Water is an integral part of urban landscapes across Europe. It often covers around 5% of a city’s surface, and in places like Amsterdam, this figure can soar to as much as 35%. As urban spaces become increasingly congested, it’s essential to rethink how we utilize these aquatic areas, particularly for cultural and creative purposes aligned with environmental sustainability. The recent Fluctuations report by VibeLab, prepared for the Fluctuations Festival, dives into this subject, examining the potential of urban waterways as creative spaces.

The potential of waterways in urban landscapes

Water bodies within cities are not just scenic spots but are spaces that hold immense potential for cultural activities. These areas can serve as venues for community activations, concerts, art installations, performances, and more, questioning urban rivers’ prime function as traffic routes, claiming them as areas for recreation and environmental regeneration. The Fluctuations report highlights how thinking of these water bodies as accessible spaces for more mixed use is crucial, especially as land surfaces become increasingly scarce for cultural uses. At the same time, these sensitive biospheres challenge cultural organisers and audiences to adapt their practices in consideration of the natural environment.

Key findings from the Fluctuations Report

VibeLab’s study is the first to compare cultural practices on water across multiple European countries. Conducted in five countries and encompassing research on 36 cultural vessels, the report provides a comprehensive overview of how different cities and nations approach the integration of water into their cultural frameworks. Here are some key insights from the report:

• Stakeholders: The report gives an understanding of the variety of stakeholders involved in creative river transformation; from boat operators, event organisers, waterfront venues, and NGOs to local governmental institutions. 

• Infrastructures: The infrastructure, especially mooring spaces at sites suitable for social gatherings, plays a significant role in the feasibility of hosting creative activities on water. The concept of ‘cultural harbors’ is presented in detail.

• Policies and Governance: The report examines existing policies and governance structures that impact cultural activities on water. It suggests that current regulations disregard and often restrict rather than facilitate creative uses of waterways.

• Creative River Policies: To better utilize these spaces, cities need to develop dedicated policies that encourage and support creative activities on water. This includes innovating waterway infrastructures and simplifying permit processes. 

• Climate Change Considerations: With extreme heat becoming more common due to climate change, waterways are becoming increasingly attractive as cool retreats for urban residents. This trend underscores the importance of developing regulations that not only protect these areas but also promote their use for cultural and recreational purposes.

For more information, consult the Executive Summary of the report. 

The role of water in shaping urban creativity

As Nicolas Dhers, CEO of the Fluctuations Festival, points out, “One result of climate change is that extreme heat will continue to increase in Europe and citizens will seek out areas by the water to cool down and spend their free time. Instead of developing regulations that merely restrict, we should understand them as tools to shape, to incentivise good practice and to go with the times.”

This perspective is crucial as cities look for innovative ways to integrate water into their cultural and creative landscapes.

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This Berlin-focused workshop investigates how to repurpose abandoned or disused transport spaces into innovative urban cultural areas. 

Next Stop Culture
14.00-18.00, 25 January 2023 @ transmediale & CTM Festival
@ Re:mise Köpenicker Strasse 18, 10997 Berlin

Next Stop > Culture is the second Club Futures international laboratory event co-organized by the Clubcommission Berlin and  Hybrid Space Lab to develop a fresh, future-focused perspective on the club and cultural scene.

The workshop will explore the yet-to-be-unlocked potential of unused transport spaces in Berlin to encourage new concepts for cultural areas and to envision new typologies and patterns for culture-powered sustainable urban development. Overlooked and forgotten places, currently, blind spots in the city atlas, are to be brought into public awareness in developing their multifunctionally, socially, and culturally. Whilst counteracting the disadvantages of functionally separated and fragmented urban structures.

At a time when inner-city cultural spaces undergo enormous pressure, it is essential also to foster culturally active and resilient places on the outskirts of the city. The workshop will consider well-connected locations inside and outside of the S-Bahn.

The project focuses on Berlin’s environmentally friendly rail network with its radial and ring structure, which has been – and should remain – the basis for the city’s development.

The workshop will outline ideas for cultural acupuncture as a catalyst for culture-based urban development. With the claim of a cultural (re)appropriation of public space, these catalysts aim to develop mobility infrastructures as lived community spaces and cultural places of encounter and exchange. The workshop creates visions for a new urbanity. To imagine space provision for the diverse urban society’s cultural needs and concepts for innovative, environmentally friendly cultural projects.

