Don Asher’s Fictional-Real Jazz World

2020 ◽  
pp. 122-148
Author(s):  
Reva Marin

This chapter examines the life and writings of Don Asher, who studied with pianist Jaki Byard before embarking on a career as a New England society band and honkytonk pianist and later as a nightclub pianist in San Francisco, including a long stint at the famed hungry i. Asher was also a novelist, short-story writer, essayist, and collaborator, and analysis of selected works of his fiction and nonfiction uncovers his enduring and sometimes transgressive fascination with African American music and culture. While Asher’s work appears to illustrate “the problem with white hipness” (Ingrid Monson) or “love and theft” (Eric Lott), his ethnic satire was aimed not only at African Americans but also at other groups—Italians, Irish, Jews—as well as at himself and his fictional counterparts. This chapter considers the rich stew of literary and performance traditions in which Asher found models for his satirical, comedic impulses.

2019 ◽  
Vol 2 (1) ◽  
pp. 21
Author(s):  
MHD Noor Al-Abbood

Many critical interpretations of Morrison’s The Bluest Eye are driven by the belief that the novel pessimistically depicts an African American community so helplessly captivated by an insidious white aesthetic ideology that it is incapable of resistance, self-regeneration, or change. Pointing out the flawed premises of these readings, this article argues that the novel presents rather an effective example of resistance to the dominant white ideology thematically and formally. Morrison’s deconstructive rewriting of the “Dick and Jane” primer effectively subverts the terms of the white oppressive discourse and demolishes its ideological foundations, thus paving the way for African American self-affirmation. This is reflected in Claudia’s increasing awareness of, and mounting rebellion against, the destructive white aesthetic. Her rejection of the white beauty myth, demonstrated by her confused early childhood’s destruction of white baby dolls, culminates in a more sophisticated perception of the operation of this myth and in a radical retrieval and re-affirmation of the black beauty and worth which the white beauty myth denies in order to legitimate itself and establish its hegemony. The article argues that the radical resistance to the dehumanizing white ideology Claudia develops is, like Morrison’s formal deconstructive project, quite indebted to African American music and, more crucially, to the rich heritage behind it. The article concludes by emphasizing that in the world depicted in The Bluest Eye possibilities of resistance and chances of survival are vitally dependent on the strength of one’s connection to African American culture and heritage, as the story of Claudia’s survival proves.


Author(s):  
Fabiana Fianco

In spite of being viewed as a young writer until the ’90s, Stanley Péan is now known as one of the most distinctive and established voices in the Haitian-Canadian literary scene. The pivotal moment in his career happened in 1996, when Zombi Blues was published. This novel displays a cultural space in which Haitian traditions and Canadian modernity converge and allow intercultural exchange to take place. Drawing from this perspective, the following article aims to analyse how Péan creates a fictional universe through the blending of cultural elements. Using the collection of myths and beliefs that permeate the Haitian and African cultural panorama as a reference point, we will investigate the ways in which Péan adapted and transposed these traditions to the Haitian diasporic context. Particular attention will be given to the use of jazz and African American music, as well as to the reinterpretation of mythological creatures such as the zombie and the marasa twins. Hence, the article tries to show how Péan’s cultural crossroad contributes to the foundation of a new literary interpretation of Haitianity.


2018 ◽  
pp. 3-12
Author(s):  
Robert Sacré

This chapter discusses the history of African American Music. Many of the roots of black American music lie in Africa more than four hundred years ago at the start of the slave trade. It is essential to realize that the importance given to music and dance in Africa was reflected among black people in America in the songs they sang, in their dancing, and at their folk gatherings. As such, every aspect of jazz, blues, and gospel music is African to some degree. Work songs and the related prison songs are precursors of the blues. One can assume that primitive forms of pre-blues appeared around 1885, mostly in the Deep South and predominantly in the state of Mississippi. However, it was several more years before the famous AAB twelve-bar structure appeared, and when it did, one of its leading practitioners was Charley Patton.


Author(s):  
Douglas W. Shadle

About eight months after Antonín Dvořák became director of Jeannette Thurber’s National Conservatory of Music in New York, he weighed in publicly on the question of American musical identity and argued that African American vernacular music (or “negro melodies”) should become the foundation of a national classical style. The New York Herald, which first printed his remarks, stoked a months-long debate that exposed deep-seated anti-Black racism throughout the country’s classical music industry as many musicians rejected the Bohemian’s suggestions outright. Dvořák remained supportive of African American music and musicians but did not fully understand the political implications of his positions.


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