Jazz Music and Its Choreographies of Listening
Through an interrogation of hybrid social dance/jazz concert events held in Atlanta in 1938, this chapter presents the book’s guiding questions and methods, which also stem from the author’s own experience as a social jazz dancer. Applying Susan Foster’s model of choreography as a broadly applicable analytic for the socially reinforced structuring of movement in space, it asks how and why jazz audiences’ default listening postures have moved from standing and dancing to relatively motionless sitting and listening. Exploring this question requires a critical, reflective look at the role of bodies in intellectual and aesthetic hierarchies and the complex webs of desire and anxiety that have shaped American institutional cultures’ conflicted relationships with music, with dance, and with all things corporeal. Critiquing the valorization of transcendence and universalism in American aesthetic discourses and in jazz music history specifically, this chapter advances an embodied approach to jazz history where dance becomes a point of entry into stories that de-center the pillars upon which jazz music’s canonic historical and ideological narratives rest. Following choreographer/folklorist Mura Dehn’s description of social jazz dancing, this book thus advances a perspective that operates “between the beats” of jazz history’s canonic time-spaces, seeking to focus on dancing and musicking as practices that begin within the body and to dig into the complex and messy viscera underneath the skin of those narratives that form the so-called jazz tradition.