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culinaryupdates-blog · 6 years

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Best Coffee Making & Barista Training Institute in Dubai

WHAT COMES IN YOUR MIND WHEN YOU THINK OF COFFEE?

Best drink for cold climate. Boosting your mind with fine rich aroma of coffee, where it makes us to have coffee sip. Making coffee is not just adding milk in coffee, there so many techniques is make the perfect coffee. Coffee taste differs from person to person. Many of us, it’s like morning boost or having a break in middle of work. People do say it’s not healthy, but if it is taken in right amount it helps us to improve our health too. We know green tea has antioxidants, coffee do have some antioxidants with beneficial nutrients.

Coffee shops are continuing to increase all over the world. Competitions are becoming tougher. People just love coffee. It is the need for the trained and professional who could serve coffee in right way. There are some regular coffee lovers, but terms like latte, cappuccino etc. are commonly used in coffee shops and restaurants. Presentation is important, why differ from coffee. It is trendy always!!

What is barista?

Barista is a person who serves espresso drinks in a coffee shop using a espresso machine. We need experts to swirl and make patterns in our coffee, and it is a skill. For most of us it’s a drink keeps us active all day. Artistry works are been done today by baristas from smiles to sunrise or phoenix. Changing up our minds, with the classic heart or delicate fern designs, it is so good when it is done right. This latte art needs to be prepared properly and it actually smooth and shiny. Getting these designs right is matter of balance, presentation, symmetry and originality. Things may start tough in the beginning, but only practice make you profession in it. When you respect coffee as an art, you need to give a stunning art possibilities of the latte art and get unforgettable reaction from your guest good enough to make your day.

Coffee course gives you the necessary skills to carry out work as a barista, professional role of making and serving coffee to customers. You will learn the diverse types of coffee, how it is produced and used for variety of coffee. After this course you can place anywhere in the hospitality management for barista business.

1. What makes coffee special?

Special coffee goes through quality check at all stages of coffee production, from bean to cup. From cultivation, harvest, roasting and grinding not even a bean can escape. After this is where it is so difficult to decide aroma, flavor and wonderful experience you get from a cup of coffee. Coffee bean has to be taken care while production, even single bean can ruin a whole pot of brewed coffee bitter.

2. Health benefits with intense flavor

There are so much about coffee, can’t finish in just one. Benefits of coffee is effective only when coffee is in good quality and importantly when it is consumed in moderation without adding sugar or cream. There are health benefits of coffee:

Fights diabetes: Harvard School of Public Health has conducted a study about coffee and effects. Individuals who have risk of having type 2 diabetes, consumed more coffee over a period that reduced risk of developing type 2 diabetes. Coffee increases the plasma levels testosterone and estrogen hormones in control.

Coffee keeps you away from dentist: strong black coffee without any sugar and milk kills bacteria on teeth that leads to cavities. Only when you take care of your oral.

Fat burning agent: caffeine is one of the very few natural fat burning stimulant. It is metabolic booster and can increase fat burning rate by 10% to 29%.

Improves Physical Performance: caffeine gives strength and energy where it increases adrenaline levels which makes our body ready for intense physical activities.

Coffee keeps you happy : caffeine plays a role in lifting your mood up, especially among women, mental disturbance, unhappiness etc. recent studies confirms that risk of depression who drank coffee found to be reduced by 20%.

Big role played by the Arab world in introducing coffee to the world

Middle East like Dubai has been a significant consumer of coffee in which they have their own brews. Most importantly it’s the Arab traders who brought coffee beans from Africa and boiled it to make a drink. Called “Wawa” word coffee originated from. Now everyone switching from regular to the specialty coffee for better taste, quality and health too. Art of coffee making is the best way to get maximum out of your coffee.

Dealing with coffee….with our senses!!!

It’s not just taste we enjoy in our coffee, it’s all our senses that play in surprising way when dealing with specialty coffee.

Passion for coffee

More than coffee lover, you need to understand the nature of coffee and you need to have inner quest to brew the best and finest quality coffee. It is complex but you need to find something exciting about which you will learn from this barista program

For whom it is suitable?

Anybody, who has interest in coffee industry and additionally also perfect for hospitality professional with no coffee making experience in world of coffee making. This is barista course is so important for newly coffee makers.

Course content

Introduction to coffee: you learn about history and origins of coffee, all the process from cultivating to arriving at your place. Identifying different types of coffee and how it is roasted, grounded to perfect

Selection of right equipment: Using right equipment is important, and also to understand coffee making machines. In addition you will be able to find the accompaniments served with coffee.

Creativity: In this you will learn how to store coffee in effective way, then to the different types of cream and milk used and importance of right consistency to a perfect cup of coffee. You will be able to identify flavored coffee and asked to create

Caring and cleanliness: not only good cup of coffee but it important to maintain the cleanliness and maintaining of the coffee equipment

Working with the best professionals around the world

Working with best professional for barista courses in Dubai having many years’ experience in the field and learning from them who knows and understand your aspiration and requirements

Pick your best jobs

Students are in high demand. This barista course helps you to and provide you with depth skills, knowledge, and confidence to work as barista. Students have lots of opportunities to make different types of coffee using espresso coffee machine. There are best barista schools in Dubai.

Read More : http://dubaichefstory.blogspot.com/2018/07/best-coffee-making-barista-training.html

#coffeemakingcourse #baristatraininginstitute #baristacoffeemakingprogram #coffeemakingprogram #baristaschool #baristaacademy #culinaryschoolindubai #baristainstitute #baristacourse

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gramilano · 5 years

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Shale Wagman in the Grand Pas Classique at English National Ballet, photo by Laurent Liotardo

Canadian dancer Shale Wagman turned 19 last May. Soon after he was guesting at the Mariinsky Theatre. What’s more, it was his first time dancing a principal role. Ever. Last season – his first as a professional dancer – he was dancing with English National Ballet’s corps de ballet, part of his prize after winning the Prix de Lausanne when he was 17, last year.

My year with the company was nice. I got opportunities to dance the Pas de trois and Neapolitan Pas de deux in Swan Lake, the Beggar Chief in Manon, and roles in Wheeldon’s Cinderella, Nutcracker, Annabelle Lopez Ochoa’s Broken Wings as well as the Grand Pas Classique.

