Copyright by Alix Andrew Chapman 2013

Total Page:16

File Type:pdf, Size:1020Kb

Copyright by Alix Andrew Chapman 2013 Copyright by Alix Andrew Chapman 2013 The Dissertation Committee for Alix Andrew Chapman Certifies that this is the approved version of the following dissertation: THE BODY ROCKERS: NEW ORLEANS “SISSY” BOUNCE AND THE POLITICS OF DISPLACEMENT Committee: Christen Smith, Supervisor Edmund T. Gordon João H. Costa Vargas Jafari S. Allen Omi Osun Joni L. Jones Lyndon Gill THE BODY ROCKERS: NEW ORLEANS “SISSY” BOUNCE & THE POLITICS OF DISPLACEMENT by Alix Andrew Chapman, B.S. Psy.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2013 Dedication To Velmer and Joseph Alix. Acknowledgements My journey in higher education began sixteen years ago at a small community college down the street from my high school in Yakima, WA. I was disappointed that rather than immediately embarking on a course of study and adventure at some prestigious research school, as some of my friends had, I should find myself walking to school a few blocks from my Dad’s house. Nevertheless, those small steps have led me down a winding path in the pursuit of knowledge, within and outside the academy. Small town kid that I am, I never could have imagined the people, places, and events waiting for me, and that have contributed to my personal growth. There are most certainly too many to name here but I will do my best to acknowledge a few. As I do so I am reminded of one of this dissertations primary objectives: describing the power and stakes of memory in (re)producing personal and communal knowledge. Blame my head and not my heart if I miss you in these pages, because you are certainly in my heart and in my thoughts. Thank you everyone for being a part of them. First, I have to thank you Jafari Sinclaire Allen for taking an interest in an oddball black queer kid. Even before we met in person and I was accepted to the Department of Anthropology at the University of Texas at Austin you spent a year guiding me and providing me mentorship. I was not aware of the possibilities of study available to me, or the extent to which my personal and political ideals could be taken up in my teaching or research until we met. You not only showed me the extent to which I could further my education but you have also shared your friendships, home, and other resources in support and care of me. I hope you are aware of how much you have not only changed my life but my families. v I am grateful to my entire dissertation committee who gave me their time and support throughout the years. I would like to extend my sincere appreciation to Christen Smith, Joao H. Costa Vargas, Omi Joni L. Jones, Lyndon Gill, and Edmund T. Gordon. I also must acknowledge the mentorship and support of Hameed S. (Herukhuti) Williams, who was not on my committee but whose generosity and advising deeply influenced the writing of this dissertation. Thank you for believing in me and this project. In addition to my committee, other teachers and University of Texas faculty and staff contributed greatly to my wellbeing and studies including Maria Franklin, Pauline Strong, Jemima Pierre, Kathleen Stewart, Matt Richardson, Adriana Dingman, Rolee Rios, Stephanie Lang, Suzanne Seriff, and Allison Skerrett. Since my first day at the University of Texas the Center for African and African Diaspora Studies has provided me support, early funding for preliminary research and professional development, and most of all a home away from home. Thank you to the Department of Anthropology and the Department of African and African Diaspora Studies staff and faculty for your hard work. I would have never seen my way through this process with its highs and lows without the support of my cohort and other classmates. I will never forget the years of debate, dreaming, tears, and laughter I have shared with my peers. My special thanks go to Juli Grigsby, Jaime Alves, Gwendolyn Ferreti Manjarrez, Saikat Maitra, Amy Brown, Naomi Reed, Nidra Lee, Hafeez Jamali, Jenny Carlson, Tane Ward, Maryam Kashani, Lisa Schergen, Erica Lies, Nick Copeland, Mohan Ambikaipaker, Mitsy Chanel Blot, Takkara Brunson, Jason Cato, Raquel de Souza, Sonia dos Santos, Lidia Marte, Melissa Forbis, Emily Lynch, Pablo Gonzalez, Luciane O. Rocha, Sarah Ihmoud, Luciani Rocha, Jamahn Lee, Monique H. Ribeiro, Christopher Loperena, Elvia Mendoza, Mariana Mora, Roger Reeves, Mubbashir Rizvi, Damien Schnyder, Lynn Selby, Raja Swamy, Roberto vi Flotte, Scott Webel and Shaka McGlotten. I have to give my love and gratitude to Celeste Henery and Courtney D. Morris for years of feedback, editing, and encouragement. There is a much larger network of mentors, students, artists, and activists spread throughout three continents that have contributed to my development and this project. Thank you to my friends and the collectives