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Report of the Europe Jazz Network General Assembly Hosted by Midtnorsk Jazzsenter & Trondheim Jazz Festival Trondheim, Norway 13 - 15 September 2013 ! !2 Europe Jazz Network General Assembly Hosted by Midtnorsk Jazzsenter & Trondheim Jazz Festival Trondheim, Norway, 13 - 15 September 2013 !Reporter: Martel Ollerenshaw ! Index ! !PRESIDENT’S WELCOME 5 !OVERVIEW 6 !FRIDAY 13 SEPTEMBER 2013 6 Session 1: 30 years of jazz education in 30 minutes, by Erling Aksdal 7 Session 2: Improbasen, by Odd Andre Elveland 8 Session 3: Voss Jazzskule, by John Andrew Taylor 9 Session 4: Official Opening of 2013 Europe Jazz Network General Assembly 10 Session 5: "Selling Candles, or Selling Light?” 12 Session 6: “Not Filling a Bucket, but Lighting a Fire” 14 ! !SATURDAY 14 SEPTEMBER 2013 18 Session 7: “And what about the audience? 18 Session 8: What do we know about our existing audiences? 21 Session 9: How can we reach new audiences by creating unique experiences? 24 Session 10: EJN looks forward: Future projects. 25 Session 11: WOMEX: The World Music Expo 27 Session 12: Formal General Assembly 28 AGENDA 28 1. Election of the moderator and reporters 29 2. President's welcome 29 3. Minutes & report of the Bari General Assembly 2012 30 4. Annual report 2012 31 5. Annual accounts 2012 31 !3 6. One year budget and work plan 2013 31 7. Philanthropy Working Group report 32 8. EJN three year (2014 - 2016) work plan 33 9. Incoming proposals 36 10. Election for the Board 36 11. Election for the election committee 2014 37 12. GA 2014 announcement 37 13. Any other business 38 ! !EJN GA PARTICIPANTS & EJN MEMBERS 39 !APPENDIX A: “Selling Candles or Selling Light?” A Provocation by Gerry Godley 43 APPENDIX B: EUROPE JAZZ MEDIA Meeting 56 (Notes from the Europe Jazz Media meeting by Madli-Lis Parts) !4 ! President’s Welcome ! ! ! !Dear Europe Jazz Network Members It was a huge pleasure for me to see such a wide participation of the EJN members in our General Assembly in Trondheim. We had more than 100 representatives from member organisations, and !when it comes to the number of participants, it was the biggest EJN GA ever. We had an active, inspirational and productive event with very interesting sessions, discussions and project proposals from the members. It seems to me the EJN will be able to start several new activities and projects that will benefit all the members. The year 2013 was the last financial year of the three-year EU funding for the network. The public calls for the creative Europe Programme 2014 - 2020 are now available, and the EJN board and !staff will actively work on the development of the network and the content of the application. Our network with its 90 members in 27 countries is one of the biggest and strongest culture networks in Europe. Thanks to the foresight of the members, our network has a lot of activities and project ideas to work towards. That’s why I’m optimistic about the success of our next !funding application for the EU. In September 2014 the EJN will gather in Helsinki, Finland. I’ll be happy to welcome you all to my home country and I’m sure that you’ll enjoy the friendly atmosphere of our capital city, the !interesting seminar programme and the marvellous Finnish music at the Jazz Finland Festival. On a very sad note, in November 2013 one of the key figures of our network and the whole European jazz scene, a long time EJN member, a generous host of the general assemblies in 2005 !and 2010, Mehmet Ulug passed away. Rest in peace, Mehmet. We all miss you so much. Yours, ! Annamaija Saarela President !Europe Jazz Network ! ! !5 OVERVIEW Friday 13 September 2014 ! !General Introduction The 2013 General Assembly began with a welcome to Norway by Kristin Danielsen, chairperson of Norwegian Jazz Federation, who welcomed the EJN and its members to Trondheim and was keen to dispel many of the clichés surrounding Norwegian jazz. She stated that the length of the country was one of the most important aspects – and that if you tipped the country upside down, it would extend to the same latitude as the heel of Italy, a fact that impressed and enlightened as well as inferring that the country and its music shares the same propensity for diversity as other countries. This was emphasised with the facts that each city within Norway has a strong identity which is illustrated in the music and the music education. The GA host city, Trondheim, was one of the premiere examples of this – a city with a strong identity which also has a strong education agenda and provision. It is a well-known fact that most of the prominent contemporary musicians in jazz in Norway have had the benefit of a Trondheim education – a fact which makes the city proud. !6 ! Presentation of innovative approaches to jazz education for Norway ! !Session 1: 30 years of jazz education in 30 minutes by Erling Aksdal, Head of Jazz Performance Programme Department of Music Norwegian !University of Science and Technology, NTNU Erling Aksdal provided a snapshot