At the Mariinsky, however, he was dancing James in La Sylphide alongside Olesya Novikova. From the Beggar Chief to James is quite a phenomenal leap and on one of the world’s most prestigious ballet stages.

I was in St Petersburg for Dance Open, and while I was there, I had the opportunity to be invited by Mr Fateev [Yuri Fateev, Acting Director of the Mariinsky Ballet] to take company class. Three weeks later, I received an email from him proposing me to dance La Sylphide, and I questioned which role. I thought maybe Gurn or a demi-solo part, but he said, James. I couldn’t believe my good fortune. I have dreamed of dancing at Mariinsky since I started ballet, so I was overcome with emotion.

Maybe it’s time to rewind to when and how he began dancing.

Shale Wagman the little thrill seeker (2)

Shale Wagman the little thrill seeker

Shale Wagman the little thrill seeker (4)

Shale Wagman the little thrill seeker (5)

Shale Wagman the little thrill seeker (3)

Shale Wagman was born on 2 May 2000 in Thornhill, a suburb to the north of Toronto in Canada.

My dad was a chartered accountant, and still is, and my mom was a paralegal before she had kids.

He grew up with his two hockey-playing brothers, and although he says that his mother is creative, there is no theatrical vein running through the family.

His mother, Heather, says,

As an infant, he was mesmerised and stimulated by anything visual. It went beyond the usual curiosity or wonder of a toddler.

From his stroller, he was fixated as the roller coaster was rising, falling, twisting and turning. Once he was tall enough actually to ride the coasters with his brothers, he turned into a little thrill seeker.

His attention to detail was impeccable. He would draw the most beautiful and intricate pictures that were well beyond his years.

At six, he began dancing.

I had been in gymnastics and swimming. I was agile and flexible. My swimming teacher’s son encouraged me to see his dance teacher, who worked with boys. Right away he said I moved like a cat and he was adamant I start seriously training in competitive dance right away.

Shale Wagman at 6 (on the right) in his first ever dance

When Shale Wagman won the American Dance Awards at 9 years old

Shale Wagman at 10

That teacher was a Russian, Vlad Novitski, who runs one of the most respected schools in the greater Toronto area.

This was my introduction to tap, hip hop, modern, jazz lyrical, acro, contemporary and the competitive dance world. He instilled a strong work ethic, discipline and encouraged me to improvise, choreograph and bring out my creativity from a young age.

His mother says,

At his first regional dance competition at seven-years-old, I watched him standing in the wings transfixed for hours. The other kids would do their routines, cheer on their friends for a couple of numbers and leave. He didn’t leave! Looking back, I believe it was at that moment, he knew that this is all he ever wanted to do.

It was during this time that he participated in Canada’s Got Talent.

It was my mother’s idea. At first, I was upset with her because I didn’t want to be on the show due to the fact that I would miss a few dance classes. As an 11-year-old, I wasn’t aware of how much it could benefit me.

A stage mother?

Shale’s dad, two older brothers and I have always been supportive and proud of him. We were a good team doing whatever we could to encourage and nurture his talent and gift and at the same time, knowing when to let go and give him the independence he needed to grow and learn.

Shale was definitely special. With his determination, self-motivation, discipline, passion, natural abilities and God-given gift, I knew that one day our family would be sharing him with the world!

Not a pushy mother but a supportive one. Shale says,

My mom told me to try the audition and see afterwards if I didn’t want to do it and of course I loved being on a stage of that scale. I really enjoyed sharing what I love with a bigger audience. Naturally, I became excited, and it turned out to be a fantastic experience.

He arrived in the final, just after his 12th birthday.

Shale Wagman at 12 in the final of Canada’s Got Talent, photo by Canada’s Got Talent media team

Shale Wagman for Canada’s Got Talent at 12

Shale Wagman dancing a solo called Mad World, at 12

Shale Wagman in Canada’s Got Talent

In a newspaper interview at the time, the journalist stated that Shale was “completely unconcerned with the effeminate stereotypes that come with dance”. His attitude has changed slightly.

I didn’t ever let myself get bullied, but of course people tried, and it was a struggle at times. I guess at 12, I blocked it all out because of the pride I had in my dancing.

Even in the ballet world, it is frowned upon to be feminine at times, but everyone has their own way of expressing their art. If it is tasteful, then I am a fan, whether it looks ‘masculine’, ‘feminine’, or anything in between, depending on the role. There is strength to be found in being both feminine and masculine. A true artist has no limits and, in my opinion, those labels can block people.

Shale Wagman with his first teacher, for 6 years, Vlad Novitski after his graduation performance at the Princess Grace Academy

Shale Wagman with his ballet teacher from Canada, Tatiana Stepanova

Shale Wagman with his mother Heather (left) and teacher Tatiana Stepanova (right) after the YAGP finals at the Lincoln Center

The shelves at Vlad’s Dance Company are heaving with trophies, but when Shale was 13, he was more drawn to ballet and left the competition circuit so that he could study ballet seriously. He discovered a teacher in Thornhill who had studied at the Bolshoi Ballet Academy in Moscow.

I made the move and began training with Tatiana Stepanova.

I asked her what she saw in the young dancer who arrived in her class.

The first time I met Shale at my studio, I could see there was something special about him. Not only did he have the unique physical attributes for ballet, but I could see a boy with an incredible desire to dance. He was focused, paid careful attention to details, and would listen intently and apply any correction given to him; he was determined to be the best that he can be.

Even at a tender age, I could see Shale had an innate sense of artistry. This God-given talent, coupled with his pursuit of technical excellence, is what makes Shale so special when he is on stage. He is a true artist, always striving for the next level.

After only six months of ballet classes, he participated in the Youth America Grand Prix, the world’s largest ballet competition and scholarship programme, and he won the 2014 Youth Grand Prix. He was offered scholarships at the Houston Ballet Academy and the Bolshoi Academy among others, but he chose the Princess Grace Academy in Monaco.

I made the decision to go to Monte Carlo, where I trained under the direction of Luca Masala and many wonderful teachers for four years.

His mother remembers the trip vividly.

On our flight from Toronto to Monaco, he was showing me videos of various ballets and ballet dancers, two of whom were Olesya Novikova and Leonid Sarafanov. He was so captivated. It brought me to tears watching him.

I cried the whole way there and on the way back to Toronto. Having him so far away from home at such a young age was difficult for all of us.

