... distinctly modern, transnational cultural practices emerged in Istanbul's illustrated press, determining the parameters, albeit ambiguous, around modern life. One such debate centered upon jazz and its respective dances, namely the Charleston. Jazz represented a distinctively interwar, transnational sound...

..., 1860–1960 . Cambridge : Cambridge University Press , 1988 . Jordan Matthew F. Le Jazz: Jazz and French Cultural Identity . Urbana : University of Illinois Press , 2010 . Kaba Lansine . The Wahhabiyya: Islamic Reform and Politics in French West Africa . Evanston, IL...

... and a col- Botswana, and was there until the early 1980s. In lection of short stories and has written a musical op- 1977 I attended the Festival of Arts and Culture era, “Milestones”, in collaboration with the jazz (FESTAC) in Nigeria, which was a very memorable musician Hugh Masekela.3 He...

... , 1997 . Von Eschen Penny . Satchmo Blows Up the World: Jazz Ambassadors Play the Cold War . Cambridge, MA : Harvard University Press , 2006 . Wall Cheryl . “ Stranger at Home: James Baldwin on What It Means to Be an American ”. In James Baldwin: America and Beyond , edited...

.... and early Turkish republican periods. Currently, she is working on a forthcoming manuscript “The Jenny Rose is a historian of religion, with a partic- Decadent Modern: Jazz, Charleston, and Cocaine ular interest in Zoroastrian studies. She currently...

...? Time Organization in the Ottoman Army, 1826–1918.” In Les Ottomans et le Temps (The Ottomans and Time) , edited by Georgeon François Hitzel Frédéric , 281 – 316 . Leiden : Brill , 2012 . Woodall G. Carole . “‘Awakening a Horrible Monster’: Negotiating the Jazz Public in 1920s...

... time in the two sub- Comparative Eastern Europe, and jazz and folk art in the circum- sequent chapters. Chapter 4, “Cannibalizing Hegel: atlantic world. Decolonization and European Theory in La tragedie´ Studies...

..., the book on FESTAC. The book coincided with a jazz concert. It was a jazz concert that was about FESTAC, but it was also a composition performed right after FESTAC. The idea was to rehearse FESTAC, to bring that spirit back again. Through a book launch, we were making the past into a set of practices...

... under the weight of moving refugees, “is the only ‘country’ the world has to offer the stateless.” 5 But haven't we been here before? The exception, bare life, and all that jazz. Was it not Giorgio Agamben who, towering over political philosophy at the turn of this century, pronounced with some...

... later, Garnett hit international news headlines when Soviet officials expelled him for espionage. The charges centered on his using the USIS library and “even his apartment” as bases for plying African students with cigarettes, liquor, jazz records, and money—in short, turning his house parties...

... gunde (aka Lagbaja), whose music combines bata which a diverse population of young, marginal- and dundun drum rhythms, palmwine guitar music, ized, Senegalese urbanites identify the problems and highlife with jazz, soul, hip-hop, and klezmer. they face...

... gunde (aka Lagbaja), whose music combines bata which a diverse population of young, marginal- and dundun drum rhythms, palmwine guitar music, ized, Senegalese urbanites identify the problems and highlife with jazz, soul, hip-hop, and klezmer. they face...

... gunde (aka Lagbaja), whose music combines bata which a diverse population of young, marginal- and dundun drum rhythms, palmwine guitar music, ized, Senegalese urbanites identify the problems and highlife with jazz, soul, hip-hop, and klezmer. they face...

... gunde (aka Lagbaja), whose music combines bata which a diverse population of young, marginal- and dundun drum rhythms, palmwine guitar music, ized, Senegalese urbanites identify the problems and highlife with jazz, soul, hip-hop, and klezmer. they face...

... gunde (aka Lagbaja), whose music combines bata which a diverse population of young, marginal- and dundun drum rhythms, palmwine guitar music, ized, Senegalese urbanites identify the problems and highlife with jazz, soul, hip-hop, and klezmer. they face...

... gunde (aka Lagbaja), whose music combines bata which a diverse population of young, marginal- and dundun drum rhythms, palmwine guitar music, ized, Senegalese urbanites identify the problems and highlife with jazz, soul, hip-hop, and klezmer. they face...

... gunde (aka Lagbaja), whose music combines bata which a diverse population of young, marginal- and dundun drum rhythms, palmwine guitar music, ized, Senegalese urbanites identify the problems and highlife with jazz, soul, hip-hop, and klezmer. they face...

... gunde (aka Lagbaja), whose music combines bata which a diverse population of young, marginal- and dundun drum rhythms, palmwine guitar music, ized, Senegalese urbanites identify the problems and highlife with jazz, soul, hip-hop, and klezmer. they face...

... continent and the Atlantic. We saw this previously with jazz, which came from the African continent, passed in its own ways through the ordeal of the Atlantic, to then come back again to Africa. We are constantly regenerating ourselves through this back and forth, this call and response, in music...

...- sion of Euro- Islam, see Nezar AlSayyad and Manuel  furt; however, she is not a hip- hop artist but a soul and  Castells, eds., Muslim Europe or Euro- Islam: Politics, jazz singer, and she claims that her head cover...