Author: Michael Murphy
Organisation/Affiliation: Dun Laoghaire Institute of Art, Design and Technology
Dublin Ireland was the site of practice for a live music collective (or cooperative) from 1988 to 1999. Via a series of local and international alliances the not-for-profit Hope Collective presented close to two hundred live events by overseas artists.
The collective operated within the broad framework of what is characterised as DIY (do-it-yourself) punk. The case study indicates how organisations can operate in the live music sphere with practices and ideologies distinct from commercial live music promoters.
My study aims to map the overlapping ‘art-worlds’ (Becker, 2007) of the music industry and the ‘amateur’ music scenes. I am particularly interested in how these two spheres of cultural production (often presented as separate) interact with each other.