Shale Wagman with parents, Michael and Heather Wagman

Shale Wagman with mom Heather

Shale Wagman with brothers Max (left) and Jared (centre)

Shale Wagman with his father at the airport, ready for his second year in Monte Carlo

In Monte Carlo, Shale found himself in class with pupils who had been studying ballet for several years – was there was a lot of catching up to do?

Of course, there is always so much to learn, but I didn’t feel like I needed to ‘catch up’. My teacher in Canada, Tatiana Stepanova, really helped me to learn the basics, and she helped me sculpt my body for ballet. I had already danced before, so movement wasn’t new for me, the problem was the turnout and the understanding of line and aesthetic.

Luca Masala, Artistic Director at the Princess Grace Academy, says,

Shale was a very passionate student who always gave back 100%. Being that he wants to be perfect, he always questions what he does. He wanted to see results very fast, but he had lots of trust and love. When you asked him to practice or to work towards something, he would take on board all our advice and then make it work as best as he could.

He knows exactly what he wants, and he tries to find people who can help him achieve what he wants. He’s an ambitious person but not an arrogant person. He’s also very humble, which is a very agreeable ingredient for success. He’s always ready to help other people… a very kind person.

Shale Wagman at 15 in Monaco

Shale Wagman at 14 during his first year at the Princess Grace Academy

Shale Wagman at 15 back in Toronto for the summer

Shale started devouring ballet videos when he started ballet classes at 13.

I love watching dance, and I have an iPad where I have downloaded thousands of ballet videos for entertainment.

His taste is mature and thoughtful. Asked to name some of his favourite ballets he chooses Laurencia (“Unfortunately it isn’t performed much, and mostly just in Russia.”), Béjart’s Bolero, Marco Spada and La Dame aux camélias (“It’s always been a favourite of mine because of the sensational music and the drama.”). Not a typical selection for a teenager – where’s Don Quixote or Swan Lake?

What draws me to a ballet is the combination of intriguing music, intelligent choreography and a captivating story. When the music is perfectly matched with the choreography, it makes for an indescribable feeling as an audience member. I also love to think and read between the movements so that I can leave the theatre feeling like I’ve learned something and having a full heart. I love to watch all types of different ballets. I love ballets with lots of depth and true human emotion.

For someone who has some impressive technical pyrotechnics up his sleeve, the dancers who inspired him the most growing up are the those best known for their lyricism and beauty of line.

I have many ballet heroes, and the list keeps growing. I’ve always been so intrigued with Nureyev for his artistic virtuosity. Nicolas Le Riche, Anthony Dowell, Vladimir Shklyarov, Leonid Sarafanov, David Hallberg, Mathias Heymann, Semyon Chudin, and many others inspire me greatly. I would watch these artists 24/7.

When I ask about the choreographers he admires, the names he offers are no longer surprising: John Neumeier, John Cranko, Crystal Pite, Jerome Robbins, Kenneth Macmillan…

Is life only dance?

I think about dance, talk about dance, watch dance, read about dance, choreograph in my head. Just kidding… sort of. I love being with my family and friends and learning about contrasting cultures. I also love museums, art and music. Jazz and classical music can get me through anything. A little bit of Nina Simone and Sarah Vaughan can make my day.

Simone? Vaughan? You’re 19!

I am aware that I have different taste in music and ballet from my contemporaries. In my opinion, there is much more profundity in the era of Vaughan, Simone, Fitzgerald etc compared to the music today.

Shale Wagman at 14 with his teacher Michel Rahn

Shale Wagman at 14 with Luca Masala, the director of the Princess Grace Academy

Last class in Monaco with, from left, grandparents Phillip and Eleanor Starkman, Shale Wagman, Heather Wagman, and dad, Michael Wagman

Back in Monte Carlo, it wasn’t all plain sailing. When he was 15, he developed a stress fracture in his lower back.

It was in my L5 vertebra, due to lots of physical activity as my body was still growing. My back was extremely flexible, so I had to learn how to control it with my core. I rested for a couple of months and rehabbed with physiotherapy and Pilates. I learnt so much about my body and how to control each muscle.

Marsala, at the Princess Grace Academy, remembers,

He was devastated as ballet is everything for him and he told me that if he were to stop dancing, he wouldn’t have a life anymore.

Shale now looks back at this time positively.

I grew from this injury as a dancer and person, but it definitely was a low point because I always turn to dance as an outlet for my emotions. Since I didn’t have dance, I didn’t feel like myself.

In class At Prix de Lausanne 2018, photo by Gregory Batardon

Masala encouraged Shale to enrol for the Prix de Lausanne in 2018.

The Prix de Lausanne was a life-changing moment. It didn’t feel like a competition, it was more about how far I was able to push myself during that week. I wanted to grasp everything I could like a sponge.

There was quite a lot of build-up before the competition. From the first year I joined the Académie Princesse Grace, my director voiced how he’d like me to go. Of course, I dreamed of taking part. When we started preparing for it, the pressure was enormous because essentially I was representing my school that has a very high standard.

The week was quite special. We all came to share our joy to dance and learn. It was great to be in an uplifting atmosphere where everyone was supportive of each other. I made dear friends and met some of my idols and dream company directors. There was this sense of being apart of something much bigger than yourself.

Shale Wagman in class at the Prix de Lausanne 2018, photo by Gregory Batardon

Prix de Lausanne 2018 class, photo by Marina Kleinwort

Shale Wagman dancing Chroma at the Prix de Lausanne 2018 finals, photo by Gregory Batardon

Shale Wagman winning the gold medal at the Prix de Lausanne 2018, photo by Gregory Batardon

With winning the Best Young Talent prize came the opportunity to join one of the competitions partner companies, an apprenticeship offered by the Oak Foundation and Rudolf Nureyev Foundation. Shale chose the English National Ballet.

I chose ENB based on the versatile repertoire, the progressive direction of the company and of course, seeing the talented dancers within the company.

And I have lots of respect for Tamara Rojo; she is a strong female director who is also a Principal dancer at the same time. I don’t know how she does it! There are some extraordinary people in the company. So many of the company members have helped me in my dancing but have also supported me when I was struggling. I’ve learnt from everyone there and have made some beautiful friendships.

Lead Autumn in Christopher Wheeldon’s Cinderella at English National Ballet, Photo by Emma Kauldhar

But after his year with the company, he felt it was time to move on. Plus, the Mariinsky came knocking.