Various qualitative typologies of mobility spaces will be accepted in the workshop. For example, no longer-in-use office buildings, locomotive sheds, workshops, warehouses, spaces under elevated railway viaducts, unused tunnels and underground stations, compensation areas, retention spaces and more.

The workshop engages and activates a broad range of ideas, inviting the radical cultural repurposing of unused spaces. For example, the workshop could explore the possibilities of culture-filled wagons moving along disused train tracks, interacting in the manifold ways with the neighbourhood they stop by in – be they in the form of travelling exhibitions, wandering clubs, artists workshops or live music sets. 

The workshop encourages the use of digital tools that can help blur divisions between local and global audiences and culture creators and to consider how cultural use could go hand in hand with the ecological upgrading of spaces. The workshop also speculates on the potential of VR or AR technologies for reviving lost music venues and spaces in former transport centres, such as new underground stations or depots.
At the same time, the workshop explores process-oriented methods, such as temporary cultural projects and Field Labs or Digital Twins, which investigate experimental forms of the production of coexistence. As pioneering settings to further develop the city culturally and protect Berlin’s long-lasting and flourishing cultural landscape, the workshop aims to envision spaces of cultural reclaim – integrating cultural performances as natural sequences in the flow of urban mobility.

More info here

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Creative Footprint is a research project that investigates creative spaces and communities to examine and emphasise the cultural value and impact that music and nightlife have on the city. (CFP) is registering participants to take part in upcoming focus groups aimed at promoters, collectives and folks that run music and nightlife spaces in Montréal.

The focus groups are open to the Montréal nightlife communities to register and will take place both online and in-person

Register your interest in Creative Footprint Montréal

This study is the first of its kind in Montreal and in Canada, following suit of cities including Berlin, New York, Tokyo and Stockholm, and it will be a vital tool for the implementation of the city’s nightlife strategy. At its core, the objective of Creative Footprint is to support the development of 24-hour cities that are world-renowned for their vibrancy, diversity, safety and access to amenities throughout the day and night. 

What is Creative Footprint?

Creative Footprint (CFP) is a project created and conducted by nighttime consultancy agency VibeLab. Creative Footprint’s methodology was developed by Lutz Leichsenring, in partnership with Harvard University and PennPraxis. PennPraxis is the centre for applied research, professional practice, and community engagement at the University of Pennsylvania’s Weitzman School of Design

The methodology goes beyond economic impact, by prioritising original content, interdisciplinary connections and multi-purpose spaces that foster talent,  strengthen communities and make our cities unique. The resulting report includes detailed data, observations from community leaders, a final score, and recommendations for the city. 

Read other CFP reports

Why Montréal?

Montréal’s nightlife scene’s sustained commitment, enthusiasm and resilience are being recognised by the city of Montréal for the benefit that nightlife communities bring to the local culture and economies, thanks to  MTL 24/24 a non-profit organisation that provides a framework for Montréal’s nightlife. 

 In May this year (2022), the mayor of  Montréal, Mayor Valérie Plante, announced a roadmap to regenerate Montréal’s nightlife, that acknowledges the importance and relevance of music culture. 

“There are people who want to sleep and there are those who want to party. Parties are part of Montréal’s DNA… [and] nightlife is an important economic driver for the metropolis.” —Montréal’s Mayor Valérie 

Part of the plan features a pilot project that would extend the opening hours of some venues to test the effectiveness of operating continuously in designated zones. Followed by Montréal’s first and longest dance party at the Société des Arts Technologiques. NONSTOP 24/24 was the first of a series of all-night nightlife events approved by the city to gather data about allowing venues to operate past 3 a.m, initiated by  MTL 24/24 

“The city’s action plan provides a clear timetable that should lead to the adoption of a nightlife policy next summer, redefining the operational framework for nightlife activities,” —General Manager of MTL 24/24, Mathieu Grondin

Why gather data on nightlife?  

Creative Footprint solidifies channels of communication between grassroots creatives and policymakers. Gathering data on life at night and creative communities will provide tangible information to empower nightlife communities.  

