By Herman Gray
Herman grey takes a sweeping examine black pop culture over the last decade to discover culture's position within the push for black political energy and social reputation. In a sequence of associated essays, he reveals that black artists, students, musicians, and others were instrumental in reconfiguring social and cultural lifestyles within the usa and he provocatively asks how black tradition can now flow past a preoccupation with inclusion and illustration. grey considers how Wynton Marsalis and his construction of a jazz canon at Lincoln middle acted to set up cultural visibility and legitimacy for jazz. different essays handle such issues because the paintings of the debatable artist Kara Walker; the relentless struggles for illustration on community tv whilst these networks are not any longer the first web site of black or the other identification; and the way black musicians similar to Steve Coleman and George Lewis are utilizing new expertise to form and expand black musical traditions and cultural identities.
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Additional resources for Cultural moves: African Americans and the politics of representation
As such, he has consistently distanced and distinguished jazz from commercial forms like pop, rock, and hip-hop. His aesthetic modernism is complemented, then, by contempt for commercial contamination that threatens the purity, nobility, and integrity of jazz through confusion and mimicry. 19 This sentiment captures Marsalis’s contempt for the corrupting influences of commercialism on jazz. And he does not mince words to express his feelings about contemporary popular music: “popular tunes are sad pieces of one-chord shit.
By fixing the blame, legitimating the propriety of related moral panics, these representations (and the assumptions on which they are based) help form the discursive logic through which policy proscriptions for restoring order—more jails—are fashioned. The production of media representations of blackness (along with those of sexuality and immigration) as threatening the natural fabric and policy proscriptions for reimagining and consolidating a traditional vision of the American nation is challenged with alternative representations.
What will its future be? How will its history be written? And despite the critics’ prescriptive sound and fury, it’s a fight that is over. 36 If one accepts Watrous’s critical appraisal, and I am strongly inclined to do so on the broader issue of cultural politics, then it is necessary to turn once again to Marsalis. For most critical observers agree he is the pivotal figure around which important institutional spaces have been opened and significant legitimation of and interest in the music realized.
Cultural moves: African Americans and the politics of representation by Herman Gray