| Description |
1 online resource (xii, 315 pages) |
| Contents |
Resistance of the object: Aunt Hester's scream -- 1. The sentimental avant-garde. Duke Ellington's sound of love ; Voices/forces ; Sound in florescence (Cecil Taylor Floating Garden) ; Praying with Eric -- 2. In the break. Tragedy, elegy ; The dark lady and the sexual cut ; German inversion ; 'Round the five spot -- 3. Visible music. Baldwin's Baraka, his mirror stage, the sound of his gaze ; Black mo'nin' in the sound of the photograph ; Tonality of totality -- Resistance of the object : Adrian Piper's theatricality |
| Summary |
"In his controversial essay on white jazz musician Burton Greene, Amiri Baraka asserted that jazz was exclusively an African American art form and explicitly fused the idea of a black aesthetic with radical political traditions of the African diaspora. 'In the Break' is an extended riff on "The Burton Greene Affair," exploring the tangled relationship between black avant-garde in music and literature in the 1950s and 1960s, the emergence of a distinct form of black cultural nationalism, and the complex engagement with and disavowal of homoeroticism that bridges the two. Fred Moten focuses in particular on the brilliant improvisatory jazz of John Coltrane, Ornette Coleman, Albert Ayler, Eric Dolphy, Charles Mingus, and others, arguing that all black performance--culture, politics, sexuality, identity, and blackness itself--is improvisation. For Moten, improvisation provides a unique epistemological standpoint from which to investigate the provocative connections between black aesthetics and Western philosophy. He engages in a strenuous critical analysis of Western philosophy (Heidegger, Kant, Husserl, Wittgenstein, and Derrida) through the prism of radical black thought and culture. As the critical, lyrical, and disruptive performance of the human, Moten's concept of blackness also brings such figures as Frederick Douglass and Karl Marx, Cecil Taylor and Samuel R. Delany, Billie Holiday and William Shakespeare into conversation with each other."--Publisher's description |
|
Fred Moten investigates the provocative connections between jazz, sexual identity, and radical black politics. He focuses in particular on the brilliant improvisatory jazz of John Coltrane, Ornette Coleman, Albert Ayler, Eric Dolphy, Charles Mingus, and others, arguing that all black performance culture, politics, sexuality, identity, and blackness itself is improvisation |
| Bibliography |
Includes bibliographical references and index |
| Notes |
English |
|
Print version record |
| Subject |
African Americans -- Intellectual life.
|
|
African Americans -- Politics and government.
|
|
Radicalism -- United States
|
|
Jazz -- Philosophy and aesthetics.
|
|
African American aesthetics.
|
|
African American arts.
|
|
African American philosophy.
|
|
Arts -- Political aspects -- United States
|
|
Improvisation in art.
|
|
Sex in music.
|
|
ART -- Reference.
|
|
ART -- Performance.
|
|
MUSIC -- History & Criticism.
|
|
Sex in music
|
|
Jazz -- Philosophy and aesthetics
|
|
Improvisation in art
|
|
African American philosophy
|
|
African American aesthetics
|
|
African American arts
|
|
African Americans -- Intellectual life
|
|
African Americans -- Politics and government
|
|
Arts -- Political aspects
|
|
Radicalism
|
|
Literatur
|
|
Musik
|
|
Politisches Denken
|
|
Schwarze
|
|
Radicalisme.
|
|
Esthetica.
|
|
Geschichte 1950-1969.
|
|
United States
|
|
USA
|
|
Schwärze
|
| Form |
Electronic book
|
| ISBN |
9780816694525 |
|
0816694524 |
|
