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FIFTITU% zu Gast bei "Noten mit Quoten" / Kartell TV

FIFTITU% zu Gast bei "Noten mit Quoten" / Kartell TV

Have women been able to conquer the stages in the 21st century? Are quota-conscious bookings the rule or rather the exception? What practical approaches can be taken to get more women into the program, onto the stage and into the visible consciousness of booking management?

Location: Dorf.TV, Hauptplatz 5-6, A-4020 Linz

Ferhseh-Talk round with

  • Julius Stieber (Cultural Directorate Linz)
  • Doris Mitterbacher (Backlab)
  • Jörg Parnreiter (Ottensheim Openair)
  • Roswitha Kröll (FIFTITU%)
  • Moderation: Dominika Minkasia Meindl (Linzer Worte)

The large cultural field of music is still male-dominated, which is also
persistently reflected in the local musical event landscape. How
are the otherwise underrepresented represented here, how do they present themselves
themselves? Have women been able to conquer the stages in the 21st century? Are
quota-conscious bookings the rule or rather the exception? Is the image of the typical
Role in music of the muse kissing her boyfriend, or more pejoratively, the
of groupies already antiquated?
The Linz networking center for women in art and culture, FIFTITU%, criticized in an
open letter criticized the invitation policy regarding the representation and presentation of women
at the City of Linz's own events "Linzfest 2011" and "Festival 4020"

This is the starting point for a program on the following questions:

  • What can practical approaches look like to get more women into the program, onto the stage, into the visible consciousness of booking management?
  • How can the classic vicious circle between the arguments "There are too few musicians to meet normal booking quotas" and "There are too few promoters who consistently promote women and therefore too few incentives for women to get into music" be broken?
  • In 2008, the quota at Linzfest played an exceptional role, as the focus on female art and culture proved that it is easily possible to achieve the quota at a festival.
  • How can the networks created (2008) be used for further events
    ? can be used for further events
  • What means can be used to break up independent structures in a specific working context?
  • How can a city like Linz take responsibility for its own funding criteria and its own cultural development plan?

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    Kulturpolitisch
    Lokal
    Regional