All-Woman Jazz Bands and Gendered BeboppersGayl Jones and Gloria Naylor’s Jazz Fiction

  1. ROCÍO COBO PIÑERO 1
  1. 1 Universidad de Cádiz
    info

    Universidad de Cádiz

    Cádiz, España

    ROR https://ror.org/04mxxkb11

Aldizkaria:
Revista de Estudios Norteamericanos

ISSN: 1133-309X 2253-8410

Argitalpen urtea: 2015

Zenbakia: 19

Orrialdeak: 13-28

Mota: Artikulua

Beste argitalpen batzuk: Revista de Estudios Norteamericanos

Laburpena

El jazz se ha identificado tradicionalmente con instrumentistas y escritores varones. Por ello, este artículo se propone un doble objetivo: por un lado, subraya el importante papel de las mujeres como instrumentistas y directoras de bandas en la formación de una contracultura del jazz, en particular durante la Segunda Guerra Mundial; por otro, conecta las técnicas del bebop y sus significados culturales con as novelas Corregidora (1975) y Eva’s Man (1976), de Gayl Jones, y The Women of Brewster Place (1982) y Bailey’s Cafe (1992), de Gloria Naylor. El presente artículo presta especial atención al bebop quoting , técnica jazzística que tradicionalmente ha representado un lugar de significación masculina, pero que también permite a las instrumentistas y escritoras deconstruir y cuestionar estereo tipos asociados a la identidad/identidades de las mujeres negras

