Curaçao Blog no. 1: Sun, Sea and Sand – and All That Jazz

(by Beth Aggett and Walter van de Leur)

Team member Beth supporting the C (it was windy)

The first day of September saw Amsterdam-based CHIME-members Walter van de Leur and Beth Aggett travelling to the Caribbean island of Curaçao to attend the ‘tropical edition’ of Rotterdam’s North Sea Jazz Festival. Curacao is a small island of around 160,000 people, lying just off the coast of Venezuela – indeed a good 8000km away from Europe and its jazz festival scene. It is however a former Dutch colony, with a rather turbulent past: Curacao was ‘discovered’ by the Spanish in 1499, conquered by the Dutch in 1634 and even seized briefly by the British in 1812 – all the while serving as an important ‘depot’ during the transatlantic slave trade (1640s – 1860s). Although it was primarily a trading post, there were around 100 small plantations established on the island during the seventeenth and eighteenth centuries, on which slaves lived and worked. Curacao’s central Caribbean location and free port meant it was also a stopping point for traders and travellers from all over, and it has a long history of in and out migration from the surrounding region and much further afield. The island is therefore connected to the European, African and American continents in myriad ways, resulting in a highly complex socio-cultural landscape. The locals’ mother tongue of Papiamentu, for example, displays components of Spanish, French, Dutch, English, and West African languages, and most Curacaoans are multilingual. In contrast, much of the architecture is distinctly Dutch, and there remain many tangible links to the colonial period. We noticed the Netherland’s coat of arms on government buildings, for example, and plaques commemorating visits of the Dutch royals displayed in town. Indeed it was only a few years ago that Curacao celebrated gaining independence; although the process of decolonization of Dutch Caribbean territory began in 1954, it wasn’t until 2010 that Curacao achieved full recognition as an autonomous country within the Kingdom of the Netherlands.


CNSJF Banner at the World Trade Centre premises

Also in 2010: the very first Curaçao North Sea Jazz Festival (CNSJF). The country’s own charity organisation Fundashon Bon Intenshon produced this ‘sister’ event in collaboration with Mojo Concerts (owners of North Sea Jazz, who are themselves owned by the American company Live Nation). In bringing a ‘world-renowned festival brand’ to Curacao, the organisers hoped to attract a new demographic of visitors to the island – an international, wealthy, and sophisticated ‘jazz crowd’ – that would boost the country’s stagnant tourism industry. Like much of the Caribbean, Curacao’s economy is heavily dependent on tourists; its ‘sun, sea, and sand’ are the most important draw. The island’s capital of Willemstad, furthermore, has been designated a UNESCO World Heritage Site because of its unique colonial architecture – another crucial selling point. Indeed, the festival’s CNSJF website describes it as an ‘untouched paradise’ with an ‘authentic’ and ‘historic’ centre and ‘vibrant’ culture.


One of the outdoor Punda Jazz stages

During the first lustrum of Curacao’s national independence, then, this small Afro-Curacaoan/Dutch/Caribbean/Central American island has been host to one of the largest and most significant events in the European jazz festival circuit/scene. CNSJF therefore is ideally situated to study a number of CHIME-related questions, such as the relationship between the festival and (constructions of) local cultural heritage. How are the heritages of both the festival location and the history of jazz music dealt with in the production of the festival? Does the music invite engagement with the heritage location, does it ignore it, or does it reconfigure the visitor’s relationship to place? In what ways can the presence of CNSJF act as a lens to interrogate concepts of cultural identity? Furthermore, how does the festival help us to think about the meanings and usages of jazz today? What are the possible synergies and frictions?

Interestingly, CNSJF is preceded by a low-key free festival called Punda Jazz that is organised by the bars and restaurants in the oldest district in Willemstad. With its strictly local acts, Punda Jazz provided an interesting counterpoint to its star-laden 180-dollars-per-day bigger sister across the bay. In our next blog post we will talk about our experiences at both events.

CHIME CONFERENCE 25-28 May 2017 – Music, Festivals, Heritage


CALL FOR PAPERS – CHIME Conference, Music, Festivals, Heritage

Siena Jazz Archive, Italy. 25-28 May 2017

Keynote Speaker:  Professor Andy Bennett, Griffith University, Queensland, Australia

In a world where notions of culture are becoming increasingly fragmented, the contemporary festival has developed in response to processes of cultural pluralization, mobility and globalization, while also communicating something meaningful about identity, community, locality and belonging.—Andy Bennett et al, The Festivalization of Culture

From Woodstock to The Proms, from Burning Man to Montreux, music festivals have a transformative potential; they can help people connect with places and spaces in new ways and play a key role in identity formation. Festivals at their most utopian offer a fantastic space in which to dream and try another world into being. Equally, they offer opportunities for people to celebrate and engage with their cultural heritage and to re-connect with the past.

