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- Author: Richard Brent Turner
- Publisher: Indiana University Press
- ISBN-10: 025322120X
- ISBN-13: 9780253221209
- Format: 15.5 x 23.1 x 1.5 cm, minkšti viršeliai
- Language: English
- SAVE -10% with code: EXTRA
Jazz Religion, the Second Line, and Black New Orleans (e-book) (used book) | bookbook.eu
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In his new book, Richard Brent Turner explores the history and contemporary significance of the popular religious traditions, identities, and performance forms celebrated in the second lines of the jazz street parades of black New Orleans. The second line is the group of dancers who follow the first procession of church and club members, brass bands, and grand marshals. Here musical and religious traditions interplay. Jazz Religion, the Second Line, and Black New Orleans examines the relationship of jazz to indigenous religion and spirituality. It explores how the African diasporist religious identities and musical traditions--from Haiti and West and Central Africa--are reinterpreted in New Orleans jazz and popular religious performances, while describing how the participants in the second line create their own social space and become proficient in the arts of political disguise, resistance, and performance.
EXTRA 10 % discount with code: EXTRA
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- Author: Richard Brent Turner
- Publisher: Indiana University Press
- ISBN-10: 025322120X
- ISBN-13: 9780253221209
- Format: 15.5 x 23.1 x 1.5 cm, minkšti viršeliai
- Language: English English
In his new book, Richard Brent Turner explores the history and contemporary significance of the popular religious traditions, identities, and performance forms celebrated in the second lines of the jazz street parades of black New Orleans. The second line is the group of dancers who follow the first procession of church and club members, brass bands, and grand marshals. Here musical and religious traditions interplay. Jazz Religion, the Second Line, and Black New Orleans examines the relationship of jazz to indigenous religion and spirituality. It explores how the African diasporist religious identities and musical traditions--from Haiti and West and Central Africa--are reinterpreted in New Orleans jazz and popular religious performances, while describing how the participants in the second line create their own social space and become proficient in the arts of political disguise, resistance, and performance.
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