Jazz Festival Research Articles

An IPA Analysis of Tourist Perception and Satisfaction with Nisville Jazz Festival Service Quality

This paper applies Importance-Performance Analysis (IPA) to investigate potential satisfaction or dissatisfaction with service quality at the internationally recognized Nisville Jazz Festival. The research was conducted using the Statistical Package for Social Sciences (SPSS) software version 20, including the Kolmogorov–Smirnov test, factor analysis, one-way analysis of variance (ANOVA), and Principal Component Analysis (PCA) with Varimax rotation for data analysis. The study involved 250 festival attendees, focusing on their motivation and identification of both tangible and intangible attributes of the festival, with 227 providing valid responses to the survey questionnaire. The Service Quality Model (SERVQUAL) was used to identify quality factors. The results indicate that cultural content and hospitality are the most important factors significantly contributing to visitor satisfaction and positively influencing recommendations and repeat visits to the festival. Another important factor in the study is accessibility, while comfort, amenities, safety, and cleanliness require improvement to enhance the overall visitor experience. The findings provide concrete guidelines for the further development of the festival and the enhancement of the tourism offerings in Nis.

Mahalia Jacksonin musiikin ja hänen gospellaulutyylinsä saapuminen Suomeen 1950–1960 luvuilla

Mahalia Jackson (1911-1972), “The World’s Greatest Gospel Singer”, broke path for the worldwide popularity of African American gospel music. Her European concert tours never reached Finland, but since the 1950s, Finnish audiences have been able to listen to her music via recordings, radio, film and other media. This article explores the ways in which Jackson’s music came to Finland in the 1950s and 1960s. Furthermore, the article shows how the early marketing of her records and music critics’ excited reception of her gospel vocal expression sought to shape local audiences’ listening experiences and appreciation for the artistic merit of her music. This article is based on a study of various sources including advertisements, music reviews, correspondence and other archival materials, recordings, Jackson’s performance at the 1958 Newport Jazz Festival and the film Jazz on a Summer’s Day (1959). This article shows that when Mahalia Jackson’s music came to Finland, her gospel vocal expression was recognized for its powerful spirituality and emotional impact on listeners. Yet the ways in which her music was presented to Finnish audiences was often mystifying, decontextualized and guided by the interests of music industry actors. This limited the ability of local listeners to understand the cultural and historical meanings of her gospel vocal expression. At the same time, however, the enthusiasm and admiration demonstrated by music critics paved the way for the enduring influence of Mahalia Jackson’s music in Finland.

Breaking boundaries in festival programming

In Germany, the modern jazz festival programmer descended from earlier multifaceted roles established during the interwar and war periods as cultivated by both German and international jazz critics, record collectors, and impresarios. While impresarios historically occupied multiple roles as fans, critics, and producers; they often inhabited the quintessential cosmopolitan role of (white) male jazz critic and discoverer of Black musical creativity. This article examines the impact of the legacy of this archetype in the German context, with the case study of JazzFest Berlin. In particular, we trace the particular contours of Joachim-Ernst Berendt’s (1922–2000) embodied enactment of masculinity within the postwar German jazz festival world, beginning with the seminal founder of the JazzFest Berlin. Drawing on feminist initiatives of the first American women jazz organizers, we compare this female-centric legacy with the particular style and ideologies created by Berliner Jazztage programmer Nadin Deventer, the first female programmer of this historic festival, who brings an innovative and socially engaged approach, in part by staging less constrained gender expectations. Through interviews and an examination of publications, programme reviews, and more, we reveal how the figure of the jazz impresario has been disrupted by increased attention to the roles of professional women programmers who consciously embrace diverse competencies and seek greater recognition of the intersectional barriers for women, women of colour, and foreigners within the German jazz scene.

