Further thoughts, and a maniFESTo, on jazz (festivals) and the decolonization of music

George McKay

doi:10.1558/jazz.43867

Further thoughts, and a maniFESTo, on jazz (festivals) and the decolonization of music

George McKay

Research output: Contribution to journal › Article › peer-review

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Abstract

This short critical-creative piece originates in an EU-funded project on heritage in improvised music festivals (CHIME). It is a supplement to other recently published research by the author exploring the relation between the touristic offer of certain British jazz festivals and their lack of engagement with the significance of their own civic setting and heritage, focused on festivals held in Georgian or Regency locations (i.e., ones with strong links to the transatlantic slave trade). It explores and metaphorizes the double bass and its transatlantic resonances. It concludes with a small provocation in the form of a manifesto, aimed primarily at jazz festival directors.

Original language	English
Pages (from-to)	215-223
Number of pages	9
Journal	Jazz Research Journal
Volume	14
Issue number	2
DOIs	https://doi.org/10.1558/jazz.43867
Publication status	Published - 16 Dec 2021

Keywords

festivals
slavery
heritage
history
musical instruments
materiality
manifesto
double bass

UN SDGs

This output contributes to the following UN Sustainable Development Goals (SDGs)

Access to Document

10.1558/jazz.43867

McKay Further thoughts and a manifesto repository version JRJ 2022Accepted author manuscript, 276 KB

Cite this

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title = "Further thoughts, and a maniFESTo, on jazz (festivals) and the decolonization of music",

abstract = "This short critical-creative piece originates in an EU-funded project on heritage in improvised music festivals (CHIME). It is a supplement to other recently published research by the author exploring the relation between the touristic offer of certain British jazz festivals and their lack of engagement with the significance of their own civic setting and heritage, focused on festivals held in Georgian or Regency locations (i.e., ones with strong links to the transatlantic slave trade). It explores and metaphorizes the double bass and its transatlantic resonances. It concludes with a small provocation in the form of a manifesto, aimed primarily at jazz festival directors.",

keywords = "festivals, slavery, heritage, history, musical instruments, materiality, manifesto, double bass",

author = "George McKay",

note = "This article is dedicated to the memory of John Cumming (1948-2020), co-founder of the London Jazz Festival. John was a brilliant and energetic creative producer, a deep thinker about the music and its social significance, as well as an enthusiastic supporter of jazz studies. The ManiFESTo was delivered previously at the 6th Rhythm Changes international jazz conference in Graz, Austria in 2019 and during a keynote lecture at during the Preston Jazz Festival at UCLan the same year. Many thanks to the organizers. This work originates in research for the EU Cultural Heritage programme-funded CHIME project and I am grateful to the project team for insights and support. I also owe thanks to Dr Gina Arnold, my co-editor on The Oxford Handbook of Punk Rock, for, during the course of many punk-related conversations in recent years, she generously introduced me to the creative and critical possibilities of writing a manifesto, which I have attempted to translate into jazz studies.",

year = "2021",

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language = "English",

volume = "14",

pages = "215--223",

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AU - McKay, George

N1 - This article is dedicated to the memory of John Cumming (1948-2020), co-founder of the London Jazz Festival. John was a brilliant and energetic creative producer, a deep thinker about the music and its social significance, as well as an enthusiastic supporter of jazz studies. The ManiFESTo was delivered previously at the 6th Rhythm Changes international jazz conference in Graz, Austria in 2019 and during a keynote lecture at during the Preston Jazz Festival at UCLan the same year. Many thanks to the organizers. This work originates in research for the EU Cultural Heritage programme-funded CHIME project and I am grateful to the project team for insights and support. I also owe thanks to Dr Gina Arnold, my co-editor on The Oxford Handbook of Punk Rock, for, during the course of many punk-related conversations in recent years, she generously introduced me to the creative and critical possibilities of writing a manifesto, which I have attempted to translate into jazz studies.

PY - 2021/12/16

Y1 - 2021/12/16

N2 - This short critical-creative piece originates in an EU-funded project on heritage in improvised music festivals (CHIME). It is a supplement to other recently published research by the author exploring the relation between the touristic offer of certain British jazz festivals and their lack of engagement with the significance of their own civic setting and heritage, focused on festivals held in Georgian or Regency locations (i.e., ones with strong links to the transatlantic slave trade). It explores and metaphorizes the double bass and its transatlantic resonances. It concludes with a small provocation in the form of a manifesto, aimed primarily at jazz festival directors.

AB - This short critical-creative piece originates in an EU-funded project on heritage in improvised music festivals (CHIME). It is a supplement to other recently published research by the author exploring the relation between the touristic offer of certain British jazz festivals and their lack of engagement with the significance of their own civic setting and heritage, focused on festivals held in Georgian or Regency locations (i.e., ones with strong links to the transatlantic slave trade). It explores and metaphorizes the double bass and its transatlantic resonances. It concludes with a small provocation in the form of a manifesto, aimed primarily at jazz festival directors.

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KW - materiality

KW - manifesto

KW - double bass

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Further thoughts, and a maniFESTo, on jazz (festivals) and the decolonization of music

Abstract

Keywords

UN SDGs

Access to Document

Other files and links

Rhythm Changes VI international jazz conference, Jazz Journeys

Cite this

Further thoughts, and a maniFESTo, on jazz (festivals) and the decolonization of music

Abstract

Keywords

UN SDGs

Access to Document

Other files and links

Activities

Rhythm Changes VI international jazz conference, Jazz Journeys

Cite this