeirEgyptiansheetswhocanstandupinmyYurtarealsopostedonline.Theseoutwardobjectivemarkersofcapital,allcap-turedandcirculatedwithinthemacroandsocialmedia,areanythingbutplayful.FollowingBourdieu,suchculturaljoustingforpositionandprestigewouldlinktothewidersocialdimensionwheretheexcludedarefoundandtheirsocialdomina-tionhierarchicallyandexperientiallyreinforced(Bourdieu,1986a).Conclusion:fuellingthefantasyTodaythefestivalexperienceisoftenrepresentedasthatsiteofliberationandcatharticexpression;anoff-worldwheretheconstraintsofconsumerismandaneverydayselfcan,foramoment,beleftbehind.Thispaperhassoughttocriticallyunpickhowthisviewoffestivityisperpetuatedand,importantly,howfestivityworksinanageofubiquitoussocialmediawherelifestylesareincreasinglydigitisedandnetworked.TakingthecaseofGlastonburymodernfestivityhasevolvedasacredittoconsumerism.Glastonburyhasbeentransformedfromacasualandchaoticpastintoahavenofrationalisedconsumption(Ritzer,1993)thatmirrorsthatofmost24-hpost-industrialcities(Hannigan,1998).Itreectsamod-ernmanagerialtriumphasitsromanticandmysticalcounterculturalcool,withLeisureStudies wellies,mud,stoicausterityalltingedwithanenvironmentalethic,sitinaseaofmerchandising.Althoughcompartmentalisedandspatiallysecured,Glastonburystillevokesacommonfreedomandwalkonthewildside.However,beitbandsorpassestohospitalityorVIPareas,basictentstoEgyptiansheetedYurts,burgerstallstobistrobars,beertoBeaujolaisthereisapalpablecontrastorclashofcul-turalcapital.Undermodernmanagementand,likeothereldsofculturalconsump-tion,thefestivalproduct,increasingly,displaysastraticationoftaste.EssentiallyGlastonburyreectstheproductiveandrationalisingpowerofman-agementintransformingfestivityintoacorecomponentofthecreativeindustries.Howeverwithitsprofessionalproductionandpromisedfantasyexperiences,thecapitalandculturalcompetitionoffestivityisinevidencefromthemomentyoupopoutofyourpod,pickupalatteinCaféTangoorhaveajacuzziinShangri-La(GlastonburyFestivals,2009).AsGlastonburydemonstratesfestivityisincreasinglynedbyroughcomfort(Foley,Frew,&McGillivray,2004)experienceswherethefantasyofanedgy,adventurousindividualismmixeswiththerealityofinstantcationandthemodconsqualityoftwenty-rstcenturyconsumerism.Itisnotsomuchthatfestivity,anditsfantasystoryofcounterculturalcoolandwalkonthewildsidearemanageriallyproducedandpuppeteredbutthissuccessmasksthedarkerby-productofcontestationovercapital.Glastonburymayreectthesophisti-catedtransformationanddevelopmentoffestivitybutitalsosetsinmotionandrevealshowculturaleldsproducecapitalthatcreatestheidentitypoliticsofdifferentiationanddistinction(Bourdieu,1986a).AlthoughGlastonburyappearsacathedralofexperientialconsumptionitsfreedomsarespatiallysecuredanddemar-cated,thesearehierarchicallymatchedbyopportunitiestoaccumulatecapital.Itisarguedthatthisprocessisproblematicforthefestivalindustryanditsmanagement.Ontheonehand,itsetstheinherentrationalisingandcontrollingtraitsofmodernistmanagementagainsttheliberatingfantasyfestivitypromises.Ontheother,theveryjuxtapositionofthefantasywiththerealityrunstheriskofmorp-hingintoanalienatingsameness.Iftheoff-worldfantasyoffestivitybecomesundifferentiatedfromeverydayfestivityitlosesitscapital,powerandmarkerofidentity.However,andmoreimportantly,theriseofubiquitoussocialmediaandtheco-createdactivityofconsumerspresentthegreatestchallengetofestivity.Undoubtedly,thepoweroftechnologyisadrivingandtransformationalforceinfestivity.WhereasWoodstocksetinmotion,andmediatedthefantasyexperience(Laing,2004),nowmacrotechnologiesappeartofacilitatetheseaofsocialmediaplatforms.Glastonburynotonlyreectsthedemocratisingpowerofsocialmedia,withtheopportunitytoreinforceorcreatealternative,potentiallydamaging,narra-tivestofantasyoffestivity,butalsoshowstheshiftinmodesofcapital.Traditionalformsofobjective,socialorinstitutional/knowledgecapital(Webb,Schirato,&Danaher,2002)arelayeredbydesireforthoseofexperiencethatcandistilledanddigitisedacrosssocialmediaplatforms.Capitalisanexperienceeconomycaptured(Pine&Gilmore,1999)inafantasystory(Jensen,1999)thatisco-createdwithinconvergentcommunitiesofFacebook,Twitter,YouTubeorthehundredsofsocialmediaplatformsuponwhichfestivalconsumerscannowengage(Solis,2012).Themanaged,controlledandproducedfantasyoffestivityisdecentredanditsauthoritystrippedinthemobileandimmediatedigitaldemocracyofthesocialmediageneration.Embodiedexperienceisnolongersufcientforthemodernfesti-valconsumer.Liveandlocatedphysicalpresencenowdemandsadigitisedavatarthatcanvirallycarrythedistilledexperientialcapitaloffestivitytosocialnetworks.J.FlinnandM.Frew Itisarguedthatitisherethatthemagicmomentsofexperiencearedisplayed,capitaldecidedandthefantasyoffestivityformed.Thesociallymediatedonline,incirculatingcapitalinanalmostomnipresentmanner,possessesthepowertoshapethefutureofineoffestivity.Givenitspotentialtomediatetheexperientialcapitaloftheeld,whichinturndrawsconsumerstoperformativelyreconstructanddynamicallyreworkcapitalinacycleofculturalcompetition,itisherefestivalmanagementneedtobe.Itisarguedthatsocialmediaisexertingagamechangingimpactonfestivity,whichrequiresaradicalrethinkofitsmanagementandfuturedevelopment.Theperformativityofthefantasyoffestivityisnowaco-createdtechnologyoftheself(Foucault,1988)asconsumersconstruct,re-tellandconsumethesedynamicnarrativesofidentity.Glastonbury,aswithotherfestivals,mayhavemanageriallymorphedintoacommercialexperientialbrandofcounterculturalcoolbutitslongevity,andthatoftheindustry,willbedeterminedbythedigitallife-forcefoundintheco-createdcommunitiesofsocialmedia.1.Inlinewiththemethodologyadoptedandcentralityofonlinedigitisedlifestyles,thepaperutiliseshyperlinkstocontent(bothhereandthroughoutthediscussion).Thehyperlinksherewillallowfurtherdepthandinsightintotheworkingsandapplicationsofsocialmediametrics.2.Whereappropriatethedataofdigitalmedia,bothformal/macroandmacrosocialmediasites,willbehyperlinkedallowingreaders,iftheywish,toclickthroughtoviewthesedigitalnarratives.NotesoncontributorsJennyFlinnisalecturerinEventsManagementintheDepartmentofBusinessManagementatGlasgowCaledonianUniversity.SheisaprogrammeleaderfortheBA(Hons)EntertainmentandEventsManagement,teachingatbothundergraduateandpostgraduatelevel.Herinterestslieintheareaoffestivalsandeventswithaparticularfocusonbranding,identityandtheconsumerexperience.Additionally,shehasaninterestinculturalpolicyhavingundertakenresearchincommunityartsandtherolethatartandculturecanplayindevelopingcommunitycohesionandsocialcapital.MattFrewisaseniorlecturerinEventManagementwithintheSchoolofTourismatBournemouthUniversity.Hecomestoacademiawithover15yearsofindustrialexperiencegleanedacrosstheculturalindustries.Thisresonateswithhiseclecticresearchtrajectory,havingpublishedinareasofhealthandtness,sport,adventurerecreation,eventsandfestivity,withappliedsocio-culturaltheoryatitscore.Recentandcurrentworktakeshispenchantforpost-structuralisttheoryintotheterrainsofmegaevents,musicfestivityandtheembodiedimpactofnewmediatechnologiesintheproductionandconsumptionofculturesofco-createdconvergence.ReferencesAdamic,L.A.,&Glance,N.(2005)Thepoliticalblogosphereandthe2004USelection:Dividedtheyblog.Proceedingsofthe3rdinternationalworkshoponLink,discovery,pp.36Anderton,C.(2008).CommercializingtheCarnivalesque:TheVFestivalandimage/riskEventManagement,12,39Axelsen,M.,&Swan,T.(2010).Designingfestivalexperiencestoinuencevisitorpercep-tions:Thecaseofawineandfoodfestival.JournalofTravelResearch,49,436LeisureStudies 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