The preparation [for La Sylphide] was strenuous, and there were a lot of bumps along the way. I got an allergic reaction, major headaches, and I couldn’t walk the day before the performance due to an injury in my foot.

The first time in your life that you dance a principal role in a complete ballet is with the Mariinsky Ballet. It’s also the first time you dance James, and the first time you partner a famous ballerina. Pressure?

This was my debut in the role, so I hadn’t had any previous experience. I’ve always enjoyed this ballet, and I’m a ballet freak, so I’m constantly researching. I was coached by legends Vladimir Kim and Gabriela Komleva who gave their incomparable passion and love of the art in the studio.

Shale Wagman with Olesya Novikova and Gabriela Komleva rehearsing La Sylphide at the Mariinsky theatre, photo by Svetlana Avvakum

rehearsing La Sylphide at the Mariinsky theatre, Photo by Svetlana Avvakum

Shale Wagman with Olesya Novikova rehearsing La Sylphide at the Mariinsky theatre, photo by Svetlana Avvakum

rehearsing La Sylphide at the Mariinsky theatre Photo by Svetlana Avvakum

Did you find it difficult to immerse yourself in the story and understand your character?

People argue that the storyline of this ballet is unrelatable and out-dated, but for me it is a timeless classic because of the meaning behind it. Fundamentally, it’s all about an unobtainable love that you can never touch or get a hold of, and people can resonate with that. When you get your hands on true love, it is the best feeling you can experience but also the worst because if it isn’t reciprocated, you will experience heartbreak.

The audience can get fully entranced within the story if the artists can make the story and characters relatable to this day and age. I feel that it is the dancer’s duty to make that possible through character analysis and adding their own feelings and personality to the role.

Apart from familiarising yourself with the story and characters, you had to learn a very precise style, one that dancers at the Danish National Ballet learn as they move through the school.

I like dancing the Bournonville style because it is extremely human. It challenges me to push beyond my limits, technically and artistically. Batterie is one of the most challenging things for me, and Bournonville incorporates a lot of that into his ballets. The port de bras are very simple, which makes for a more natural appearance, which I love. The sheer musicality is something to really be appreciated in this ballet as well.

And then you found yourself on the Mariinsky stage.

That theatre has an atmosphere beyond belief. The first time I walked into the theatre, I couldn’t help but tear up. The moment I stepped on that stage was the first time I felt truly free in months. It was a genuine feeling of euphoria.

Shale Wagman with Tatyana Tchenko as Effie, photo by Eli Cattiva

Curtain call for Shale Wagman and Olesya Novikova, photo by Catherine Pollak

Curtain call for Shale Wagman and Olesya Novikova photo by Catherine Pollak

After La Sylphide, from left Vladimir Kim (coach), Olesya Novikova, Gabriela Komleva, Shale Wagman, Tatiana Stepanova, Heather Wagman

You were also dancing with one of your childhood heroines.

Novikova made the experience all the more stunning. She is elegant, poised and professional. To me, she is the epitome of a world-class ballerina. It was a privilege to share the stage with someone of her calibre who has performed this role many times. For her to give me the time and understanding in my debut and have the connection we had while performing together was an absolute honour for me.

His mother, Heather, was in the audience.

People have said, would you have ever believed that your son would be dancing on the Mariinsky stage in Russia? Secretly, yes, but I could never say that out loud. It was such a spectacular performance and a feeling of pure joy watching your child living his dream.

A review on the German site Tanznetz says: “With great enthusiasm and stage presence, Wagman mastered the tricky Bournonville style effortlessly. The lightness of his high jumps, elegant arabesques, perfectly controlled turns and precise and speedy impressed the audience from his first step on stage.”

Shale’s boyhood teacher, Tatiana Stepanova, once gave him a present.

It was a book with details of the best ballet theatres in the world, including the Mariinsky. He told me that one day, he would be dancing on one of these stages – he just did.

His mother adds,

Shale is unstoppable, and we are all so excited to watch and see more of his dreams come true!

I ask him, “So, what happens next for Shale Wagman?” He grins:

Stay tuned…

Curtain call for Shale Wagman after La Sylphide, photo by Catherine Pollak

Introducing 19-year-old Canadian dancer Shale Wagman: from Lausanne to ENB to the Mariinsky Canadian dancer Shale Wagman turned 19 last May. Soon after he was guesting at the Mariinsky Theatre.

#David Hallberg #English National Ballet #Mariinsky Theatre #Olesya Novikova #Rudolf Nureyev #Shale Wagman #Tamara Rojo #Vladimir Shklyarov

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emilysarsam · 6 years

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Women on the London Jazz Scene: Inspiring a generation of female jazz musicians

In this paper I will be discussing gender dynamics in the context of the current London Jazz Scene. This scene offers an interesting field to explore the powerful roles that women, such as Yazz Ahmed, Emma Jean-Thackray, Alya Al-Sultani, Nubya Garcia to name a few, are playing in inspiring a new generation of, especially female, jazz musicians. The idea to write this essay was inspired by my participation in the symposium “Making the changes: A powerful symposium for women in jazz”, which Issie Barrett organised in December 2017 at the Southbank Center and assembled over 70 people to speak about the current status of women in jazz. I feel it’s important to question the difficulties women and girls face when deciding to pursue a career in jazz, considering the art form’s historical importance in functioning as the voice of the oppressed, communicating the discriminatory practices of everyday life, and improvisation behaving as the ultimate symbol of freedom. One of my interviewees, Al-Sultani, believes that some actors in the jazz scene feel threatened by proactive and outspoken women. In order to prevent female jazz artists from becoming empowered by the sector, these actors have tailored the scene to function as a hostile environment. This reality clashes completely with Alya's interpretation of jazz as “politics of freedom”. To better understand this dichotomy, I will be drawing on the writings of scholars such as Ingrid Monson and especially Sherrie Tucker, who’s book “Big Ears: Listening for Gender in Jazz Studies” offered a valuable reference while exploring historical gendering in jazz and its influence on shaping the entire culture around it. In order to gain first-hand insight to current debates on gender in the London jazz scene I conducted interviews with Lizy Exell (English jazz drummer, member of the collective Nérija) from Jazz Herstory, a new web platform set up in July 2017 which seeks to address gender equality in Jazz, and Alya Al-Sultani, a vocalist and artist who released “Collective X”, a project which explores race, identity, and the black and minority ethnic experience through music. A lot of my opinions and views can be traced back to participatory observation during lectures, concerts and informal discussions with jazz musicians and enthusiasts alike.

