World Jazz Conference celebrates successful first online edition

(download the overview in .pdf here)

The jazz ecosystem across the globe is imploding. Amersfoort Jazz Festival, celebrating its 42nd birthday in 2020, 15-year old partner JazzNL and IKS Cultural Consulting joined forces at the annual World Jazz Conference to assess this situation and explore ways to help the international jazz community survive.

On Friday, November 20, the Conference kicked off its first ever online edition, bringing Amersfoort and Johannesburg into the same room. With streaming studios built in both cities and attendants such as Gail W. Boyd and Sylwester Ostrowski checking in from all over the world, 10 laureates from several participating countries presented their music online. None other than Wynton Marsalis himself delivered the opening statements for this edition, voicing his understanding and support for the troubles our community faces.
Over 250 jazz enthusiasts joined the livestream as spectators.

Almost every participant opted out of using a slideshow type of presentation during the conference, maintaining an open and interactive discussion and keeping our stories relatable for all attendees – delegates, jazz enthusiasts and musicians alike. Whether intentional or not, this aspect of our first online edition highlighted the organization behind Amersfoort Jazz as a musicians’ festival: everyone is allowed their space to let their voice be heard.

In short: the organization behind WJC has proven to be ready for the future. And what a future it will be… with coronavirus ruining the 2020 festival summer and uncertainty still being widespread, how do we proceed? How do we make sure our community survives this crisis together and how can we make sure that we all emerge alive and kicking when it’s over? Determining a vision for the future was key for this year’s conference program. But that vision did not come from thin air. IKS conducted extensive research among festival organizers and promoters across the globe and compiled the World Jazz Festival Network Impact Survey Report, trying to pinpoint past, current and future scenarios for our community.

Seeking relief

Starting out with the thought that crossed pretty much every jazz cat across the world’s mind over the last nine or so months, the first question was: ‘What the %$#^* just happened?!’ followed by ‘And what do we do now?!’. As jazz musicians and enthusiasts, we understand the power of improvisation – flexibility and resilience is in our nature. But we cannot brave this storm alone. We need help, but as it turns out, relief systems are as similar as they are different in every country.

Bradley Williams, of The Artivist in Johannesburg, SA stated that the COVID-19 crisis allowed his organization to engage with his government, where previously they were deemed too small to be a sparring partner. Now, they work together to seek relief and craft long-term solutions towards recovery, providing a potential positive takeaway for the future. Alexander Beets, our Amersfoort Jazz Festival director, explained that The Netherlands has made a whopping 780 million euros available so far, but that the government relies heavily on trickledown economics for that money to actually make it into any musician’s wallet. The result of this approach is that only a very small percentage of that sum actually helps to make a difference in any musician’s life.

Delegates from Australia and Thailand, for example, said that relief systems in their respective countries are still very much a work in progress. While the efforts of any government to protect their cultural sector is of course commendable, that provides for a very uncertain situation for musicians. In the US and India, most support comes from private and corporate sectors.

Taking matters into your own hands

Jazz musicians are generally not the type to wait around for something to happen. Why wait for someone to light your fire when you can initiate combustion? That attitude is very much alive among our delegates as well. Dutch saxophonist and educator Ben van den Dungen gathered a team around himself and presented the National Podium Plan, allowing Dutch jazz and world musicians to apply for funding when they have otherwise been deemed ineligible.

He has an enthusiastic ally in Anita Verheggen of Kunstenbond and Sena Performing Arts Fund, who is rallying with 42 organizations in the Dutch creative sector to advocate change and political support. “Everyone in the industry was always busy fighting for their own cause. Now, whether you’re a sculptor or a jazz musician, you’re on the same team, because we all need the same thing,” she explains.

In India, Mahesh Babu of Banyan Tree managed to raise a substantial sum through crowdfunding, supporting 1000 families across the country. “We have shown the importance of a common cause,” he explains. “We do not have a political support system for artists in India, but we have looked for and found ways to survive this together.”

New skills and technologies

To keep our industry afloat, both musicians and promoters have embraced technology to keep bringing music to their audiences. Every event professional has had to face the music and learn how to stream while venues were forced to close. Research by Jazzfuel, which was presented to delegates on the Friday of the conference, has shown that 49% of jazz musicians across the globe has done at least one live streaming gig and 37% was confident they would continue to do them after corona had left the building. Many survey participants also expressed that these strange times gave them the chance to up their admin- and funding application skills, which will hopefully provide them with new opportunities in the future.

