Cornerstone Conversation with Berklee Institute of Jazz and Gender Justice Advisory Board: June 9, 2021

IF 0.1 0 MUSIC
Angela Y. Davis, Farah Jasmine Griffin, Carrie Mae Weems, Gina Dent, Romi Crawford, Nichole Rustin
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Abstract

Cornerstone Conversation with Berklee Institute of Jazz and Gender Justice Advisory BoardJune 9, 2021 Angela Y. Davis, Farah Jasmine Griffin, Carrie Mae Weems, Gina Dent, Romi Crawford, Moderator, and Nichole Rustin, Respondent Before Romi Crawford begins the discussion with the advisory board, she asks Terri Lyne Carrington to describe the beginnings of the Berklee Institute of Jazz and Gender Justice. terri lyne carrington. I noticed there was a problem and I finally stepped in and did what I could. And I hadn’t been doing that all along for some reason. I was caught up with being a creative musician and my career. And then one day I met with some students, and they expressed that there was not a space for them in the college where they felt safe and nurtured and all the things that I felt coming up, even from my teachers. So, I just woke up one day and thought, well, the very least I can do is to try and create a space here, and it just grew from there. I had a conversation with Angela [Davis] and Gina [Dent] about it, and Angela pointed out that “justice” needed to be in the title, and we went from there. We have six ensembles, a liberal arts class, our students have traveled to do performances, and we have a book that we’ve been working on that will be coming out early next year of compositions by women composers.1 There’s corrective work involved, and we’re just trying to keep the conversation moving forward. There’s a lot of young men who gravitate to our Institute, because they recognize that gender justice is their job, too. I think these young men feel that they’ve had to perform a certain [End Page 10] kind of masculinity that seems to be natural or normal on the jazz stage and in jazz culture. A lot of young men are rejecting that. carrie mae weems. Thank you for inviting me to participate. I know about these early conversations. I was just listening to the radio on the way home, dashing home, listening to field recordings of East Indian men. And even within that context of rural music and doing recordings, and they were calling it a “search for the blues,” a sort of authentic, East Indian music, even within that context, out of all the people that they recorded they only recorded a single woman’s voice. A single woman’s voice. I was thinking about this in relationship to Terri and her breadth of work and the depth of her work. I met Terri through her work with the incredible pianist whom we’ve lost, Geri Allen. All of us were very close with Geri. And then I met Esperanza Spalding through Terri. I’ve met a number of really important women musicians and artists through Terri. And one of the things I see Terri doing is really widening the path for us. Laying down herself for us. We are gathered here today because she brought us together yet again, and that’s a part of her ongoing dynamic activism, to bring us together in all these various ways. It means a great deal. Because men take up an extraordinary amount of space. They assume that they need to take up an incredible amount of space, unlike women, who assume that the space for them is limited. And so how we flex out of that, how we use our skill, our voice, our language, our activism, our practice, to break open those boundaries is absolutely key and absolutely brutal at the same time. I have lots of scars from doing this sort of heavy lifting. romi crawford. It would be wonderful to know how others of you came to this project with Terri Lyne. Angela, Farah, Gina—what is your story? angela davis. First of all, thank you Terri, Aja, and everyone involved in the creation of this symposium, and thank you Carrie Mae for the wonderful introductory remarks. You know, let me just say that I’m still thinking about the panel that preceded us and the ways in which Daphne [Brooks], Jayna [Brown...
基石对话与爵士乐和性别正义咨询委员会伯克利研究所:2021年6月9日
基石对话与爵士乐和性别正义咨询委员会伯克利研究所2021年6月9日安吉拉·戴维斯,法拉·贾斯敏·格里芬,嘉莉·梅·威姆斯,吉娜·登特,罗米·克劳福德,主持人和Nichole Rustin,答辩罗米·克劳福德开始与顾问委员会讨论之前,她要求特里·莱恩·卡林顿描述爵士乐和性别正义的伯克利研究所的开端。特丽·莱恩·卡灵顿。我注意到有一个问题,我最终介入并尽我所能。由于某种原因,我一直没有这样做。我被作为一个有创意的音乐家和我的事业所吸引。然后有一天,我遇到了一些学生,他们表示,在大学里没有一个空间给他们,让他们感到安全和被培养,我觉得所有的事情都发生了,甚至从我的老师那里。所以,有一天我醒来,我想,好吧,我至少可以试着在这里创造一个空间,然后它就从那里发展起来了。我和安吉拉·戴维斯(Angela Davis)和吉娜·丹特(Gina Dent)谈过这个问题,安吉拉指出“正义”需要在标题中出现,我们就从那里开始了。我们有六个合奏团,一个文科班,我们的学生去各地演出,我们正在写一本关于女性作曲家作品的书,明年初将出版这涉及到纠正工作,我们只是想让谈话继续下去。有很多年轻人被我们的研究所吸引,因为他们认识到性别公正也是他们的工作。我认为这些年轻人觉得他们必须表现出某种在爵士舞台和爵士文化中似乎是自然或正常的男子气概。很多年轻人都拒绝这样做。卡丽·威姆斯。谢谢你邀请我参加。我知道这些早期的对话。我只是在回家的路上听着收音机,飞奔着回家,听着东印度人的现场录音。即使是在乡村音乐和录音的背景下,他们称之为“寻找蓝调”,一种真实的东印度音乐,即使在那种背景下,在他们录制的所有人中,他们只录制了一个女人的声音。一个单身女人的声音。我在考虑这个和Terri的关系以及她工作的广度和深度。我认识特丽是通过她和我们失去的了不起的钢琴家格里·艾伦的合作。我们都和婕莉关系很好。然后我通过特丽认识了埃斯佩兰莎·斯伯丁。通过特里,我认识了很多非常重要的女性音乐家和艺术家。我看到特里在做的一件事就是为我们拓宽道路。为我们牺牲自己。我们今天聚集在这里,因为她再次把我们聚集在一起,这是她正在进行的充满活力的行动主义的一部分,以各种方式把我们聚集在一起。这意义重大。因为男人占据了大量的空间。他们认为自己需要占据巨大的空间,而女人则认为自己的空间有限。因此,我们如何从中挣脱出来,我们如何运用我们的技能,我们的声音,我们的语言,我们的行动主义,我们的实践,来打破这些界限,这绝对是关键,同时也绝对是残酷的。干这种重活儿给我留下了很多伤疤。露美克劳福德。我很想知道你们中的其他人是如何和Terri Lyne一起参与这个项目的。安吉拉,法拉,吉娜——你们有什么故事?安吉拉·戴维斯。首先,感谢Terri, Aja,以及所有参与这次研讨会的人,感谢Carrie Mae精彩的介绍。你知道,我只想说,我仍然在思考我们之前的小组讨论,以及达芙妮(布鲁克斯)、杰娜(布朗)……
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