Amiri Baraka (1934–2014)
Autor von Blues People
Über den Autor
Bildnachweis: Library of Congress
Reihen
Werke von Amiri Baraka
Black art 3 Exemplare
5 ☥ Boptrees 2 Exemplare
When Miles Split! & Seven Poems 2 Exemplare
Yugen #6 2 Exemplare
Yugen #4 2 Exemplare
Rhythm Travel {short story} 2 Exemplare
Yugen #7 2 Exemplare
A Poem for Black Hearts 2 Exemplare
Jack Pot Melting: A Commercial 2 Exemplare
Hard facts: 1973-75 (Peoples war) 1 Exemplar
The Floating Bear, Issue 4 1 Exemplar
The Floating Bear, Issue 21 1 Exemplar
The Floating Bear, Issue 19 1 Exemplar
The Baptism: A Comedy in One Act 1 Exemplar
The Floating Bear, Issue 17 1 Exemplar
The Floating Bear, Issue 8 1 Exemplar
The Floating Bear, Issue 6 1 Exemplar
The Floating Bear, Issue 5 1 Exemplar
The Floating Bear, Issue 2 1 Exemplar
The Floating Bear, Issue 3 1 Exemplar
cuba libre 1 Exemplar
The Floating Bear, Issue 1 1 Exemplar
Yugen #3 1 Exemplar
Yugen #2 1 Exemplar
The Writer and Social Responsibility 1 Exemplar
The Toilet 1 Exemplar
Amerika tegendraads : nieuw Amerikaans proza 1 Exemplar
De vuelta a casa 1 Exemplar
“Will They Cry When You’re Gone, You Bet” 1 Exemplar
El holandés. El esclavo 1 Exemplar
El sistema del infierno de Dante 1 Exemplar
Cuentos 1 Exemplar
Amerika tegendraads : nieuw Amerikaans proza 1 Exemplar
Yugen 1 Exemplar
Short Speech to My Friends 1 Exemplar
New York Herald Tribune 1 Exemplar
Bloodrites 1 Exemplar
Ed Dorn & the Western World 1 Exemplar
Chant 2 / Black Man's Nation 1 Exemplar
It's nation time 1 Exemplar
What Was the Relationship of the Lone Ranger to the Means of Production?: A Play in One Act (1978) 1 Exemplar
Obscene 1 Exemplar
Why is We Americans? 1 Exemplar
The baptism; a comedy in one act 1 Exemplar
“An Agony. As Now” 1 Exemplar
S O S: Poems 1961-2013 1 Exemplar
Jello 1 Exemplar
Zugehörige Werke
Dark Matter: A Century of Speculative Fiction From the African Diaspora (2000) — Mitwirkender — 536 Exemplare
Black Voices: An Anthology of Afro-American Literature (Mentor) (1968) — Mitwirkender — 329 Exemplare
Breaking Ice. Ein Anthologie zeigenössischer afro-amerikanischer Literatur (1990) — Mitwirkender — 278 Exemplare
Calling the Wind: Twentieth Century African-American Short Stories (1992) — Mitwirkender — 102 Exemplare
Every Shut Eye Ain't Asleep: An Anthology of Poetry by African Americans Since 1945 (1994) — Mitwirkender — 91 Exemplare
Go the Way Your Blood Beats: An Anthology of Lesbian and Gay Fiction by African-American Writers (1996) — Mitwirkender — 89 Exemplare
Bearing Witness: Selections from African-American Autobiography in the Twentieth Century (1991) — Mitwirkender — 69 Exemplare
Angles of Ascent: A Norton Anthology of Contemporary African American Poetry (2013) — Mitwirkender — 42 Exemplare
Black Thunder: An Anthology of African-American Drama (Mentor Series) (1992) — Playwright — 29 Exemplare
So Much Things to Say: 100 Poets from the First Ten Years of the Calabash International Literary Festival (2010) — Mitwirkender — 25 Exemplare
19 Necromancers From Now: An Anthology of Original American Writings for the 1970s (1970) — Autor — 11 Exemplare
Our Souls Have Grown Deep Like the Rivers: Black Poets Read Their Work — Erzähler, einige Ausgaben — 2 Exemplare
Life is a killer [sound recording] — Mitwirkender — 2 Exemplare
Words Among America: Sixty Poems of Challenge and Hope — Mitwirkender — 1 Exemplar
Intrepid No. 5, 1st Anniversary Issue — Mitwirkender — 1 Exemplar
Epos : the work of American and British Poets (vol. 10, no. 2 Winter 1958) — Mitwirkender — 1 Exemplar
Poetry East : number twenty & twenty-one fall 1986 : poetics — Mitwirkender — 1 Exemplar
Niagara Frontier Review, Summer 1964 — Mitwirkender — 1 Exemplar
Niagara Frontier Review, Spring-Summer 1965 — Mitwirkender — 1 Exemplar
Getagged
Wissenswertes
- Gebräuchlichste Namensform
- Baraka, Amiri
- Rechtmäßiger Name
- Baraka, Imamu Amiri
- Andere Namen
- Jones, Everett LeRoi (born)
Jones, LeRoi - Geburtstag