“We are now seeing the benefits of our mission to measure the unmeasured things – things we know are important to our creative communities. Communities that have never had their real nature in data form before and we can use this deep knowledge as a basis for action.”  —Michael Fichman, CFP Senior Data Scientist, PennPraxis.

There are currently three more cities in the pipeline for the CFP. The CFP initiative has earned recognition as a valuable tool for developing and improving nightlife policies. Creative ecosystems are ever-changing and developing, following Covid-19’s impact on creative communities, cities need to keep an open dialogue with their creatives, and CFP helps to shed light on organisations that need support. 

Next steps

★ Register your interest in Creative Footprint Montréal

★ Read other CFP reports here

★ Share the sign-up form and banner with your creative networks in Montréal

★ The CFP founders and data scientists are available to be interviewed:

• Lutz Leichsenring, Co-founder of VibeLab 
• Michael Fichman, Senior Data Scientist, PennPraxis at the University of Pennsylvania’s Weitzman School of Design
• Mathieu Grondin, General Manager of MTL 24/24
  

★ For more information regarding the Creative Footprint Report and the opportunity to have the mapping research project conducted in your city, contact lutz@vibe-lab.org

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Beginning of April a new collective in Istanbul was founded, Sirän. Founded by Berlin-based DJ Nene H and Istanbul-based DJ Y.UNAN, Sirän wants to expand the conversation on nightlife, provide safe spaces for marginalized members and create a genre bending rave experience. They also want to strengthen the cultural exchange and networking between artists from Istanbul and Berlin. VibeLab conducted a short interview with the founders to get their vision for Sirän.

“We want to create a humane, open and real space that people can come together and discuss,” says the founders. A safe place in which marginalized members can come together to celebrate, explore and express themselves freely. No discrimination based on gender, sexual orientation, skin color, size or clothing has place here. 

The first of their events Sirän Rendezvous #1 will take place between 5th and 6th of May in Suma Han, Istanbul. It will have a day of workshops followed by a day of artist talks and a party to wrap it all up.

The founders say that they have been separately interested in creating a space like this in Istanbul for some years. They wanted to expand their scope from only conducting music events to highlight the culture more. They also underline that it is very important that the collective does not have a top down structure but it provides a space for everyone to come together and do something together, without competition.

Crushed by harsh economic conditions, the nighttime of Istanbul took a big toll in the last couple of years. As a consequence the scene is changing, people who participate in it are changing and the cultural aspect of it stays in the background. There are also prevalent feelings of stuckness in the scene, highlight the founders. It is exactly here that Sirän is centring its focus because they believe everyone deserves to have fun and parties provide these little breathers to increase joy of life. 

“Big name bookings are already happening in Istanbul that’s why we found it important to help bring the cultural aspect to the forefront. This is a cumulative subject, when it only exists as an event you buy a ticket and go to, the embracement of it, the collectiveness of it doesn’t happen, it stays too cold.”

For their first event Sirän will host talks revolving around subjects such as techno culture, creating awareness in clubs and meaning of safe spaces, key parts of career development, differences between underground and mainstream, creating a community and individuality and the philosophical implications of clubbing. In addition to talks there will also be DJ workshops limited to 10 participants, women and LGBTQIA+ applicants given priority. The founders say that this is very important for them because they want Sirän to be a space to gain confidence and agency for marginalized communities. 

The collective also aims to link Istanbul with a wider network of global cities and create collaborations between them. They are aiming to organize at least 4 events yearly, the next one planned around September with Berghain’s newest resident DJ Sedef Adasï. To know more about the works of the collective check out their Instagram.

Stay tuned for updates on the Global Nighttime Manifesto that shares the ideas and voices of global pioneering collective and organizers and communities. The Manifesto represents our dedication to imagining and fostering a safer, more equitable and sustainable nighttime. The Manifesto also marks the rise of a new wave of global partnerships and advocacy, research and community-based initiatives that aim to improve the nighttime sector.

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Tour de Moon is a cosmic adventure, a large-scale public festival of immersive experiences and live events developed in collaboration with our “universal satellite”: the Moon, seen as a character, a landscape and a prompt for radical imagination. The festival, composed of 8 programming strands, aims to reach millions of visitors across the UK and the world in 2022, through live and virtual experiences, supporting youth, nightlife creators, scientists and digital creators through cooperation. VibeLab’s Mirik Milan is supporting the project as a board member and advisor.