Disassembling the gendered archetype of the male jazz impresario in the United States

In the United States, jazz impresarios historically inhabited the quintessential cosmopolitan role of (white) male jazz critic and intrepid discoverer of Black musical creativity. This article explores the once entrenched and yet recently challenged gendered and cultural dynamics surrounding the powerful jazz impresario role in an era transitioning from a local individualized coterie of fans and critics with liberal socio-cultural politics to a more specialized, transnationally networked world of professionalized music agents and institutions. To trace this role, the seminal jazz impresarios John Hammond and George Wein are recollected, uncovering their particular embodied enactment of masculinity within the American jazz presentation and festival world. Through second-wave feminist initiatives, a critical counterpoint to this prominent role is explored, including the efforts of pioneering Black musicians and composers Melba Liston and Mary Lou Williams in the 1960s, the first Women in Jazz Festival programmers Carol Comer and Dianne Gregg during the 1970s and 1980s, and the tireless efforts of record label owner, critic, and concert promoter Rosetta Reitz during the 1980s and 1990s. These contrasting legacies set the stage for new avenues of curatorship and jazz presentation which take into account intersectional obstacles and experiences of both women in jazz as well as women behind the scenes in the American jazz music industry.

COVID-19 Pandemic Effects on Student Efficacy in Jazz Performance and Improvisation in Secondary School Musicians

Abstract: This study investigated the effects of the COVID-19 pandemic on secondary students' self-efficacy in jazz performance and improvisation. Students ( n = 38) from secondary-school jazz ensembles attending a jazz festival in a Southwest state participated in a questionnaire about their perception of achievement in jazz performance and improvisation during the 2020–2021 school year with COVID-19 restrictions in place and the year after when restrictions had been eased. Jazz ensemble directors ( n = 8) were interviewed about their experiences and positive and negative outcomes of the two years pertaining to students' self-efficacy. A paired two-tailed t-test revealed that students had a significantly higher self-efficacy perception after restrictions were lifted in jazz performance and improvisation. Directors reported increased competency with technology and a drop in enrollment in their jazz ensembles. Directors also experienced a shift in their educational philosophy, opting for a more empathetic as opposed to a results-based approach to student achievement.

40510 The Prevalence of Sunscreen Use in Jazz Festival Attendees

40510 The Prevalence of Sunscreen Use in Jazz Festival Attendees

Laugh—cry, eat—drink, dance! Tracing belonging through cartographies of joy

SummaryThis article explores joy, identity, and belonging at the New Orleans Jazz and Heritage Festival through an ethnographic project inviting festgoers and staff members to draw, sketch, or map their experiences and journeys through festival landscapes. Building on scholarship in visual, humanistic, and post‐humanist anthropology, we view map‐making as an emergent strategy for performative epistemology, a way of making and thinking together. In a festival with a strong visual culture that centers African American music and cultural heritage, drawings often reflect racialized landscapes and subjectivities. Maps reveal the centrality of affect in festival experiences while affording insights into what makes joy complicated. For some, festival sociality brings those tensions to the fore while making it possible for others to imagine a world otherwise.

Deciphering of the Architectural Program and Reprogramming: The Taşhan Region as a Critical Urban Point

This study discussed the deciphering of the architectural program, and the relevant concept of intermediate space within architectural production, and it questioned reprogramming through the concept of intermediate space. The study covered the Taşhan Street and neighboring locations in the Turkish city of Afyonkarahisar. It was based on assessing and discussing the existing programming and reprogramming dynamics in the Taşhan Region, which is functionally developed for craftsmanship, and contributes to the art and culture of the region. At the end of all these discussions, the program, 'depending on the venue and the user; It was defined as the 'sequence of frozen events occurring in moments' and the moments when these events occurred, their potential situations in places were revealed by reprogramming method. In the context of taking momentary sections in Taşhan Region; The methods of observation made in certain time periods (on weekends with high visitors, between 12:00 and 17:00, in the evening when the jazz festival is held) in the spaces in the region and interviewing with the users of the space were used to decipher the architectural program. Another scientific method used in the study is to make content analysis of the space theories put forward in the conceptual context and to reveal the evaluation criteria of the architectural program of the Tashan Region with the sub-concepts obtained within the framework of the text-based analysis method. While deciphering the architectural program, the conceptual analyses of the space theories proposed were conducted in parallel with the aim of the study, and the assessment criteria for the architectural program in the Taşhan Region were presented by using the sub-concepts revealed following the analyses. In conclusion, based on the momentary sections from the actions that occurred in the Taşhan Region, spatial flexibility in meeting needs to be increased and the relationship between users and spaces was enriched with reprogramming.

