Tony Whyton (BCU) and George McKay (UEA) are delighted to have co-written the introduction to a special issue of the International Journal of Heritage Studies, which brings together some of the key scholarship from the CHIME project on and with European jazz festivals. You can read the full text freely here (although in fairness it’s only 4-5 pages long). Here’s a little, from the start.
Festivals are international cultural practices, taking plural forms and expressions across the world. They offer an empirical lens to enrich our understanding about how tangible and intangible cultural heritage combine, collide, conflict and cohere. Festivals are a spatially and temporally bounded public sphere, a break from normality that surfaces and reveals understandings of and approaches to culture and heritage in very different contexts.
A new report produced by the Urban Institute with partners at the African Centre for Cities explores how festivals are integrative sites between tangible and intangible heritage in the context of the Sustainable Development Goals. Professor Beth Perry has been working with a network of academics and practitioners in South Africa, Kenya, Sweden, the Netherlands and the UK to explore how culture, and cultural heritage in particular, can play a role in supporting more just urban transformations. The network has addressed this question through the lens of festivals, drawing on international cases from CHIME. The 18 festivals in the report focus on the relationship between global frameworks for action and local cultural practices and learning.
The report highlights concerns over implicit cultural and instrumental biases which inform policy statements at multiple levels. Whose culture, whose heritage matters? How do international frameworks reflect cultural diversities across the Global South and North? What tensions and issues emerge in the instrumentalisation and essentialisation of culture as a tool in sustainable development? What does this mean for action at a local level, within and beyond state actors, to support cultural diversity and support cultural democracy and justice? In raising these questions, the report sets out an agenda for research, policy and practice to ensure that coordinated action supports the search of more just, inclusive and sustainable cities.
This exhibition tells a story of jazz festivals in the Netherlands through objects. It is a story that originates in the jazz competitions held in the 1930s and which encompasses about 85 years of music, people, festival sites, and objects. While over the years jazz festivals have grown to cover a wide range of musical styles, performers, audiences, and venues, some consistency can be found in these festivals’ ambitions to engage with international musicians and to connect with local communities.
Both a creative space and place for cultural consumption, the festival is also very much a material culture. What remains of a jazz festival when the music, the musicians, the organizers, and the listeners have left? How does intangible cultural heritage of jazz turn into tangible heritage? How does a festival materialize in objects, and what can we learn from this? To engage with these questions, we have used a concept modelled after ‘A history of the world in 100 objects,’ a series by Neil MacGregor, director of the British
Museum, that explores world history from two million years ago to the present.
A collaborative project between CHIME, the Nederlands Jazz Archief (NJA, Dutch Jazz Archives), and photographer Foppe Schut, the exhibition is designed as a digital travelling exhibition, to be projected at festivals and conferences. We have focused specifi cally on awards, merchandise, jury reports, and other artefacts that have been produced as part of the festival, or which – in the case of the scrapbooks – have been made with festival artefacts. Most of these objects are in the repository of the NJA. Consequently, this selection excludes other parts of material culture that are indisputably part of festivals, such as festival sites, instruments, music stands, gear, clothing, portable toilets, food, or beer stands.
Click here to download the Exhibiton brochure: CHIME-travelling-exhibition-2017
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.
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: email@example.com
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 www.chimeproject.eu for further information. Updates on the conference and information about travel and accommodation will be available on this site over the next few months.
CONFERENCE VENUE: SIENA JAZZ ARCHIVE
In 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.
The 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.
The 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.
In 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.
Being 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.
Just 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.
I’m currently in Bremen for Jazzahead!, the Trade Fair and Showcase Festival, which, over the last 11 years, has grown to become the largest international gathering of jazz organisations, promoters and artists. When I last attended the event in 2011, the trade fair was punctuated by a handful of daytime performances and an evening concert programme that showcased jazz of a particular country.
This year, the partner countries remain (the opening night was Swiss jazz night) and take centre stage, however, the showcases have been expanded and the event has been ‘festivalised’ (to coin George McKay’s term) to the extent where jazz occupies venues across the city for four intensive days, with other events programmed in the weeks leading up to the event. Whilst festival events staged within the convention centre and surrounding hotels could be described as placeless in nature – as an audience member you could be in any world city – the adjoining Kulturzentrum Schlachthof offers the most interest in relation to CHIME’s objectives.
