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politic

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Journal Article
Black Sacred Music (1990) 4 (2): 83–86.
Published: 01 September 1990
...Michel S. Laguerre Laguerre , Michel S. Voodoo and Politics in Haiti . New York : St. Martin’s Press , 1989 . Copyright © 1990 by Duke University Press 1990 Boole leviews 83 texts has been a primary means of establishing musical conventions over the centuries (83, 134). Kivy...
Journal Article
Black Sacred Music (1990) 4 (2): 86–88.
Published: 01 September 1990
...Robbie Lieberman Lieberman , Robbie . “My Song Is My Weapon”: People’s Songs, American Communism, and the Politics of Culture, 1930–1950 . Urbana : University of Illinois Press , 1989 . Copyright © 1990 by Duke University Press 1990 nition to the religion so that its members...
Journal Article
Black Sacred Music (1992) 6 (2): 144–149.
Published: 01 September 1992
... Copyright © 1992 by Duke University Press 1992 Politics in Music Near the close of a recent speech I made a quick reference to "poli­ tically-minded composers." The next morning a young lady who had been in the audience wanted to know exactly what I meant by that term. Did I, she asked...
Journal Article
Black Sacred Music (1990) 4 (2): 109–112.
Published: 01 September 1990
... of black lives : I would suggest that the southern Local Color movement, in which a number of prolific and critically acclaimed women writers were prominent, must also be seen as a political enterprise codifying and to some extent molding the values of its time, especially in relation to issues of gender...
Journal Article
Black Sacred Music (1992) 6 (1): 274–281.
Published: 01 March 1992
... must not, however, feign socio-political innocence, cultural purity, or moral neutrality. Similar cases for censorship and obscenity could be made against comedian Andrew Dice Clay's white racist routines and misogynist monologues, or rock group Guns 'N' Roses' homophobic harangues and racist lyrics...
Journal Article
Black Sacred Music (1991) 5 (1): 41–50.
Published: 01 March 1991
... in the stream of his progress into an efficient dam of social energy and power.Alain Locke, The New Negro (1925) The current national debates on rap music and its social, political, and sexual influences have been dominated by a discourse trapped in the ideology of post-Reagan America. Cultural and music...
Journal Article
Black Sacred Music (1994) 8 (2): 99–104.
Published: 01 September 1994
... can do, however, is to engage us-whether they are partial, problematic, politically correct, or politically incorrect-with those forces operating in culture and across cultures that make culture what it is. Out of the labyrinth of African American culture, Michael Eric Dyson's book illuminates people...
Journal Article
Black Sacred Music (1990) 4 (2): 100–102.
Published: 01 September 1990
... their culture within the pastiche of intellectual history. The truth of the matter, claims Ross, is that "popular culture" is largely a designated political identity for the "popular classes, " a variable fixed by intellectuals and tastemakers at different historical moments (9) . In order not to be classified...
Journal Article
Black Sacred Music (1991) 5 (1): 1–11.
Published: 01 March 1991
... that the musicality, unique expressivity, sexuality, and ideology of rap have historical, social, political, and cultural continuity-and legitimacy. The vocal style has its beginnings in African orature. It first resurfaced in North America as "pattin' juba," a patting and rapping "good-time" enjoyed 3. Tipper Gore...
Journal Article
Black Sacred Music (1990) 4 (2): 58–60.
Published: 01 September 1990
.../ long-term, material/psychological, specific/ systemic, political/socioeconomic (r 5), Button chose to use six variables (items that southern blacks perceived as basic needs) in order to measure the specific long-term material benefits resulting from black political participation in determining public...
Journal Article
Black Sacred Music (1992) 6 (1): 282–294.
Published: 01 March 1992
... and styles upon others. Third, and most important, Afro-American music is first and foremost, though not exclusively or universally, a countercultural practice with deep roots in modes of religious transcendence and political opposition. Therefore it is seductive to rootless and alienated young people...
Journal Article
Black Sacred Music (1989) 3 (2): 75–84.
Published: 01 September 1989
...-Montgomery boycott era, wrestled with the relationship between the rhetoric of idealism and the necessity of a strategy for effective social structural change). In his book The Social Teaching of the Black Churches, Peter Paris gives us the full context for this dilemma under the heading "Political Wisdom...
Journal Article
Black Sacred Music (1994) 8 (2): 105–109.
Published: 01 September 1994
.... By finding ways to survive and grow in the wake of such attacks, black studies programs have gained the political savvy needed to pursue their renewed intellectual quest 106 Black Sacred Music for the recovery of black traditions, a process in which Baker calls for the continuation and revitalization...
Journal Article
Black Sacred Music (1992) 6 (1): 47–54.
Published: 01 March 1992
... and precepts set forth in the blues, although it seems that to acknowledge or not to acknowledge such a debt is as much a political issue as it is an artistic one. Suffice to say that a significant relationship exists between the contemporary Western art world and what many understand to be elements of African...
Journal Article
Black Sacred Music (1993) 7 (2): 5–48.
Published: 01 September 1993
... worship and politics: As we speak today, the church in Africa has only begun to understand that worship cannot take place where politics is not involved. Here we are not speaking of party politics, which is a different thing altogether. We are speaking of the politicization of Christian worshippers so...
Journal Article
Black Sacred Music (1989) 3 (1): 72–74.
Published: 01 March 1989
... and ideological growth of political abolitionism in the songbooks of George Washington Clark, and the theology of moral abolitionism in the hymnbooks of Maria Weston Chapman and Edwin F. Hatfield (compiled for the American Anti-Slavery Society). The 492 songs in the book are divided into six topical sections...
Journal Article
Black Sacred Music (1990) 4 (2): 61–63.
Published: 01 September 1990
... songbook, The Emancipation Car), whereupon he practiced law in Oberlin. During this time Langston became involved in Ohio's antislavery politics (he was the co-founder of the Ohio State Anti-Slavery Society) and was actively involved in the underground railroad (the "emancipation car") . Langston also...
Journal Article
Black Sacred Music (1992) 6 (1): 206–217.
Published: 01 March 1992
... generated during those times. Further along in the seventies the Impressions made the sociopolitical critique more explicit with songs such as "This Is My Country" and "Moving On Up." But even when there was nothing explicitly political in the lyrics, associations were made by those of us who listened...
Journal Article
Black Sacred Music (1991) 5 (1): 12–24.
Published: 01 March 1991
... experimenting with this developing musical genre. As it evolved, rap began to reflect critically upon the terrain of its genesis, describing and scrutinizing the social, economic, and political constituents that led to its emergence and development: drug addiction, police brutality, teen pregnancy, and various...
Journal Article
Black Sacred Music (1990) 4 (2): 112–116.
Published: 01 September 1990
... of America's moral limits, for it articulates only itself-rhythm, inflection, improvisation. Black music in general is a "political act." In his reading of Du Bois, West alludes to this in claiming that black musical critique and commentary on America is a form of American pragmatism insofar as culture-making...