Some serious preparation by photographer Foppe Schut, in search of the perfect picture of the SummerJazzBikeTour brooche.The brooche is part of the travelling exhibition "Dutch jazz festivals in 30 objects" for the researchproject CHIME and will be on view in Siena, Groningen and Amsterdam (for more info, see http://chimeproject.eu).For the exhibition we are collaborating with the Dutch Jazz Archive (http://www.jazzarchief.nl) and indeed the impeccable Foppe! Great to be part of this.
The last couple of months the Dutch CHIME team together with the Dutch Jazz Archive has been working on a travelling exhibition on Dutch jazz festivals.
As a starting point we have used a concept that is modeled after “A history of the World in 100 objects,” a 100 part series by Neil MacGregor, director of the British Museum, exploring world history from two million years ago to the present. This model allows us to engage with questions of tangible and intangible cultural heritage, such as ‘How to translate intangible cultural history into tangible objects?’ Also, the great variety of objects (t-shirts, flags, jury reports, scrap-books, etc.) opens up ways of exploring the festival from different perspectives, including audiences, musicians, organizers, and journalists.
The past week Dutch Jazz Archive curator Ditmer Weertman and Walter van de Leur have made a final selection at the Dutch Jazz Archive, which includes the cassettes of the October Jazz Meeting, a 1948 jazz competition award and the scrap-book from the wife of North Sea Jazz Festival initiator Paul Ackett.
We are also very proud to introduce photographer Foppe Schut, who will make an artist impression of the objects.
Last Friday and Saturday CHIME and BCMCR presented the first in a new series of 24-hour Music Data Hacks. The aim of these events is to bring together BCU researchers and students with data practitioners from the Birmingham area, to work collaboratively on the development of online data visualisation tools, product prototypes, and experimental analytical methods.
Using data collected from a small group of volunteers at the 2016 Cheltenham Jazz Festival through a pilot version of a mobile application BCMCR and CHIME are developing, along with social media data gathered rom other festivalgoers during the festival, this hack explored ways in which the data collected could be visualised online in ways that are useful to researchers, festival organisers and music fans.
The participants came up with lots of exciting ideas and new ways of developing prototypes of a visualisation interface. Researchers and representatives from a number of international music festivals were in attendance at the hack to provide advice, support and guidance. They were William Soovik from GMLSTN, Annemiek van der Meijden from JazzBikeTour and Ian Francis from Flatpack) and Craig Hamilton, Nick Gebhardt, Tony Whyton and Loes Rusch.
An interdisciplinary and multi-sited festival located in a historically rich area, the New Music Festival (Festival Nieuwe Muziek, FNM, 1976-2005) is an interesting site to explore one of CHIME’s research questions: How does (jazz) music facilitate a connection to heritage? In this blog I will give an overview of ways in which Dutch improvised music intersected with cultural heritage sites and cultural landscapes during the New Music Festival.
The New Music Fesival took place between 1976-2005 in Zeeland, a province in the southwestern region of the Netherlands meaning “sea land” and known as the eponym of New Zealand. The province gained wealth as a gateway to the prosperous regions of Flanders and Brabant and as a key player in the colonial trade, as Zeeland merchants, together with their fellows in Holland established Dutch East-India Company (1602) and West India Company (1621). Furthermore, the founding of the Middelburg Commercial Company (1720) gave Zeeland “majority control of the Dutch Republic’s lucrative slave trade” (Neele 2012, 289). While Holland retained its international trading position, Zeeland has increasingly focused on agricultural activities, which because of its high productivity levels and superior quality have gained international acclaim. Also, consisting primarily of islands, peninsulas and beaches, the province has become a popular tourist destination.
While the province has delivered state-of-the-art in terms of agriculture, tourism, and civil engineering, it has remained a rather traditional agenda in terms of culture and arts promotion. As the website of the Zeeland tourist office announces: “Zeeland is proud of its heritage and has the most museums per capita. Many of the museums focus on traditional life in Zeeland, including farming, fishing and shipping.” The focus on traditions and skills rather than on modern arts is partly informed by the religious background of the Zeeland inhabitants, which is predominantly Calvinistic and does not allow for much frivolity.
Considering this rather conservative climate, the organisation of the New Music Festival seems all the more remarkable. The festival was part of the activities of (Jeugd & Muziek Zeeland, JMZ), a member organization of the Jeunesses Musicales International. While most departments set a more traditional course that focused on classical music, the departments of Amsterdam and the province of Zeeland proved particularly vital in the support and promotion of contemporary and experimental forms of art. Zeeland-born Van ‘t Veer (1941), both programmer of the festival and JMZ manager, played a decisive role in the organization’s radical course, which focused primarily on ground-breaking artists such as Greek-born composer Iannis Xenakis and Dutch improvising musicians.
