BTN News: Over the nearly two decades I’ve been writing this column, I’ve consistently highlighted the immense potential that a unified jazz festival circuit could have for our country. However, as time passes, the prospect of such a network—one that once served as a multiplier of opportunities, creating a world-class circuit—is now fading. Instead, what we’re witnessing is a fragmentation into isolated events that lack the same allure for artists, sponsors, audiences, and the tourism industry that has so richly benefited the host cities in the past.
This year, the situation has become particularly concerning. Some of the key events traditionally held in September are not taking place within their usual schedule during the second and third weeks of the month. This shift disrupts the synchronization necessary for high-caliber international groups to perform in multiple cities. The change not only diminishes the appeal for top-tier musicians, who are less inclined to travel for a single concert, but it also risks lowering the overall quality of the line-up. For instance, it becomes increasingly unlikely that Colombian audiences will get the chance to see world-renowned artists like Pat Metheny—who has yet to perform in Colombia—unless there’s a more attractive multi-city tour on offer.
At the same time, new festivals are emerging, bringing fresh energy to the scene with a focus on musical diversity and attracting significant attendance. A prime example is the Voces del Jazz festival in Cartagena, which not only falls on the traditional jazz month but also features a compelling competition for bands. This festival has been strategically announcing its line-up, both international and local, well in advance, capturing the interest of a broad audience.
It’s crucial that we leverage the nearly 30-year history of this festival season, which has become a beloved tradition. A collective advertising campaign for all these events, for instance, could lower costs while significantly increasing reach. The continuity offered by festivals that stick to their original schedules is another advantage; these events provide reliability for spectators who have already invested in tickets, travel, and accommodation.
Rebuilding this alliance is possible by sharing artists, pooling strategic allies, and consolidating operational expenses, which would free up resources to elevate the artistic quality. This collaboration could happen without compromising the autonomy or programming decisions of individual events. The time to act is now—it’s never too late to reclaim and reinvigorate what was once a world-renowned festival circuit.
In conclusion, the fragmentation of what was once a cohesive and world-renowned jazz festival circuit in Colombia is a significant concern. The potential to re-establish this circuit lies in strategic collaboration, shared resources, and collective promotion. By doing so, not only can we attract top-tier international artists and maintain the rich tradition of jazz in Colombia, but we can also continue to foster cultural tourism that benefits all participating cities. Let’s not let this opportunity slip away; the revival of a unified jazz festival season is not just possible but necessary for sustaining and enhancing the cultural landscape of our country.
