Garmoe, Ryan2023-08-232023-08-232023https://hdl.handle.net/11299/256080University of Minnesota Capstone in partial fulfillment of the MPS in Arts and Cultural Leadership. Advisor Margo Gray. Director of Graduate Studies Thomas Borrup. Spring 2023. Degree: Master of Professional Studies in Arts and Cultural Leadership. 1 digital file (pdf).This paper explores the relationship between jazz, white supremacy, and colonialism, and how that relationship manifests in the Twin Cities jazz community. Jazz' s interaction with complex sociological concepts is well documented throughout the music's history. However, the discussion of jazz's racialized and exploited past rarely informs decision-making in everyday jazz happenings. How are current jazz systems the result of colonial history? The data to answer such questions, in the context of the Twin Cities in Minnesota, was gathered through musician-to-musician interviews and a survey created and distributed in conjunction with a local jazz non-profit, Jazz Central Studios. While drawing exact parallels to colonial action is difficult, preliminary findings suggest the Twin Cities jazz community continues to struggle with race and gender dynamics, despite the area's pride as a progressive bastion. Furthermore, the presence of robust state arts funding provides important context on why certain genres thrive and others are left grasping for straws. The Twin Cities jazz scene is well positioned for growth. Strong local musicians and the area's positive disposition towards the arts suggest there is space for jazz to flourish in the coming years, despite generally agreed-upon challenges. This paper aims to spark productive dialogue between key stakeholders and create more equitable, fair, and vibrant jazz systems in the Twin Cities.enJazzWhite SupremacyAfrican-American MusicColonialismNeoliberalismTwin CitiesMinnesotaThesis or Dissertation