INTERVIEW | Maria Semushkina: Jazz is “therapy for society”

April 30, 2026 Culture and education

Maria Semushkina, a cultural entrepreneur, producer, and organizer of one of the largest jazz festivals “Usadba Jazz,” told Evgenia Klescheva from the UN News Service about why jazz remains an important instrument of cultural interaction and social support.

From discrimination to dialogue

Today jazz sounds far beyond concert halls – as a universal language capable of uniting people even in conditions of conflict and political disagreements. Its history traces its roots to the late 19th – early 20th century and is closely connected with Afro-American culture and the experience of an oppressed people. The roots of jazz – in the rhythm and song of people who worked on Louisiana plantations – became a way for us to express pain, hope, and the pursuit of freedom.

“This is music that was originally born in very difficult conditions and carried within itself a signal to society,” says Semushkina.

According to her, jazz developed alongside social and political processes, including racial segregation in the USA, when black musicians could not perform on the same stages as white ones. However, it was precisely jazz culture that became one of the first spaces where these barriers began to break down.

“Groups were created where it no longer mattered who you were — what mattered was the harmony, the ability to hear each other,” the producer notes.

Improvisation, the key element of jazz, simultaneously requires freedom and deep mutual understanding between musicians. It is precisely this, in my opinion Semushkina’s, that makes jazz a metaphor for dialogue. In this sense, jazz becomes a model of society where different voices can coexist and interact.

Music that unites

Today jazz continues to perform a unifying function – sometimes despite political reality.

“He can unite people from warring countries, from different religious contexts,” says Semushkin. According to her, musicians do not serve politics, but music – and it is precisely this that creates a space for dialogue.

She observed such an experience within the framework of “Usadba Jazz,” where artists from Africa, Europe, and the USA performed, creating a space free from cultural barriers. Festivals and musical projects are increasingly seen as instruments of cultural diplomacy and social cohesion. One such example was the project initiated by Semushkina, Music Saves the World, which involved more than 100 musicians from various countries, including those forced into displacement. In particular, artists from Russia and Ukraine performed on the same stage.

In the future, she plans to expand this initiative by uniting musicians from other countries involved in the conflict.

“I know that musicians will not say: ‘I won’t play with him because he is from a hostile country.’ They serve the music and understand the value of peacemaking,” she says.

Jazz as “therapy” after crises

The tradition of jazz festivals is also closely linked to global upheavals. The first large festivals in Europe appeared immediately after World War II – for example, in France as early as 1948.

According to Semushkina, in the post-war period, jazz became a form of collective therapy: “It was not just entertainment – it was a space where people could recover, feel unity.”

This function has existed for a long time and continues today. Jazz, according to its practitioners, is capable of “changing the temperature in a room” – reducing levels of anxiety and aggression, rewiring neural networks, helping people better understand themselves and each other. Even complete strangers at a jazz concert easily find a common language: “This is a special community – you may not know these people, but you understand that you can talk with them.” Such an informal community unites people around the world and becomes an alternative form of global connection – outside official institutions and political alliances.

This role is especially important for people living in difficult social conditions, for example, teenagers from marginalized communities. The opportunity to attend a concert or festival can become not just a cultural experience for a person but a turning point. Therefore, it is important that not only expensive festivals exist – an ordinary person should have the chance to come and receive this experience.

Global music without borders

Over decades, jazz has transformed into a truly global phenomenon, embodying elements of various cultures – from African rhythms to Middle Eastern and Latin American motifs.

“Jazz seems to have no boundaries – any culture can blend into it,” notes Semushkina.

According to her, jazz exists as a space that goes beyond political and geographical boundaries.

“Jazz is such a superstructure that is not about politics and not about division, but precisely about unity,” he says. Even during periods of tension, musicians continue to interact with each other, guided not by national affiliation, but by the common language of music.

Women’s voice in jazz

Semushkin pays special attention to the role of women in the industry. Despite progress, they remain one of the most vulnerable groups — especially in conditions of an unstable creative career.

To support women artists, in June she will present in London the Jazzylea platform, whose goal is to connect them with audiences and communities of women leaders. Women in music, according to Semushkina, often face instability, dependence on male producers, and the difficulty of combining a career with motherhood. Without systemic support — grants, producer initiatives, and cultural policy — it is difficult for many talents to realize themselves.

“It is important that women be able to express their voice and their vision – not just perform, but be authors and creators,” she emphasizes.

Support for culture – not “as a last resort”

In Semushkina’s opinion, support for culture should be considered a priority – including at the level of states and international organizations. Culture should not be viewed as a secondary sphere – especially during crisis periods.

Musicians, especially those working outside the commercial mainstream, need grants, institutional support, and opportunities for development. Despite global recognition, many jazz musicians remain in a vulnerable position, especially if their creativity is not oriented towards the mass market.

“They say, culture is not important right now. No, culture is just the opposite — it is not the last priority, but the first,” he says.

ВInternational Jazz DaySemyushkin appeals to world leaders and society with a simple call: “Remain human, listen to your own heart, listen to good music and support those who come with bright ideas.”