To stimulate the musicians and audience to meet in a loose, informal setting, JMZ in 1971 moved the majority of its activities from the concert hall to the street. Under the name of Muziek op Straat (“Music on the street,” 1971-1976), the association organised a series of concerts, workshops and film screenings. Van ‘t Veer, who considered improvised music specially fit for this purpose, regularly invited Amsterdam-based improvising musicians to create performances that were easily accessible to all layers of society. In 1971, for example, JMZ organized an open-air workshop including works by Ton de Leeuw, Misha Mengelberg and Daan Manneke, which from Van ‘t Veer’s installment in 1969 specifically aimed at “renegotiating the interaction between performer and listener, beyond the restrictions of the traditional concert practice.” Also, on several occasions composers wrote pieces for Lange Jan, the carillon of Middelburg, which could be heard all over town.
Likewise, the performance of the Zeeland Suite (1977) a multi-movement work for jazz septet by pianist and composer Leo Cuypers is a fascinating example of the use heritage sites as part of musical performance. Cuypers came up with the idea of an outdoor “conceptual art performance” that covered all of the province’s peninsular islands, an idea that fitted in with the JMZ’s principles. The different parts of the suite were performed on historical, industrial as well as natural sites typical for the province of Zeeland, including the medieval Haamstede Castle; the artificial island of Philipsdam; the harbour of Hoedekenskerke; the marshlands of the Westerschelde estuary; the beach at Domburg; and Fort Rammekens.
Under the pretext of “provincial promotion”—and thus provincial funding—Van ‘t Veer added a historical locomotive and a folklore group to the initial plans. One year before the suite’s performance, the construction began of the Oosterscheldekering, the largest and most ambitious of the thirteen Delta Works. Considering Van ‘t Veer’s attempts to use the Zeeland Suite as a promotional device for the province of Zeeland, it comes as no surprise that part of this project received a prominent place in the performance as well.
JMZ organized activities in different historical buildings, an idea that was born out of a lack of suiteable concert venues. Most of these buildings were owned by the local authorities and designated as “cultural space”. Before it found a suiteable, fixed concert venue, JMZ regularly organized concerts at the Vleeshal (“meat hall”), a space in the former town hall of Middelburg that was used to sell fresh meat, and the Kuiperspoort, a seventeenth century building formerly owned by the coopers’ guild and in the 1960s and 1970s acting as a youth centre. Between 1985 and 2003 the city of Middelburg allowed the JMZ, now called the Centrum Nieuwe Muziek Zeeland (New Music Centre Zeeland, NMZ) to use the Kloveniersdoelen, both as office and as a performance venue. Built in 1607 in Flemish Renaissance style it was originally home to the city’s civic guard, until the end of the eighteenth century, when it became the local headquarters of the East India Company. Because of the limited space—the venue held ca. 100 seats— NMZ in 2004 moved its headquarters to Grote Kerk Veere, a church built in the thirteenth century that also happened to accommodate the local Tourist Office. It currently still functions as the headquarters of NMZ, now known as MuziekPodium Zeeland.
As appealing as these historic buildings were from the outside, as problematic they were as a performance space. The Kuiperspoort, for example, was hardly accessible for transport vans as it was located in the historic city centre with its narrow streets. “It is impossible to get a grand piano here,” remarked Van ‘t Veer, when asked about the Kuiperspoort. The Kuiperspoort was also infamously known for its bad acoustics, caused by the low ceiling. When in 1974 the local authorities refused to give permission to use amplifiers, JMZ cancelled the scheduled theatre performances by Orkater and Baal and limited the programming to film screenings and piano recitals.
Altogether, the monumental status of the the Vleeshal, the Kuiperspoort, the Kloveniersdoelen and Veere’s Grote Kerk challenged the re-use of the building as a performance space, as it restricted the ways in which these spaces could be adapted. Moreover, the monumental status caused restoration to be very costly. In the coming months I will be investigating further the performances that took place in these venues and the ways in which these interacted with the space.
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.
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)’.
Wonderfeel will take place on the 22, 23 and 24th of July on the estate of ‘Schaep en Burgh’ in ’s-Graveland (near Hilversum).
A position paper (no. 2) presented to the CHIME project team meeting, Amsterdam Conservatory, February 4 2016
In WP3, CHIME explores ways in which music and music festivals can provide new models for thinking about cultural heritage through an exploration of festival landscapes. It does so, among other things, by looking at three case studies, all of which are selected specifically for their engagement with different types of cultural heritage: North Sea Jazz Festival Curaçao, the SummerJazzCycleTour, and Jazz on the Waves. In this position statement I [Loes Rusch] propose a further exploration of music and music festivals as 1) practices of cultural heritage and 2) as a promotional tool for the protection and preservation of natural cultural heritage sites.