The risks of gender-blindness and essentialism in jazz

I find myself rather ambivalent about writing this essay. As much as I feel it’s necessary to deconstruct issues concerning gender in jazz, I’m aware of the problems which this discourse can cause by pigeonholing women in the “gender” debate. I deeply honor and respect the artistry and talent of all of the women discussed throughout this paper and was drawn to them primarily through their music. This paper strives to present them as artists before anything else, while baring in mind the fine nuances of gender in this discussion and making assumptions as inclusive as possible, hoping to mirror their voices and opinions as genuinely as possible. A quote comes to mind by Norma Carson, one of the trumpet players from the all-girl band, “International Sweethearts of Rhythm”, who in Linda Dahl’s book, “Stormy Weather” said, "I've never found it an advantage to be a girl, if a trumpet player is wanted for a job and somebody suggests me, they'll say 'what, a chick?' and put me down without even hearing me. I don't want to be a girl musician. I just want to be a musician.” Lizy Exell tells me that she’s experienced the same thing and despite being disturbed by it has developed a resilience to not take this issue personally but rather regard it as a flaw of our times and society. She recalls going to jam sessions as a teenager in Dorking and being the only female in the room but never considering this to be an issue, she was too immersed in the music. She strongly believes that if you’re really passionate about something, you will pursue it regardless of the barriers which you’re confronted with. While she’s been strong enough to cope with the pressure women are subjected to as artists and performers, she’s aware that not everyone is able to do so. It’s only through this realisation that she’s opened her mind to reflect on the gender discourse and founded Jazz Herstory, which is a web platform through which she can educate herself and share knowledge and information about women in jazz. Similarly Alya, as a female jazz artist and woman of color, tells me that she’s been forced to create her own niche within the industry. Under no circumstance is she willing to adhere to the expectations which society have of women and artists. She doesn’t believe that people are likely to change any time soon, so she’s been forced to make her own change. Everything she does, is motivated by a deep passion and love for art, justice, and feminism, and it is thanks to her genuine drive that she excels in her field.

How can such pleads for gender-blindness in jazz be treated? What if we were to rephrase Ron Radano’s assumption of the problematic nature of labelling jazz as “black music”. He claims that the label evokes exotic and essentialist notions of blackness, but to ignore it would downplay the historical and current role that African-Americans play in shaping jazz in the face of power imbalances (Radano 1994, p.18). If we assume that the concept of gender, like race, is a social construct which was shaped by generations of imbalanced power dynamics as a tool of disenfranchisement, then how might Radano’s perspective apply to “female music”. Does this label immediately sexualise and romanticise music or is it a necessary term to balance gender representation? Wouldn’t a description like “female saxophonist” as opposed to simply “saxophonist”, rather perpetuate the reception of female jazz instrumentalists as peculiar or out of the ordinary? The discourse around the “colorblindness” of jazz, argues that artistic merit is to be valued, regardless of the artists’ race, ethnicity, gender, religion etc. Could this blindness however be understood as an ignorance imposed by white supremacy (Panish 1997, p.8) that has reached a certain status of dogma within jazz discourses, making it even harder for women and people of color to speak up about the prejudice, discrimination and hardship which they face? (Cole 2010)

Focus: the London jazz scene

The symposium, “Making the changes: A powerful symposium for women in jazz”, brought people together from various fields to discuss and identify barriers which women face in the jazz industry and to create a network of actors in the field. Most shocking were the statistics revealing the gender imbalance reaching throughout the entire jazz industry. According to statistics assembled by Issie Barratt in 2016, only 8 of 200 jazz instrumental professorial seats were held by women at 6 of the 7 conservatoires in the UK and less than 6% of jazz instrumentalists studying at the conservatoires were women. Only 5% of professional jazz instrumentalists identified as women. The figures of female journalists contributing to media outlets like “Jazz thing” or “Jazzwise”, as well as the disproportionate coverage about women in these journals, are equally unsettling, with women on average making it on to a mere 1-2 covers out of 10 yearly issues. The same situation goes for the United States, where only two female jazz instrumentalists have won the Thelonious Monk Competition since its initiation 30 years ago, and the Jazz at Lincoln Center Orchestra only ever accepted their first female member in 2017, the same year they adopted the policy of blind auditions (Berliner 2017). As one can imagine, these numbers raised more questions than answers. How could the statistics be so low? How do the numbers of successful female jazz actors correlate to the number of “aspiring candidates” (Stephenson, 2017)? To what extent is the value of women instrumentalists’ artistry judged on the base of merit rather than sexism and misogyny within the system? If the number of aspiring female jazz instrumentalists is in fact so low, then can this be traced back to a lack of female role models? Or is this rather a result of women’s limited representation on the jazz market, be it in the media or at jazz festivals? Are female instrumentalists simply not interesting enough to break through in the mainstream jazz market, which is shaped by the male gaze and more interested in “seeing” than “hearing” women perform jazz (unless they are vocalists)? How can gender parity be assessed as long as there is a lack of female jazz journalists and promoters covering female jazz instrumentalists?

The group concluded that tackling these issues would require grass-roots approaches, beginning with education initiatives targeting toddlers. Creating and providing safe spaces where boys and girls alike could practice and “get things wrong”, would be necessary for them to “get good”. What they needed was a bully-free zone to experiment through trial and error. Improvising in music is risk-taking, often putting musicians in a vulnerable place. Wether they’re improvising or not, women are in any case subject to vulnerability as they are constantly expected to prove their skill. Errors during performances or rehearsals might be excused with an, “it’s because she’s a girl”, hence perpetuating the stereotype that “women can’t play jazz”. This is an environment which makes learning impossible as the subconscious lowering of potential discourages young women to make mistakes and learn from them (Berliner 2017). These are necessary measures to combat male structural privilege that has been taken for granted in society and continues to determine how women’s playing is judged and rated and actively disadvantage young women in jazz. Furthermore, we discussed the roles of bullying in educational institutions as well as on the jazz scene, and its impact on artists’ mental health. The feeling of being an outsider as the only women in the band or at a jam, in a classroom or on a board of professors is an issue which can significantly influence the self-esteem and confidence of individuals. Initiatives like Music Minds Matter by Help Musicians UK were already in place, offering support and help to anyone in the music industry who claims to be affected by bullying or depression. The debate about the lack of media presence and promotion sparked the idea of creating an online network which represented active female jazz instrumentalists. While some bookers or bandleaders were keen on booking women, they claimed that they struggled to find the exact profile that they were looking for, due to the lack of their exposure. The issue of modesty or insecurity might also discourage people, who might be active on the jazz scene but require promotion, from considering themselves “professional jazz instrumentalists/vocalists”. Online networks as such could give an overview of the available talent without forcing artists to leave their comfort zone and put themselves in to the spot light.