that have come and gone throughout Austin including everyone at ALLGO, Wura Ogunji, Sharon Bridgeforth, Ana-Maruine Lara, Las Krudas, Buscando El Monte, Beth Ferguson, Sachi Decou, Teo Blake, Juanki, Leslie McGuiness, Risa Puleo, Rudy Mendez, Monkey Wrench Books, the Rhizome Collective, Entropy, and the Orun Center. I decided to enter graduate school inspired by a need to speak to many of the public performances and activism I was involved in while living in Washington State. I would like to thank my friends, comrades, and accomplices formerly of Luscious Studios, the King Street Collective, and the Infernal Noise Brigade. I will never forget the inspiration and encouragement of long time Washington friends Grey Filastine, Rob Kunz, Pol Rosenthal, DK Pan, Davida Ingram, Alice Coil, Luziminda Carpernter, Rahwa Habte, and Horace Alexander Young. You have all filled my life with wonder and sincerity, while pushing the limits of art and politics. I have to thank New Orleans in so many ways. Thank you to the Bounce artists and extended network of local club goers, activists, and audience members who made this work possible. My most sincerest gratitude to Big Freedia who first inspired me with your boldness and self-determination. Thank you to the artistry and performances of Sissy Nobby, Vockah Redu and the Cru, Katey Red, and the memory of Renetta Yemika Lowe-Bridgewater aka Magnolia Shorty. I would like to thank Randi Sylve, Maurice Constantine, and Mark Johnson of Brotherhood Inc., New Orleans Critical Resistance, and everyone at the Community Book Center of New Orleans. An incredible network of friends provided me insight and support throughout my time in New Orleans including vii Mayaba Libenthal, Victor Pizarro, Janick Lewis, Eric Carter, Kate Paxton, Shana Griffin, Alison Fensterstock, Brice White, Fari Nzinga, Asher and Mary Kate Strunk, Melany Grace Lawrence, and Geraldine Hall. I am grateful to the trace and memory of my ancestors in New Orleans who nurtured and guided me through this work. Finally, I want to thank all of my family who continuously inspire me. To my parents Debra A. McBride Chapman and Wayman Chapman who each in their own way have encouraged me to work hard and dream big. None of my Grandparents or Great- Grandparents could live to see this day but have always led me to seek justice, beauty, and knowledge; I miss you all and want my entire extended family to know this accomplishment is ours. To my big sister Shondea Chapman, who I continue to learn from and grow with, thank you for always reminding me how far we have come. For my nieces Olaniya Marie Smith and Leandra Cox, I love you both and thank you for keeping Uncle in your prayers and thoughts. Austin, TX December 2013 viii THE BODY ROCKERS: NEW ORLEANS “SISSY” BOUNCE & THE POLITICS OF DISPLACEMENT Alix Andrew Chapman, Ph.D. The University of Texas at Austin, 2013 Supervisor: Christen Smith This dissertation in an ethnographic analysis of the ways in which black cultural performance is mobilized to produce and maintain social relationships and space in times of economic and sociocultural displacement. New Orleans Bounce music is a dynamic cultural performance of locality and blackness that prompts conflicting debates about the meaning of identity, place, and cultural heritage in “post-Katrina” New Orleans. Focusing on “Sissy” Bounce, an emergent subgenre defined by sexuality and gender, I investigate its significance as an expression of blackness marked by deviance within the socio- historical context of "post-Katrina" New Orleans. Specifically, the project frames “Sissy” Bounce as a cultural medium for the production of black space in a time of crisis, and argues that Bounce's symbolic form frames "queerness" as a tool of survival for young black people facing the politics of displacement, disorientation, and disaster. The quick rise of Bounce to national popularity has made it representational of the deviant black dancing body within the national imagination. Consequently, this dissertation also asks how these dances and representations effect meanings of blackness at home and throughout the nation? What does the resonance of “Sissy” Bounce in New Orleans and among its diaspora tell us about the political significance of queerness and displacement as nodal points of the contemporary black experience in the United States? The “Sissy” ix Bounce music scene’s ubiquity points to the resilience of black people living on the margins of family, community, and nation. x Table of Contents Chapter 1: Introduction……………………………………………………………………1 Defining Bounce…………………….….…………………………….…………...8 A Spotlight on “Sissy” Bounce……..……………………………………...…….11
Recommended publications
  • Wavelength (December 1981)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ----­ Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson.
