He'art'land Festival

This project aims to answer the question of the Heartland Festival’s targeted audience, as this will provide a basis for designing an interactive installation that will be placed at the festival. The methodological approach is a ‘single case study analysis’ where the marketing of the festival has been the background for a case description. To answer the research question, a tripartite analysis is conducted with the use of theories from: Pierre Bourdieu, Geir Vestheim, Nick Prior, David Hesmondhalgh and Andy Pratt as well as Lisbeth Lindeborg and Lars Lindkvist. The analysis revolves around taste, the organizational principles behind the festival (cultural policy, industry and regional development), and a market segmentation analysis of the festival resulting in determining the targeted audience. The paper concludes that the Heartland Festival is build upon three interactive power structures; the audience; the institution; and the cultural taste. It furthermore concludes that the festival functions as a cultural reproduction that appropriates the ‘modern community oriented segment’. This provides a basis for the interactive installation.This project aims to answer the question of the Heartland Festival’s targeted audience, as this will provide a basis for designing an interactive installation that will be placed at the festival. The methodological approach is a ‘single case study analysis’ where the marketing of the festival has been the background for a case description. To answer the research question, a tripartite analysis is conducted with the use of theories from: Pierre Bourdieu, Geir Vestheim, Nick Prior, David Hesmondhalgh and Andy Pratt as well as Lisbeth Lindeborg and Lars Lindkvist. The analysis revolves around taste, the organizational principles behind the festival (cultural policy, industry and regional development), and a market segmentation analysis of the festival resulting in determining the targeted audience. The paper concludes that the Heartland Festival is build upon three interactive power structures; the audience; the institution; and the cultural taste. It furthermore concludes that the festival functions as a cultural reproduction that appropriates the ‘modern community oriented segment’. This provides a basis for the interactive installation