This new free report co-authored with Dr Elizabeth Bennett is a key output of the UEA’s AHRC-funded project Public Culture and Creative Spaces, part of the Connected Communities programme. It links with a conference we organised on street music, and was launched at that conference on May 13 2019.
From the introduction: ‘The purpose of this report is to chart and critically examine available writing about the historical and contemporary presence of street music in the cultural landscape and our shared public spaces, drawing on both academic and ‘grey’/cultural policy literature in the field. The review presents research findings under the headings of: history – cultural policy and legislation – street music advocacy and campaigning – place-making, space and community – protest and social movements – creativity: performers, performance, and audience – festivals, carnival, live and outdoor arts. The report concludes with a set of future recommendations for research. To accompany From Brass Bands to Buskers, a substantial annotated bibliography has been produced, which is also freely accessible online.’
You can download a FREE copy of From Brass Bands to Buskers by clicking here. A number of paper copies are also available, free; if you would like one get in touch.
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, Cheltenham, Edinburgh, Glasgow, Hull, Lancaster, Liverpool, London, and Manchester.
signage to other jazz festivals, at Cheltenham Jazz Festival, Montpellier Gardens (note elegant Georgian townhouses, right background)