The former slaughterhouse was built in 1892 and prevented from demolition in the late 1970s. Since its transformation in the 1990s, it has become the largest cultural centre in Bremen, an impressive post-industrial venue with bars, a cafe, and an amazing performance space that is ideal for jazz and improvised music. In addition to its industrial heritage, the building is also associated with Europe’s troubled history.
In 1943, the slaughterhouse grounds were used by the Nazis in their deportation of Roma communities from Bremen to Auschwitz, where most were murdered.
As a cultural centre, the Schlachthof engages with Bremen’s cultural heritage head on and, in this context, jazz provides the perfect vehicle both to engage with the heritage of the building literally and symbolically, to re-use the site and to energise the space. In many ways, the music works as a form of cultural palimpsest where traces of history remain but the sounds created in the venue confront the building; encouraging audiences to think about the problematic past, to reflect on the resilience of humanity and the processes of healing and renewal, and to experience the power of music in bringing people together.
Heritage is a contested subject that is bound up with concepts of memory, belonging, cultural value and the politics of power, history and ownership. However, as Laurajane Smith stresses, heritage is not only about celebrating and appreciating the value of material things that have been passed on from one generation to the next but it is also a communicative act that encourages people to make meaning for the present day. Heritage enables us to celebrate and understand not only who we are but also what we want to be (Smith: 2006, 1-2).
If we accept that heritage is not necessarily a thing but a process it leads us to consider the possibility that all heritage – and that includes the notion of a heritage site – is intangible by definition. Smith continues,
While places, sites, objects and localities may exist as identifiable sites of heritage… these places are not inherently valuable, nor do they carry a freight of innate meaning. Stonehenge, for instance, is basically a collection of rocks in a field. What makes these things valuable and meaningful – what makes them ‘heritage’, or what makes the collection of rocks in a field ‘Stonehenge’ – are the present-day cultural processes and activities that are undertaken at and around them, and of which they become a part. It is these processes that identify them as physically symbolic of particular cultural and social events, and thus give them value and meaning.
(Smith: 2006, 3)
Using this idea as a starting point, CHIME’s interpretation of heritage sites leads us to places that have become symbolic of particular social and cultural events, where values and meanings have been ascribed and where identities are constructed, re-constructed, suppressed or negotiated.
Within this context, heritage sites can obviously include officially listed buildings and places of historical importance, conservation areas, and protected sites of natural beauty. I’m sure we have all visited buildings that are in possession of national trusts or heritage organisations as well as accredited UNESCO World Heritage Sites. But our definition of heritage sites is not be limited to state-funded or officially managed heritage institutions. We also look more broadly to places where acts of remembrance or commemoration offer meaning to specific groups, to locations where people negotiate a sense of belonging and/or (re)consider their place in the world. Or, indeed, to places which encourage us to reflect on our relationship to the environment or which provide us with a transformative vision of the future.
Festivals, Heritage, Utopia
It is within these latter points that the relationship between jazz festivals, heritage sites and utopian thinking comes into focus. Utopia has been widely discussed as both an appealing and dangerous concept wrought with problems and idealised assumptions (De Geus, 1999). Moreover, within studies of festival cultures, there seems a natural synergy between festivals and utopian concepts, given the transformative potential of places, spaces and social practices within evanescent events or carnivalising atmospheres. Indeed, within McKay’s recent edited collection The Pop Festival (Bloomsbury, 2015), concepts of utopia form a central theme within the book, and within his introduction, he outlines ways in which contributors explore concepts of utopia in contrasting ways; for example, as something celebrated, critiqued, glimpsed, denied, dreamt or nightmared. And yet, despite these contrasts, McKay stresses that,
[Festival], at its most utopian, is a pragmatic and fantastic space in which to dream and to try another world into being.
(McKay: 2015, 5)
Rather than utopian thinking being founded on idealised principles, the concept can provide a critical framework from which to challenge established conventions, political practices and naturalised assumptions about the world. Within a jazz context, utopia can be useful when it provides a means of challenging presuppositions, encouraging a continual sense of reflexivity about the music’s ontology and its cultural relevance, and keeping the present in dialogue with the past.
By adopting this approach, the study of heritage sites becomes a form of discursive practice and we should be mindful here of the power and all-pervasiveness of what Stuart Hall described as ‘The Heritage.’ (Hall, 1999) For Hall, the heritage becomes,
‘the material embodiment of the spirit of a nation’, it is a collective representation of tradition or of valuable places and objects that, ‘[t]o be validated, must take their place alongside what has been authorised as ‘valuable’ on already established grounds in relation to the unfolding of a ‘national story’ whose terms we already know.’