of the Trondheim education successes with ‘30 years in 30 minutes’. He likens the education of music to learning a language – the values that are most !prized are enthusiasm, desire, way of learning. Norway is a country of five million people in a sparsely populated but large geographical area with isolated small villages and cities. It is an egalitarian society with few class differences and strong !individual identities. Although there is no music education at primary school level, secondary school education includes music and dance and at tertiary level, there is a lot of music education including five !conservatoires and one music academy, all of which have jazz programmes. Students in Higher Education operate in a system that is free as it is funded by the government. There are 300 students enrolled in rhythmic music and most of these are men (in contrast to the overall student body which is mostly women). Following this there is the Artist Research Fellowship Programme (similar to a PhD and will attain this status soon) and the Norwegian !Artistic Research Fellowship Programme which is purely artistic. In addition to the free education outlined above, there is pre-college level training for gifted students as well as Municipal Cultural Schools, some of which are state funded and some require a small fee. Completing the equation are private schools including Norwegian Folk High Schools (the equivalent of boarding schools in other countries) which importantly, encourage the !development of personalities. There is a lot of music education at tertiary level but some would consider that these are not providing tuition that is in synch with the way that musicians think and this is where NTNU has been able to be so successful. Since 1979, 300 students have graduated, making it the largest and oldest programme for jazz in Norway where you can study for a BA, MA and a Norwegian Art Research Fellowship programme. NTNU prides itself on a diversity of output and the diversity of the students who come from a wide variety of musical backgrounds – pop, jazz, Balkan, et al. Classic characteristics of these musicians are that they are self taught, specialists in real-time decision making and thrive when in interactive environments with other real-time decision makers. !They are also self employed and have an expansive outlook. In terms of what the NTNU offers, it believes that in order to be successful, it is important to ask questions, not impose a structured curriculum. Questions include: What is a jazz musician? How !do they learn? How best to educate? !How does a jazz musician learn? • Listening (language acquisition) • Intense motivation (desire) • Playfulness (gaining ownership of material) !7 • Peer to peer learning through hands-on activities (not master-apprentice relationship) ! Sonny Rollins says: ‘I don’t give lessons but you can come and practise with me.’ !How best to educate? • Create a learning environment (more than an institution) • Coaching (more than teaching) • Emphasising pedagogy • Individual expression/identity (an identity comes out through the work) • Training in entrepreneurship ! • Training in new technologies !What else? • Self perception – the student is both the resource and the product (human resource/ human product) • No transferrable knowledge base (except the art itself) just another musician (pedagogy being the exception) • Lifelong learning • Copying to be ‘free’ not to be ‘god like’ (compare with language learning, syntax, grammar, etc) ! • Identification with strong motivational force !Other issues that are addressed at NTNU: • Diversity versus Versatility (Individual or group outcome?) • Genres – no taxonomy • INI – Instrument Notation Interpretation versus GRM – Generative Real Time Music • Innovation – a borrowed value from science and technology – is it an exaggerated value in ! the fields of art and culture? Never an institution to rest on its laurels, NTNU has started or become part of a number of new !initiatives, including: • Europe Jazz Mentors (EUJAM 2010) (Vienna, Berlin, Copenhagen, Paris and Trondheim) • New Teacher Education (pending) • Strengthen training in entrepreneurship (2012) • International branding of the jazz performance programme (ongoing) ! • Improve the gender balance via new admissions practice and procedure (ongoing). ! !Session 2: Improbasen !by Odd Andre Elveland !Improbasen – the base on which you can improvise. Odd Andre works in a private school in the Oslo area and conducts lessons and band rehearsals every week. Some students are quite experienced but for this demonstration those students were left at home in favour of less experienced students including Olivia (drums), an 11 years old who has played for two weeks (including accompanying Odd Andre’s presentation). !8 ! Improbasen’s focus is on local children and is open access - everyone can come to Oslo or they can come to workshops all over Norway and abroad to learn this method of music teaching.

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