An ethnography of contemporary traditional jazz on the streets of New Orleans

新奥尔良街头当代传统爵士乐的民族志

• 批准号: 2583804
• 金额: --
• 依托单位: King's College London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2583804
• 关键词: ethnography; contemporary; traditional; jazz; streets

This project will research contemporary "traditional jazz" in the city of New Orleans.Research consists of two interconnected parts. First, an ethnographic study of active musicians/audiences will focus on the influx of new musicians following Hurricane Katrina, urban displacement, gentrification, race, and tourism. Second, a digital ethnography will question the use of digital media by these musicians/audiences, and its impact on local and global communities.The project will contribute to pressing interdisciplinary debates on music and society in the context of urban migration and growing digital ubiquity.Sakakeeny (2020) highlights that "displacement has been central to American identity". Arguably, the most recent, visible example of this was the internal displacement following Hurricane Katrina in 2005. Consequently, New Orleans has witnessed significant demographic change, with an estimated 100,000 African Americans yet to return to the city (Nowakowski 2015). This movement has not been unidirectional. Rather, the city has attracted many "transplants": city residents who were not born or living in the city before Katrina. Demographic data suggests these residents are predominantly white (The Data Center 2020). Class data is not as readily available, however, growth in the number of single, college educated residents may suggest a more professional, geographically mobile, middle-class group. There is important discussion on the consequences of displacement and in-migration for the local community and culture (e.g. Johnson 2015; Parekh 2015). This has not included jazz bands formed from new city residents. If some new arrivals seek to limit existing local practices (Sakakeeny 2010; Parekh 2015), these (white) musicians are, in contrast, contributing to the soundscape of the city-a soundscape sonically anchoring a strategy of heritage tourism which seeks to exploit and commodify local (black) culture and obfuscate race and class inequality in favour of a mass-marketed image of an authentic multicultural utopia (Thomas 2009; Reed Jr. 2011).The people and music of New Orleans are historically "entangled with their representations in media...and...contribute a circulatory system" (Sakakeeny 2011). This is compounded in the age of participatory Web 2.0 platforms. The growing global availability of the internet has changed the way we interact with music (Rainie and Wellman 2012). Moreover, online participation and consumption positively impact on attendance at live, offline music events (Nguyen et al. 2014). Given the level of engagement with the city's new traditional jazz groups online, and that online engagement may equate to offline attendance, what might be the impact on a city dedicated to music and heritage tourism? Such questions are salient in the context of the events of 2020, which saw tourism to the city, its traditional jazz musicians respond by readily adopting live concert streaming across digital platforms, and the Black Lives Matter movement mobilise protests for racial equality.The purpose of this study is two-fold. First, to carry out qualitative research on transplant traditional jazz groups in the context of contemporary and historical debates on race, displacement, and tourism in New Orleans. Second, to investigate them in relation to global digital and participatory media platforms. The initial research questions are the following:i. Who are the "transplant" musicians and what motivates them to play traditional jazz in New Orleans? ii. In what ways do they relate to the city, its existing traditional jazz musicians, and its complex historical relationship with race and tourism? iii. To what extent do musicians and audiences utilise participatory digital media/web 2.0 platforms to aide in the dissemination of local music at a global level, for what purpose, and what are the impacts of this?

本项目将研究新奥尔良市的当代“传统爵士乐”。研究包括两个相互关联的部分。首先，对活跃的音乐家/观众的民族志研究将集中在卡特里娜飓风后新音乐家的涌入，城市流离失所，中产阶级化，种族和旅游业。第二，数字民族志将质疑这些音乐家/观众对数字媒体的使用，以及它对当地和全球社区的影响。该项目将有助于在城市移民和日益普遍的数字化背景下对音乐和社会进行跨学科的辩论。Sakakoy（2020）强调“流离失所是美国身份的核心”。可以说，这方面最近一个明显的例子是2005年卡特里娜飓风之后的境内流离失所问题。因此，新奥尔良见证了重大的人口变化，估计有10万非裔美国人尚未返回城市（Nowakowski 2015）。这一运动不是单向的。相反，这座城市吸引了许多“移植者”：在卡特里娜飓风之前没有出生或生活在这座城市的城市居民。人口统计数据表明，这些居民主要是白色（数据中心2020）。阶层数据并不容易获得，然而，单身、受过大学教育的居民数量的增长可能表明一个更专业、地理上移动的中产阶级群体。关于流离失所和移民对当地社区和文化的影响有重要的讨论（例如，约翰逊2015; Parekh 2015）。这还不包括由新城市居民组成的爵士乐队。如果一些新移民试图限制当地现有的做法，（Sakay 2010年; Parekh 2015），这些（白色）音乐家，相比之下，为城市的音景做出贡献--一个音景在声音上锚定了遗产旅游的战略，该战略寻求利用和商品化当地（黑人）文化，混淆种族和阶级不平等，以支持真正的多元文化乌托邦的大众营销形象（托马斯2009; Reed Jr. 2011).新奥尔良的人民和音乐在历史上“与他们在媒体上的表现纠缠在一起”。而且...有助于循环系统”（Sakay 2011）。这在参与式Web 2.0平台时代变得更加复杂。互联网在全球范围内的普及改变了我们与音乐互动的方式（Rainie and Wellman 2012）。此外，在线参与和消费对现场、线下音乐活动的出席率产生积极影响（Nguyen et al. 2014）。考虑到与该市新的传统爵士乐团体在线的参与程度，以及在线参与可能等同于离线出席，这对一个致力于音乐和遗产旅游的城市可能会产生什么影响？这些问题在2020年事件的背景下显得尤为突出，这座城市的旅游业、传统爵士音乐家的回应是随时采用数字平台上的现场音乐会流媒体，而“黑人生命也是命”运动则动员种族平等抗议活动。这项研究的目的有两个方面。首先，在新奥尔良的种族，流离失所和旅游业的当代和历史辩论的背景下，对移植传统爵士乐团体进行定性研究。第二，调查它们与全球数字和参与性媒体平台的关系。初步的研究问题如下：i.谁是“移植”音乐家，是什么激励他们在新奥尔良演奏传统爵士乐？二.它们与这座城市、现有的传统爵士音乐家以及与种族和旅游业的复杂历史关系有什么关系？三.音乐家和观众在多大程度上利用参与式数字媒体/网络2.0平台来帮助在全球范围内传播当地音乐，目的是什么，以及这一点的影响是什么？