(Hall: 1999, 3-4)
These reified presentations of heritage can structure ideas not only about the past but can also play down, ignore or exclude issues of race, gender, class, and disability that would inevitably provide a challenge to official and uncomplicated interpretations of nations and associated cultural narratives. Despite a number of changes to understandings, formations and uses of heritage in recent years, ideas of nationhood can often remain naturalised and colonial histories treated as remote and unproblematic; there is no scope for complexity, contestation or a multitude of voices in the world of ‘The Heritage’.
Envisioning the future, reconciling the past
Building on this, the role of jazz and improvised music can be a crucial element in disrupting established ways of thinking about heritage and determining the significance of sites in question. When jazz enters particular spaces, it can provide a means of engaging with established discourses, reconfiguring histories, encouraging a renewed perspective on a particular location, or re-engaging with the past.
Through our research, we will aim to investigate a diversity of voices through festival sites. We want to convey the meaning places afford to different people, understand the stories that enliven specific objects, or explore how narratives that generate cultural mythologies feed into other narratives that offer meaning to contrasting groups. As a transnational study, CHIME will explore how global events link to local cultures and shape the lives of people in different ways. Through festivals we can consider how sameness and difference can play out in different geographical settings; the ‘heritage site’ in this context can offer a challenge to narrowly defined understandings of the world, of people and places.
When CHIME examines a heritage site, therefore, it does so with these processes in mind and, in developing a typology of festivals and heritage sites, it will be important to consider different ways in which the heritage question plays out for different communities in a range of European places.
De Geus, M., Ecological Utopias: Envisioning the Sustainable Society (Utrecht, International Books, 1999)
Hall, S. ‘Whose Heritage? Unsettling ‘The Heritage’, Reimagining the Post-Nation’ Third Text 13:49, pp.3-13
McKay, G. (ed.), The Pop Festival: Hiostory, Music, Media, Culture (London: Bloomsbury, 2015)
Smith, L., Uses of Heritage (New York: Routledge, 2006)
A position statement by Helene Brembeck and Niklas Sörum presented to the CHIME project team meeting, Amsterdam Conservatory, February 4 2016
In WP 2 we want to question the idea that cultural heritage is about the past, and preservation. Instead we see cultural heritage as a practice, which is not simply about the past, but also about the future: it is about valuing the past and about preserving for the future and for future generations. Jazz today can thus be regarded as residing in a past-present relation: it is about selecting what is considered worth saving and of finding new modern and attractive techniques of communicating for the present and of assembling for the future. This view of cultural heritage is in line with the “New heritage paradigm” (Holtorf and Fairclogh 2013) that acknowledges that heritage is neither ‘fixed’ nor ‘ inherent’ but emerges in dialogue among individuals, communities, practices, places and things.
Heritage, or ‘heritages’, are always also plural, which means that different, sometimes conflicting futures can be assembled. This becomes obvious in the ‘competition’ between our two studied festivals in Gothenburg – Gamlestaden Jazz and Classic Jazz – of which ‘jazz past’ is to be saved and enacted in the present and assembled for the future. We follow Rodney Harrison (2013, 2015) stating that ‘heritage involves working with the tangible and intangible traces of the past to both materially and discursively remake both ourselves and the world in the present, in anticipation of an outcome that will help constitute a specific (social, economic, or ecological) resource in and for the future (Harrison 2015:35).
Harrison is inspired by neo-materialist thinkers, such as Deleuze and Latour and their aim to bridge divides between nature and culture, humans and non-humans, which means breaking the divide between tangible and intangible heritage: obviously jazz as intangible heritage is also very tangible, embodied and object-based.
Harrison bases his theses on what he names “connectivity ontologies” meaning ‘modalities of becoming in which life and place combine to bind time and living beings into generations of continuities that work collaboratively to keep past alive in the present and for the future’ (2015:27). This means that heritage can be seen as collaborative, dialogical and interactive, a material-discursive process in which past and future arise out of dialogue and encounter between multiple embodied subjects in (and with) the past (ibid.). Referring to Latour (2004), in this process, or what is described as a nature-culture assemblage, not only humans but also objects (music instruments, our comment) and practices (playing, dancing, our comment) have ‘rights’, which we may have obligations to attempt to uphold.