The main issue with these online performances, of course, is monetizing them. “I really regret offering access to live streamed concerts for free,” Paul Pace, of the famous London jazz club Ronnie Scott’s sighs. “In a time where streaming music via Spotify is already the norm, we accidentally made it even harder for people to want to pay for music.” At the same time, online performances have allowed for new ways of working together between artists and venues. Raynel Frazier of Lincoln Center in the US, for example, explained: “We have actively looked for ways to promote talent and raise awareness of live stream events. Hoping, of course, that this extra engagement would lead to higher donations for artists.”

Lincoln Center colleague and Dizzy artistic director Georgina Javor weighed in about her experiences with streaming and revenue as well. “We offered Pay What You Wish tickets with a suggested price of 10$. Of course we were worried about whether we would find an audience that would pay for what we had to offer,” she starts. Javor and her team turned that worry around and made sure that what they had to offer was a great online experience that exceeded the expectation of ‘just another live stream’. “We really approached it like we were making a movie, like a unique experience. And 200 to 500 people tuned in each time, and there is a donate button and a payment link on every single piece of content we share, so we did acquire some revenue.”

Of course, live stream events are not the end-all-be-all to the challenges we face. But it can be a part of the solution. In their closing statements on Saturday, November 21, Alexander Beets and Andre Le Roux stressed the importance of crafting an industry wide master plan to tackle our common issues in the future. “Musicians have power,” as Alexander Beets rightfully stated, “More so than they think. We need to raise budgets for social and cultural funds and we have to pressure whoever necessary to achieve that.” Over the course of only two days, we managed to connect professionals and musicians across the globe in a spirit of improvisation, resilience and reciprocity. We connected over a very real conversation about our common future, painting a realistic picture of our current situation, and provided a valid and comprehensible starting point to build towards a realistic and optimistic future together.

Taking action and responsibility

Connecting to other professionals and jazz enthusiasts from all over the world, albeit online, was invaluable to many of us. “This conference gives me access to what is happening elsewhere in the world, and we need to learn from that,” Billy Domingo of Cape Town International Jazz Festival said. “I think South Africa is going to come out ahead of the game. We will be able to survive.” Domingo leads by example as one of the most influential world jazz promoters on the African continent and told us about how his organization stays resilient. “We put people before profit. When we realized we had to move the festival, we decided not to cancel, but to postpone instead. We very clearly communicated this to our audience and artists and made sure we paid them all at least 50% of their agreed fees. In total, we came up with 53 events to keep our festival current, making use of our 21 years of experience. We stay hopeful.”

Beautiful, inspiring words – so how do we act upon these insights? “Are we just complaining, or are we actually addressing politicians? And the media? In Poland, for example, musicians are getting more TV airtime now. Jazz isn’t for free. It’s a profession,” Alexander Beets explained in conclusion. “So what if we build our own platform, collaborate and make the system smarter?” The Amersfoort Jazz director emphasized the need for jazz musicians across the world to acknowledge their value. “We have to capitalize the value we create within society. If we do everything for free, you get shitty quality streams. Pay more and get more, that’s how it works in the end.” So on the one hand, as he points out, we have to rethink our business model and shift towards a hybrid type of events where we perform live in front of an audience whilst also serving international viewers from the comfort of their homes. On the other, we shouldn’t be afraid to actively seek support: “Perhaps, we have to make it sexier for bigger corporations to invest in us. We have to make key players and stakeholders understand what we stand for. We expect them to take action, and we will continue to encourage and pressure and challenge them to do so.”

All in all, the World Jazz Conference of 2020 was a starting point to acknowledge exceptional talent and to spread the word about it, but also a call to arms for everyone involved in jazz across the world. Let’s take our responsibility together.

World Jazz Conference celebrates successful first online edition

(download the overview in .pdf here)

The jazz ecosystem across the globe is imploding. Amersfoort Jazz Festival, celebrating its 42nd birthday in 2020, 15-year old partner JazzNL and IKS Cultural Consulting joined forces at the annual World Jazz Conference to assess this situation and explore ways to help the international jazz community survive.

On Friday, November 20, the Conference kicked off its first ever online edition, bringing Amersfoort and Johannesburg into the same room. With streaming studios built in both cities and attendants such as Gail W. Boyd and Sylwester Ostrowski checking in from all over the world, 10 laureates from several participating countries presented their music online. None other than Wynton Marsalis himself delivered the opening statements for this edition, voicing his understanding and support for the troubles our community faces.
Over 250 jazz enthusiasts joined the livestream as spectators.

