ABSTRACT

Although respective research has proliferated, little attention has been given to the processual nature of festivals. By drawing upon the concept of host event zones, we examine how different spectators perceive the development of the heavy metal festival Wacken Open Air (WOA) with respect to the dynamics between the festival as a temporary place in which visitors enjoy spectacle and ritual, a commercial site and the everyday living space of local inhabitants. WOA has grown in 30 years from an initiative by a few friends for devoted metal fans into an internationally renowned music mega-event. WOA represents a consumption mediated ‘peaceful utopia’ where festivalgoers find social meaningfulness in neo-tribes. However, the accelerating mainstream appeal of Wacken Open Air for a non-metal fan audience, which significantly spurt by the media, challenges both regular attendees’ experience of this idealized space and the relationship between the host community and the festival.

摘要

尽管各自的研究已经激增，但很少有人关注节日的过程性质。通过借鉴主办活动区的概念，我们研究了不同的观众如何看待重金属音乐节 Wacken Open Air (WOA) 的发展，以及音乐节之间的动态，作为游客享受奇观和仪式的临时场所，一个商业用地和当地居民的日常生活空间。30 年来，WOA 从几个朋友为忠实的金属乐迷发起的倡议发展成为国际知名的音乐盛会。WOA 代表了一种以消费为媒介的“和平乌托邦”，节日观众在新部落中找到了社会意义。然而，Wacken Open Air 对非金属粉丝观众的主流吸引力正在加速，这被媒体大幅喷发，