Predatory music environments

Speaking about safe places is important, regarding the rough nature of touring and nightclubs. Women who work in bands led by men, claim that they face traumatising experiences while being on tour. Issues range from the exposure to sexist and misogynistic behavior, to the consumption of pornography on tourbusses to the sexual exploitation of their female band members and other women they encounter while they’re on tour (Pellegrinelli 2017). It’s undeniable that these are uncomfortable situations which people might find hard to speak about openly, especially when their careers are at stake. Sasha Berliner, a jazz vibraphonist currently based in New York City, has used her blog to openly speak about the sexual harassment which she faces through her male mentors. She explains that these situations create dangerous dilemmas, for if she was to turn away a male musician who is interested in her sexually and is a popular figure on the jazz scene, then he’s likely to sabotage her reputation and claim that he doesn't like her playing out of anger for her unwillingness to cooperate. This type of sexual manipulation can have serious consequences on the careers and education of aspiring female artists (Berliner 2017).

Lizy is under the impression that some men lack the ability to appreciate listening to women and rather take pleasure in seeing them play jazz. She finds confirmation of this idea when observing the type of vocabulary which is chosen by some men to comment on and compliment women. Some of this social vocabulary perpetuates the normality of complimenting women by merely commenting on their looks. It’s equally important to note the important role which audiences play in creating an either predatory or encouraging atmosphere in jazz clubs. It goes to show that the typical audience in London’s more established jazz venues, which also happen to be late night venues, dark and very expensive, is predominantly white, male and over fifty. These types of venues filter out a large number of potential listeners who would otherwise be able to enjoy jazz concerts if they were held in more inclusive locations, hence regulating the exposure of jazz to a privileged elite (Ahmed 2017).

The scene’s not big enough for both of us!

Numerous participants of the symposium shared their experiences about not being invited to play at festivals or not being able to qualify for certain competitions and grants because, “another female artist had already been chosen”. For any more than a couple of very talented women to become successful was regarded as a threat to male structural privilege within jazz organisations and institutions. What this naturally does, is create a competitiveness between female artists fighting for recognition, hence hindering them to create an encouraging community through which they can lift each other up. On this note, Alya shares an interesting example illustrating reverse sexism and hidden racism. The Manchester Jazz festival had invited her to play with her project Collective X but told her that she needed to book more women in her group. Except for Alya, all other member of Collective X are male and people of color. She immediately withdrew from the festival, understanding the absurdity that women, due to current trends, were being given chances in jazz, at the expense of people of color.

Shifting gender - shifting parameters?

Shifting our perspective towards those who identify as non-binary or transgender, how are they affected by these conditions that tend to be dominating the jazz industry? During the symposium various experiences of gendered privilege and hierarchies within the jazz scene were discusses. A jazz instrumentalist who had undergone a sex transition explained that while they were perceived as male, it was taken for granted that they were a talented pianist. After transitioning however, they suddenly became a “gifted and extraordinary” female musician. People on several occasions would tell them “you play like a man” and regard this a compliment. This example proves that the visual has a bigger sensory impact on audiences “listening” to jazz, allowing their critical parameters to adapt to the gender of the performer. This leads to the conclusion that men are assumed to have a biological predisposition of being good at playing jazz, hence male jazz artists are regarded as natural while female artists are considered unnatural. According to these parameters, a woman’s talent in jazz musicianship can only be valued once it reaches a “golden” status of masculinity. Alya, who is both a classical and jazz vocalist, tells me that when she sings, she feels that she becomes an instrument of the music’s feminine force and power. I find this argument very interesting, considering the gendering of instruments and especially the stereotyping of the female voice as the only acceptable female medium to prevail in jazz. By owning her body and viewing it as an instrument, Alya empowers herself instead of letting stereotypes determine how she feels as a female vocalist.

These issues raised the topic of “blind auditions” and sparked discussions about their role in combatting gendered prejudice. Opinions were polarised, with some arguing in favor of them claiming they disabled a “male gaze” and encouraged more women or insecure people to audition in the first place, allowing equal chances to all. Those who argued against “blind auditions” worry that they simply perpetuate the stigma that women and men can not be judged by merit only and while they might encourage women to audition more, they do little to change the harsh realities that they face once they pass round one.

Women on the London jazz scene

The first time I saw Nubya Garcia live was back in October 2017 at a pub called “The Royal Albert” in Newcross, which hosts free concerts every Sunday evening. Together with her group, Moses Boyd on drums, Joe Armon-Jones on keys and Daniel Casimir on double-bass, they played tracks off her debut album, “Nubya’s 5ive”. Despite growing up in a household of musicians and being dragged to gigs throughout my childhood, I can count on one hand the amount of times that I’ve seen jazz performances being lead by female instrumentalists. Although I loved the music, I felt that every time I entered a jazz club, I was entering male territory, especially in my hometown Vienna, where the jazz scene is significantly smaller and more conservative. The environment in these venues barely let me feel comfortable enough to watch and clap but the thought of performing in front of such an audience was disconcerting to say the least. The notion of inclusivity and accessibility at the Royal Albert stood in stark contrast to the elitist jazz scene that I was accustomed to back home. It proves to show that the current generation of jazz artists in London is making a conscious effort to work on the scene’s reputation as an open community. Cassie Kinoshi, the alto saxophonist for the all-female jazz collective “Nérija” and leader of the 10 piece band SEED Ensemble, says it’s her goal to “make sure that people can view jazz as an accessible, down to earth music that is meant to be relatable” (Holder 2017).