Almost every participant opted out of using a slideshow type of presentation during the conference, maintaining an open and interactive discussion and keeping our stories relatable for all attendees – delegates, jazz enthusiasts and musicians alike. Whether intentional or not, this aspect of our first online edition highlighted the organization behind Amersfoort Jazz as a musicians’ festival: everyone is allowed their space to let their voice be heard.

In short: the organization behind WJC has proven to be ready for the future. And what a future it will be… with coronavirus ruining the 2020 festival summer and uncertainty still being widespread, how do we proceed? How do we make sure our community survives this crisis together and how can we make sure that we all emerge alive and kicking when it’s over? Determining a vision for the future was key for this year’s conference program. But that vision did not come from thin air. IKS conducted extensive research among festival organizers and promoters across the globe and compiled the World Jazz Festival Network Impact Survey Report, trying to pinpoint past, current and future scenarios for our community.

Seeking relief

Starting out with the thought that crossed pretty much every jazz cat across the world’s mind over the last nine or so months, the first question was: ‘What the %$#^* just happened?!’ followed by ‘And what do we do now?!’. As jazz musicians and enthusiasts, we understand the power of improvisation – flexibility and resilience is in our nature. But we cannot brave this storm alone. We need help, but as it turns out, relief systems are as similar as they are different in every country.

Bradley Williams, of The Artivist in Johannesburg, SA stated that the COVID-19 crisis allowed his organization to engage with his government, where previously they were deemed too small to be a sparring partner. Now, they work together to seek relief and craft long-term solutions towards recovery, providing a potential positive takeaway for the future. Alexander Beets, our Amersfoort Jazz Festival director, explained that The Netherlands has made a whopping 780 million euros available so far, but that the government relies heavily on trickledown economics for that money to actually make it into any musician’s wallet. The result of this approach is that only a very small percentage of that sum actually helps to make a difference in any musician’s life.

Delegates from Australia and Thailand, for example, said that relief systems in their respective countries are still very much a work in progress. While the efforts of any government to protect their cultural sector is of course commendable, that provides for a very uncertain situation for musicians. In the US and India, most support comes from private and corporate sectors.

Taking matters into your own hands

Jazz musicians are generally not the type to wait around for something to happen. Why wait for someone to light your fire when you can initiate combustion? That attitude is very much alive among our delegates as well. Dutch saxophonist and educator Ben van den Dungen gathered a team around himself and presented the National Podium Plan, allowing Dutch jazz and world musicians to apply for funding when they have otherwise been deemed ineligible.

He has an enthusiastic ally in Anita Verheggen of Kunstenbond and Sena Performing Arts Fund, who is rallying with 42 organizations in the Dutch creative sector to advocate change and political support. “Everyone in the industry was always busy fighting for their own cause. Now, whether you’re a sculptor or a jazz musician, you’re on the same team, because we all need the same thing,” she explains.

In India, Mahesh Babu of Banyan Tree managed to raise a substantial sum through crowdfunding, supporting 1000 families across the country. “We have shown the importance of a common cause,” he explains. “We do not have a political support system for artists in India, but we have looked for and found ways to survive this together.”

New skills and technologies

To keep our industry afloat, both musicians and promoters have embraced technology to keep bringing music to their audiences. Every event professional has had to face the music and learn how to stream while venues were forced to close. Research by Jazzfuel, which was presented to delegates on the Friday of the conference, has shown that 49% of jazz musicians across the globe has done at least one live streaming gig and 37% was confident they would continue to do them after corona had left the building. Many survey participants also expressed that these strange times gave them the chance to up their admin- and funding application skills, which will hopefully provide them with new opportunities in the future.

The main issue with these online performances, of course, is monetizing them. “I really regret offering access to live streamed concerts for free,” Paul Pace, of the famous London jazz club Ronnie Scott’s sighs. “In a time where streaming music via Spotify is already the norm, we accidentally made it even harder for people to want to pay for music.” At the same time, online performances have allowed for new ways of working together between artists and venues. Raynel Frazier of Lincoln Center in the US, for example, explained: “We have actively looked for ways to promote talent and raise awareness of live stream events. Hoping, of course, that this extra engagement would lead to higher donations for artists.”