    [Show full text]
  • Rap and Feng Shui: on Ass Politics, Cultural Studies, and the Timbaland Sound
    Chapter 25 Rap and Feng Shui: On Ass Politics, Cultural Studies, and the Timbaland Sound Jason King ? (body and soul ± a beginning . Buttocks date from remotest antiquity. They appeared when men conceived the idea of standing up on their hind legs and remaining there ± a crucial moment in our evolution since the buttock muscles then underwent considerable development . At the same time their hands were freed and the engagement of the skull on the spinal column was modified, which allowed the brain to develop. Let us remember this interesting idea: man's buttocks were possibly, in some way, responsible for the early emergence of his brain. Jean-Luc Hennig the starting point for this essayis the black ass. (buttocks, behind, rump, arse, derriere ± what you will) like mymother would tell me ± get your black ass in here! The vulgar ass, the sanctified ass. The black ass ± whipped, chained, beaten, punished, set free. territorialized, stolen, sexualized, exercised. the ass ± a marker of racial identity, a stereotype, property, possession. pleasure/terror. liberation/ entrapment.1 the ass ± entrance, exit. revolving door. hottentot venus. abner louima. jiggly, scrawny. protrusion/orifice.2 penetrable/impenetrable. masculine/feminine. waste, shit, excess. the sublime, beautiful. round, circular, (w)hole. The ass (w)hole) ± wholeness, hol(e)y-ness. the seat of the soul. the funky black ass.3 the black ass (is a) (as a) drum. The ass is a highlycontested and deeplyambivalent site/sight . It maybe a nexus, even, for the unfolding of contemporaryculture and politics. It becomes useful to think about the ass in terms of metaphor ± the ass, and the asshole, as the ``dirty'' (open) secret, the entrance and the exit, the back door of cultural and sexual politics.
    [Show full text]
  • The Rhythm of Life
    THE RHYTHM OF LIFE Resource Pack Introduction This pack celebrates music and the benefits of its use in working with older people. In particular it celebrates the musical experiences gained from a collaborative project involving 104 older people in care settings across County Durham, along with their support workers, local authority activity staff, and professional musicians from Live Music Now. Music has been shown to have many benefits in care settings, ranging from increased self-confidence and social interaction, to improved physical coordination and memory function. The Rhythm of Life project was designed to explore these benefits by inspiring older people in sheltered accommodation / housing and day care settings to develop their musical skills and enjoy creating and performing their own songs and stories. They were encouraged to explore using music as a creative outlet, while participating in singing, playing instruments, writing poetry and sharing memories. The idea of this pack is to bring together our findings from the Rhythm of Life project and provide a resource for activity staff and non-musicians to develop music work with diverse user groups. It is designed to offer tips for planning your sessions, ideas for activities that you can develop and thoughts on evaluating and documenting your sessions in a way that is relevant and meaningful. Most of all we hope you find the pack encourages everyone who looks at it to think about and celebrate what makes music so special, fun and unique in the way it can be a part of everyone’s Rhythm of Life. Ros Hawley, April 2010 “I really enjoyed the music today because I was actually doing it myself, rather than just listening.
    [Show full text]
  • Rhythm, Dance, and Resistance in the New Orleans Second Line
    UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy.
