Sleeping Giants – SXSW vs. the Edinburgh Festivals in 2020, a SXSWi panel facilitated by Kath Mainland of the Edinburgh Festival Fringe (http://www.edfringe.com/) will examine the differences (and similarities) between Edinburgh’s successful (and more traditional) festival hosting style and Austin’s SXSW “festival” (though it is oh, so much more).  Ms. Mainland’s focus in this, her first trip to Austin, will be the evolving expectations of festivals and their organization/execution in the digital age (apropos SXSW-interactive).

Neil MacKinnon of Edinburgh Festival Fringe indicated that this will be the first time that anyone from the Fringe has presented at SXSWi.  Mr. MacKinnon’s comment on the purpose of this year’s panel is because, “the Edinburgh Festival Fringe believe that it is an important part of our role to build relationships with festivals in other cities and we are always looking for tangible ways to collaborate and work with cities such as Austin.”  This is particularly true in light of how digital space and interaction are truly re-defining “the arts” – and at an accelerated pace.

The recent growth of digital simulcasts for opera (and some classic theater productions) has been an interesting development in this field.  “Mega-churches” in the United States often use digital simulcasts to broadcast sermons and services to multiple remote locations, as well.  (Houston’s Second Baptist Church was a pioneer in this technique.)  Such a strategy might not, however, be appropriate for festivals, as much of the value cherished by festival attendees comes from actually attending.  According to Mr. MacKinnon, “The audience response could very well be different in terms of whether to attend or not. These are early days and I am sure that producers and promoters at many arts festivals will be looking at this development and considering whether it would suit their event or not.”

But even if this technology doesn’t suit the event, there are other ways in which festivals can benefit from existing, evolving, and emerging digital technologies.  The panel will seek to answer questions concerning the role of ‘arts’ festivals in the digital age, and “the idea of festivals as innovators and powerhouses to encapsulate cultural heritage.”  Comparisons between the 3-week long Edinburgh International Festival (focusing on art and culture) and Austin’s SXSW (focusing on social currents and trends, particularly in the music and digital technologies) will be drawn, with the goal in mind that the two festivals can learn from one another – and maintain their primacy in 2020.