Lincoln Center colleague and Dizzy artistic director Georgina Javor weighed in about her experiences with streaming and revenue as well. “We offered Pay What You Wish tickets with a suggested price of 10$. Of course we were worried about whether we would find an audience that would pay for what we had to offer,” she starts. Javor and her team turned that worry around and made sure that what they had to offer was a great online experience that exceeded the expectation of ‘just another live stream’. “We really approached it like we were making a movie, like a unique experience. And 200 to 500 people tuned in each time, and there is a donate button and a payment link on every single piece of content we share, so we did acquire some revenue.”

Of course, live stream events are not the end-all-be-all to the challenges we face. But it can be a part of the solution. In their closing statements on Saturday, November 21, Alexander Beets and Andre Le Roux stressed the importance of crafting an industry wide master plan to tackle our common issues in the future. “Musicians have power,” as Alexander Beets rightfully stated, “More so than they think. We need to raise budgets for social and cultural funds and we have to pressure whoever necessary to achieve that.” Over the course of only two days, we managed to connect professionals and musicians across the globe in a spirit of improvisation, resilience and reciprocity. We connected over a very real conversation about our common future, painting a realistic picture of our current situation, and provided a valid and comprehensible starting point to build towards a realistic and optimistic future together.

Taking action and responsibility

Connecting to other professionals and jazz enthusiasts from all over the world, albeit online, was invaluable to many of us. “This conference gives me access to what is happening elsewhere in the world, and we need to learn from that,” Billy Domingo of Cape Town International Jazz Festival said. “I think South Africa is going to come out ahead of the game. We will be able to survive.” Domingo leads by example as one of the most influential world jazz promoters on the African continent and told us about how his organization stays resilient. “We put people before profit. When we realized we had to move the festival, we decided not to cancel, but to postpone instead. We very clearly communicated this to our audience and artists and made sure we paid them all at least 50% of their agreed fees. In total, we came up with 53 events to keep our festival current, making use of our 21 years of experience. We stay hopeful.”

Beautiful, inspiring words – so how do we act upon these insights? “Are we just complaining, or are we actually addressing politicians? And the media? In Poland, for example, musicians are getting more TV airtime now. Jazz isn’t for free. It’s a profession,” Alexander Beets explained in conclusion. “So what if we build our own platform, collaborate and make the system smarter?” The Amersfoort Jazz director emphasized the need for jazz musicians across the world to acknowledge their value. “We have to capitalize the value we create within society. If we do everything for free, you get shitty quality streams. Pay more and get more, that’s how it works in the end.” So on the one hand, as he points out, we have to rethink our business model and shift towards a hybrid type of events where we perform live in front of an audience whilst also serving international viewers from the comfort of their homes. On the other, we shouldn’t be afraid to actively seek support: “Perhaps, we have to make it sexier for bigger corporations to invest in us. We have to make key players and stakeholders understand what we stand for. We expect them to take action, and we will continue to encourage and pressure and challenge them to do so.”

All in all, the World Jazz Conference of 2020 was a starting point to acknowledge exceptional talent and to spread the word about it, but also a call to arms for everyone involved in jazz across the world. Let’s take our responsibility together.

Watch here the conference of 2020

World Jazz Conference 2020

Resilience, Improvisation and Reciprocity
Programme
(Please note that this program is subject to change)
20-21 November 2020
Rebuilding the World Jazz Festival Network
What is the World Jazz Festival Network and why Amersfoort?
The World Jazz Festival Network Report is made up of participants from Europe, Asia, Oceania, Africa, South America, North America and the Middle East. These industry representatives attend the World Jazz Conference that is organised in collaboration with the foundation JazzNL and its partners. Based in Amersfoort, JazzNL aims to facilitate cooperation between Dutch and international festivals from around the world, while building new communities of World Jazz devotees and creating opportunities for the next generation.
Organisations around the world are creating frameworks and plans to recover socially and economically from the impact of the Coronavirus, although there is still considerable uncertainty as to when this pandemic will be over, however what is clear is the enormous impact the pandemic has had on the World Jazz sector and its audiences. This conference follows a report conducted by IKS Cultural Consulting on behalf of the Rabobank Amersfoort Jazz Festival and Foundation JazzNL. The World Jazz Festival Network Impact Survey Report that is the basis of this year’s conference investigated the impact of the coronavirus on this network.
The following key themes will be explored at the conference:
1. What the %$#^&!! just happened?
2. Support for staying alive
3. Live streaming and new modes of operation
4. Strategies for recovery