Tour de Moon is all about collaboration between scientists and nightlife creators so as to prompt radical imagination and new beginnings. Through their Bursary Scheme, Tour de Moon are committing to redistribute wealth – with funds they have received from their grant – whilst offering to empower others to create, to initiate and to innovate with new thinking and pluralistic practices so that history does not repeat itself on and beyond Earth.

Tour de Moon are offering over 850 bursaries to any nightlife artist, performer, scientist, digital maker, makers of new worlds, playwright, or creative –  professional or amateur – to collaborate with the moon in unique ways.

With bursaries ranging from £100 to £25,000 there are a range of opportunities to push your practice and have your work showcased in Tour de Moon (and to the Moon!). Whether you want to write, sing, speak or create, there is bound to be something for you to do during Tour de Moon. We also have secured collaborations with the SETI (Seach For Extraterrestrial Intelligence) Institute Artists In Residence (AIR) Program, NASA SSERVI (Solar System Exploration Research Virtual Institute), the African Astronomical Society, The Ghanean Planetarium,  NightTime Industries Association, and many other international institutions and youths clubs alongside the bursaries to support the development of global cooperative efforts beyond borders.

@Nelly Ben Hayoun will be live on Twitch between 1pm and 2pm BST explaining what Tour de Moon is, what the programming strands are and explaining some of the ways in which we are collaborating with the Moon: Moon Bouncing, communicating with the moon, etc.
It would be great if you could join us >>> www.twitch.tv/tourdemoon or call us on +447377837842.

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Findings of the GIZ/VibeLab research project on creative industries in Sub-saharan Africa and the Middle East will be presented in a online Zoom discussion today!

>>Tune in to VibeLab’s first public presentation of the report at 18.30 CET on 28.04.21 via this registration form.
>> The report will be published later this week, register below to receive it direct in your inbox as soon as its live.

“To deal with the unprecedented, first, we need to grasp it.” 

This was the impetus behind “Voice of Creatives” a GIZ/VibeLab research project commissioned by the Federal Ministry of Cooperation and Development.The community-sourced project has compiled and interpreted the most advanced data to date about the impact of Covid-19 on the music, fashion and design sectors in Iraq, Jordan, Kenya, Lebanon, Senegal and South Africa.

The Voices of Creatives research team focused on 7 cities: Amman, Beirut, Cape Town, Dakar, Johannesburg, Nairobi and Sulaymaniyah, working with coordinators on the ground in each city to digitally conduct 604 surveys and 42 hours of focus group interviews with 133 participants. 

The project was executed by VibeLab, a leading, purpose-driven consultancy agency with a vast network across 6 continents, known for empowering creative communities across the world by using data and engagement to turn their values and needs into public priorities. 

>>Tune in to VibeLab’s first public presentation of the report at 18.30 CET on 28.04.21 via this registration form.

>> Stay tuned on nightime.org for news about the report launch!

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Marcel Pantera, stalwart of the Dutch festival landscape and owner of entertainment industry concept and strategy agency, Treat, uses his substantial experience in event execution and attendee behaviour to speculate on how the events landscape will change when the world is once again able to gather, create and celebrate en masse. 

A nota bene from the author: Wherever I’ve written “he” you can of course also read “she”, “they” or “unicorn”.

Human beings are by nature social animals and have been looking for union and entertainment since the beginning of time. Having spent over thirty years in the event industry I know my way around both of these disciplines. As Mood Manager and Show Director I’m not afraid to call myself a specialist when it comes to what people want, how they behave and what they do in the time leading up to, during and after an event. My extensive experience as an autonomous out-of-the-box thinker is now more useful than ever in both disciplines because the entertainment industry has been hit hard – very hard. As an entrepreneur, it’s important to look at the future of events and hospitality.

What does the visitor want from us in the future?

Maslow’s hierarchy of needs

Our systems have come to a screeching halt due to the global pandemic, and many of us find ourselves reflecting on what is truly important to us. Initially it’s the essentials: our family, our friends and whether or not we can put enough bread on the table in the near future. Secondly, we will think about what our world is going to look like after all of this is over. 

