LEADER 03281oam 2200553I 450 001 9910573817003321 005 20230405003924.0 010 $a1-4780-9325-0 010 $a0-8223-7311-4 024 7 $a10.1515/9780822373117 035 $a(CKB)4340000000192251 035 $a(MiAaPQ)EBC4922921 035 $a(OCoLC)1139366965 035 $a(MdBmJHUP)muse78737 035 $a990064711 035 $a(DE-B1597)551847 035 $a(DE-B1597)9780822373117 035 $a(OCoLC)1198931992 035 $a(EXLCZ)994340000000192251 100 $a20170614d2017 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aListening for Africa $efreedom, modernity, and the logic of Black music's African origins /$fDavid F. Garcia 210 1$aDurham :$cDuke University Press,$d2017. 215 $a1 online resource (377 pages) 311 $a0-8223-6370-4 311 $a0-8223-6354-2 320 $aIncludes bibliographical references and index. 327 $aAnalyzing the African origins of Negro music and dance in a time of racism, fascism, and war -- Listening to Africa in the city, in the laboratory, and on record -- Embodying Africa against racial oppression, ignorance, and colonialism -- Disalienating movement and sound from the pathologies of freedom and time -- Desiring Africa, or Western civilization's discontents -- Conclusion: dance-music as rhizome. 330 $aIn Listening for Africa David F. Garcia explores how a diverse group of musicians, dancers, academics, and activists engaged with the idea of black music and dance?s African origins between the 1930s and 1950s. Garcia examines the work of figures ranging from Melville J. Herskovits, Katherine Dunham, and Asadata Dafora to Duke Ellington, Dámaso Pérez Prado, and others who believed that linking black music and dance with Africa and nature would help realize modernity?s promises of freedom in the face of fascism and racism in Europe and the Americas, colonialism in Africa, and the nuclear threat at the start of the Cold War. In analyzing their work, Garcia traces how such attempts to link black music and dance to Africa unintentionally reinforced the binary relationships between the West and Africa, white and black, the modern and the primitive, science and magic, and rural and urban. It was, Garcia demonstrates, modernity?s determinations of unraced, heteronormative, and productive bodies, and of scientific truth that helped defer the realization of individual and political freedom in the world. 606 $aAfrican Americans$xMusic$xHistory and criticism 606 $aBlack people$xMusic$xHistory and criticism 606 $aDance music$xHistory and criticism 606 $aMusic$zAfrica$xHistory and criticism 615 0$aAfrican Americans$xMusic$xHistory and criticism. 615 0$aBlack people$xMusic$xHistory and criticism. 615 0$aDance music$xHistory and criticism. 615 0$aMusic$xHistory and criticism. 676 $a780.89/96073 700 $aGarci?a$b David F.$01238302 801 0$bNDD 801 1$bNDD 906 $aBOOK 912 $a9910573817003321 996 $aListening for Africa$92873944 997 $aUNINA