Jazz Cultures and Communities | homework crew
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Please consider the questions below as you craft you Discussion Board post. You should respond to the post. Please refer to the syllabus for the writing format. You may also refer to the pdf materials of They Say / I Say as you develop your critical/argumentative three (3) short paragraph response for each question.1. In what ways was the African cultural identity of New Orleans different from the African cultural identities of other major American cities? How did the African cultural identity of New Orleans specifically influence the birth and development of jazz music2. Angela Davis argues that the blues developed a tradition of openly addressing female and male sexuality and that this tradition was distinctly African American and gave expression to the new social and sexual realities being experienced by African Americans as a free people. Do you agree or disagree with this argument? Why? What does it say about the power of musical expression in Black communities.3. Describe the development of the burgeoning environment of La Butte or the Montmartre area of Paris in the early 1900s and why this environment might have been similar to the cultural environments of New Orleans and therefore idyllic for Black jazz musicians and performers. Consider the rural origins of Montmartre and its development into a district with cafes, performance venues for many different musical cultures, and places for smoking hashish or opium, as well as its geographic distance from the heart of Paris and the politics of resistance expressed by underclass citizens. Was this a wide-open frontier like New Orleans, hospitable to the arrival of Black jazz performers and a space that they could define with their presence and cultural influence?4. Discuss Leonard Acosta’s theory of parallelism or the parallel development of social forces and musical styles in Cuba and America. What role does New Orleans play in this social and musical connection between Cuba and the United States? Consider such key figures in the musical exchange between Cuba and the U.S. as cornet player Martin Perez or Santiago Smood.5. Discuss the economic opportunities available to African Americans in the Central Avenue area of Los Angeles particularly between 1900 and 1930. Did these economic opportunities lay the foundation for a thriving jazz community? Discuss issues like home ownership, the availability of industrial jobs, the rise of Hollywood and radio technology, and how these fed into the possibility of vibrant jazz community and the possibility of economic success for jazz musicians migrating to Los Angeles. Did this atmosphere of economic success change in the 1930s during the Depression?6. I make the argument that jazz music was central to Black entrepreneurship in San Francisco. Consider the Black businesses that attended the jazz clubs in the North Beach in the early 1900s or the many and diverse Black businesses that attended the jazz clubs in the Western Addition/ Fillmore from WW II through the 1960s and ’70s. If you accept this notion, consider whether there are parallel relationships between Black music and entrepreneurship in some of the other jazz communities we have read about. Consider whether the same phenomenon occurred for other Black musical forms (e.g. Gospel, funk, disco, hip hop). Is it possible that Black musical forms and the businesses and communities that they generated could have and perhaps should have supported middle class status and Black capitalist ownership in America? Does the example of jazz entrepreneurship in San Francisco cause you to wonder about the lost potential of Black wealth in America generated from Black musical expression? Does the narrative of how Black jazz entrepreneurship in San Francisco was dismantled by the diverse forces of corporate jazz clubs and urban redevelopment help you to understand structural forces of racism that have long served to undermine both Black creativity and Black entrepreneurship? You might also consider who has gained most from the wealth generated from Black music if that wealth has never been capable of sustaining Black communities.7. Inter-war Japan –the years between World Wars I & II — can be characterized as an era of significant socio-political, economic, and cultural shifts. Specifically, these shifts took the form of the Japanese economy expanding into international markets, growing inequality between it’s business class (zaibatsu) and rural workers, growing militarism, in addition to a nationalist sentiment provoked by the 1929 Great Depression. Jazz, as we have read, emerged in the midst of this volatility. As Atkins elaborates, the introduction and development of jazz amongst Japanese musicians and audiences “occurred within [the] context of, and thus was decisively shaped by, expanding state power in the realms of thought, art, and behavior.” Please riff on the following: In what ways did jazz inform the relationship between Japanese communities and the socio-political changes during this inter-war era? As a cultural product, how did jazz shape the ways that musicians and audiences (re)imagined Japanese identity, various forms of intermutuality, and transnational kinship?
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