To substantiate my vision I use the theory of psychologist Abraham Maslow, despite the fact that critics doubt its relevance in our modern digital age. Maslow created his “Theory of Human Motivation” in 1943 to map out people’s psychological needs, arguing that every living being  pursues the same needs. Today, some of the primary basic needs are digital by nature, with the computer and smartphone at the top of the list, naturally followed by fast internet and Wi-Fi. Digital tools have become a basic need and social contact does not always have to be ‘live’ nowadays.

In this time of crisis, most of our focus is on level 1 and 2…

1. Physical needs (eating, drinking, breathing, clothing, shelter, exercise and sex)
2. Physical safety & economic independence (need for physical safety)
3. Social contact (to belong somewhere, togetherness, union, love)
4. Appreciation & recognition (self-image, reputation, self-esteem, self-respect)
5. Personal development (self-realisation, to do your calling, personal growth)

We are now forced to reconsider our habits and values, but one thing that never will change is the need to meet and keep in touch with each other (Maslow’s level 3).

But what will that moment look like when we get off this rollercoaster ride? And when is that? What happens when we can go outside again? Has the world changed? Have we changed? Will the experiences that we were not missing ever come back? How does the world look in the Post-Corona era?

We are beginning to see the start of a solution. Measures are being taken, and having effect. Governments have offered a helping hand to the population and we are not shying away from difficult decisions. I think that is a blessing and a wake-up call at the same time. Online there are many tools and programs to maintain contact, have meetings, share common projects, listen to music, play games and watch streamed content. And yet, we know this cannot be compared to the real deal. 

And that’s why we’re going to get back together, physically.

– After all, nothing compares to the unspoken language that only a face-to-face meeting will uncover –

Chances and opportunities

How will we bring people together soon? Where will their needs lie, and what can we give them? 

To answer this I will analyse the Post-Corona festival-goer. I see the following trend development in different types of visitors:

Target group analysis 28+

1) The Anxious one: I will stay at home for now.

2) The Cautious one: I want to do thorough research before I go, so I know exactly who is there and what is happening.

3) The Relevant one: I will go, but I want to know how this event relates to my environment and my loved ones.

4) The Participant: I’ll only go if I can be part of the experience.

5) The Fomo Feaster: I’m celebrating life and having fun.

There are currently about 1000 festivals in the Netherlands with 26.5 million visitors per year (figures 2018). Prior to COVID-19 the majority of these were Fomo Feasters (5), fewer were Participants (4) and fewer still were Relevants (3).

Will this last? Does this ‘coronavirus wake-up call’ affect the way we look at events? How does contemporary hedonism relate to the resulting awareness? Does the festival-goer suddenly get the jitters with so many people surrounding him? Is he now turning against unnecessary waste and energy consumption? Does he feel the need for ‘more intimate’ contact? Does he want more quality or quantity?

– To hug or not to hug, that is the question –

Prognosis

An evening out Pre-Corona:

The music crescendos, the special-FX are working their magic, we look each other in the eye, sweating. In the break we fall into each other’s arms and when the confetti explodes we are jumping through the roof on the pumping beats. When the next record is mixed in I look at whom I am dancing with. “What’s your name…?” I ask.

Developments Post-Corona:

The mental impact

The mental impact this crisis has will have consequences for the way we connect with each other and that doesn’t only concern the dance floor at your favourite festival. As a Mood Manager I know that intimacy is crucial to let the energy rise above the dance floor. Do we really think things will go back to normal after this humanitarian crisis? That we’re going to embrace sweaty people that are screaming in our ear? The longer the crisis lasts and the more severe its consequences become, the fear of the unknown may mean people keep their distance for the time being.

New awareness

New awareness will ensure that the average festival visitor will think twice about how he will spend his free time, with whom and where. The size of the event, the distance between people or stages, knowing where the emergency exits are, letting loved ones know where you are, the hygiene of the bar, the toilet, etc. But the effect of the ecological footprint is also a question that is becoming increasingly more relevant (as we notice the environmental benefits of lockdown) and is perhaps even a reason not to go. Other questions the visitor might ask include, what are the risks with regard to my health, and will it contribute to my personal development?