- 1934-10-07
- Todestag
- 2014-01-09
- Geschlecht
- male
- Nationalität
- USA
- Geburtsort
- Newark, New Jersey, USA
- Sterbeort
- Newark, New Jersey, USA
- Wohnorte
- New York, New York, USA
Newark, New Jersey, USA - Ausbildung
- Rutgers University
Columbia University
Howard University
The New School - Berufe
- political activist
poet
playwright
essayist
publisher
teacher (Zeige alle 7)
novelist - Beziehungen
- Jones, Hettie (ex-spouse)
Jones, Lisa (daughter)
Baraka, Ras (son)
Jones, Kellie (daughter) - Organisationen
- US Air Force
- Preise und Auszeichnungen
- American Book Award (1989)
Langston Hughes Award (1989)
Poet Laureate of New Jersey (2002)
American Academy of Arts and Letters (Literature ∙ 2001)
Mitglieder
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Listen
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- 62
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- 3,490
- Beliebtheit
- #7,289
- Bewertung
- 4.0
- Rezensionen
- 33
- ISBNs
- 126
- Sprachen
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- Favoriten
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Blues People was published in 1963, when Jones (aka Amiri Baraka) was early in his career as a literary provocateur, the modern civil rights movement was soon to come to a head, and the New Thing in jazz was growing horns and wings in NYC. From an historical/sociological perspective, Jones argues that the music of African-Americans reflected the changes in the nature of their relationship with America. The phrase “blues people” comes from Ralph Ellison, who defined it as “those who accepted and lived close to their folk experience.” The phrase obtains a sharper critical thrust in Jones’ hands.
In Jones’ telling, black people in the U.S. have passed through a series of conditions—captive, slave, freeman, citizen—and their experience at each stage shaped the music that they made. Captured Africans were forced into an alien world where none of the familiar cultural references were available; their contact with Western slavery was strange and unnatural. The African came to realize that all the things he thought important were thought by the white man to be primitive nonsense, including his music, which contrasted with Western music in function and rhythm. Western musical concepts of ‘beauty’ and ‘regularity’ did not pertain to African music, which instead emphasizes rhythmic syncopation, polyphony & creative paraphrasing. ‘African culture was suppressed by constant contact with Euro-American culture and obscured by rapid (forced) acculturation,’ though the nonmaterial aspects of African culture were difficult to eradicate. Field hollers and work songs retained key elements of African music, even as the function of the music shifted. The spread of Christianity among slaves moved them further from Africa and traditional religious beliefs and practices, writes Jones, though their African heritage provided much of the emotional content to black Christianity.
Nothing too contentious so far. But Jones argues that the increasing prominence of the black church led to the development of a new theocracy and social mores which in turn enforced a new hierarchy. Blacks highest in the social and economic hierarchy (church elders and officers) emulated whites, and social stations among blacks began to mirror the structure of white society. The disdain that ‘high station’ blacks had for the lower class effectively signaled their acceptance of white superiority, writes Jones, and the new distinctions among blacks was reflected in black music: church spirituals (imitations of white hymns) were more melodic and musical than the field hollers, and the fiddle music and jig tunes of ‘the folk’ were judged as sinful. The legal end of slavery presented to the ‘negro masses’ a chance at a fuller life outside the church, though, with more opportunities for backsliding and indulging in ‘the devil’s music.’