    [Show full text]
  • What Do We Want from Public Sculpture? See Page 9
    a newspaper for the rest of us www.lansingcitypulse.com November 7 - 13, 2018 What do we want from public sculpture? See page 9 SOWETO GOSPEL CHOIR “Sheer jubilation … the rhythm of life.” –Herald Sun, Melbourne SUNDAY, NOVEMBER 18, 6:30 pm WHARTONCENTER.COM • 1-800-WHARTON Sponsored by The Doctors Company. Media Sponsor: Michigan Radio. 2 www.lansingcitypulse.com City Pulse • November 7, 2018 FOOD SAFE! Greater Lansing Potters’ Guild Pottery Sale CELEBRATING Fall 2018 AUTUMN Thursday - Nov. 15th - 5:30 pm to 9:00 pm Friday - Nov. 16th - 9:00 am to 9:00 pm Stop by to see all the new merchandise arriving daily Saturday - Nov. 17th - 9:00 am to 4:00 pm Including Halloween and beautiful new pottery All Saints Church, 800 Abbot Road East Lansing, Michigan Remember the Grove Gallery, Woven Arts and the other small businesses, and we all validate parking! Expires 12-7-18 MASTER 10th Annual JAMM Tribute Concert WORKS 02 featuring 2019 JAMM Tribute Honoree, BRAHMS Jeff Shoup SYMPHONY NO.3 AVA ORDMAN, TROMBONE NOV 15 TICKETS THU 517.487.5001 7:30P LANSINGSYMPHONY.ORG WHARTON TIMOTHY MUFFITT CENTER Conductor & Music Director PRESENTED BY The Loomis Law Firm Sunday November 11, 2018 SPONSORED BY Sam & Mary Austin, Fund for New Music 2 - 5 pm (Doors open at 1:30) Don & Jan Hines UrbanBeat Event Center, Old Town, Lansing $20 General Admission $15 JAMM Members $25 at the door (if available) Tickets: jazzjamm.com City Pulse • November 7, 2018 www.lansingcitypulse.com 3 PLASTIC SURGERY IPL for Better Skin Of the many signs of aging, irregular brown and red pigmentation of skin is all too common.
    [Show full text]
  • Westminsterresearch Synth Sonics As
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-Skool’ to Trap Exarchos, M. This is an electronic version of a paper presented at the 2nd Annual Synthposium, Melbourne, Australia, 14 November 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 2nd Annual Synthposium Synthesisers: Meaning though Sonics Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-School’ to Trap Michail Exarchos (a.k.a. Stereo Mike), London College of Music, University of West London Intro-thesis The literature on synthesisers ranges from textbooks on usage and historiogra- phy1 to scholarly analysis of their technological development under musicological and sociotechnical perspectives2. Most of these approaches, in one form or another, ac- knowledge the impact of synthesisers on musical culture, either by celebrating their role in powering avant-garde eras of sonic experimentation and composition, or by mapping the relationship between manufacturing trends and stylistic divergences in popular mu- sic. The availability of affordable, portable and approachable synthesiser designs has been highlighted as a catalyst for their crossover from academic to popular spheres, while a number of authors have dealt with the transition from analogue to digital tech- nologies and their effect on the stylisation of performance and production approaches3.
    [Show full text]
  • Wavelength (June 1983)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 6-1983 Wavelength (June 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (June 1983) 32 https://scholarworks.uno.edu/wavelength/32 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. DEVELOPING THE NEW LEADERSHIP IN NEW ORLEANS MUSIC A Symposium on New Orlea Music Business Sponsored by the University of New Orleans Music Department and the Division of Continuing Education and wavelength Magazine. Moderator John Berthelot, UNO Continuing Education Coordinator/Instructor in the non-credit music business program. PROGRAM SCHEDULE How To Get A Job In A New Orleans Music Club 2 p.m.-panel discussion on the New Orleans club scene. Panelists include: Sonny Schneidau, Talent Manager. Tipitina's, John Parsons, owner and booking manager, Maple Leaf Bar. personal manager of • James Booker. one of the prcx:lucers of the new recording by James Booker. Classified. Jason Patterson. music manager of the Snug Harbor. associate prcx:lucer/consultant for the Faubourg Jazz Club, prcx:lucer for the first public showing of One Mo· Time, active with ABBA. foundation and concerts in the Park. Toulouse Theatre and legal proceedings to allow street music in the French Quarter. Steve Monistere, independent booking and co-owner of First Take Studio.
