Music and performance provide a unique window into the ways that cultural information is circulated and perceptions are constructed. Because they both require listening, are inherently ephemeral, and most often involve collaboration between disparate groups, they inform cultural perceptions differently from literary or visual art forms, which tend to be more tangible and stable.
In Yellowface, Krystyn R. Moon explores the contributions of writers, performers, producers, and consumers in order to demonstrate how popular music and performance has played an important role in constructing Chinese and Chinese American stereotypes. The book brings to life the rich musical period of the late nineteenth and early twentieth centuries. During this time, Chinese and Chinese American musicians and performers appeared in a variety of venues, including museums, community theaters, and world’s fairs, where they displayed their cultural heritage and contested anti-Chinese attitudes. A smaller number crossed over into vaudeville and performed non-Chinese materials. Moon shows how these performers carefully navigated between racist attitudes and their own artistic desires.
While many scholars have studied both African American music and blackface minstrelsy, little attention has been given to Chinese and Chinese American music. This book provides a rare look at the way that immigrants actively participated in the creation, circulation, and, at times, subversion of Chinese stereotypes through their musical and performance work.
As the 1960s ended, Herbie Hancock embarked on a grand creative experiment. Having just been dismissed from the celebrated Miles Davis Quintet, he set out on the road, playing with his first touring group as a leader until he eventually formed what would become a revolutionary band. Taking the Swahili name Mwandishi, the group would go on to play some of the most innovative music of the 1970s, fusing an assortment of musical genres, American and African cultures, and acoustic and electronic sounds into groundbreaking experiments that helped shape the American popular music that followed. In You’ll Know When You Get There, Bob Gluck offers the first comprehensive study of this influential group, mapping the musical, technological, political, and cultural changes that they not only lived in but also effected.
Even before the emergence of the civil rights movement with black churches at its center, African American religion and progressive politics were assumed to be inextricably intertwined. In her revelatory book, Barbara Savage counters this assumption with the story of a highly diversified religious community whose debates over engagement in the struggle for racial equality were as vigorous as they were persistent. Rather than inevitable allies, black churches and political activists have been uneasy and contentious partners.
From the 1920s on, some of the best African American minds—W. E. B. Du Bois, Carter G. Woodson, Benjamin Mays, Nannie Helen Burroughs, Mary McLeod Bethune, Charles S. Johnson, and others—argued tirelessly about the churches’ responsibility in the quest for racial justice. Could they be a liberal force, or would they be a constraint on progress? There was no single, unified black church but rather many churches marked by enormous intellectual, theological, and political differences and independence. Yet, confronted by racial discrimination and poverty, churches were called upon again and again to come together as savior institutions for black communities.
The tension between faith and political activism in black churches testifies to the difficult and unpredictable project of coupling religion and politics in the twentieth century. By retrieving the people, the polemics, and the power of the spiritual that animated African American political life, Savage has dramatically demonstrated the challenge to all religious institutions seeking political change in our time.
The Deep South has seen a 36 percent increase in AIDS cases while the rest of the nation has seen a 2 percent decline. Many of the underlying reasons for the disease’s continued spread in the region—ignorance about HIV, reluctance to get tested, non-adherence to treatment protocols, resistance to behavioral changes—remain unaddressed by policymakers.
In this extensively revised second edition, Kathryn Whetten and Brian Wells Pence present a rich discussion of twenty-five ethnographic life stories of people living with HIV in the South. Most importantly, they incorporate research from their recent quantitative study, “Coping with HIV/AIDS in the Southeast” (CHASE), which includes 611 HIV-positive patients from North Carolina, South Carolina, Georgia, Alabama, and Louisiana. This new edition continues to bring the participants’ voices to life while highlighting how the CHASE study confirmed many of the themes that originally emerged from the life histories. This is the first cohesive compilation of up-to-date evidence on the unique and difficult aspects of living with HIV in the Deep South.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press