After Hours, Through the Night: Jazz Poetry and the Temporality of Emergence
While popular music has long been recognized as central to the Black Power movement and its writers, jazz has also served as a mode of decolonial thinking for Red Power writers. This essay investigates the places where jazz poetry emerged, analyzes the meanings of darkness, and listens for deep conn...
Wedi'i Gadw mewn:
| Cyhoeddwyd yn: | URI:https://journals.openedition.org/miranda, |
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| Prif Awdur: | |
| Fformat: | Article ou chapitre numérique |
| Iaith: | Anglais |
| Cyhoeddwyd: |
Miranda
2020
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| Pynciau: | |
| Mynediad Ar-lein: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Crynodeb: | While popular music has long been recognized as central to the Black Power movement and its writers, jazz has also served as a mode of decolonial thinking for Red Power writers. This essay investigates the places where jazz poetry emerged, analyzes the meanings of darkness, and listens for deep connections between African American and Native American artists and their musical cultures. My analysis of selected examples of jazz poetry, from Langston Hughes’s foundational jazz and blues poems to more recent compositions by Yosef Komunyakaa and Joy Harjo, shows how jazz has traveled across racial, cultural, and gender divides to disrupt time, to articulate the symbolic and political potential of night, and to reconnect printed poetry with aural performance. In the process, I argue, jazz poetry reveals critical intersections between race and culture and creates new spaces for active and engaged resistance. |
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