43 research outputs found
Interview of Dr. Rashida K. Braggs
No full textAdriana Cuervo, CA (Head of Archival Collections and Services at the Institute of Jazz Studies) interviews Rashida K. Braggs, Ph.D about Bud Powell and the films in the Francis Paudras collection. Dr. Braggs is a scholar specializing in Jazz Studies and African Diaspora Studies.One video file (mp4) and one image file (pdf)This project was supported by a Recordings at Risk grant from the Council on Library and Information Resources (CLIR). The grant program is made possible by funding from The Andrew W. Mellon Foundation
Evoking Baldwin’s Blues: The Experience of Dislocated Listening
No full text“It is only in his music [. . .] that the Negro in America has been able to tell his story. It is a story which otherwise has yet to be told and which no American is prepared to hear,” so wrote James Baldwin in “Many Thousands Gone.” Throughout his career, James Baldwin returned to this incomprehension of African-American experience. He continually privileged music in his literature, crafting his own literary blues to address it. Baldwin’s blues resonated even more powerfully and painfully for its emotional and geographical dislocation. In this article, Rashida K. Braggs argues that it was the combination of music, word, and migration that prompted Baldwin’s own deeper understanding. Exploring her term dislocated listening, Braggs investigates how listening to music while willfully dislocated from one’s cultural home prompts a deeper understanding of African-American experience. The distance disconcerts, leaving one more vulnerable, while music impels the reader, audience, and even Baldwin to identify with some harsh realities of African-American experience. Baldwin evokes the experience of dislocated listening in his life and in “Sonny’s Blues.” Braggs also creates an experience of dislocated listening through her video performance of Baldwin’s words, thus attempting to draw the reader as well into a more attuned understanding of African-American experience
Jazz Diasporas Race, Music, and Migration in Post-World War II Paris
No full textAt the close of the Second World War, waves of African American musicians migrated to Paris, eager to thrive in its reinvigorated jazz scene. Jazz Diasporas challenges the notion that Paris was a color-blind paradise for African Americans. On the contrary, musicians adopted a variety of strategies to cope with the cultural and social assumptions that confronted them throughout their careers in Paris, particularly as France became embroiled in struggles over race and identity when colonial conflicts like the Algerian War escalated. Using case studies of prominent musicians and thoughtful analysis of interviews, music, film, and literature, Rashida K. Braggs investigates the impact of this postwar musical migration. She examines key figures including musicians Sidney Bechet, Inez Cavanaugh, and Kenny Clarke and writer and social critic James Baldwin to show how they performed both as artists and as African Americans. Their collaborations with French musicians and critics complicated racial and cultural understandings of who could represent "authentic" jazz and created spaces for shifting racial and national identities--what Braggs terms "jazz diasporas.".Cover -- Jazz Diasporas -- Title -- Copyright -- Dedication -- Contents -- List of Illustrations -- Preface -- Acknowledgments -- INTRODUCTION: MIGRATING JAZZ PEOPLE AND IDENTITIES -- 1. PERFORMING JAZZ DIASPORA WITH SIDNEY BECHET -- 2. JAZZ AT HOME IN FRANCE: FRENCH JAZZ MUSICIANS ON THE WARPATH TO "AUTHENTIC" JAZZ -- 3. INEZ CAVANAUGH: CREATING AND COMPLICATING JAZZ COMMUNITY -- 4. BORIS VIAN AND JAMES BALDWIN IN PARIS: ARE WE A BLUES PEOPLE, TOO? -- 5. KENNY CLARKE'S JOURNEY BETWEEN "BLACK" AND "UNIVERSAL" MUSIC -- CODA: BEYOND COLOR-BLIND NARRATIVES: READING BEHIND THE SCENES OF PARIS BLUES -- Notes -- Works Cited -- IndexAt the close of the Second World War, waves of African American musicians migrated to Paris, eager to thrive in its reinvigorated jazz scene. Jazz Diasporas challenges the notion that Paris was a color-blind paradise for African Americans. On the contrary, musicians adopted a variety of strategies to cope with the cultural and social assumptions that confronted them throughout their careers in Paris, particularly as France became embroiled in struggles over race and identity when colonial conflicts like the Algerian War escalated. Using case studies of prominent musicians and thoughtful analysis of interviews, music, film, and literature, Rashida K. Braggs investigates the impact of this postwar musical migration. She examines key figures including musicians Sidney Bechet, Inez Cavanaugh, and Kenny Clarke and writer and social critic James Baldwin to show how they performed both as artists and as African Americans. Their collaborations with French musicians and critics complicated racial and cultural understandings of who could represent "authentic" jazz and created spaces for shifting racial and national identities--what Braggs terms "jazz diasporas.".Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Excerpt from Jazz Diasporas: Race, Music, and Migration in Post–World War II Paris
No full textExcerpt from Jazz Diasporas: Race, Music, and Migration in Post–World War II Paris (University of California Press, 2016
Jazz et identité française d’après-guerre
No full textCette note de recherche consiste à rendre compte des études récentes réalisées par des auteurs anglo-saxons sur l’identité française d’après-guerre par le prisme du jazz. Publiés aux presses universitaires de Californie et du Michigan, ces ouvrages interrogent le développement du jazz en France après 1945. Elizabeth Vihlen McGregor, Rashida K. Braggs et Tom Perchard resituent le contexte social et racial de cette période. La question centrale de leurs ouvrages consiste à étudier les intermédi..
