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The sky is not the limit: Pip Rush talks Arcadia ambitions

Arcadia Spectacular, the arts collective behind Glastonbury Festival’s famous Spider, has showcased its work right across the globe since launching in 2007, with the aim of facilitating a more inclusive and communal live music experience.

Following on from the debut of the Pangea stage at Glastonbury last year, IQ catches up with Arcadia co-founder and creative director Pip Rush Jansen to discover more about the inspiration behind the company’s latest project, the fate of the famous fire-breathing Spider and how the right kind of live experience can serve as the antidote to modern society’s smartphone obsession.


First things first, Arcadia Spectacular has been around for years now, but how did it all begin and how have you changed over the years?
The first thing we ever built was a DJ stage that people could dance on or giant fire pits people could gather around. We had to be resourceful and it was all made from recycled stuff we could find in scrap yards. That was how Arcadia was born really. We were young and inspired to make creative environments to party in.

Taking these installations around festivals, we started meeting more and more people around the fire, from engineers to mad scientists – all kinds of people from all kinds of backgrounds who were full of ideas for where it could go next. Over time it’s gathered momentum, the installations have grown and we’ve become a large touring operation with a lot of those same people still with us.

We’ve now got a non-profit arm called Arcadia Reach and we’re currently building a mobile water drilling rig for a charity that operates in remote villages in Sierra Leone. The truck also turns into a stage with an inbuilt sound-system so we can engage in the music and cultural scene there.

What we experienced on our research trip is the sheer, genuine joy there, where everyone including grandparents, kids and people who were previously fighting each other come together in celebration, and throwing a proper sound system into that is really exciting.

So we’re building a real global audience and we plan to develop better ways to use social media to harness, connect and share multicultural ideas and inspiration across the globe. It’s a long process and we’re still building the team, but we believe it’s a very positive mission and will influence our work going forward.

Our DNA is about thinking outside the box

Last year you debuted Pangea (a stage inspired by the prehistoric supercontinent and modelled around a 140 tonne crane) at Glastonbury Festival, can you tell me about how it came to be?
The amazing thing about Glastonbury is you can push boundaries and try new things. We recognised our DNA is about thinking outside the box so we didn’t want to just make a different creature that did the same as the last stage (the Spider). And we knew that to do that, we’d have to begin a new journey.

We’ve looked at scrap yards in Russia and India and places like that in the past, which have amazing bits of kit, but when it came down to it, the environmental impact was key. We should be recycling something local.

It’s harder to access UK scrap due to regulations, but eventually we found an enormous crane at our local docks in Avonmouth, on the outskirts of the city of Bristol. (Glastonbury founder) Michael Eavis wasn’t so sure when we showed him pictures, but when he came and saw the scale and potential of it he started to get excited.

It took 12 trucks to move that thing and we had to dig concrete foundations ten metres into the ground to hold it up. But we only had to move it a few miles down the road and it will remain stationary for a few years now. So in all it’s taken a huge amount of the environmental footprint out of what we’re doing at Glasto. We also run 50% of our flames of bio fuels and this year we are developing technology to make that 100%.

Fatboy Slim and Carl Cox played amazing sets and everyone loved it. We’re very lucky to have such a supportive fan base, and with tons of ideas flooding in from all directions, everyone’s inspired about the next phase.

What comes next?
The next thing is to really start taking over the sky. We flew a big moon built by Luke Jerram last year as an experiment and it was really beautiful, so we’re looking to develop the scope of that and collaborate with international artists who fly sculptures over people.

Very often, people can stand at the back of these huge stages and feel distant from what’s going on. If you can take over the space above people’s heads, you can really involve them. That’s the idea – to make an experience as inclusive, massive and yet personal as possible.

If you can take over the space above people’s heads, you can really involve them

What has become of the Spider?
The Spider is an artwork originally built for a limited number of UK events and it’s amazing that it’s gone on to do so much global touring. We’ve stood under it on dance floors with people from all around the world now and that feeling of unity and those peak moments resonate with all cultures.

It’s been amazing to see, and we learned from and got inspired by everyone we met. It’s back in Europe this summer for its first show in Norway, but we’re looking for somewhere to site it more long term, to increase the footfall and decrease the footprint.

We’ve had a few conversations with people in America and there is lots of interest in places like China and the Middle East, but we were also in talks with the Eden Project which is just down the road and right up our street.