We invite submissions for Music, Festivals, Heritage, a four-day multi-disciplinary conference that brings together leading researchers across the arts, humanities and social sciences, as well as festival directors, producers and programmers, to explore the relationship between music festivals and cultural heritage.


We welcome contributions that address the conference title from multiple perspectives, including heritage studies, festivals and event research, media and cultural studies, musicology, sociology, cultural theory, music analysis, history, and practice-based research. Music, Festivals, Heritage also aims to feature presentations from both researchers and industry professionals.

Conference topics include but are not restricted to:

  • Established and innovative uses of heritage sites and public spaces
  • Festival sites and cultural memory
  • Transformations of place: music festivals as utopian sites
  • Questions of music genre (e.g. jazz, opera, folk, rock, classical) and the construction of heritage at festival
  • Festival as dull culture: repetition, predictability, boredom
  • The tension between the conservation and the use of heritage sites
  • Festivals and cultural tourism
  • New models of engagement between festivals and cultural heritage
  • Festivals as sites that explore the relationship between tangible, intangible and digital heritage
  • Critical perspectives from festival programmers, producers, organisers
  • The mediation and representation of (heritage and) festival
  • Festival as exclusive community; festival as marginal space
  • From carnivalesque to festivalisation: theoretical approaches and questions of festival
  • The cultural politics of festival sites

Proposals are invited for:
• Individual contributions (20 minutes) – up to 250 words.
• Themed sessions or panel discussions – 250 words per contribution plus 250 words outlining the rationale for the session.
• 75 minute sessions in innovative formats – up to 750 words outlining the form and content of the session.

Please submit proposals (including a short biography and institutional or organisational affiliation) by email in a word document attachment to:

The deadline for proposals is 1st December 2016; outcomes will be communicated to authors by 10 January 2017. All submissions will be considered by the conference committee:

  • Prof Walter van de Leur, Chair (University of Amsterdam/Conservatory of Amsterdam)
  • Prof Helene Brembeck (University of Gothenburg)
  • Prof Nicholas Gebhardt (Birmingham City University)
  • Dr Francesco Martinelli (Siena Jazz Archive)
  • Prof George McKay (University of East Anglia)
  • Professor Beth Perry (University of Sheffield)
  • Dr Loes Rusch (University of Amsterdam/BCU)
  • Prof Tony Whyton (Birmingham City University)
  • Dr Marline Lisette Wilders (University of Amsterdam/University of Groningen).

The conference forms part of the JPI Heritage Plus-funded CHIME project, a transnational research project that explores the relationship between European music festivals and cultural heritage sites. Visit for further information. Updates on the conference and information about travel and accommodation will be available on this site over the next few months.


sienaIn 1988, the Siena Jazz Foundation founded the National Center for Jazz Studies “Arrigo Polillo” with its Library and Sound Archive. The Center is virtually the only specialized facility for jazz documentation and research in Italy; its serves as a reference point countrywide for students, musicians and scholars for their work. The facility is computer-based and the online catalogues are continuously updated. The Center holds the most important specialized collection in the country; the number of data included in the catalogues and the continous growth of the collections, which include more than 25.000 sound and video carriers, more than 2.000 books and thousands of magazine issues including the only complete collection of the Musica Jazz magazine put the Center on the par with the best Jazz Archives worldwide. The latest years saw important development with internal restructuration of the spaces, and with a general update of available equipment for digitization of audio and images.

Do the hustle: revisiting Jazzaldia, San Sebastian’s jazz festival site

Tony Whyton, George McKay, Emma McKay, 12 Points Festival, San Sebastian
Tony Whyton, George McKay, Emma McKay, 12 Points Festival, San Sebastian

In summer 2016 a small number of us attended and spoke at the 12 Points Festival of European improvised music, which was held in San Sebastian. It was consciously scheduled alongside the annual city jazz festival, as part of a bumper package of summer music befitting the San Sebastian’s status as 2016 European Capital of Culture (along with Wroclaw).

We were with friends and the music was great—we’d already listened to three avant-garde acts from a box (yes) in the Victoria Eugenia Theatre as part of 12 Points Festival, and now we were in a hurry to join in and enjoy the generous free stages of the 51st Jazzaldia, San Sebastian’s impressively longstanding jazz festival.