146 Keynote: Jim Vincent and Inhalable Dust

Abstract Jim Vincent was truly a modern-day Renaissance man. An accomplished jazz and classical pianist and composer, who performed with some of Europe's top improvisers, making appearances at major jazz festivals and in BBC broadcast concerts. However, his legacy lies elsewhere. He graduated in physics at the University of Durham with first-class honours in 1962, proceeding to a PhD in 1966. After jobs in academia and industry, in 1979 he became Head of Physics at the Institute of Occupational Medicine (IOM) in Edinburgh. He took over a research team that had been working on sampling of dusts for studies of the risks of lung disease in coal miners and other workers. Jim’s team defined the sampling criteria for the aerosol that can be inhaled into the nose or mouth, in collaboration with other European scientists and, in 1986, published the description and experimental characterisation of the IOM Inhalable Dust sampler. This sampler has been recommended for measuring dust exposure in workplaces around the world. Its design, which the IOM patented, has remained essentially unchanged for almost 40 years. Jim’s academic and professional achievements spanned an enormous breadth, but his legacy is his contribution to the way we sample hazardous aerosols.

Perencanaan Manajemen Seni Pertunjukan Ubud Village Jazz Festival

Purpose: This article aims to find out how to plan the management of performing arts at the Ubud Village Jazz Festival. Management is the main thing in every performing arts performance starting from pre-production to post-production. Method: The method used in this writing is a qualitative method with a descriptive presentation. Data obtained by interviews and literature review, which will then be analyzed through triangulation from raw data collection, selection, processing to drawing conclusions. Results and discussion: The Ubud Village Jazz Festival was made out of concern, where the founder felt that there was a period of jazz music that had been forgotten and caused the loss of the true identity of jazz music. The findings in this article show that management planning is carried out by setting goals, designing budgets, looking for sponsors by looking at previous year's activities, making timelines, deadlines, job descriptions, hiring outsourcing and recruiting volunteers to support the achievement of the goals of UVJF activities. Implication: Good management planning for the Ubud Village Jazz Festival is also a means to educate the public about jazz music, help the economy of the surrounding community in Ubud, and more than that to show the identity of the jazz festival.

Measuring the Audience Experience at the Jazzaldia Festival, San Sebastian, Spain

Audience research in the cultural sector has been increasingly gaining the attention of researchers and practitioners. This article explores audience experience as an interactive cocreated process between audiences and the program offer in the jazz festival context. As a result of this interaction, each such experience is unique, and the perceived value differs from one to the other. Inspired by previous research on audience experience in the field of theater performances and musicals, we applied the Art Audience Experience Index to the context of jazz festivals, in this case, a well-established and successful Basque festival: Jazzaldia Festival, San Sebastián (Spain). The Index measures four indicators: Knowledge, Risk, Authenticity, and Collective Engagement. These were utilized to identify cocreation links between festival setting features (paid vs. free admission and indoor vs. outdoor venue) and audience profiles (education level and music background). The results are obtained from 406 valid questionnaires and reveal the importance audiences give to their live music experience in general, and their satisfaction with jazz concerts in relation to festival concerts' admission, type of venue, participants' educational level, and music background. This study contributes to the body of knowledge on audience experience in jazz festivals by employing a tested methodological tool that has not been previously applied in the concert or festival setting. Furthermore, our work may help cultural managers acquaint themselves with their audiences to a greater extent, and incite reflection on interventions that might enhance the experience of their audiences.

Summer of Soul

Summer of Soul

Enhancing inclusivity and diversity among cathedral visitors: the Brecon Jazz Festival and psychographic segmentation

ABSTRACTA series of previous studies concerned with the psychographic segmentation of visitors to six cathedrals across England and Wales, employing psychological type theory, reported highly similar results, suggesting that cathedrals had a well-defined, but somewhat restricted appeal. Several cathedrals are attempting to widen their appeal by engaging a variety of events or exhibitions. Taking one specific example, the Brecon Jazz Festival, the present study found that 196 visitors to Brecon Cathedral during this period differed significantly from the standard psychological type profile of cathedral visitors in two ways. There were significantly more intuitive types (41% compared with 28%) and significantly more perceiving types (27% compared with 20%). These findings demonstrate that specific events have the capacity to widen the psychographic appeal of cathedrals.

Two Simones at Montreux

This article weaves Nina Simone’s 1976 concert and Lisa Simone’s 2016 concert at the Montreux Jazz Festival with the author’s life experiences. Despite multiple shifts between historical period and person, attention to the dangers of racism and the hope for liberation persist throughout the festival experience.

