scholarly journals Stanley Péan et l’interculturalité en diaspora

Il Tolomeo ◽  
2018 ◽  
Author(s):  
Fabiana Fianco
Keyword(s):  
African American ◽  
Reference Point ◽  
American Music ◽  
Literary Interpretation ◽  
Cultural Space ◽  
Cultural Elements ◽  
African American Music ◽  
Intercultural Exchange ◽  
Young Writer

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.

Black Music USA: From African to African American Music

2018 ◽  
pp. 3-12
Author(s):  
Robert Sacré
Keyword(s):  
African American ◽  
Black People ◽  
Gospel Music ◽  
American Music ◽  
Black Music ◽  
Deep South ◽  
African American Music ◽  
History Of ◽  
Primitive Forms ◽  
Work Songs

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.

The Fiery Debate

2021 ◽  
pp. 91-112
Author(s):  
Douglas W. Shadle
Keyword(s):  
New York ◽  
African American ◽  
Classical Music ◽  
American Music ◽  
The Political ◽  
Antonin Dvorak ◽  
Musical Identity ◽  
African American Music ◽  
Political Implications ◽  
Vernacular Music

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.

Don Asher’s Fictional-Real Jazz World

2020 ◽  
pp. 122-148
Author(s):  
Reva Marin
Keyword(s):  
African American ◽  
New England ◽  
San Francisco ◽  
Short Story ◽  
American Music ◽  
African American Music ◽  
Performance Traditions ◽  
The Rich ◽  
And Performance ◽  
Story Writer

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.

scholarly journals The (Mis)Representation of African American Music: The Role of the Fiddle

2016 ◽  
Vol 10 (1) ◽  
pp. 1-32 ◽  
Author(s):  
JACQUELINE COGDELL DJEDJE
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Rural Areas ◽  
Urban Areas ◽  
Black People ◽  
American Music ◽  
Black Music ◽  
Black Musicians ◽  
African American Music ◽  
Musical Traditions

AbstractDuring the early twentieth century, research on African American music focused primarily on spirituals and jazz. Investigations on the secular music of blacks living in rural areas were nonexistent except for the work of folklorists researching blues. Researchers and record companies avoided black fiddling because many viewed it not only as a relic of the past, but also a tradition identified with whites. In the second half of the twentieth century, rural-based musical traditions continued to be ignored because researchers tended to be music historians who relied almost exclusively on print or sound materials for analyses. Because rural black musicians who performed secular music rarely had an opportunity to record and few print data were available, sources were lacking. Thus, much of what we know about twentieth-century black secular music is based on styles created and performed by African Americans living in urban areas. And it is these styles that are often represented as the musical creations for all black people, in spite of the fact that other traditions were preferred and performed. This article explores how the (mis)representation of African American music has affected our understanding of black music generally and the development of black fiddling specifically.

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