Nubya isn't the only inspiring female instrumentalist jazz band leader on the scene at the moment. Artists like Yazz Ahmed, Emma Jean-Thackray, Alya Al-Sultani and Cassie Kinoshi are just a few of the inspiring women leading bands and ensembles in London today. Sheila Maurice-Grey, who is the trumpeter of Nérija and bandleader of KOKOROKO, an afrobeat band, speaks of the hard work and commitment that comes with being a female jazz bandleader or artist, her tasks ranging from booking, organising, performing, to composing. What lays behind the success of many young artists today, especially of women and people of color, is an incredible work ethic driven by factors such as structural gender and racial inequalities. (Holder 2017)

What strikes me most about the scene is its strong sense of community. Some of the musicians which I mentioned above have known each other for years, having been part of music education programs such as “Tomorrows Warriors”, and continue to contribute to and support each other’s projects. These young artists are doing the groundbreaking of guiding a generation of equalitarian musicians who are willing to collaborate rather than compete.

Sexualised stereotypes: “The Saga of Musical Clitoris”

I feel that, in the context of this paper, it is essential to discuss, if only briefly, Ethan Iverson’s interview with Robert Glasper for his blog, DO THE M@TH. Published in March 2017, the interview stimulated a fiery debate about feminism in jazz. Much of jazz’s gender debate has been deemed “compensatory”, as it has tended to focus on the achievements and lost stories of women had been marginalised and merely mentioned on the sidenote of jazz history. While this compensatory work is needed to advance towards equal representation, the interview reveals that the issue of women in jazz goes as deep as the gendered construction of the music itself (Mercer 2017).

RG: I’ve had people tell me about your music. Like women you would think never listen to jazz: Young, fine, Euro chicks ask me, “I heard this band, the Bad Plus, do you know them?”

EI: I guess that’s one of the reasons to play, really.

RG: Yeah, it’s awesome, something is there in your music that gives them entrance to jazz, otherwise they’d never cross paths with it. Now, I love playing a groove […] and I’ve seen what that does to the audience, playing that groove. I love making the audience feel that way. Getting back to women: women love that. They don’t love a whole lot of soloing. When you hit that one groove and stay there, it’s like musical clitoris. You’re there, you stay on that groove, and the women’s eyes close and they start to sway, going into a trance. (Iverson, 2017)

There is so much wrong with these few statements, beginning from Robert Glasper’s conviction that it is through his and Evan’s mastery of groove that women get “in to” jazz in the first place. These comments imply that they regard themselves as potent jazz musicians, claiming to know exactly how to stimulate a women through groove. Solos on the other hand, wouldn’t really do the trick, as women are not intellectually on par with men and therefore fail to enjoy the musical complexities of soloing. This assumption further perpetuates the notion that women don’t get jazz by “essentialising them as creatures of pure instinct”. (Mercer 2017)

Conclusion: the future’s bright

In an interview, Esperanza Spalding recalls overhearing a comment made by McCoy Tyner when asked about his opinion of women in jazz after playing with her. His answer, “oh, you know, she’s good, but I've never seen women that stick with it,” immediately mirrors disbelief of the long-term success of female instrumentalists in jazz, basically implying that we should enjoy her talent while it lasts. Does this stem from a deeply embedded patriarchal notion of conservatism which traditionally determined the woman’s role as a housewife who could be held responsible for little more than the household and taking care of children? Subtle comments like these prove to show that until today, jazz’s patriarchal roots run deep, inhibiting individuals to advance in their careers and passions and reach more “mature areas of their artistry” (Cole 2010).

Some would argue that, in recent times, there’s been a lot of attention paid to and coverage of female jazz artists, however “wider recognition for exceptional talents does not indicate a progressive shift in jazz culture as a whole” (Pellegrinelli 2017). I don’t mean to say an increase in media coverage is not helping in equalizing the status of men and women in jazz, on the contrary, I believe that this plays an important role in “normalising” reporting on women. It is only when the label “female artist” becomes redundant, that focus will shift to an investigative nature of a person's art. The stories of female instrumentalists have long been overshadowed by the hero status of great male jazz musicians in mainstream jazz narratives. The exceptional women who did manage to make it into the history books are mostly presented through their involvement with their male counterparts, like in the case of Alice Coltrane, who before being her own person, was John Coltrane’s wife and who’s biography is told through a listing of her male collaborators.

Now is the time to increasingly discuss and implement sustainable measures which encourage positive attitudes towards women in jazz. Many organisations, collectives and labels are working hard to battle these outdated prejudices and promote female composers and performers such as “Tomorrow’s Warriors”, the artist-led organisation “Blow The Fuse”, the artist development scheme “Serious” and its jazz initiative “Take Five”, PRSF Women Make Music, a fund to support female artists and Issie Barratt’s National Youth Jazz Collective (Ahmed 2017). These initiatives are crucial driving forces which are necessary to, not only include the gender perspective in the jazz narrative, but also change the narrative itself which has thus far been heavily embedded in sexism, merely perpetuating the desire for familiar jazz portrayals (Tucker 2001, p. 8). This paper is a homage to the role-models and people who are reshaping jazz and helping it become an accessible and inclusive art form open to all who share a passion for the music.

References

Ahmad, Yazz. “Yazz Ahmad on Facing down Sexism in Modern Jazz.” Accessed January 7, 2018. https://thevinylfactory.com/features/yazz-ahmed-women-in-jazz/.

Berliner, Sasha. “An Open Letter to Ethan Iverson (And The Rest of Jazz Patriarchy).” Accessed January 7, 2018. http://www.sashaberlinermusic.com/political-and-social-commentary-1/2017/9/21/an-open-letter-to-ethan-iverson-and-the-rest-of-jazz-patriarchy.

Cole, Tom. “Nine Women In The Room: A Jazz Musicians’ Roundtable.” NPR.org. Accessed January 7, 2018. https://www.npr.org/sections/therecord/2010/11/01/130978669/nine-women-in-the-room-a-jazz-musicians-roundtable.

Dahl, Linda. Stormy Weather: The Music and Lives of a Century of Jazzwomen. London: Quartet, 1984.

Holder, Nate. “How Women Took Over The London Jazz Scene in 2017.” A Worm In Horseradish (blog), December 29, 2017. https://aworminhorseradish.wordpress.com/2017/12/29/how-women-took-over-the-london-jazz-scene-in-2017/.

Iverson, Ethan. “Interview with Robert Glasper.” DO THE M@TH (blog), November 28, 2017. https://ethaniverson.com/glasper-interview/.

