In the first Jazzkynä article of the Jazz in Finland 100 anniversary year, music journalist Matti Laipio takes the reader on a hundred-year journey through Finnish jazz. The story begins in 1926 and moves through the wartime years, the formation of institutional structures, and on to the present day. At the same time, the article offers a preview of the themes of the Jazz in Finland 100 website, which will be launched on 4 June.
Accessibility is a key theme in cultural policy, and the Finnish jazz field has many interesting starting points in this regard. For instance, jam sessions are an inherent form of participation in jazz, and jazz concerts are traditionally organized in venues that reach diverse audiences. On the other hand, jazz is often perceived as a “difficult-to-understand” art form, and consuming it can be a way for people to distinguish themselves from others. Increasing the accessibility of jazz music is one of the main objectives of the Jazz Federation’s strategy (2021–2026), and to advance this goal, the Jazz Federation is set to publish its accessibility action plan.
The touring activities of the Finnish Jazz Federation began in 1983. Since then, the Federation has brought jazz to various parts of Finland through its touring system, in collaboration with regional and local partners.
Jazz Finland’s equality policy 2021-2023 was completed in autumn 2020. Each year, we implement a new action program in order to ensure we reach our goals.
Writer and Communications Specialist Helmi Saksala interviewed Jazz Finland's Producer Raisa Siivola about the Nordic Jazz Comets project, and Apocalyptica's Mikko Sirén on his views when it comes to ways to make use of social influence in nudging towards sustainability.
Ammattimuusikoille räätälöityä tukea ja lisäkoulutusta on saatavilla niukalti. Tarjolla tulisi olla käytännönläheistä musiikkibisneksen jatkokoulutusta sekä helposti saavutettavissa olevaa apua ja sparrausta muusikon ammatissa toimimiseen läpi koko uran.
It was 13th of March 2020, when the last lecture and group work with the students of the Master’s degree programme in Arts management at the campus of Sibelius Academy, as part of the Strategic Management Course, took place. In that period, the news about the pandemic were more frequent and some alarming news were coming from China and Italy, but yet the cultural field in Finland, and similarly in the rest of the world, could not even imagine what was going to take place in the coming months and year.
This piece is more about being true to oneself as an art professional, which entails embracing all aspects of one's existence, than it is about jazz or diversity.
We have persevered through a whole year of exceptional circumstances. The lengthened crisis has forced us to stop, adapt, and adjust our lives and activities to the ever-changing circumstances, where uncertainty is the only constant. Still, this abrupt stop may well lead to something good for a range of disciplines, including the music industry. One such view into a more positive future is provided by the Finnish project KEMUT – Sustainable music industry toolkit.