Harrison uses the term ‘domain’ to draw attention to the tendency for different fields of heritage practice to operate relatively autonomously, with each of these domains specifying particular objects of conservation and accompanying methods of management. Different heritage ontologies have different future-making capacities. Jazz can thus be considered as one such domain where a multiplicity of forms of existence are enacted in concrete practices, and ‘where politics becomes the elicitation of this manifold of potential for how things could be.’ (2015:34). This means that heritages can be defined as ‘a series of diplomatic properties that emerges in dialogue of heterogeneous human and non-human actors who are engaged in keeping pasts alive in the present and, which function towards assembling futures.’ (2015:28)
What about the jazz festival? Following Harrison the jazz festival can be regarded as an assemblage, a set of practices, or even ‘machine’ for ‘enacting new realities through contingent processes of assembling and reassembling bodies, technologies, materials, values, temporalities and meanings’ (2015:28). Practices specifically dealing with heritage-making across diverse contexts can be characterized as:
- Categorizing (identifying, documenting, nominating, listing, recovering, enumerating)
- Curating (collecting, selecting, attributing value)
- Conserving (caring, preserving, storing, archiving, managing)
- Communicating (using, interpreting, exhibiting)
All of which can be witnessed in the practices of assembling the jazz festivals, and most obviously, practices of communicating.
From these starting points the following research questions can be posed:
- Where and how are pasts given presence at the two jazz festivals?
- Which (jazz) pasts are envisioned?
- Whose cultural heritage in terms of gender, generation, social class and ethnicity?
- What are the networks that facilitate these processes?
- What temporalities are produced by the two festivals and what are the implications of the different modes of engagement with the past, present and future that are generated at the two festivals?
More specifically in relation to marketisation:
- How are aspects of cultural heritage explicitly or implicitly used in marketing, organization and enactment of the festivals?
- How does cultural heritage become important in constructing a market for the festivals in relation to for example profit, pricing, sponsors, competition, use of social media and communicating with visitors?
Harrison, Rodney. 2015. Beyond “Natural and “Cultural” Heritage: Toward an Ontological Politics of Heritage in the Age of the Anthropocene. Heritage & Society, Vol. 8 No 1, May, 24-42.
Harrison, Rodney. 2013. Heritage: Critical Approaches. Routledge: Abingdon and N.Y.
Holtorf, Cornelius and Graham Fairclough. 2013. The New Heritage and the re-shapings of the past. In Reclaiming Archaeology: Beyond the Tropes of Modernity, edited by Alfredo González-Ruibal, pp. 197-2010. Routledge: Abingdon and New York.
Latour, Bruno. 2004. Politics of Nature. Cambridge, Mass: Harvard University Press.
A position paper (no. 3) presented to the CHIME project team meeting, Amsterdam Conservatory, February 4 2016
Elsewhere, in a research project with the title From Working Space to Theatre Space: the user perspective, I am working on the question ‘How adaptive re-use of heritage sites can re-signifie the various values and meanings connected to these sites and the cultural events that take place there.’ With the help of audience research I aim at gaining insight in the relationship between the perception of (in this particular case industrial) architectural theatre spaces and the perception of theatrical events hosted there. It becomes clear that an important aspect in visitors’ experiences when it comes to cultural heritage sites, is cultural memory. My results from focus groups illustrate that memory can be present at different levels and take up different roles in audience experiences. The responses of audience members in the above mentioned audience research indicate that memory can become part of the experience for example by:
- Having direct memories of the place;
- Knowing the place as (an important) part of history;
- Being reminded of similar situations;
- The place symbolizing an era;
- The place activating related memories;
- The place activating the imagination;
- The place provoking curiosity.
It seems that the relationship visitors have to the place or location is an important factor in determining the role that cultural memory can or will play, and this also goes for the attitude audiences have towards the art form concerned. So, when studying the intertwining relationship between jazz festivals and heritage locations, it becomes important to gain insight in questions like:
- Are audiences familiar with the place and its history?
- How familiar are audiences with the historical narratives attached to jazz?
- What values do audiences attach to the location/landscape and to jazz music?
It is doubtful that a lot of festival organizations will have any data available concerning these questions, since even more plain audience statistics do not seems to be generally available. CHIME might have a task here, starting with the selected case studies.
It would also be interesting to confront these questions with festival organizations’ mission & vision towards the relationship between music and place and audiences and place (if any), to evaluate up to what extend festival organizations are aware of their potential and their actual impact concerning the (re)-use of heritage.
For example, what kind of audiences is targeted at?
- (Yearly) returning audiences?
- Incidental festival audiences?
- Local audiences?
- Tourism targeted audiences?
- Pluriform audiences?