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.
This article looks at a remarkable cluster of popular musicians who contracted and survived poliomyelitis ('infantile paralysis') epidemics through the twentieth century, and ways in which they managed and, to varying extents, explored their polio-related impairments and experiences in their music. Drawing on medical history and disability studies, it focuses largely on the pop and rock generation of polio survivors -the children and young people from the 1940s and 1950s who were among the last to contract the disease prior to the successful introduction of mass vaccination programmes (in the West
This article explores site-specific heritage questions of the contemporary cultural practice of festivals of jazz-a key transatlantic music form-by bringing together three areas for discussion and development: questions of slavery heritage and legacy; the location, built environment and (touristic) offer of the historic city; and the contemporary British jazz festival, its programme and the senses or silences of (historical) situatedness in the festival package. Other artistic forms, cultural practices and festivals are involved in self-reflexive efforts to confront their own pasts; such are discussed as varying processes of the decolonisation of knowledge and culture. This provides the critical and cultural context for consideration of the jazz festival in the Georgian urban centre. Preliminary analysis of relevant jazz festivals' programmes, commissions and concerts leads to interrogating the relationship-of silence, of place-between jazz in Britain, historic or heritage locations and venues, and the degree or lack of understanding of the transatlantic slave trade. The heritage centres clearly associated with the slave trade that also have significant (jazz) festivals referred to include Bristol,
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