... ethnography jazz aesthetic performance black gender and sexuality queerness ...

... In this chapter, Matt Richardson employs an ethnographic perspective to examine Sharon Bridgforth’s The love conjure/blues Text installation . He contends that the jazz aesthetic, an artistic practice that encourages layering of images, ideas, sound, and experiences, informs Bridgforth’s...

...Part I In this chapter, Matt Richardson employs an ethnographic perspective to examine Sharon Bridgforth’s The love conjure/blues Text installation . He contends that the jazz aesthetic, an artistic practice that encourages layering of images, ideas, sound, and experiences, informs...

... The love conjure/blues Text Installation theatrical jazz aesthetic women’s theater women-of-color artists ...

... on the theatrical jazz aesthetic to conceive The love conjure/blues Text Installation. The love conjure/blues Text Installation theatrical jazz aesthetic women’s theater women-of-color artists ...

... social aesthetics improvisation relational aesthetics jazz popular music ...

... jazz Afro-modernism Mali social aesthetics improvisation ...

... jazz Afro-modernism Mali social aesthetics improvisation ...

... This chapter offers a comparative perspective on the relationship between the social and the aesthetic by contrasting the development of an Afro-modernist aesthetic of politics and music in American jazz improvisation of the 1950s and 1960s and the aesthetics of sensibilisation...

..., was aesthetically opposed to fast tempo bebop and its their intellectual leanings, and further complicated by French ambivalence toward the United States. The chapter also compares jazz to classical music and describes how jazz influenced popular music, literature, and film. France jazz classical music...

..., of the complex interpenetration and entanglement of aesthetic and social processes. social aesthetics improvisation relational aesthetics jazz popular music ...

... of relational aesthetics and participation, which are often taken as paradigms for the analysis of contemporary art practice in terms of their welcome attempt to rethink the relation between aesthetic and social processes. A third goal of the chapter is to ask precisely how it is that improvisation as a socio...

... In discussions of jazz within the broader history of popular music in the United States, two verities are invariably asserted: (1) that the period 1935–45 represents the closest rapprochement between jazz and popular music, when jazz, in the form of “swing,” dominated the charts; and (2) swing...

...Sociality and Identity This chapter offers a comparative perspective on the relationship between the social and the aesthetic by contrasting the development of an Afro-modernist aesthetic of politics and music in American jazz improvisation of the 1950s and 1960s and the aesthetics...

... performance This chapter offers a comparative perspective on the relationship between the social and the aesthetic by contrasting the development of an Afro-modernist aesthetic of politics and music in American jazz improvisation of the 1950s and 1960s and the aesthetics of sensibilisation...

...Synesthesia and Arts in Dialogue In this chapter, Fred Moten explores the relationship between Beauford Delaney and James Baldwin by way of synesthetic aesthetics: how music and the attempt to listen deeply also means attention to color, and particularly blue, but also green and yellow...

... This chapter examines the use and performance of hip hop by the British Columbian artist Wayde Compton to channel and rearticulate local black history and diasporic subjectivities in works such as 49th Parallel Psalm and Performance Bond . Inspired by a long tradition of jazz and blues poetry...

... was not a product or a commodity, though their recorded and compositional legacy is significant, but a process of cultural production and development within and for their community. An Alternative Aesthetic A Community Ethos Passing It On The Universality of PAPA and UGMAA ...

... of a direction in which her sound and her politics had been moving, away from jazz and toward junkanoo, away from African American identity and toward a more Pan-African Black identity. This chapter considers songs including “I Put a Spell on You,” “22nd Century,” “Dambala,” and “Obeah Woman.” aesthetics...