书评

IF 0.6 4区 管理学 Q1 HISTORY
G. Gems, A. Hofmann
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引用次数: 0

摘要

在《为欢乐而跳:20世纪30年代美国的爵士乐、篮球和黑人文化》一书中,Gena Caponi-Tabery认为,非裔美国人利用音乐、舞蹈和体育作为抵抗20世纪上半叶美国社会挑战的有效形式。具体地说,摇摆音乐在中西部的发展与像贝西伯爵(Count Basie)这样的乐队领袖一起,与林迪舞(Lindy Hop)等舞蹈的创作相一致,这将改变和提升非裔美国人的个性和自由意识,尤其是那些刚从南方移民过来的人。根据Caponi-Tabery的说法,这两种艺术表现形式都要求参与者在各自的表演中达到最高的高度。强调“跳跃”与快节奏的节奏和摇摆乐队演奏的节拍以及出席者的“美好时光”有关(第72页)。《为欢乐而跳》表明黑人表达文化在20世纪30年代的发展是黑人移民到更繁荣的北方的直接结果在那里他们集体能够提升自己和他们的自由意识。即便如此,乔·路易斯(Joe Louis)和杰西·欧文斯(Jesse Owens)等运动员的成功代表了“耐力、技巧和勇气”的典范,在充满种族歧视的充满挑战的美国,工薪阶层的非洲裔美国人可以从这些榜样中获得灵感
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Book Reviews
In Jump for Joy: Jazz, Basketball & Black Culture in 1930s America, Gena Caponi-Tabery argues that African Americans used music, dance, and sports as effective forms of resistance to the challenges found in American society during the first half of the twentieth century. Specifically, it was the development of swing music in the Midwest with band leaders like Count Basie that coincided with the creation of dances such as the Lindy Hop that would be responsible for transforming and elevating African Americans and their sense of individuality and freedom, especially those newly migrated from the South. According to Caponi-Tabery, both forms of artistic expression required participants to reach for the highest of heights in their respective performances. The emphasis on “jumping” was connected to the fast-paced rhythm and beat the swing bands performed, and the “good time” being had by those in attendance (p. 72). Jump for Joy suggests that the development of black expressive culture in the 1930s was a direct result of the migration of blacks into the more prosperous North where they collectively were able to elevate themselves and their sense of freedom. Even still, the success of athletes such as Joe Louis and Jesse Owens represented examples of “stamina, skill and courage” that working-class African-American men and women could gravitate towards for inspiration within the challenging racially-charged America of
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来源期刊
CiteScore
0.80
自引率
16.70%
发文量
18
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