The Australian festivals landscape has been a reliable barometer of the impact of the pandemic. At the outset, there were parallels to the years of economic and cultural renewal after the Second World War when festivals became a platform for national pride. Then came a strengthening of ties across territorial borders and a move away from the coveted ‘exclusive’. This was bolstered by the Major Festivals Initiative, which promoted the development and sharing of festival-ready work on the circuit, both locally and overseas. In the absence of international acts, this was greatly welcomed by festival organisers and audiences alike, and lauded by those who cogently argued the arts should be enjoyed by as many people as possible. 

However, as soon as international borders reopened, festival organisers were quick to lure punters back with shows they couldn’t see anywhere else. One need only look at this year’s offerings by the three biggest festivals to see this in action. Sydney is boasting about its immersive exhibition Frida Kahlo: The Life of an Icon; Adelaide’s centrepiece is Christian Spuck’s staging of Verdi’s Messa da Requiem with Ballett Zürich; and Perth is being headlined by Björk. Eclectic, exclusive and each one a sure-fire hit. 

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