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Abstract

There is a certain audacity to four young curators adopting the title ‘London Contemporary Music Festival’ for their first large-scale collective venture. For a festival that deliberately sets out to sidestep the musical establishment, there's an aspect of calculated provocation in the appropriation of a title that would seem to be the preserve of that establishment. The gesture, however, goes some way further than staking a symbolic claim. At the same time as the curators (Aisha Orazbayeva, Sam Mackay, Igor Toronyi-Lalic and Lucy Railton, in collaboration with the commissioning body Bold Tendencies, based at the Peckham Multi-Storey Car Park) have effectively bypassed the establishment networks and funding structures, they have set out a clear alternative narrative about how contemporary music may yet be practised and understood.

Publication Type:	Article
Additional Information:	Copyright Cambridge Journals, 2014. Content and layout follow Cambridge University Press’s submission requirements. This version may have been revised following peer review but may be subject to further editorial input by Cambridge University Press.
Subjects:	M Music and Books on Music > M Music
Departments:	School of Communication & Creativity > Performing Arts > Music
SWORD Depositor:	Symplectic Administrator

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