You talk about making a fan’s experience as immersive as possible, why is there such a demand nowadays for these kinds of ultra-immersive experiences?
I think it’s got a lot to do with overconsumption of screens. People are used to constantly consuming visual content and having access to different kinds of experiences through virtual and augmented reality, and although it’s supposed to connect us all, I think if it gets overused then in reality it isolates us.

When people do get time out, they thrive off having an actual visceral experience, one that you can’t get through your iPhone. What people ultimately want to feel at a festival is human connection, friendship, laughter and creativity – and not only does that make us happier, but all these things are completely sustainable.

The purpose of the environments we create is to bring people together, that’s why we always do it in the round – people are literally facing one another. I believe that if people are having a really good time and dancing in the moment; that’s when the phones get forgotten anyway.

The purpose of the environments we create is to bring people together, that’s why we always do it in the round

The live events and experiential space is becoming ever more competitive, how do you continue to set yourselves apart from others?
When we started out, not many people were doing what we do and our mission was to inspire people. We’re not promoters and now Arcadia’s taken off we’re not looking start cutting corners to compete.

We’re an arts organisation and we focus on pushing boundaries. To do that we have to make sure that we’re always exploring new territories of our own and that’s why we’re moving outside our box at Glasto to lay a radical new foundation.

Our structures are evolving from 360 degree to hemispherical. Our inspiration is moving from local to global and our materials are moving from global to local.

There’s a whole bunch of other stuff emerging in response to the new challenges we’ve given ourselves, so in respect of starting a new journey, it’s really exciting times for us.

Looking to the future, it is obviously a big year as Glastonbury is celebrating its 50th anniversary this year – is there extra pressure to wow due to the big birthday?
There’s a little bit, but Glastonbury really is a hotbed for art and we feel it’s important to let artistic processes go on their own journey in their own time, so we’re not too worried.

If our team and the new people feeding into Arcadia come up with the most mind-blowing idea next year, we’ll do that. But if we need to test new things out a bit before we can make something really magic, then we’re not afraid to do that either.

Either way, there’s going to be a lot of amazing and new stuff at Glastonbury this year. It’s a festival that has really inspired people to take that time out and connect with each other again, and for me it’s no doubt the best one on the planet.


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Pangea’s Glasto debut showcased in film

Glastonbury’s Pangea showcased the world’s first projection-mapped sphere this year, now captured in a film by Trago Studios.

Pangea, which takes its name and inspiration from the prehistoric super continent, hosted sets from Carl Cox, the Black Madonna, Bicep and more at this year’s Glastonbury Festival.

The collaboration between performing arts collective Arcadia, Astral Projekt and Heckler attracted crowds of 100,000 over three nights.

New media artist and Astral Projekt founder Joe Crossley and Heckler creative director Glenn Urquhart created the spherical projections, which featured collaborations from media artists including Peter Walker (Astrix), Sam Lisher, Brad Hammond and real-time effects engine Notch.

“Partnering with Arcadia and Astral Projekt to bring Pangea to life is incredibly exciting and a huge honour”

“Partnering with Arcadia and Astral Projekt to bring Pangea to life is incredibly exciting and a huge honour,” says Heckler co-founder and executive producer Will Alexander. “We look forward to developing new-media works at Glastonbury over the next five years to global audiences.”

“Working with Will and Glenn at Heckler has been such a pleasure and I am excited for future collaborations and projects such as Glastonbury,” comments Crossley.

“We are embarking on some exciting new projects in large-format media art, and our partnership with Heckler will enable us to push the boundaries to new heights in this space.”

The Arcadia stage at Glastonbury follows Astral Projekt’s immersive projects at the 2019 Vivid Festival and in 2018 at Burning Man.


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IPM 12: I Like to Move It, Move It

The ILMC Production Meeting’s (IPM) third panel concerned transport and travel, as the expanding global touring market, miscommunication and short timescales complicate the movement of goods, people and money in an ever-smaller world.

Chair Rick Smith of Rule Out Loud opened the panel speaking of the growth of mega-events, particularly in the EDM sector, meaning that acts and touring festivals are travelling to “countries that were never on the touring map.”

For successful touring, the most important thing is to “manage expectations early on and call on the relevant experts,” said Smith.

