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Books > Language & Literature > Literature: history & criticism > Literary studies > From 1900
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Scoring Race - Jazz, Fiction, and Francophone Africa (Hardcover)
Loot Price: R2,352
Discovery Miles 23 520
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Scoring Race - Jazz, Fiction, and Francophone Africa (Hardcover)
Series: African Articulations
Expected to ship within 10 - 15 working days
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Reveals the importance of the jazz craze in France between the two
world wars and the French construction of jazz as a "black music" -
an exoticization which had wide-reaching effects on the artistic
output of the African diaspora and on contemporary perceptions of
black writers, musicians and film makers. What are the cultural
implications of Louis Armstrong's 1960 visit to Africa? Why are so
many postcolonial novels in French fascinated with jazz? In
defining jazz as "black music", France's "jazzophilia" has had
wide-reaching effects on contemporary perceptions of the artistic
and political efficacy of black writers, musicians, and their
aesthetic productions. Scoring Race explores how jazz masters Louis
Armstrong, Duke Ellington, Charlie Parker, and John Coltrane became
touchstones for claims to African authorship and aesthetic
subjectivity across the long twentieth century. The book focuses on
how this naturalization of black musicality occurred and its impact
on Francophone African writers and filmmakers for whom the idea of
their own essential musicality represented an epistemological
obstacle. Despite this obstacle, because of jazz's profound
importance to diaspora aesthetics, as well as its crucial role in
the French imaginary, many African writers have chosen to make it a
structuring principle of their literary projects. In Scoring Race
Pim Higginson draws on race theory, aesthetics, cultural
studies,musicology, and postcolonial studies to examine the
convergence of aesthetics and race in Western thought and to
explore its impact on Francophone African literature. How and why,
Pim Higginson asks, did these writers and filmmakers approach jazz
and its participation in and formalization of the "racial score"?
To what extent did they reproduce the terms of their own systematic
expulsion into music and to what extent, in their impossible demand
for writing(or film-making), did they arrive at tactical means of
working through, around, or beyond the strictures of their assumed
musicality? Pim Higginson is Professor of Global French Studies at
the University of New Mexico,Albuquerque.
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