{"title":"‘So you think you can play with me’ – Louis Moholo-Moholo and the semiotics of freedom","authors":"Ana Deumert , Nkululeko Mabandla","doi":"10.1016/j.langcom.2025.09.008","DOIUrl":null,"url":null,"abstract":"<div><div>In this paper we look at the work of Louis Tebogo Moholo-Moholo, the legendary South African drummer. Drawing on extensive interview data, we consider Bra Louis's reflections on his artistic practice, while also listening to his musical performances, to the sound of the drums and the collaborative improvisations that define the genre of ‘free jazz’. The analysis focuses on the semiotics of rhythm – its materiality and interactions with orders of time and timing – as well as on Bra Louis' credo of ‘just playing free’ in a world where this freedom doesn't exist. In exploring the meaning of freedom, we reflect on the semiotics of sound (drawing, especially, on Guattari's a-signifying semiotics), and conclude with an analysis of one of Bra Tebs' improvisations as an iconic-indexical instantiation of ‘being free’ in a world of oppression.</div></div>","PeriodicalId":47575,"journal":{"name":"Language & Communication","volume":"105 ","pages":"Pages 94-105"},"PeriodicalIF":1.4000,"publicationDate":"2025-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Language & Communication","FirstCategoryId":"98","ListUrlMain":"https://www.sciencedirect.com/science/article/pii/S0271530925000886","RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"COMMUNICATION","Score":null,"Total":0}
引用次数: 0
Abstract
In this paper we look at the work of Louis Tebogo Moholo-Moholo, the legendary South African drummer. Drawing on extensive interview data, we consider Bra Louis's reflections on his artistic practice, while also listening to his musical performances, to the sound of the drums and the collaborative improvisations that define the genre of ‘free jazz’. The analysis focuses on the semiotics of rhythm – its materiality and interactions with orders of time and timing – as well as on Bra Louis' credo of ‘just playing free’ in a world where this freedom doesn't exist. In exploring the meaning of freedom, we reflect on the semiotics of sound (drawing, especially, on Guattari's a-signifying semiotics), and conclude with an analysis of one of Bra Tebs' improvisations as an iconic-indexical instantiation of ‘being free’ in a world of oppression.
期刊介绍:
This journal is unique in that it provides a forum devoted to the interdisciplinary study of language and communication. The investigation of language and its communicational functions is treated as a concern shared in common by those working in applied linguistics, child development, cultural studies, discourse analysis, intellectual history, legal studies, language evolution, linguistic anthropology, linguistics, philosophy, the politics of language, pragmatics, psychology, rhetoric, semiotics, and sociolinguistics. The journal invites contributions which explore the implications of current research for establishing common theoretical frameworks within which findings from different areas of study may be accommodated and interrelated. By focusing attention on the many ways in which language is integrated with other forms of communicational activity and interactional behaviour, it is intended to encourage approaches to the study of language and communication which are not restricted by existing disciplinary boundaries.