Massive empty place, unbeachlike
Massive empty place, unbeachlike

We followed the people and the music across the river and down to the beach. It was one of those magic nights. The crowds swirled around the various stages, the live music from one stage bled creatively into that from another, there were packed beer tents where you had to shout for a drink, the rain mostly held off and there were glimpses of stars through the clouds, the sound of the waves crashing against the beach could just be made out in a lull between numbers. It was dark and packed like a rock festival, yet the lights of the city and the shade of the sea were all around in brilliant contrast.

We had a few drinks, it’s true. And the music! Someone said Marc Ribot is playing here tonight and I was like, Marc Ribot, I love Marc Ribot! And it’s free, really? In fact it was Ribot and his star Young Philadelphians band, doing the disco project, as cool as uncool can get (for those who preferred punk to soul back in the day). I mean, the bass guitarist, thumping out powerful and heavy lines, was Ornette Coleman’s bassist, Jamaaladeen Tacuma.

Kursaal, an intersection of two boxes, no way through
Kursaal, an intersection of two boxes, no way through

The night was so good that there are no photos. We all shouted possibly a little too loud for an encore, and the band came back on. Ribot sat down and alone played the guitar figure from Van McKay’s (I wish. OK, McCoy) 1975 hit ‘The hustle’. Well, we were thrilled and loved it, cheering and doing the hustle for all our worth. It was a perfect choice, for a perfect encore—funny, clever, knowing, respectful of a disco-soul-jazz tradition some of us had not given much thought to.

Fantastic memories of a special night of music, friendship, and festival. Whenever we meet now someone will burst into ‘The hustle’ and we smile, laugh, do a little dance. We were touched by the music, at the jazz festival. It was intangible, in a temporarily transformed public space for culture, a pleasure for everyone there.

A dead end, at the Kursaal
A dead end

Finding myself in San Sebastian again after the summer, I went to look at the public cultural space by the  beach where we had had our transcendent collective dance, the recent landmark Kursaal complex (opened 1999) on Zurriola beach. But where were our memories and pleasure, where was the place of our memories and pleasure? Surely not here!  We had been Kursaal Flyers in July, but by October this seemed to me a silent barren place, magnified by its own scale and emptiness.

The Kursaal complex from the outside seems a place that is designed to demand transformation, hard and hard up against the golden sand, by an influx of people, by music resounding off its walls. To me, looking for the festal trace, it dramatises the potential of transformation, alongside the difficulty of articulating the intangible. It needs a festival, to live. It really needs to do the hustle.

The impact of (jazz) festivals, article now published

Jazz Research Journal cover web useWith my co-author, postdoctoral research assistant Dr Emma Webster, I’m pleased to draw attention to our newest output from our AHRC-funded project, The Impact of Festivals. This project is in collaboration with our research partner the EFG London Jazz Festival. The new output is a peer-reviewed article for Jazz Research Journal focussed on the impact of jazz festivals in particular. (The wider project embraces pop, folk and classical music festivals too.) The abstract is below, followed by a short film in which I talk about the research. You can access freely a copy of the article here.

The full citation of our article is: Emma Webster and George McKay. 2016. ‘The impact of (jazz) festivals: an Arts and Humanities Research Council-funded research report’. Jazz Research Journal 9(2), pp.169-193. We hope it will be of interest to CHIME-rs and our international community of jazz researchers at Rhythm Changes.

Festivals are an essential part of the jazz world, forming regularly occurring pivot points around which jazz musicians, audiences and organizers plan their lives. Funded by the UK’s Arts and Humanities Research Council, the purpose of this report is to chart and critically examine available writing about the impact of jazz festivals, drawing on both academic and ‘grey’/cultural policy literature in the field. The review presents research findings under the headings of economic impact; socio-political impact; temporal impact and intensification and transformation of experience; creative impact—music and musicians; discovery and audience development; place-making; the mediation of jazz festivals; and environmental impact. It concludes with a set of recommendations for future research, which identifies gaps in the field. To accompany the article, a 100-entry 40,000-word annotated bibliography has also been produced, which is freely accessible online.