    [Show full text]
  • The Rhythm of Life
    THE RHYTHM OF LIFE BY CHARLES BRODIE PATTERSON AUTHOR OP "dominion AND POWER," "THE WILL TO BE IWELL," "A NEW HEAVEN AND A NEW EARTH," "WHAT IS NEW THOUGHT?" "iN THE SUNLIGHT OF HEALTH," "LIVING WATERS," "THE MEASURE OF A MAN," "beyond THE CLOUDS," "THE LIBRARY OF HEALTH," "new THOUGHT ESSAYS" Fonnerly Editor of Mind and The Arena NEW YORK THOMAS Y. CROWELL COMPANY PUBLISHERS 3H4 Copyright, 1915, By CHARLES BRODIE PATTERSON l'^ APR -7 1916 Ci.A428423 FOREWORD Dear Dr. Charles Brodie Patterson This is a work for which I have long waited. I find here a fundamental examination of spiritual and physical laws relating to the rhythmic and vibratory forces that rule in the human sphere of thought and feeling. At a time when so much work is done, having mere impressionism as a basis, it is a source of joy to know that you have put into this book the product of years of patient observation and searching analysis, and I feel certain that it will stand the test of time. In Chapter III, under the title "Energy-Motion- Vibration," you go to the foundation of the subject of vibration, and in "Music and Colour Tones" you show their relation, and write with absorbing interest. My first experience with the therapeutical power of music was in Paris at a time when the subject was not even discussed; but not until I went to live in London did I put the subject to a practical test. A friend of mine, the late Miss Clara Barton, who was for a long time President of the Red Cross Associa- tion of America, being dangerously ill, I was strongly impressed to try what musical improvisation would do in her case; a piano was moved into her apartment, and there every day I improvised for about one hour.
    [Show full text]
  • Report R Esumes
    REPORTR ESUMES ED 1)17 546 TE 499 996 DEVELOPMENT AND TRIAL IN A JUNIOR AND SENIOR HIGH SCHOOL OF A TWO VEAP CURRICULUM IN GENERAL MUSIC. BY- REIMER, BENNETT CASE WESTERN RESERVE UNIV., CLEVELAND, OHIO REPORT NUMBER ti-116 PUB DATE AUG 67 REPORT NUMBER BR -5 -0257 CONTRAC% OEC6-10-096 EDRS PRICE MF-$1.75 HC-617.56 437P. DESCRIPTORS- *CURRICULUM DEVELOPMENT, *CURRICULUM GUIDES, *MUSIC EDUCATION, *SECONDARY EDUCATION, MUSIC, MUSIC ACTIVITIES, MUSIC READING, MUSIC TECHNIQUES, MUSIC THEORY, INSTRUMENTATION, LISTENING SKILLS, FINE ARTS, INSTRUCTIONAL MATERIALS, TEACHING TECHNIQUES, JUNIOR HIGH SCHOOL STUDENTS, SENIOR HIGH SCHOOL STUDENTS, CLEVELAND, THIS RESEARCH PRODUCED AID TRIED A SYLLABUS FOR JUNIOR AND SENIOR HIGH SCHOOL GENERAL H,:lSIC CLASSES. THE COURSE IS BASED ON (1) A STUDY OF THE CURRENT STATUS OF SUCH CLASSES AND SUGGESTIONS FOR IMPROVING THEM,(2) A PARTICULAR AESTHETIC POSITION ABOUT THE NATURE AND VALUE OF MUSIC AND THE MEANS FOR REALIZING MUSIC'S VALUE,(3) RELEVANT PRINCIPLES OF COURSE CONSTRUCTION AND PEDAGOGY FROM THE CURRICULUM REFORM MOVEMENT IN AMERICAN EDUCATION, AND (4) COMBINING THE ABOVE POINTS IN AN ATTEMPT TO SATISFY THE REQUIREMENTS OF PRESENT NEEDS, A CONSISTENT AND WELL-ACCEPTED PHILOSOPHICAL POSITION, AND CURRENT THOUGHT ABOUT EDUCATIONAL STRATEGY. THE MAJOR OBJECTIVE OF THE COURSE IS TO DEVELOP THE ABILITY TO HAVE AESTHETIC EXPERIENCES OF MUSIC. SUCH EXPERIENCES ARE CONSIDERED TO CONTAIN TWO ESSENTIAL BEHAVIORS -- AESTHETIC PERCEPTION AND AESTHETIC REACTION. THE COURSE MATERIALS ARE DESIGNED TO SYSTEMATICALLY IMPROVE THE ABILITY TO PERCEIVE THE AESTHETIC CONTENT OF MUSIC, IN A CONTEXT WHICH ENCOURAGES FEELINGFUL REACTION TO THE PERCEIVED AESTHETIC CONTENT.
