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Jazz griots : music as history in the 1960s African American poem

Author: Jean-Philippe Marcoux
Publisher: Lanham, Md. : Lexington Books, 2012.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
"Jazz Griots studies how four representative African American poets of the 1960s, Langston Hughes, Umbra's David Henderson, and the Black Arts Movement's Sonia Sanchez and Amiri Baraka engage, in the tradition of griots, in poetic dialogues with aesthetics, music, politics, and black history. In so doing they narrate--using jazz as meta-language--genealogies, etymologies, cultural legacies, and black (hi)stories. In  Read more...
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Genre/Form: Criticism, interpretation, etc
Document Type: Book
All Authors / Contributors: Jean-Philippe Marcoux
ISBN: 9780739166734 0739166735
OCLC Number: 781677405
Description: x, 233 pages ; 24 cm
Contents: The sound of grammar : blues and jazz as meta-languages of storytelling in Langston Hughes's Ask your mama --
Move on up : free jazz and rhythm and blues --
Performativities as creative acts of cultural --
Re-inscription in David Henderson's De mayor of Harlem --
Sister in the struggle : jazz linguistics and the feminized --
Quest for a communicative 'sound' in Sonia Sanchez's --
Home coming and we a baddDDD people --
Birth of a free jazz nation : Amiri Baraka's jazz : historiography from black magic to Wise, why's, y's.
Responsibility: Jean-Philippe Marcoux.

Abstract:

"Jazz Griots studies how four representative African American poets of the 1960s, Langston Hughes, Umbra's David Henderson, and the Black Arts Movement's Sonia Sanchez and Amiri Baraka engage, in the tradition of griots, in poetic dialogues with aesthetics, music, politics, and black history. In so doing they narrate--using jazz as meta-language--genealogies, etymologies, cultural legacies, and black (hi)stories. In intersecting and complementary ways, Hughes, Henderson, Sanchez, and Baraka fashioned their griotism from theorizations of artistry as political engagement, and in turn formulated a black aesthetic based on jazz performativity: on a series of jazz-infused iterations that form a complex pattern of literary, musical, historical, and political moments in constant cross-fertilizing dialogues. This form of poetic call-and-response becomes a definitional literary template for these poets, as it allows both the possibility of intergenerational dialogues between poets and musicians and dialogic potential between song and politics, between Africa and Black America, between vernacular continuums"--Page 4 of cover.

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It is fitting that Jean-Philippe Marcoux's own prose is nearly as lyrical as the poets he addresses in this thoughtful, penetrating and engaging study of the griots of the 1960s revolution. The Read more...

 
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