This text is part of the MUTEK special edition
The notion of mutation inherent to MUTEK, which is also reflected in its name, certainly applies to the festival’s constantly evolving accessibility practices. The organization wants to make the event celebrating digital creativity and electronic music as accessible, equitable and inclusive as possible.
Free programming continues to grow, attracting audiences of all ages.
Last year, free live performances by local and international artists on the Esplanade Tranquille in the Quartier des Spectacles galvanized more than 46,000 people over five days. To ensure that children don’t miss a thing during these audiovisual performances, MUTEK provides families with hearing protection earmuffs.
This year, a walking tour of digital works enhances MUTEK’s free offering. From August 15 to 29, the 23 installations of the Digital Village, scattered throughout the Quartier des Spectacles and its surroundings, offer a gateway of choice into the world of Quebec digital creativity by showcasing a diversity of local artists and creative studios, such as Moment Factory, Iregular and Daily tous les jours.
This gives a variety of audiences access to digital art in a different way, “particularly families or tourists who might not go to see a late performance in a theater, for example,” notes Sarah Ève Tousignant, responsible for financing, strategic projects and exhibitions at MUTEK.
And since “digital arts are increasingly accessible, but not necessarily for everyone,” she adds, a mediation team will discuss the works on site with the public.
As for its paid component, MUTEK wants to keep “its prices within reasonable limits despite galloping inflation,” assures Marie-Laure Saidani, programmer and project manager.
Since members of MUTEK’s international network are not always able to travel to one or another of the cities where the festival is held, professionals from all over the world can network using the MUTEK Forum application.
Parity, mobility, eco-responsibility
“Parity in electronic music is a huge issue,” says Mme Saidani. MUTEK took a significant step in this direction by joining the Keychange and Amplify Digital Arts Initiative networks in 2018, which promote gender equality and the representation of racialized people in the music industry.
The festival, which has since committed to offering a gender-balanced program, also wants it to best reflect the diversity of local voices in electronic music.
MUTEK is thus increasing its collaborations with committed collectives, such as Feminae Nox, which supports women and non-binary people or those who identify as women in the music industry, both on stage and behind the scenes. “We feed off these exchanges,” illustrates the programmer, rejoicing that these concerns are reflected on the scale of MUTEK’s global editions.
People with reduced mobility are not left out, as the festival works hand in hand with the Kéroul organization, which awarded accessibility certification to the free outdoor stage at MUTEK.
“Accessibility at MUTEK is extremely complex,” admits Marie-Laure Saidani. “There are many aspects touchydelicate, and the whole MUTEK team is really aware of this. It is a constant and never-ending job.”
The environment in all this? MUTEK also shines on this level, to the point of having been crowned the most eco-responsible festival in Quebec in 2023 at the Vivats, a gala that rewards the ecological commitment of events.
Daphnée Champagne, communications advisor at Recyc-Québec, a sponsor of MUTEK, praises the festival’s actions, which notably advocate for reduction at source. “MUTEK can inspire other festivals,” she emphasizes. “When an event of this magnitude leads the way in terms of eco-responsible organization, it’s very encouraging for a more sustainable Quebec.”
Notwithstanding the ongoing work inherent in festival accessibility challenges, there is no doubt that MUTEK has already accomplished great things.
Thinking about humanity in a hyperconnected world
This content was produced by the Special Publications Team of Dutyrelevant to marketing. The writing of the Duty did not take part in it.