Revitalising the (jazz) music festival, at 12 Points, San Sebastian

In panel conversations between musicians, researchers, journalists, organisers and promoters we found and heard about a range of approaches to trying to revitalise the (jazz) festival experience and the jazz scene during the 12 Points Festival discussion days on ‘Jazz Futures 2016’ here in San Sebastian this week. This was felt important for a number of reasons, including that in some countries the big all-star jazz festival is fading, its audience diminishing, while elsewhere, perhaps ironically, perhaps in a connected way, there is a surfeit of festivalisation of culture, in that festival in its ubiquity has become everyday, even banal, and no longer the intense, heightened and exceptional. Here are some of those diversifying approaches, familiar and perhaps not so.

  • 12 Points
    12 Point Jazz Futures discussion, San Sebastian

    Jazz festival or event as immersive experience—music, yes, but also costume, design, actors and dancers, food, theatre and masque, historical reconstruction of scenes from jazz past with a promenading audience

  • Jazz apps, and audience interactivity via mobile digital technology
  • Electronic deconstruction of the live music event in the very next concert that follows, so the audience hears fresh the new music it just heard, where sometimes the remix is better than the original (though, yes, “sometimes it’s shittier”)
  • An emphasis on creative curation rather than simply programming or organisation and presentation of a series of concerts
  • Cross-cultural and cross-arts dialogue. Whether improvised arts (music, dance, animation) working with each other in the moment, or a festival of improvised music that must include literature and vice versa
  • A continuing struggle with the Jazz word: a European jazz festival director says I don’t want to use the term “jazz festival”, it’s off-putting for a new audience, others saying we lose something worth cherishing and celebrating if we reject it (i.e. a century of live and recorded music)
  • The on-going core relevance of jazz and music education: new musicians, new networks and events, new energy, and new audiences
  • The regular inclusion of academic research in the festival programme, an openness to it in the scene more generally.

Two Jazz Festivals, One Great City

12_points_festival_logoThe 10th edition of 12 Points kicked off in San Sebastian last night. This year, the nomadic festival (that alternates between Dublin and different European locations) is being delivered in partnership with San Sebastian’s own Heineken Jazzaldia Festival, meaning that two jazz festivals are being presented simultaneously. Whilst this might seem strange at first, you soon realise that there is a genuine complementarity between the programmes of the two festivals; Jazzaldia features a number of leading American and European artists, from Diana Krall to Jan Garbarek, whereas 12 Points celebrates emerging talent and the diversity of improvised music from 12 different European locations.

There was clearly an appetite for the new among San Sebastian audiences last night, as people were queuing around the block waiting for the doors to open prior to the event.

victoria-eugenia_crop2The Victoria Eugenia Theatre provided a stunning backdrop to the event, as music from Denmark (The Embla), Spain (Marco Mezquida) and Germany (The Eva Klesse Quartett) enhanced, blended with, and confronted the space at times. Sound has a transformative potential both inside and outside the concert hall, and 12 Points encourages us to engage with a sense of place, to think about the similarities and differences between people and cultures through music, and to consider the importance of improvisation in art and everyday life.

20160719_203656In San Sebastian there are several jazz bars and clubs as well as restaurants that feature live jazz. In addition to the large Jazzaldia stage on the beach, you can also encounter street musicians playing jazz and view a number of colourful posters that advertise both festival events and local jazz gigs.

20160721_125458Being here, you are continually reminded of the importance of improvised music and its ability to transform our environment; jazz clearly supports cultural tourism and provides the perfect soundtrack to the city with its beautiful beaches, historic buildings, fabulous cuisine and nightlife.




But the music also has a lot to say about San Sebastian’s place in the world and the city’s aspirations as the 2016 European Capital of Culture.

There is something special about San Sebastian’s place in the Bay of Biscay, not only with its distinctively Basque character but also with its proximity to France.


20160719_203624Just being here makes you think about different identities, the politics and the connectedness of people in Europe past and present, and the way in which culture clearly flows in multiple directions; like 12 Points, it cannot be reduced to simple boundaries and border controls.


Nice Jazz Festival 2016

Nice Jazz Fetival 1948 programmeThe history of the jazz festival in Europe goes back to the early post-war years, when one visionary city organised a set of concerts over a few days in seafront venues round the resort. These featured both national musicians as well as a sprinkling of US headliners, including the transatlantic star Louis Armstrong. We can think of it as a gesture of cultural futurity, with the aim of sounding a better international situation after the war years. They called it the ‘festival international du jazz’, the year was 1948, and it happened in—Nice, France. Thus the European ‘jazz festival’ was born, in Nice.

In England the earliest jazz festival would be Beaulieu Jazz Festival (1956-61), while perhaps the most famous European event, Montreux Jazz Festival, was founded later still, in 1967. (A book marking 50 years of Montreux is published this year.) But it was Nice Jazz Festival, in the late 1940s, that set the template.