Reincarnation of an Egyptian queen

This article proposes Nina Simone as an Afrofuturist artist who explores themes of utopia and dystopia in connection to posthuman discourses. Having established three main ways in which this is a speculative approach, it then explores gaps in existing theories of posthumanism and Afrofuturism. It also considers work that addresses the omission of female musicians in Afrofuturist theory and proposes alternative theories in the form of speculative fiction and Black utopias. The article discusses Simone’s frequent allusions to Egyptian myth, her self-identification as a ‘robot’ and her interest in other planets, planes and spheres. It argues that, beyond the unexplored parallels with ‘classic’ Afrofuturism, there is a sense of dystopianism, apocalypse and reterritorialization throughout Simone’s mature work. To explore these connections, three case studies are used: the 1969 album Nina Simone and Piano!, the song ‘22nd Century’, and Simone’s performance at the 1976 Montreux Jazz Festival.

Beyond a Lush Life: Representation and Performativity at America's [Only] Queer Jazz Festival

Beyond a Lush Life: Representation and Performativity at America's [Only] Queer Jazz Festival

Sons of Kemet, Gorilla, Manchester, United Kingdom—February 19, 2022

Sons of Kemet, Gorilla, Manchester, United Kingdom—February 19, 2022

Pioneer Valley Jazz Shares, Connecticut River Valley, Western Massachusetts, United States

Pioneer Valley Jazz Shares, Connecticut River Valley, Western Massachusetts, United States

Values of Local Wisdom Contained in the Dieng Culture Festival (DCF) in Banjarnegara to Build National Character

Culture has a fairly broad scope, one aspect that is closely related to culture is local wisdom which contains many values in it. This research is motivated by the negative influence of the globalization era, namely consumptive lifestyles, individualistic attitudes, westernized lifestyles and social inequality. The purpose of this study was to determine the values of local wisdom contained in the Dieng Culture Festival (DCF) in Banjarnegara to build the character of the nation. This research is a descriptive qualitative research. Data collection techniques using interviews and documentation. The data analysis technique uses data collection, data reduction, data presentation and drawing conclusions. The results of this study indicate that the values of Local Wisdom contained in the Dieng Culture Festival (DCF) in Banjarnegara to build the nation's character are that (1) The implementation of the Dieng Culture Festival which consists of various activities such as cultural carnival, cutting dreadlocks children's hair, ngalab procession Blessings, lantern and jazz festivals have a special meaning in each of their activities. (2) The values of local wisdom contained in the Dieng Culture Festival are religious values, aesthetic values, mutual cooperation values, tolerance values and moral values. (3) The values of local wisdom contained in the Dieng Culture Festival can be used to build the nation's character. However, there is a need for strong education in the community, a sense of caring for others and a positive mindset for everyone.

Quand se glisser dans la peau c’est s’immiscer dans la peau : antinoircité, proximité, résistance et le cas du spectacleSLĀV

SLĀV is a musical stage play directed by Robert Lepage, and based on recordings by singer Béatrice “Betty” Bonifassi. The recordings are Bonifassi’s reinterpretations of music composed by enslaved and incarcerated African Americans—that is Black people labouring under, and resisting, the conditions of slavery and its afterlife. Though Lepage and Bonifassi promoted the show as an homage to Black people, SLĀV opened at the 2018 Montreal International Jazz Festival to protests by the SLĀV Resistance Collective, accusing it of cultural appropriation. SLĀV was eventually cancelled as Black artists began pulling out of the festival. Unsurprisingly, Lepage, Bonifassi and much of the Quebec public accused the protestors of censorship, and of misunderstanding Quebec’s unique context. Situating its analysis within the field of Black Canadian Studies, in this article Howard examines the discourse around SLĀV as manifested through the words of Bonifassi, Lepage, journalists, and commenters. Howard argues that SLĀV instantiates the broader context of antiblackness in Quebec, and pays particular attention to gestures of inclusion and proximity consistent with modes of slavery and its afterlife in New France/Quebec. These gestures attempt to contain Blackness within national, linguistic, and other boundaries, disciplining the ways it is allowed to assert itself. Black resistance must therefore defy these boundaries and claim solidarity between and across variously located Black people.