LEADER 03589nam 2200517 450 001 9910163936503321 005 20230810002051.0 010 $a0-8142-7481-1 035 $a(CKB)3710000001051669 035 $a(MiAaPQ)EBC4801592 035 $a(EXLCZ)993710000001051669 100 $a20170221h20172017 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aConjuring freedom $emusic and masculinity in the Civil War's "Gospel Army" /$fJohari Jabir 210 1$aColumbus, [Ohio] :$cThe Ohio State University Press,$d2017. 210 4$dİ2017 215 $a1 online resource (159 pages) 225 1 $aBlack Performance and Cultural Criticism 311 $a0-8142-5394-6 311 $a0-8142-1330-8 320 $aIncludes bibliographical references and indexes. 327 $aA strange fulfillment of dreams: racial fetish and fantasy in Thomas Wentworth Higginson's Army life in a Black regiment -- The collective will to conjure: religion, ring shout, and spiritual militancy in a Black regiment -- One more valiant soldier: music and masculinity in a Black regiment -- Moon rise: songs of loss, lament, and liberation in a Black regiment -- Military "glory" or racial horror -- Postlude: My Army cross over. 330 $aConjuring Freedom: Music and Masculinity in the Civil War's "Gospel Army" analyzes the songs of the 1st South Carolina Volunteers, a regiment of Black soldiers who met nightly in the performance of the ring shout. In this study, acknowledging the importance of conjure as a religious, political, and epistemological practice, Johari Jabir demonstrates how the musical performance allowed troop members to embody new identities in relation to national citizenship, militarism, and masculinity in more inclusive ways. Jabir also establishes how these musical practices of the regiment persisted long after the Civil War in Black culture, resisting, for instance, the paternalism and co-optive state antiracism of the film Glory, and the assumption that Blacks need to be deracinated to be full citizens. Reflecting the structure of the ring shout--the counterclockwise song, dance, drum, and story in African American history and culture--Conjuring Freedom offers three new concepts to cultural studies in order to describe the practices, techniques, and implications of the troop's performance: (1) Black Communal Conservatories, borrowing from Robert Farris Thompson's "invisible academies" to describe the structural but spontaneous quality of black music-making, (2) Listening Hermeneutics, which accounts for the generative and material affects of sound on meaning-making, and (3) Sonic Politics, which points to the political implications of music's use in contemporary representations of race and history. 410 0$aBlack performance and cultural criticism. 606 $aAfrican Americans$xMusic$xHistory and criticism 606 $aSpirituals (Songs)$xHistory and criticism 606 $aRing shout (Dance) 606 $aMasculinity 607 $aUnited States$xHistory$yCivil War, 1861-1865$xAfrican Americans 615 0$aAfrican Americans$xMusic$xHistory and criticism. 615 0$aSpirituals (Songs)$xHistory and criticism. 615 0$aRing shout (Dance) 615 0$aMasculinity. 676 $a973.4/415 700 $aJabir$b Johari$01249822 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910163936503321 996 $aConjuring freedom$92896127 997 $aUNINA