Within a few years Nice would do something else marvellous for jazz, for jazz’s heritage and sense of place and relation to the past: Nice located its festival of jazz, that clashing music of modernity, in the Roman amphitheatre to the north of the city. Go there today and you can see busts of famous jazz musicians who played there in the park next to the amphitheatre, a neat public recognition of that jazz moment in that great city by the Mediterranean.

This year’s festival was due to start today, hundreds of musicians and thousands of festival-goers coming to Nice, under the sun and stars, by the sea, for a celebration of a music which, at its very best, is an outernational music of dialogue and listening where we might just for a second glimpse or hear another, better world. I know that sounds like a jazz utopia but, you know, we had a conference recently on the very theme of #jazzutopia, so it’s in the air.

Nice Jazz Festival 2016 annulee

But the 2016 Nice Jazz Festival was cancelled yesterday, as a result of the terrible atrocity on the Promenade des Anglais on Thursday night. Nice est en deuil. We should listen to the silence of the jazz not happening there this weekend. From another festival city, Edinburgh, where a group of scholars and musicians is meeting this weekend during the Edinburgh Jazz & Blues Festival at a conference marking ‘50 years of European jazz’, we send wishes of sympathy and solidarity, anger and love, and the desire for peace and a different sort of future that jazz can sometimes still sound, and that a festival can still capture. Vive Nice Jazz Festival.

CHIME at Wonderfeel

Chime is teaming up with Wonderfeel, a three-day outdoor festival in the Netherlands that brings classical music on the estate of ‘Schaep en Burgh’ in ’s-Graveland. logo_Wonderfeel JPEG
The program includes over 250 musicians, 100 concerts and music documentaries, lectures, children’s activities and food trucks. On the 25 hectares of the estate, you will find six Wonderfeel stages, a mini stroll away from each other. The repertoire ranges from Mozart to Steve Reich, from Rameau to Pärt with hints towards jazz, world and pop music.Wonderfeel closely cooperates with Natuurmonumenten (Society for preservation of nature monuments in the Netherlands).  As part of the Flessenpost (‘message in a bottle’) lecture series, Chimer Nick Gebhardt will read his message called ‘Playing for free (or almost for free)’. will take place on the 22, 23 and 24th of July on the estate of ‘Schaep en Burgh’ in ’s-Graveland (near Hilversum).

New Orleans Jazz and Heritage Festival: Performing the “authentic inauthentic”

I’ve just returned from a field trip to the New Orleans Jazz and Heritage Festival. True, New Orleans is not in Europe, but other than that the event ticks all the boxes of our CHIME acronym: Cultural Heritage, Improvised Music, and Festivals. Spread out over two extended weekends, Jazz Fest, as the event is commonly referred to, is fully focused on celebrating New Orleans’ and Louisiana’s cultural heritage, both tangible and intangible. Of course, the most obvious local music heritages are jazz and NOLA brass band culture, and despite the usual complaints that the acts on the main stages are not jazz but something else (Pearl Jam, Steely Dan, Red Hot Chili Peppers), there are many concerts on the smaller stages that are dedicated to musics that live up to the festival’s epithet, including jazz, brass band, zydeco, cajun, blues and gospel.

The main stages trumpet the names of the main sponsors (Acura Stage), yet other stages carry more descriptive names (Blues Tent, Gospel Tent), while yet others emphasize the connection with local traditions: Jazz and Heritage Stage, Congo Square Stage, Lagniappe Stage (the local term “lagniappe” refers to a gift or an extra), and Sheraton New Orleans Fais Do-Do Stage (a “fais do-do” is a Cajun dance party). The festival also exhibits folk crafts, arts and traditions in its Louisiana Folklife and Native American Villages. It celebrates local cuisines, too, for instance at the Grandstand, which “gives Festgoers a chance to take an intimate look at the vibrant culture, cuisine and art of Louisiana.” In addition, the festival has become a tradition itself, and many Festgoers have become regulars, who have developed their own traditions and rituals on the festival grounds.

Helen Regis and Shana Walton discuss in “Producing the folk at the New Orleans Jazz and Heritage Festival” the many tensions that center around questions of ownership, agency, race and authenticity. In Roll with it: Brass Bands in the Streets of New Orleans Matt Sakakeeny points up similar tensions, specific to the brass bands that perform at Jazz Fest.