Day 1: Friday, 20 November
Central European Time
12:30pm-5:20pm
12:30pm till 1:00pm
International music laureates
1:00pm till 1:15pm
Welcoming addresses by Andre le Roux, Alexander Beets and Wynton Marsalis
Theme 1 – What the %$#^&!! just happened?
“This is my main work. It felt like someone ripped it out from under me, like a ship without sails,” said Josh Grossman, Toronto Jazz Festival, Canada.
This is a scene setter to introduce the motivation behind conducting a World Jazz Festival Network Survey and share some cases on what happened to the world jazz festival network.
1:15pm till 1:45pm
Session 1
Facilitator: Andre le Roux (SA – IKS Cultural Consulting) & The Amersfoort JazzNL Table
Respondents: Gail Boyd (USA – Gail Boyd Artist Management) / Catherine Mayer (Germany – Just Jazz Int.) / *Jan Ole Otnæs (Norway – Victoria Jazz Scene) / Adam Simmons (Australia – The Usefulness of Art) / Paul Pace (UK – Ronnie Scotts Jazz Club and Spice Jazz at the Spice of Life, Soh) / Peter Tladi (SA – Standard Bank Joy of Jazz) / Billy Domingo (SA – Cape Town International Jazz Festival) / Duangpong Ponshak (Thailand – Huahin Jazz Festival)
Theme 2 – Support for staying alive
“I wish my organisation could access quality equipment for live streaming,” says Ülker Uncu, Jazz Holiday Festival, Turkey.
There are many support programmes across the globe that participants can learn from. This theme will explore how jazz ecosystems are staying active and vibrant despite the restrictions to keep the pandemic in check. The surveys point to the dire impact on the entire ecosystem with venues and festivals closing, and artists not being able to make a living. This theme will outline the different approaches by various stakeholders and the role of media in lobbying for government and private sector support. A critical part of the discussion will also be how governments and the sector can incentivise and support artists and venues for at this time.
1:45pm till 2:25pm
Session 2
Facilitator: Andre Le Roux and The Amersfoort JazzNL Table
o Presentation: World Jazz Conference Survey Impact Report by Kgomotso le Roux (SA – IKS Cultural Consulting)
o Presentation: Support Programs in the Netherlands – Alexander Beets (Netherlands – Amersfoort Festival, JazzNL Foundation, Buma Stemra)
o Presentation: How music cities can support the world jazz sector to thrive by Dr. Shain Shapiro (UK – Sound Diplomacy)
Respondents: *Jan Ole Otnæs (Norway – Victoria Jazz Scene, Jazz Club in Oslo) / Adam Simmons / Paul Pace / *Duangpong Ponshak (Thailand – Huahin Jazz Festival) / Sylwester Ostrowski (Poland – Szczecin Jazz Festival) / *Mahesh Babu (India – Banyan Tree – Mumbai) / Bradley Williams (SA -The Artivist, Johannesburg) / Aymeric Péguillan (SA – Urban Sessions: Pegs Music Project) Rashid Lombard (SA) / *Josh Grossman (Canada – Toronto Jazz Festival) / Raynel Frazier (USA – Jazz Lincoln Center)
2:25pm till 2:35pm
Music by international music laureates
2:35pm till 3:25pm
Session 3
Facilitator: Andre Le Roux – South Africa
o Presentation: International Jazz Musician Survey (COVID-19 Edition) by Jazz Fuel – A musician’s perspective – Arlette Hovinga / Ellister Van Der Molen (Netherlands – JazzNL Foundation)
o Presentation: Musicians survey and lobbying parliament by The Usefulness of Art – TUA – Adam Simmons, jazz musician and festival organiser
o Presentation: Mahesh Babu – Sustaining the Folk Heritage of India
Respondents: Anita Verheggen (Netherlands – JazzNL Foundation, Sena Performers and Kunstenbond) / Germaine Gamiet (SA – Pro Helvetia Johannesburg, Swiss Arts Council) / Mahesh Babu / Magdalena Fijalkovska (Poland – Polish Radio) / *Raul Da Gama (Canada – Jazz Global Media) / Violet Maila (SA – Music in Africa Foundation) / James French (SA – SAMRO Foundation), Cyriel Pluimakers – Jazz Journalist
Theme 3 – Live streaming and new modes of operation
“I regret having initially offered free live streaming of club events. This has led to diminishing returns and further undermined the club’s ability to earn some form of income,” said Paul Pace, Ronnie Scotts Jazz Club and Spice Jazz at the Spice of Life, Soho, UK.
Streaming hybrid business models that benefit musicians, venues and festivals will be explored for their viability.
3:25pm till 5:05pm
Session 4
Facilitator: Gwen Ansell
o Special addresses by SACEM and Erika Dennis (SA/France – French Embassy, French Institute in South Africa)
o Presentation: Digital Futures? Live Streaming in South Africa by Gwen Ansell (SA)
o Presentation: Iredumare-Ojengbede Opeyemi (Nigeria – Simfy Africa)
Respondents: Akotchaye Okio (SACEM Africa), Babylas Ndiaye (Senegal – Deedo) / Alan Webster (SA – National Arts Festival) / Dr Sipho Sithole (SA – Watcha TV) / Jess White (SA / Australia – Akum Agency) / Georgina Javor (USA – Jazz Lincoln Center), Michael Balkind (SA – Soda Studio Johannesburg) / Michel Peek – Armada Head of Publishing
5:05pm till 5:10pm
Housekeeping by Andre le Roux
5:10pm till 5:20pm
Music by international laureates

