In the Break: The Aesthetics of the Black Radical Tradition
In his controversial essay on white jazz musician Burton Greene, Amiri Baraka asserted that jazz was exclusively an African American art form and explicitly fused the idea of a black aesthetic with radical political traditions of the African diaspora. In the Break is an extended riff on "The Burton Greene Affair, " exploring the tangled relationship between black avant-grade in music and literature in the 1950s and 1960s, the emergence of a distinct form of black cultural nationalism, and the complex engagement with and disavowal of homoeroticism that bridges the two. Fred Moten focuses in particular on the brilliant improvisatory jazz of John Coltrane, Ornette Coleman, Albert Ayler, Eric Dolphy, Charles Mingus, and others, arguing that all black performance--culture, politics, sexuality, identity, and blackness itself--is improvisation. For Moten, improvisation provides a unique epistemological standpoint from which to investigate the provocative connections between black aesthetics and Western philosophy. He engages in a strenuous critical analysis of Western philosophy (Heidegger, Kant, Husserl, Wittgenstein, and Derrida) through the prism of radical black thought and culture. As the critical, lyrical, and disruptive performance of the human, Moten's concept of blackness also brings such figures as Frederick Douglass and Karl Marx, Cecil Taylor and Samuel R. Delany, Billie Holiday and William Shakespeare into conversation with each other. Stylistically brilliant and challenging, much like the music he writes about, Moten's wide-ranging discussion embraces a variety of disciplines--semiotics, deconstruction, genre theory, social history, and psychoanalysis--to understand thepoliticized sexuality, particularly homoeroticism, underpinning black radicalism. In the Break is the inaugural volume in Moten's ambitious intellectual project--to establish an aesthetic genealogy of the black radical tradition.
What people are saying - Write a review
We haven't found any reviews in the usual places.
The Sentimental AvantCarde
In the Break
Adrian Pipers Theatricality
Other editions - View all
absence aesthetic Amiri Baraka anarchic animates augmentation aural avant-garde Baldwin Billie Holiday Billy Strayhorn black music black performance black radical Burton Greene Affair called Cecil Taylor Chinampas commodity condition of possibility critique Delaney Derrida desire differentiation discourse disruption Douglass echo Edelman Ellington emerges enacts encounter ensemble essence event experience force formulation Fried gesture Heidegger Ibid iconicity identity impossible improvisation interinanimation invagination Jacques Derrida James Baldwin jazz kind language LeRoi Jones manifest marks Marx material meaning mirror stage mode movement moves narrative Nathaniel Mackey object ongoing ontological originary parergon philosophy phonic phonic substance phonographic photograph Piper poem political precisely problematic production question racial reading reconstruction recording relation representation repression reproduction resistance rhythm ritual rupture scream semiotic sense sexual cut singing singularity song sonnets sound space speak speech spirit structure syncope things tion totality trace tradition trans visual voice Wittgenstein word writing
Fascinating Rhythm: Reading Jazz in American Writing
Limited preview - 2009
All Book Search results »
Improvising Theory: Process and Temporality in Ethnographic Fieldwork
Allaine Cerwonka,Liisa H. Malkki
No preview available - 2007