<論説>現代日本の音楽フェスティバルにおける地域性 (特集 : まつり)

Abstract

本論文の目的は、音楽フェスティバル（フェス）と呼ばれるポピュラー音楽の催しの日本におけるコロナ禍前までの展開を読み解き、現状を把握することであり、フェスが全国に広がる様子を主に定量的に考察するものである。分析にはすでに公表されている二次データのほか、筆者がおこなった質問紙調査をもとにした一次データを用いた。二次データの分析では二〇〇〇年代に確立されたフェスが二〇一〇年以降に地理的にも季節的にも広がりをみせ、主催者がプロフェッショナルから愛好者へと多様化し、裾野が広がることで地域社会に根付いたことを明らかにした。質問紙調査では、主催者とフェスが行われる地域社会の関係に注目し、それらがどのように連携し、地域からの支援を受け、地域の発展に寄与しているかを明らかにした。これらの結果からは、日本のフェスの発展は段階的であり、地域性は漸次高まっていく様がうかがえる。

The purpose of this paper is to decipher the development of music festivals in Japan and to comprehend their current situation. Festivals centered on live popular music, which were mainly held outdoors on a regular basis, emerged at the end of the 20th century and are now thriving worldwide. They became popular in Japan after 2000, and today about 500 festivals are held every year. A chief characteristic of these so-called “festivals” is that they have become more regional as time has gone on. This contrasts with the tendency for oligopolistic control by overseas companies due to large-scale expansion and acquisitions by major live entertainment companies. One of the reasons for this is the diversification of organizers, with the planning and management of festivals evolving from professionals to enthusiasts as they expanded nationwide. Based on various data, this paper examines how festivals have spread throughout the country since 2000 and quantitatively examines their place in local communities. Section 1 analyzes the quantitative changes in festivals through secondary data analysis. I first use commercial sources to give an overview of market trends. Based on this and using archival information of past festivals, I confirm that festivals spread throughout the country throughout the 2000s, and that they are now enjoyed almost all year round in each season. Section 2 builds on the results of the previous section and describes how festival organizers have become more diverse. It makes clear their changing nature as a variety of actors, not just professionals, hosted them. What is important is that the change is still taking place in stages, that the organizers are diversifying from professionals to enthusiasts, and that festivals are taking root in the local community. In the early 2000s, four major festivals were established, and following large-scale festivals held by local promoters, many local festivals came to be held by artists and ordinary citizens. Section 3 examines the relationship of festivals with local communities based on the author's questionnaire survey. The survey dealt specifically with the status of cooperation between festivals and the local communities, the support that the festivals received from the communities, and the contribution of festivals to the communities. The results of the survey revealed that today's festivals are held in collaboration with and supported by local communities in various ways. In addition, it showed that the organizers are proud of their contribution to regional development and that communities have high expectations. However, festivals have not been able to contribute sufficiently to the region over the long term, such as by increasing the number of new residents, and it can be said that it is an issue that remains unresolved. Through the above analysis, it has become clear that festivals have developed in stages, that the organizers have become diversified and taken root in the local community, and that those festivals gradually took on a local character in the process.