Dr Anne Dvinge
From 1996 to 2001, I was employed at Copenhagen JazzHouse as Information Officer and host to musicians arriving from abroad. From 2001 to 2002, I took on the position as Music Director of a small experimental scene and café, based on the principles of 20th Cent. Danish culture radicalism, in particular the ideas of Poul Henningsen (PH). I have maintained an extensive network in the jazz business/community, both in Denmark and abroad, and serve today on the Board of Representatives at Copenhagen JazzHouse. After completing my MA in Comparative Literature from University of Copenhagen in 2001, I moved to London in 2002 where I lived and worked for 2 years as the Information Officer at The Disability Foundation in North London. However, finding that I missed the intellectual challenge of academic work, in 2004 I applied for and received one of 18 3-year PhD fellowships that are awarded every year in the Humanities at University of Copenhagen. Near the end of my fellowship I handed in my dissertation a month early and was awarded a PhD for my thesis, Between History and Hearsay: Imagining Jazz at the Turn of the 21st Century, in December 2007
My research lies in the interstices between jazz studies, cultural studies, and American studies. In my research, I point to jazz as a unique interdisciplinary prism, both in an American national and European transnational context. Through this I investigate the way narratives are formed around national and transnational identities and more importantly, how the interplay between these categories enables us to rethink them.
My current research project, Jazz – A Cosmopolitan Vernacular: Transnational Narratives of Identity and Tradition, seeks to investigate narratives of national and transnational identities in the context of the transatlantic jazz culture. As jazz continues to migrate across national, ethnic, and cultural borders, I wish to investigate how jazz and local music cultures interact and intermingle. The study will be based on case studies focusing on the jazz festival as both a geographical and physical place, but also a more abstract, symbolical space where national and trans-national identities and claims of belonging are negotiated by locals and visiting jazz musicians. I plan to work with at least 3 European jazz festivals and 2 American festivals, emphasizing how the transatlantic and transnational travels of both the music and its performers constitute both articulations of cosmopolitanism and strategies of the vernacular. The study will be published as a monograph as well as in peer reviewed articles.
Dvinge, A., ”Keeping time, constructing self: music as rooted cosmopolitanism in migration narratives.” Identity, Migration and Women's Bodies as Sites of Knowledge and Transgression, University of Malaga (December 2008)
Dvinge, A., “The Real Ambassadors” June 30. 2008 [30 Aug 2008] in America Adrift Stuart Noble & Bent Sørensen, eds., Available from:
Dvinge, A., “Geography is Fate: Jazz Places and Musical Spaces in Down Beat.” Leeds International Jazz Conference, Leeds College of Music (March 2008)
Dvinge, A., Between History & Hearsay: Imagining Jazz at the Turn of the 21st Century. PhD Dissertation, University of Copenhagen (2007)
Dvinge, A., “Renaissance of the Crescent City: Reflections on New Orleans as the Origin and Cradle of Jazz.” 7th International Conference of the Collegium for African American Research, UNED Madrid. (April 2007)
Dvinge, A., “Representations of Jazz in America at the Turn of the 21st Century” in Danish Yearbook of Musicology Vol. 34 (2006)
Dvinge, A., “Complex Fate - Complex Vision: The Vernacular and Identity in Ralph Ellison's Juneteenth”, Amerikastudien/American Studies 51:2, (2006)
Dvinge, A., “The Perfect Metaphor: Ken Burns’ Jazz.” Contemporary Cultures of Time and Space, Goldsmiths College & Copenhagen Doctoral School in Cultural Studies, Literature, and the Arts, University of Copenhagen. (June 2005)