A bridge that serves as structure for music, that functions as both practice and protocol, lends this program its title. Bridge: Protocols of Jazz and Modernism draws on such musical structures as the bridge (following Dimitri Chandler’s remarks on Cecil Taylor) as well as its classical precedent, the call and response, to articulate various protocols of jazz and modern music. Convened with curator Serubiri Moses, the discussion centers on the contributions of major thinkers and artists in the field of jazz and critical theory. It spans the deterritorialization of modernism, the ownership of jazz, and the protocols of bridge(ing). Drawing on art historian Huey Copeland’s concept of feasting on scraps as well as former VLC Fellow and art historian Kobena Mercer’s concept of dialogics of diaspora, this exchange cuts across multiple geographies through various entanglements of thought and practice. It aims at fulfilling the structure of jazz described as call and response by critic Amiri Baraka. Participants: Those registered and Raymond Pinto, performance artist Tendayi Sithole, Associate Professor, Department of Political Sciences, University of South Africa Yoko Suzuki, saxophonist and scholar Convened with Serubiri Moses, independent curator