Garcia examines the work of figures ranging from Melville J. Garcia explores how a diverse group of musicians, dancers, academics, and activists engaged with the idea of black music and dance's African origins between the 1930s and 1950s. Multilayered and masterfully written, Race Music provides a dynamic framework for rethinking the many facets of African American music and the ethnocentric energy that infused its creation. It also considers how the discourse of soul music contributed to the vibrant social climate of the Black Power Era. Race Music illustrates how, by transcending the boundaries between genres, black communities bridged generational divides and passed down knowledge of musical forms and styles. Ramsey provides vivid glimpses of the careers of Dinah Washington, Louis Jordan, Dizzy Gillespie, Cootie Williams, and Mahalia Jackson, among others, to show how the social changes of the 1940s elicited an Afro-modernism that inspired much of the music and culture that followed. Beginning with jazz, rhythm and blues, and gospel, this book demonstrates that while each genre of music is distinct-possessing its own conventions, performance practices, and formal qualities-each is also grounded in similar techniques and conceptual frameworks identified with African American musical traditions. Deeply informed by Ramsey's experience as an accomplished musician, a sophisticated cultural theorist, and an enthusiast brought up in the community he discusses, Race Music explores the global influence and popularity of African American music, its social relevance, and key questions regarding its interpretation and criticism. This lays the foundation for a brilliant discussion of how musical meaning emerges in the private and communal realms of lived experience and how African American music has shaped and reflected identities in the black community. Ramsey, Jr., begins with an absorbing account of his own musical experiences with family and friends on the South Side of Chicago, evoking Sunday-morning worship services, family gatherings with food and dancing, and jam sessions at local nightclubs. This powerful book covers the vast and various terrain of African American music, from bebop to hip-hop. Perfect for courses such as:Black Immigrants, Race Complexity, Critical Applied Linguistics, Ethnography, Graduate Course on Educational Foundations and Curriculum Learning becomes a political and a pedagogical project of cultural, linguistic and identity investment and desire. ![]() This, in turn, leads to a deeper understanding of what it means to encounter that social imaginary of, 'Oh, they all look like Blacks to me!' This encounter impacts what one learns and how one learns it, where learning English as a Second Language (ESL) is sidestepped in favor of Black English as a Second Language (BESL). ![]() ![]() Theoretically and empirically grounded, the book is a documentation of the process of becoming Black - a radical identity transformation where a continental African is marked by Blackness. An opportunity was missed,however, in documenting their everyday experience from a social science perspective: what did it mean for a Barbadian or a Jamaican to live in Toronto or New York? Were they Jamaicans or did they go with the descriptor 'Black'? What relationship did they have with African Canadians or African Americans? Black Immigrants in North Americaanswersthese and other questions while documenting the second wave of Black immigration to North America, which started in the early 1990s. The first wave of Black immigrants arrived in North America during the 1960s and 1970s, coming originally from the Caribbean.
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