Freemen entered a complicated situation of self-reliance and thus faced a multitude of social and cultural problems that they never had to deal with as slaves, and the music of blacks in the U.S. began to change to reflect these social and cultural complexities. Blues music developed because of the freeman’s adaptation to and adoption of America, says Jones, but was also a music that developed because of the freeman’s peculiar position in this county. Jones contrasts ‘primitive’ blues—developed as a music to be sung for pleasure, a casual music, folkloric—and ‘classical’ blues—which contained all the diverse and conflicting elements of black music plus the smoother emotional appeal of the performance. Classic blues became concerned with situations and ideas that were less precise, less obscure to white America, and the professionalism and broader meaning of classical blues made it a kind of stylized response, moving it in a way out of the lives of ‘the folk.’
The movement toward performance turned some of the emotional climate of the freeman’s life into artifact and entertainment.
When we get to the 20th c., with the advent of jazz, the Great Migration and the broadening experience of American blacks, Blues People becomes a critical tour de force. Jazz, as instrumental blues music with European instruments, illustrated another of the shifts in blacks’ relationship to America. The isolation that had nurtured the African-American musical tradition before the coming of jazz had largely disappeared by the mid-1920s, and many ‘foreign’ elements drifted into this broader instrumental music. A generation of educated black musicians in the 1920s and 30s (“for whom the blues was less direct,” says Jones) showed that jazz could absorb new elements and evolve without losing its identity. Sounds from the ‘hot’ brass bands of Louis Armstrong to the blues and stomp arranged for large bands (with Fletcher Henderson as the crucial figure) made black dance bands into a national phenomenon by the 1930s. Big dance-band jazz was played by black ‘citizens’, educated professionals who thought of themselves as performers (Duke Ellington, who “perfected big-band jazz and replaced a spontaneous collective music by a worked-out orchestral language,” earns only a kind of grudging respect from Jones). With jazz, writes Jones, black music became less secret and separate: acknowledgement by serious white musicians like Bix Beiderbecke and Nick LaRocca served to place black culture and society in a position of intelligent regard it had never enjoyed before. The emergence of the white jazz player meant that African-American culture had already become the reflection of a particular kind of American experience, and this experience was available intellectually; it could be learned. Black music did not become a completely American expression, then, until the white man could play it.
The migration of blacks out of the American South in the early 20th c. ‘erased one essential uniformity, the provinciality of place, the geographical and social constant,’ and henceforth there were to be such concepts as the ‘Northern Negro’ and ‘Southern Negro,’ country and city black, and a range of possible psychological and sociological reactions to life in the U.S. This movement into America stimulated the growth of a black middle class, writes Jones—a class ‘distinguished not only by an economic condition but by a way of looking at the society in which it exists.’ The black middle class formed around the proposition that it is better not to be black in a country where being black is a liability. (Jones sees a harbinger of middle-class black attitudes among the house servants and church officials of an earlier period and the ‘uptown’ Creoles of fin de siècle New Orleans). The black middle class believed that the best way to survive would be ‘to deny that there had ever been an Africa or a slavery or even a black man,’ and that the only way to be a citizen was ‘to disavow that he or his part of the culture had ever been anything but American.’
Again, black music came to reflect the conflicted relationship of blacks to life in America. City life revitalized the blues ‘with a kind of frenzy and extra-local vulgarity’ that had not been present before (ref. Kansas City as a regional center of the ‘shouting blues,’ Count Basie, Jay McShann, et. al.). Writes Jones, ‘it was almost as if the blues people were reacting against the softness and legitimacy that had crept into black instrumental music’ after whites got their hands on it. The black cultural consciousness stimulated by the war years and the emergence of rhythm & blues music were anathema to the black middle class—R&B because ‘it was contemporary and existed as a legitimate expression of a great many blacks, and as a gaudy reminder of the real origins of Negro music.’
The most original and interesting part of Blues People is Jones’ interpretation of the emergence of bebop in light of the discussion hitherto. He presents the music as a kind of deliberate project by young musicians to develop a form of individual expression that could not be diluted (or even necessarily understood) by the mainstream of American culture. According to Jones, Charlie Parker, Thelonious Monk and Dizzy Gillespie all said at one time or another that they did not care if anyone listened to their music. (It’s easy to imagine them in 1942, afterhours at Minton’s, playing for themselves). The music derived from an attitude that distanced itself from ‘the protective and parochial atmosphere of the folk expression’ but also ‘put on a more intellectually and psychologically satisfying level the traditional separation and isolation of the black man from America.’
Ultimately, the form and content of Negro music in the 40s re-created, or reinforced, the social and historical alienation of the Negro in America, but in the Negro’s terms.
A bold polemic, necessary for its time, Blues People is one of the great American books.… (mehr)