Diasporic jazz and the Material Turn A case study

Johnson, B

Diasporic jazz and the Material Turn A case study

Johnson, B

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Publisher:: Taylor and Francis
Publication Type:: Chapter
Citation:: The Routledge Companion to Diasporic Jazz Studies, 2024, pp. 457-467
Issue Date:: 2024-11-15

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Field	Value	Language
dc.contributor.author	Johnson, B
dc.date.accessioned	2025-01-27T23:43:45Z
dc.date.available	2025-01-27T23:43:45Z
dc.date.issued	2024-11-15
dc.identifier.citation	The Routledge Companion to Diasporic Jazz Studies, 2024, pp. 457-467
dc.identifier.isbn	9781003212638
dc.identifier.uri	http://hdl.handle.net/10453/184252
dc.description.abstract	In its post-World War II aspirations to the aesthetic high ground, the dominant jazz discourse uncoupled the music from dance and “mere” entertainment, and in so doing shifted its attention away from the corporeal to the cerebral and reconfigured the gender alignment underpinning the music from feminine to masculine. The effect has been to “dematerialize” the music, a process given impetus by a number of changes in the landscape of production and consumption, as well as the shifts in the music’s race and gender politics. This chapter explores the reasons for that shift and how a “material turn” might throw new light on (diasporic) jazz, turning attention to corporeality ranging from stage deportment, costume, and gesture to the role of kinesaesthetics and the potential explanatory power of theories of extended mind that problematize the mind/body model underpinning the late twentieth century jazz aesthetic.
dc.format.extent	45
dc.language	en
dc.publisher	Taylor and Francis
dc.relation.ispartof	The Routledge Companion to Diasporic Jazz Studies
dc.relation.isbasedon	10.4324/9781003212638-52
dc.rights	info:eu-repo/semantics/closedAccess
dc.title	Diasporic jazz and the Material Turn A case study
dc.type	Chapter
utslib.copyright.status	closed_access	*
pubs.consider-herdc	false
dc.date.updated	2025-01-27T23:43:44Z
pubs.place-of-publication	UK
pubs.publication-status	Published
dc.location	UK

Abstract:

In its post-World War II aspirations to the aesthetic high ground, the dominant jazz discourse uncoupled the music from dance and “mere” entertainment, and in so doing shifted its attention away from the corporeal to the cerebral and reconfigured the gender alignment underpinning the music from feminine to masculine. The effect has been to “dematerialize” the music, a process given impetus by a number of changes in the landscape of production and consumption, as well as the shifts in the music’s race and gender politics. This chapter explores the reasons for that shift and how a “material turn” might throw new light on (diasporic) jazz, turning attention to corporeality ranging from stage deportment, costume, and gesture to the role of kinesaesthetics and the potential explanatory power of theories of extended mind that problematize the mind/body model underpinning the late twentieth century jazz aesthetic.

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http://hdl.handle.net/10453/184252