Erreferentzia bibliografikoak

  • AKE, David Andrew. Jazz Matters: Sound, Time, and Place since Bebop. Berkeley: U of California P, 2010.
  • BAMBARA, Toni Cade. “Medley.” The Jazz Fiction Anthology. Ed. Sascha Feinstein and David Rife. Bloomington: Indiana UP, 2009.
  • BROWN, Caroline. “Of Blues and the Erotic: Corregidora as a New World Song.” Obsidian III 5 (2004): 118-138.
  • BRYANT, Clora. Gal with a Horn. 1957. VSOP, 1996. CD.
  • BYERMAN, Keith. Remembering the Past in Contemporary African American Fiction. Chapel Hill: U of North Carolina P, 2006.
  • CHAIKIN, Judy. Dir. The Girls in the Band. Artist Tribe, 2011. DVD.
  • CHILTON, Karen. Hazel Scott: The Pioneering Journey of a Jazz Pianist, from Café Society to Hollywood, to HUAC. Ann Arbor: UP of Michigan, 2010.
  • DAHL, Linda. Stormy Weather: The Musical Lives of a Century of Jazzwomen. 1984. New York: Proscenium, 1996.
  • DAVIS, Angela Y. Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith, and Billie Holiday. New York: Pantheon, 1998.
  • DEVEAUX, Scott. The Birth of Bebop: Social and Musical History. Berkeley: U of California P, 1997.
  • DRIELING, Claudia. Constructs of „Homeâ" in Gloria Naylor's Quartet. Würzburg: Verlag Königshausenn & Newmann, 2011.
  • EDWARDS, Brent Hayes. “Louis Armstrong and the Syntax of Scat.” Critical Inquiry 28 (2002): 618-649.
  • ELLISON, Ralph. Shadow and Act. 1964. New York: Vintage, 1995.
  • FITZGERALD, Ella. The Complete Ella in Berlin: Mack the Knife. Verve, 1960. CD.
  • FORREST, Leon. “A Solo Long-Song: For Lady Day.” Callaloo 16 (1993): 332- 367.
  • GABBARD, Krin. “The Quoter and His Culture.” Jazz in Mind: Essays on the History and Meanings of Jazz. Ed. Reginald T. Buckner and Steven Weiland. Detroit: Wayne State UP, 1991. 92-111.
  • GATES, Henry Louis, Jr. The Signifying Monkey: A Theory of African-American Literary Criticism. 1988. New York: Oxford UP, 1989.
  • GYSIN, Fritz. “From „„Liberating Voices‟ to „Metathetic Ventriloquism‟: Boundaries in Recent African-American Jazz.” Callalloo 25 (2002): 274-287.
  • HANDY, Antoinette D. The International Sweethearts of Rhythm: The Ladies Jazz Band from Piney Woods Country Life School. 1983. New Jersey: Scarecrow P, 1998.
  • HARRISON, Harrison, Daphne Duval. Black Pearls: Queens of the 1920s. 1988. New York: Rutgers UP, 2000.
  • JONES, Gayl. Corregidora. 1975. Boston: Beacon, 1986.
  • JONES, Gayl. Eva's Man. 1976. Boston: Beacon, 1987.
  • JONES, Gayl. Liberating Voices: Oral Tradition in African American Literature. Boston: Harvard UP, 1991.
  • MCGEE, Kristin A. Some Liked It Hot: Jazz Women in Film and Television, 1928- 1959. Middletown: Wesleyan UP, 2009.
  • MORRISON, Toni. Home. New York: Vintage International, 2012.
  • MORRISON, Toni. Jazz. New York: Penguin, 1992.
  • MORRISON, Toni. “Toni Morrison on a Book She Loves: Gayl Jones's Corregidora.” Toni Morrison: What Moves at the Margin. Selected Nonfiction. Ed. Carolyn C. Denard. Jackson: UP of Mississippi, 2008. 108-110.
  • MUTON, Alan. “Misreading Morrison, Mishearing Jazz: A Response to Toni Morrison's Jazz Critics.” Journal of American Studies 31 (1997): 235-251.
  • NAYLOR, Gloria. Bailey's Cafe. New York: Vintage, 1992.
  • NAYLOR, Gloria. The Women of Brewster Place. 1982. New York: Penguin, 1983.
  • OGREN, Kathy J. Jazz Revolution: Twenties America and the Meanings of Jazz. New York: Oxford UP, 1992.
  • O'MEALLY, Robert G. Lady Day: The Many Faces of Billie Holiday. New York: Da Capo, 1991.
  • OWENS, Thomas. Bebop: The Music and Its Players. New York: Oxford UP, 1996.
  • PERRY, Donna. “Gloria Naylor.” Conversations with Gloria Naylor. Ed. Maxine Lavone Montgomery. Jackson: UP of Mississippi, 2004. 76-104.
  • POLYNÉ, Millery. From Douglass to Duvalier: U.S. African Americans, Haiti, and Pan Americanism, 1879-1964. Gainesville: UP of Florida, 2010.
  • RUSTIN, Nicole. T. “„Mary Lou Williams Plays like a Man!‟ Gender, Genius, and Difference in Black Musical Discourse.” South Atlantic Quarterly 3 (2005): 445-462.
  • SCOTT, Hazel. Swinging the Classics. Decca, 1941. CD.
  • SCHILLER, Greta and Andrea Weiss. Dir. The International Sweethearts of Rhythm. Jezebel Productions, 1986. DVD.
  • SHANGE, Ntozake. for colored girls who considered suicide / when the rainbow is enuf. 1975. New York: Scribner Poetry, 1997.
  • TATE, Claudia. “Corregidora: Ursa's Blues Medley.” Black American Literature Forum 13 (1979): 139-141.
  • TUCKER, Sherrie. A Feminist Perspective on New Orleans Jazzwomen. New Orleans: New Orleans Jazz National Historical Park, 2004.
  • TUCKER, Sherrie. “Nobody's Sweethearts: Gender, Race, Jazz, and The Darlings of Rhythm.” American Music 16 (1998): 255-288.
  • TUCKER, Sherrie. Swing Shift: “All-Girl” Bands of the 1940s. Durham: Duke UP, 2000.
  • TUCKER, Sherrie, and Nicole T. Rustin, eds. Big Ears: Listening for Gender in Jazz Studies. Durham: Duke UP, 2008.
  • WALLACE, Rob. Improvisation and the Making of American Literary Modernism. New York: Continuun International, 2010.
  • WILLIAMS, Sherley Anne. Some One Sweet Angel Chile. New York: Morrow, 1982.