Day 2: Saturday, 21 November
Central European Time
1:00pm-4:20pm
1:00pm till 1:30pm
Music by South African music laureates
1:30pm till 2:15pm
Cyber Coffee Chats (facilitated chats online)
2:15pm till 2:25pm
Music interlude
Theme 4 – Strategies for recovery
“If we don’t stick together, we are done,” says Anita Verheggen (JazzNL board member of the Kunstenbond (Dutch Musicians Union) and Sena Performers in the Netherlands).
What are the solutions, options and opportunities for building resilient world jazz music festivals to adapt or thrive? How do we go about building a network of mobility in the digital and physical realm for jazz and world music artists in partnership with committed festivals?
2:25pm till 3:00pm
Session 5
Facilitator: Alexander Beets
o Presentation: Earning capacity of musicians online – Alexander Beets / Michel Peek Armada (Netherlands – JazzNL Foundation)
o Presentation: Sylwester Ostrowski – Hybrid Festival Models
Respondents: Babylas Ndiaye (Senegal – Deedo) / Alan Webster (SA – National Arts Festival) / Aymeric Péguillan / Alexander Plooij (NL – Culturechannel.tv) / Jess White (SA / Australia – Akum Agency) / Georgina Javor (USA – Jazz Lincoln Center), Michael Balkind (SA – Soda Studio Johannesburg), Gwen Ansell / Duang Pong / Mahesh Babu / Anita Verheggen
3:00pm till 3:45pm
Session 6
Facilitator: Alexander Beets
o Presentation: National Podium Plan by Ben van den Dungen (Netherlands)
o Discussion: Social and cultural funds – James French, Charlie Wall-Andrews (Canada – SOCAN Foundation), Anita Verheggen (Netherlands – SENA) and Ikaros van Duppen (Netherlands – Buma Cultuur)
Respondents: Magdalena Fijalkowska / Gail Boyd / Vera Kuipers (USA – Dutch Culture USA) / Sylwester Ostrowski / Rashid Lombard / Alexander Beets / Georgina Javor / Seton Hawkins (USA – Jazz Lincoln Center) / Anita Verheggen / Regis Guerbois (France – Maseilles Jazz Festival)
3:45pm – 4:00pm
Coffee Table Chats Feedback Session
Facilitator: Andre le Roux
Presenters: Percy Mabandu, Nothemba Madumo and Monthati Masebe
4:00pm – 4:05pm
Closing by Alexander Beets and Nomfundo Xaluva
4:05pm till 4:20pm
Music by South African music laureates

Participants World Jazz Conference 2020

Sawadogo
Anselme
Burkina Faso
Festival Jazz à Ouaga

Matti
Austen
The Netherlands
Amersfoort Jazz Festival

Mahesh
Babu
India
Banyan Tree Events India Pvt. Ltd.

