[JRJ 10.1-2 (2016) 126-152] (print) ISSN 1753-8637 doi:10.1558/jazz.v10i1-2.28344 (online) ISSN 1753-8645 ‘We try to have the best’: How nationality, race and gender structure artists’ circulations in the Paris jazz scene Myrtille Picaud1 Centre Européen de Sociologie et de Science Politique, Ecole des Hautes Etudes en Sci- ences Sociales, Paris, France
[email protected] Abstract This article examines how international circulations of jazz artists in the Parisian jazz scene are structured by hierarchies based on the artists’ nationalities, gender and ‘race’. To do so, the author first describes which artists are showcased in the capital’s clubs and festivals in terms of gender, nationality and country of residence. This shows that the well-known venues in Paris book (male) American rather than French or other artists, and that their added symbolic value is simultaneously economic. Finally, the article cen- tres on how the artists are presented in two specific festivals, revealing that even though ‘otherness’ and value are constructed along racial and gendered divides, they are also informed by artists’ nationality. Indeed, the dominant position of the United States and the opposition between the Western world and the global South are strongly dramatized within jazz in France, which shows some proximity to the ‘world music’ scene. Keywords: gender; international circulations; music scene; nationality; Paris; place; statistics Introduction Jazz, in its various incarnations, spans different social categories, from race to class, gender to generational interest. A simple visit to any European jazz festival today would reveal the music’s abil- ity to reach different audiences and to speak for a diverse range of people.