Of special interest to me was the second-lining that takes place at Jazz Fest. Second-line culture in New Orleans centers around the many active brass bands in the city and the so-called Social Aid and Pleasure Clubs (SA & PCs), societies founded as black self help organizations. SA & PCs parade in their annual processions and at funerals. In a parade, the first line consists of the club members and the brass band. The bystanders who join in after the first-liners form the second line. Regis (2001, 13) points out that the term second line is ambiguous, as it refers to “multiple dimensions of the same phenomenological reality. It refers to the dance steps, which are performed by club members and their followers during parades. … [but] the term second line often is used to refer to the overall parade, including club, band and followers.”

SA & PCs parade at the festival grounds as part of the programming, but the local brass bands can mostly be heard at the Jazz & Heritage Stage and the Economy Hall Tent. Here too, second-line culture is put on display, but with the brass band on stage rather than leading the parade. As soon as the band hits an up-tempo song, the regulars at the Fest spring to their feet, open their umbrella’s–often self adorned–and start parading the tent, moving to the music. There is little here that resembles an authentic second-line parade in one of the city’s communities, yet it is as close as many of the Festgoers will ever get to this vibrant culture. Interestingly, these tent parades have become a festival tradition in themselves, and it is clear that to the participants the practice is an authentic expression. The New Orleans Jazz and Heritage Festival celebrates local traditions, but has become a locus of newly created and invented traditions itself.


Festgoers second-line in the Economy Hall Tent to the music of the Paulin Brothers Brass Band




Hobsbawm, Eric and Terence Ranger, eds. 1983. The Invention of Tradition. Cambridge University Press.

Jones, David M., (director). 1995. New Orleans Jazz Funerals from the Inside. Documentary film. DMJ Productions, DMJ1018.

Regis, Helen A. 1999. “Second Lines, Minstrelsy, and the Contested Landscapes of New Orleans Afro-Creole Festivals.” Cultural Anthropology, Vol. 14, No. 4 (Nov.): 472–504.

Regis, Helen A. 2001. “Blackness and the Politics of Memory in the New Orleans Second Line.” American Ethnologist, Vol. 28, No. 4 (Nov.): 752–777.

Sakakeeny, Matt. 2010. “‘Under the Bridge’: An Orientation to Soundscapes in New Orleans.” Ethnomusicology Vol. 54, No. 1: 1-27.

Sakakeeny, Matt. 2011. “Jazz Funerals and Second Line Parades.” KnowLA Encyclopedia of Louisiana. David Johnson, ed. Louisiana Endowment for the Humanities. 3 February.

Sakakeeny, Matt. 2011. “New Orleans Music as a Circulatory System.” Black Music Research Journal, Vol. 31, No. 1 (Spring): 291–325.

Sakakeeny, Matt. 2013. Roll with It: Brass Bands in the Streets of New Orleans. Durham: Duke UP.


From Glyndebourne to Glastonbury, festivals report now online

Impact Festivals coverThis new report about the impact of British music festivals, launched at CHIME partner Cheltenham Jazz Festival in April 2016, is now available online. We hope festival researchers and organisers will find it of use and interest. This is what some people are saying about it already:

  • “This report is an irrefutable qualification of the value and impact of our sector and an amazing resource for anyone involved in the organisation of a music festival.” Steve Mead, Artistic Director, Manchester Jazz Festival 
  • “Within festivals we need and value the criticality of academic research. A report like this helps us shape, make sense, rethink what we are doing.” John Cumming OBE, Director, EFG London Jazz Festival
  • “This report is excellent—a pleasure to read, and I will be recommending it to my students and colleagues.” Professor Stephanie Pitts, Head of the Department of Music, University of Sheffield

The report was produced as part of The Impact of Festivals, a 12-month project funded under the Arts and Humanities Research Council’s Connected Communities Programme, working with research partner organisation the EFG London Jazz Festival. Professor George McKay is the Principal Investigator for the project, as well as AHRC Leadership Fellow for Connected Communities at the University of East Anglia. Dr Emma Webster is the Research Associate for the project, and co-founder and director of Live Music Exchange.

The findings are drawn from an extensive literature review of existing work in the field, from academic research to ‘grey’ policy literature, economic impact assessments to festival and industry publications. Not only that, but there is a 170-entry annotated bibliography  of these outputs accessible here. We think that, taken together, the report and the annotated bibliography will be an important reference point for industry and academia alike in the future.

The report is is freely accessible here. If you would like a paper copy please contact Rachel Daniel, Do let us know what you think of it!