International Talent Booking’s Steve Zapp, the first agent to sit on an IPM panel, revealed that agents encounter the same problems surrounding miscommunication and last-minute changes that plague the production industry. “There needs to be conversations between the booking and production sides of tours,” stressed Zapp.

“No-one wants to cancel a show,” added Richard Young of Catapult Productions, explaining that, in times of crisis, it is crucial to have good partners as suppliers. ”It’s important to get everybody on board from very early on,” said Young.

Lester Dales, from Dales and Evans Co Ltd, spoke of the impact of insufficient tax planning. “Pretty much every country has the right to first taxation on a show and the artists’ earnings,” said Dales. Tax can become a huge touring cost for some artists, and “before you know it, there’s no profit left”.

“The most important thing is to manage expectations early on and call on the relevant experts”

Talk turned to the movement of people with Arcadia Spectacular’s Ceri Wade, who spoke of the “duty of care” she has for her team. “It’s about logistics and planning but also your duty of care with people; with timelines this is a huge challenge,” said Wade, who received 12 weeks’ advance notice for the Arcadia New Year’s Eve show in China.

The lack of communication down the line from event promoters to those working on site also proved a main subject of conversation.

“Vendors wait desperately to find out which materials we need for different tours,” said eps Holding Gmbh’s Sebastian Tobie, explaining that his team always plans for multiple scenarios due to lack of information.

Young responded, highlighting the many unpredictable factors that exist early on in the production process: “vendors and crew need to understand that, if they’re going to be engaged earlier, it’s all tentative.”

Smith closed the session urging increased input and cooperation from all agencies involved in the ever-expanding world of touring.


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Split Works agrees long-term Arcadia deal for China

Shanghai-based promoter Split Works has agreed a long-term deal to represent British performance art collective Arcadia in China, with the iconic fire-breathing ‘Spider’ installation set to make its debut in China this new year.

Kicking off the ten-year agreement, Split Works has inked a three-year deal which will see Arcadia’s monumental Spider stage at the ISY Music Festival in Sanya on the island of Hainan over 30–31 December.

“The Arcadia Spider is an extraordinary, otherworldly experience – and the perfect fit for ISY, China’s most revolutionary EDM festival,” says Fay Wang, vice-president of China Minsheng Cultural Media Sanya, one of the backers of the festival, in a statement. “We love to push the boundaries of programming and talent, and the Spider is another (50-tonne) feather in our cap.”

Since making its first appearance at Glastonbury Festival over a decade ago, Arcadia’s Spider has travelled the globe, thrilling music fans at the likes of Ultra Miami, as well as in Thailand, Taiwan and in Australia.

“We can’t wait to bring more of Arcadia’s extraordinary shows to the China market”

The potential for growth in China is immense, and Split Works managing director Archie Hamilton predicts big things for Arcadia in the world’s most populous country.

“Arcadia pushes the boundaries of what live music can achieve,” she says. “It’s sheer magic, and we can’t wait to bring more of Arcadia’s extraordinary shows to the China market.”

With Hamilton and his team enabling, licensing and executing Arcadia’s immersive installations for events all over the Chinese mainland, he believes all of the group’s assets will quickly be put to use at Chinese festivals and events. As of 2018, Arcadia owns four stages, each with its own unique performance stage: the Spider, the Afterburner, the Reactor and the Bug.

Arcadia hosted its first standalone festival earlier this summer, coinciding with Glastonbury’s traditional fallow year.


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Arcadia announces Spectacular event for Glasto fallow year

Performing arts collective Arcadia Spectacular – best known for its 50-ton fire-breathing Spider, a fixture of Glastonbury Festival for a decade – has announced plans for a standalone Arcadia event during Glastonbury’s 2018 fallow year.

Described as a “high-octane weekend of immersive spectacle”, the one-off event will take place next May, with exact dates and a location yet to be announced.

Since debuting at Glastonbury 2007, Bristol-based Arcadia’s Afterburner shows – which combine elements of music, pyrotechnics, lighting, sound, sculpture and circus – have appeared at music festivals across the globe, including Rhythm and Vines in New Zealand, Love Saves the Day in the UK and Ultra in Miami.

Its next event is a standalone Arcadia show at Riverside Park in Taipei, Taiwan, this weekend (11–12 November).

The new UK show is one of several new events launched to coincide with Glastonbury’s traditional year off, joining All Points East, AEG’s new Victoria Park event, and the replacement for V Festival.


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