While the North Sea Jazz Festival Curaçao raises questions of the Netherlands’ colonial past and the ways in which different identities are negotiated through festivals, the SummerJazzCycleTour and Jazz on the Waves are particularly interesting because of its different approaches towards the re-use of typical Dutch landscapes and historical buildings.
The SummerJazzCycleTour, which celebrates its 30th anniversary this year, takes place in the province of Groningen in the north-eastern part of the Netherlands and makes its audiences cycle through the Reitdiep, an agricultural area with canals dug as early as the first half of the thirteenth century. Jazz on the Waves takes places on the island of Texel in the Wadden Sea, an intertidal zone in the south-eastern part of the North Sea, which is one of the world’s seas whose coastline has been most modified by humans, via a system of dikes and causeways on the mainland and low-lying coastal islands. In 2009, this area became part of UNESCO’s World Heritage List.
Jazz and cultural heritage
The relationship between music or music festivals and cultural heritage is extensively studied, mostly in the area of popular music. The focus of these studies is mostly on the practice of music as cultural heritage, or as defined in a 2014 study by Amanda Brandellero and Susanne Janssen as “the preservation, exhibition, education and remembrance” of music, in many cases as supported and promoted by national and local public heritage institutions, often in connection with spatial planning and cultural tourism (Brandellero and Janssen 2014, 18).
A presentation held by festival director Johan Gijsen (Le Guess Who?) during the CHIME launch event and reception, Amsterdam Conservatory, February 4 2016.
To kick-off the Dutch CHIME launch, we invited Felix Schlarmann (Jazzfest, Amsterdam) and Johan Gijsen (Le Guess Who?, Utrecht), two young and innovative festival directors who have recently enriched the Dutch festival landscape with two distinct music festivals. We asked them to engage with some of CHIME’s research questions and discuss how these play out in the day-to-day reality of their festival. In which ways, for example, does the place of event impact the festival’s program and music, and what does it take to start and develop a successful and sustainable festival?
Transcript of the presentation by Johan Gijsen:
Why another festival?
It was 2007, when childhood friend and co-founder Bob van Heur and I felt that the most interesting developments taking place were in the periphery of pop music; where artists that don’t bother to play by the fixed rules and grids of pop music determinedly go their own direction. In the Dutch media and on national radio and TV was little or no room for precisely these interesting movements in pop music. Here we grumbled about among ourselves and figured that it was better to take the initiative here. We shared the enthusiasm and passion of the scene in Montreal at that time; Arcade Fire and Patrick Watson experimented with new sounds; there was an interesting almost incestuous scene surrounding Wolf Parade with its many side projects; impressive horn player Colin Stetson just moved there and the dark, experimental Constellation Records released Godspeed You Black Emperor’s beautiful albums with sounds that we had never heard.
At the end of November 2007 first edition of Le Guess Who? took place on two consecutive evenings in Tivoli, Utrecht. On the poster were 11 acts, which all came from Canada. Since then Le Guess Who? has developed into a four-day international festival for independent and innovative quality music in the city of Utrecht. Besides authentic or urgent pop music, the festival also presents non-western music, avant-garde, folk, jazz, ambient, psychedelica and contemporary music. Le Guess Who? interlinks these non-popular genres, and presents them in an easily accessible way: in the setting of an adventurous but approachable pop festival. It thus takes them out of the niche to serve a much larger universal audience.
Following the inception event, CHIME team members also delivered public engagement panels as part of the EFG London Jazz Festival.
At the Barbican Centre, Prof. Tim Wall (Birmingham City University) chaired a panel on jazz and cultural heritage, featuring project team members Prof. Walter van de Leur (University of Amsterdam) and Dr. Beth Perry (University of Salford), together with Eric Arellano (Gamlestaden Jazz Festival) and Emily Jones (Cheltenham International Jazz Festival).
The panel explored jazz as part of cultural heritage and music as a tool for regeneration and social change. Questions that were asked included: How can the arts and arts festivals play a role in addressing issues of environmental and social sustainability? In which ways could or should grassroots cultural activity contribute to further urban development. Can jazz address a wider audience, except for middle-aged white men? Audience members vividly contributed to the discussion, giving insights into the many ways in which jazz is interpreted (i.e. both as a political and a non-political music) and experienced (i.e. as a music of the past and/or the present).
As a prelude to that night’s concert of Ice-T and Ron McCurdy and their Langston Hughes Project, CHIME member Dr. Nicholas Gebhardt (Birmingham City University) chaired a panel discussion on the legacy of Langston Hughes.