In my opinion new awareness will ensure that the group in 5 (as an exponent of individualism; nice and carefree partying) will become considerably smaller. There is a lot of room for growth within groups 4 and 3, and even 2. These are the people who have an eye for the world around them, like to learn and adhere to the group feeling of ‘together we are strong’. In other words, as an industry we need to rethink the expectations of our visitors. With this we give substance to the 4^th level of Maslow: Appreciation & Recognition.

New values are on the horizon.

– As skin-hungry creatures, we long for intimacy, yet don’t really know how to be intimate anymore –

Massiveness

Our need to blend in with the masses was huge, but from now on we will think twice before joining big crowds. My estimation is that up to September / October 2020 almost all major events will be cancelled. Do you see yourself in front of a stage with 15, 000 visitors? Or would you feel more comfortable in a tent that can only accommodate 1000 or even just a 100 people? Or do we skip the event for once? When 25% of the visitors skip once or even stop attending all together – because they are no longer comfortable with the status quo – this means that 250 large festivals could cease to exist.

But what will they do? Where will they go? How do you keep your returning visitors? People will obviously go out, but the question is if they’ll find something to their liking they might stay there. Surprise is the essence of going out, escaping from the weekly routine of home / work. If you have choices you want to have ‘new’ experiences.

New needs will ensure that – to get groups of 2, 3 and 4 in – we have to look at the size of events, the layout of the space and the program.

In the short term there is much more room to gain ground for the smaller events like clubs & music halls again. There are opportunities for new events with smaller stages. Large festivals that add nothing social to the current landscape and do not adapt are facing rough times. 

– “On stage, I make love to 25,000 different people and then I go home alone.”
Janis Joplin –

Relevance

For organisations, show directors and programmers this means that they must give substance to content and offer room for participation. It will no longer be sufficient to simply tag a theme label on an event. There must be multiple and deeper layers of meaning that appeal to the imagination of the visitor. This will translate into how an event can contribute to your ‘being’.

For example, how does Nevada desert’s Burning Man relate to the Netherlands’ Dance Valley? Or how does the large main stage show from Tomorrowland relate to the Being-fields area at Booom festival, in Portugal. The sustainability of our colleagues from DGTL is getting close to approaching an ideal, but what will be their next step with regard to the program? Will there be more space for ‘the message’, whatever that may be?

And this is how we reach Maslov’s 5th level; Personal development.

– Don’t just preach love, but teach love –

Discussion

The discussion is large and complex. We are still in the heat of the moment and there are still many questions unanswered (and unasked).

• How long does it take for the confidence to return?

• What does social distancing mean to B2C and B2B events?

• How do I experience an event?

• How do I greet people? What “state” do I want to be in? How will I deal with alcohol and drugs in this new situation? Do I want to dance or sit?

• This article is mainly about music festivals as ‘the leader’ of festival country, but what about art & theatre festivals or culinary events?

• Looking at the dance floor from the artist’s perspective: How will the light jockey deal with his special FX? What will the video guys come up with? And our DJs and musicians? Does the music go down in energy, or up?

• The financial resources for many will not be enough to travel far, or party a lot:

• Will this be the salvation for many smaller clubs?

• Are you going to events for free?

• Can I contribute in other ways than money?

• What can venues do to get through this time and how should they act later?

• How can you make money with smaller events?

• What does the event actually add to my existence / world or is the experience that I bring back different?

• What will be the new DNA of an existing, or new event?

• How do creators let the visitor participate?

My goal is to refine this vision in the coming weeks, completing it with fresh creative ideas and new progressive insights. But also to keep asking questions and trying to formulate answers and solutions to make sure we survive as an industry. Let it be the fire to reinvent ourselves, for the Post-Corona society.

We are in this together. Do you want to philosophise, brainstorm about the future or just spar? Let’s talk.

marcel@treat-amsterdam.nl
www.treat-amsterdam.nl

Article created by:
Marcel Pantera (Treat); Author, Guest Expertise, Mood Management & Strategy 
Maya Ramhit: Copy & Research

– Groove is in the heart –

Our Features section publishes original content created by  nighttime.org associates, going deeper into global COVID-19 response strategies and scene perspectives by drawing on our international network of night mayors, nightlife advocates and industry stakeholders for comment. 

If you would like to contribute, contact hello@vibe-lab.org with your pitch. 

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