Mercer, Michelle. “Sexism From Two Leading Jazz Artists Draws Anger And Presents An Opportunity.” NPR.org. Accessed January 9, 2018. https://www.npr.org/sections/therecord/2017/03/09/519482385/ sexism-from-two-leading-jazz-artists-draws-anger-and-presents-an-opportunity

Panish, Jon. The Color of Jazz: Race and Representation in Postwar American Culture. First Edition edition. Jackson: University Press of Mississippi, 1997.

Pellegrinelli, Lara. “Women in Jazz: Blues and the Objectifying Truth: Video.” Accessed January 7, 2018.

http://jazzbluesnews.space/2017/12/31/women-in-jazz-blues-and-the-objectifying-truth.

Radano, Ronald Michael. New Musical Figurations: Anthony Braxton's Cultural Critique. Chicago: University of Chicago Press, 1993.

Rustin, Nichole T., and Tucker, Sherrie, eds. 2008. Big Ears : Listening for Gender in Jazz Studies. Durham: Duke University Press. Accessed January 8, 2018. ProQuest Ebook Central.

Stephenson, Emma-Grace. “What’s Going On With Women In Jazz?.” Stuff You Can’t Say With Jazz Piano (blog), March 12, 2017. https://www.emmagracestephensonmusic.com/single-post/2017/01/05/Whats-Going-on-With-Women-in-Jazz

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chefworld-blog1 · 6 years

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stowawayproductions-blog · 7 years

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Loving

Written 12/2/16

There is a fine line between subtle acting and a simple character. I always wonder if I'm reading that difference correctly, especially when my opinion on the subject differs from that of the critics to whom I listen. In this particular case it's not that critics had anything negative to say about Joel Edgerton; no one's been saying much of anything at all.

I went into this theater with my eyes on Ruth Negga. I had heard that she's the one to watch, and she was absolutely brilliant. If there's going to be an Oscar nomination here it's going to be for her, though this year in the actress category there are so many "definite" choices that a few great performances might be left out. Her portrayal was an emotional, passionate, powerhouse performance and it deserves praise, but my praise is landing mostly on the facial expressions from Edgerton. I hope that I am discerning the ever-vague line correctly in this case when I see his work as a beautiful example of subtle acting. He and Negga are the focus of that story, not one of them but both, and Negga absolutely takes that leading stage, but Edgerton hangs back. His character isn't a center stage type of guy so, for the purposes of this story, neither is Edgerton. I have the utmost respect for that control. I could never see someone like Matthew McConaughey or Leonardo DiCaprio pulling something like this off, they're too used to a leading roll meaning a role fraught with emotional speeches and epic finales, as are many men who would normally be cast in a film like this. Edgerton makes his character crystal clear, there's no ego, no showmanship, just character development and background, and it is incredibly rewarding to be brought to tears as his performance comes to a close. Negga might have been the power, but I was incredibly touched by the artistry in Edgerton's accomplishment.

Regardless of being taken by surprise by the performances, this film is not a ten out of ten. It was a solid drama that I enjoyed watching and I'm happy it exists, but I'm frustrated by where it fell short because it could have so easily been perfect. In 2001 this would have been one of the best films of the year. The artistry here just isn't up to the times. Not to say that every film needs to be Birdman or Moonlight, but in film we have this beautiful opportunity to let our cameras be a character, and this year especially directors are letting their cameras soar. Even in A Light Between Oceans (which is the worst movie I've seen this year, hands down) the camera is used to tell the story, to manipulate subconscious emotion in the audience: the vast, lonely seas; the focus on each other's skin and eyes drawing you into their relationship; that feeling that they are in complete solitude, apart from each other. Loving did not utilize its assets. The cinematography was fine, there was nothing wrong with it, and there were even some very pretty shots, but that artistry felt out of place. The director seemed to just throw them in haphazardly because he thought they looked nice, rather than using them to further the setting or the story. These two actors were so beautifully unique in appearance, both from each other and from the norm; the landscape was breathtaking and there was a wonderful potential for contrast as they spent some time in D.C.; but instead of going that extra step, Nichols threw all of the story into his actors and his screenplay rather than letting the camera carry some of that weight. It was especially jarring, and perhaps a driving factor in my focus, to watch this after having gone to Certain Women the night before. Certain Women utilized its camera at every turn. Every shot was beautiful and telling and contributory. Loving was an excellent story with excellent actors set in front of a soulless machine tasked with capturing the performances and nothing more.

If Nichols' goal was to make a biopic drama that was realistic and told a story well, he succeeded in great measure, but if his goal was to make a great all-around film, he missed a few steps.

On a slightly different note that I find to be of equal importance, the experience of watching this film has furthered my constant struggle with my opinion of audiences. Part of me hates audiences with a burning passion. For the last year or so, as I've been delving deeper than ever before into my own film education, I'm finding it increasingly frustrating to go to the theater. Audiences talk, they munch, they shuffle and move and breathe. They get up IN THE MIDDLE OF THE FILM to go to the bathroom or refill their popcorn. I want to scream at them "this is art! Sit down and pay attention!" But in reality, perhaps I'm the one in the wrong. If I truly believe, as I've said before, that film is the peoples' art, well, these are the people.

I sat down in my seat at the Bijou Arts Cinema in Eugene, Oregon. I had chosen my seat very careful as I've learned that if I place myself in front of the bulk of the audience I find them less distracting. I sat gingerly in the third row, steeling myself for the frustration that was to come. And oh boy was there shuffling, and munching, and sipping, and an inordinate amount or coughing (thanks winter, you've added another noise for me to muscle through), but there was also talking. I was so excited to hear the talking because it wasn't about where they wanted to go to dinner or if they'd forgotten to turn their lights off, they were talking about the film: "oh no, she has to stay in jail because she's black", "OH MY GOD LOOK AT THAT BABY", "What's that guy's name? I've seen him before". And there was laughing and crying and sighing and gasping, and suddenly I loved the shuffles and the grunts and the sniffles. They bring a life to the theater and a legitimacy to film. If I were always alone in every theater I went in to, I would probably start wondering why we make films at all. I will still want to strangle people when they start "whispering" about their daughter's dance recital in the middle of an emotional climax, and I'm sure this epiphany of mine will be challenged the next time someone squeezes past me forty minutes in to go get more food, but I suppose we have to take the bad with the good and appreciate the people for whom we make our art.

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