Storm
Bakker
The Netherlands
Amersfoort Jazz

michael
balkind
South Africa
Soda Studio

Xavier
Barceló
Spain
Fira B! / Government of the Balearic Islands

Alexander
Beets
The Netherlands
Amersfoort Jazz

Itamar
Bernstein
Israel
IMSF

Nicky
Blumenfeld
South Africa
Kaya FM

Mariana
Bondarenko
Ukrain
Ukrainian Institute

Gail
Boyd
United States
Gail Boyd Artist Management

Nuria
Bulta
Belgium
Catalan arts / ICEC Brussels

Saul
Cabrera
United Kingdom
EmuBands

Mercedes
Caxaj
Canada
Sunfest

Lica
Cecato
Brazil
Rio das Ostras

Selin
Celik
Turkey
Yeldegirmeni ( Windmills) Jazz Festival

Mamtwa
Chinoamadi
South Africa
T Musicman

Dan
Chiorboli
Turkmenistan
Awesome Africa

Anriette
Chorn
South Africa
SAMRO Foundation

Dominique
Citroen
The Netherlands
Management and Advice Music

Maripepa
Contreras
The Netherlands
Stichting Marmoucha

Raul
da Gama
Canada
Jazz Global Media

Camiel
De Kruijf
The Netherlands
Rock ‘N Roll Store

Aisha
Deme
Senegal
SIRIWORO

Edward
Dijxhoorn
The Netherlands
Amersfoort Jazz

Peter
Dimitrov
Bulgarije
A to JazZ Festival / A to Z Foundation

Ephraim
Dlamini
South Africa
African Sky Music Series

SiPHO
Dlamini
South Africa
Tmusicman

Billy
Domingo
South Africa
espAfrika

Thomas
Eckardt
Germany
Jazzmeile Thüringen

Leyla
Esteso
Spain
Kolp Group

Salym
Fayad
South Africa
Otro Sur

Tshepo
Fela
Mozambique
Tshepo Fela Original

Marina
Fernandez García-Agulló
Spain
Plataforma Jazz España

Magdalena
Fijalkowska
Poland
Polish Radio

Sean
Foran
Autralia
Wangaratta Jazz Festival

Raynel
Frazier
United States
Jazz at Lincoln Center

James
French
South Africa
SAMRO Foundation

Yasuo
Fukuda
Japan
Hanshin Contents Link Corporation

Rosa
Galbany
Spain
Jazz I Am / Taller De Músics

Germaine
Gamiet
South Africa
Pro Helvetia Johannesburg, Swiss Arts Council

Mila
Georgieva
Bulgaria
A to JazZ Festival / A to Z Foundation / Bulgarian Music Association

Cees
Gog
The Netherlands
Dutch Jazz Competion & National Youth Jazz Orchestra of The Netherlands

Ana
Gómez
Spain
Instituto Cervantes

Maxine
Gordon
United States
The Dexter Gordon Society

Koen
Graat
The Netherlands
Jazz in Duketown

Régis
Guerbois
France
Festival Marseille Jazz Des Cinq Continents

Mezo
Gustavo
Mexico
Monart Music Agency

Seton
Hawkins
United States
Jazz at Lincoln Center

Sonja
Heimann
The Netherlands
World Music Forum NL

Leigh Ann
Hellaby
South Africa
Hellaby House

Helge
Hintergger
Austria
National music organisation

Maite
Hontelé
The Netherlands
International Music Meeting Festival

Patrice
Hourbette
France
Delux Productions

Arlette
Hovinga
The Netherlands
Jazzfuel // MusicRunner

Avzal
Ismail
South Africa
Private

Lydia
James
South Africa
Caryn Lauderdale Physiotherapy

Frank
Janssen
The Netherlands
Striped Elephant

Georgina
Javor
United States
Jazz at Lincoln Center

Van bijlert
Jorik
The Netherlands
Ajf

Matthieu
Jouan
France
Citizen Jazz

Harshada
Kalelkar
India
Banyan Tree Events India Pvt. Ltd.

Christine
Kamau
Kenia
Artist

Luuk
Kees
The Netherlands
Hot House Jazz (Leiden)

Victor
Kgantlape
South Africa
Let Arts Be Alive

Ayanda
Khumalo
South Africa
IKS Cultural Consulting

Thuso
Khumalo
South Africa
ARD German Radio

Vera
Kuipers
United States
Dutch Culture USA

Lizon
Lavaud
France
Le Bureau Export

Andre
Le Roux
South Africa
IKS Cultural Consulting

Fabio
Lepore
Italy
mezzotono

Koert
Ligtermoet
The Netherlands
Kunstenbond NTB

Mijke
Loeven
The Netherlands
Bimhuis

Carlos Javier
López Fides
Spain
Summum Music

Mark Alban
Lotz
The Netherlands
Lotz Of Music foundation

Unathi
Lutshaba
South Africa
Nelson Mandela University

Nandini
Mahesh
India
Banyan Tree Events India Pvt. Ltd.

Violet
Maila
Sudan
Music In Africa Fundatio

Ngwako
Malakalaka
South Africa
KofifiFM 97.2

Bongani
Mathenjwa
South Africa
Sheer Sound Publishing

Catherine
Mayer
Germany
Just Jazz Int.

Azucena
Micó
Spain
Sound  Diplomacy

Zayd
Minty
South Africa
Creative City South

Arkady
Mitnik
The Netherlands
CreArk

Nandie
Mnyani
South Africa
SAMRO Foundation

Ciprian
Moga
Romania
Jazzmine.World

lethole
mokoena
South Africa
Jazz In the cradle

Tebogo
Motloung
Sudan
African clabash records

Andile
Mrubata
South Africa
Sigma Pi Jazz

Bantu
Mtshiselwa
South Africa
Abantu development agency

David
Muriithi
Kenia
Creative Enterprise Centre

Mande
Musiq
South Africa
Mande Holdings

Kevin
Naidoo
South Africa
The Orbit

Babylas
Ndiaye
Senegal
Joal Fadiouth Festival

Koko
Nkalashe
South Africa
Jazzinthenativeyards

Vusi
Nkambule
Swaziland
Eswatini National Council of Arts and Culture

Sibusiso
Nkambule
Zambia
Root Afrika Music

Teus
Nobel
The Netherlands
Liberty Music Foundation

Marlyn
Ntsele
South Africa
iSupport Creative Business

Dina
Nurgaleeva
Russia
Jazz Across Borders

Akotchayé
Okio
Benin
SACEM

Sylwester
Ostrowski
Poland
Szczecin Jazz

Paul
Pace
United Kingdom
Ronnie Scott’s Jazz Club / SpiceJazz Soho

Nazeem
Pather
Uganda
SVCC

Michel
Peek
The Netherlands
JazzNL

Cyriel
Pluimakers
The Netherlands
Cyriel Pluimakers

Hanka
Podhorska
Czech Republic
Indies Production

Duangpon Pui
Pongphasuk
Thailand
The Sound of Siam Band

Luis
Ponte
Argentinia
Ponte Producciones

Audrey
Powne
Autralia
Audrey Powne

Tom
Ridderbeekx
The Netherlands
Tom Ridderbeekx Music

Sven
Rozier
The Netherlands
Stichting jazz071

Anna
Russkevych
Ukrain
“Jazz on the Dnieper” festival

Constanze
Schliebs
Germany
AsiaNetwork

Jurgen
Scholtanus
The Netherlands
Muti Marane

Lazarus
Serobe
South Africa
www.dalro.co.za

Adriaan
‘s-Gravesande
The Netherlands
Amersfoort Jazz

Adam
Simmons
Autralia
The Usefulness of Art

Brenda
Sisane
Romania
SPIN Group of Companies

Dr. Sipho
Sithole
South Africa
Afrocentric Agency

Pablo
Smet
Belgium
B-Jazz International Contest

Hymie
Sokupha
South Africa
Hymie’s Eagle Eye Photographic Solutions

Niki
Sondlo
South Africa
Niki’s Jazz Restaurant

Konshens
The MC
United States
Edutainment Unlimited LLC

Peter
Tladi
South Africa
Tmusicman

Antonio
Torres
Spain
Assejazz

Mattijs
Twilt
The Netherlands
Amersfoort jazz

Ben
van den Dungen
The Netherlands
JWA Jazz

Ellister
van der Molen
The Netherlands
JazzNL

Marnix
van der Moolen
The Netherlands
Amersfoort Jazz

Ikaros
van Duppen
The Netherlands
inJazz / Buma Cultuur

Mark
van Schaick
The Netherlands
inJazz

laura
varache
Luxemburg
music:LX

Cinzia
Venier
Spain
Fundació Privada Taller De Músics

Anita
Verheggen
The Netherlands
Sena Performers Dutch Musicians Union

Floor
Visser
The Netherlands
Stichting Amersfoort Jazz

Alan
Webster
South Africa
National Youth Jazz Festival

Bradley
Williams
South Africa
Artivist / Untitled Basement

Phillip
Woolever
Germany
All About Jazz (USA)

Nomfundo
Xaluva
South Africa
University of Cape Town

Valentina
Zanelli
Canada
Creativi musicali