    [Show full text]
  • Introduction
    Introduction The New South is the epicenter of neoteric sex wars, technologies, and economies. Issues of reproductive freedom, criminalization of sexual practices, HIV/AIDS, partner rights and marriage equality, and transgender rights reveal how southern states have entered into another era of reconstruction centered on sexuality and gen- der. This New South strategizes sexual violence and terrorism into policies about education, immigration, wage labor, and eco- nomic development: not unlike the Old South’s previous era of crafting Black Codes and Jim Crow, it continues to depend upon anti-Blackness, sexual morality, and dehumanization of the poor for its growth and support. Yet, there is a great deal of resistance in the New South made evident by the strategies and missions of movements including SONG (Southerners on New Ground), Sis- terSong, Women with a Vision, BreakOUT!, Black Lives Matter chapters, Moral Mondays, and sanctuary movements. Thus, this book understands and reiterates that sexual resistance is already happening. It celebrates, examines, and highlights the various 1 2 / Introduction modes that resistance has taken and the possible future directions it may take. While persons living in southern states typically classified under the broad rubric of “the South” know that there is not one South but many, there are historical narratives that have ignored the development of multiple Souths. Recent developments in southern studies unravel essentialist ideas of “the South.” Some of the essentialisms being challenged include agrarianism, Christian-centricity, singular public/political identity linked with the Confederacy, racial binary of Black/white, and genteel men and women. In explaining their concerted scholarly effort to bring southern studies and global studies into conversation with each other, Deborah Cohn and Jon Smith state that ”con- structions of southern identity offered by white male southern- ers, from the Confederate flag to .
    [Show full text]
  • Read! 1998 Summer Library Program Manual. INSTITUTION
    DOCUMENT RESUME ED 415 857 IR 056 824 AUTHOR Roeber, Jane A., Ed. TITLE Make Waves: Read! 1998 Summer Library Program Manual. Bulletin No. 98107. INSTITUTION Wisconsin State Dept. of Public Instruction, Madison. ISBN ISBN-1-57337-045-3 PUB DATE 1998-00-00 NOTE 254p. PUB TYPE Guides Non-Classroom (055) EDRS PRICE MF01/PC11 Plus Postage. DESCRIPTORS Children; Educational Games; Educational Resources; Elementary Education; Hearing Impairments; Internet; Learning Activities; *Library Extension; Library Planning; Public Libraries; Publicity; *Reading Materials; *Reading Programs; School Libraries; State Programs; *Summer Programs; Theater Arts; Visual Impairments; Young Children IDENTIFIERS Wisconsin ABSTRACT This manual is designed to help individual libraries in Wisconsin plan and implement their summer library programs. The manual is divided into six sections. Section 1 covers planning and promoting programs, and includes reproducible promotional materials, sample letters to parents, and sample media materials. Section 2 provides decorating and display ideas for the library and name tag designs. Section 3 provides programs and activities. It recommends general resource materials; talks about surfing the Internet; provides poetry, stories, and plays to perform; outlines storytime programs; and describes water-related activities and crafts. The majority of programs are aimed at young children. Section 4 provides giveaways and games, including clip art, puzzles and word games, mazes and coloring pages, and answer keys. Section 5 lists Wisconsin performing artists with a description of their performance type and contact information. Section 6 contains sources and resources, including resources for people who have hearing loss and/or visual disabilities and catalogs of companies that provide additional sources of materials and prizes.(SWC) ******************************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document.
    [Show full text]
  • Wavelength (July 1984)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 7-1984 Wavelength (July 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (July 1984) 45 https://scholarworks.uno.edu/wavelength/45 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. 0 ·.::.: •• :·: :· :· .:·•• . .. .. :-:::: ... ~ ·: ~--~~\:§;;~ ....... :~ ......·.: .:::"" .: : :.;. ·~ ·• :;~~ .. : ... , ·:.·.. ~ . .: ... ::.: ~·\::~:}~ ·.. :: .. :. ::.-::·.:~~:~':: .: . • •• :·,; :·;:;;t .... .•: .... ·:_.::··.~::::~~l : .. ::: FRANKIE FORD .......... .: ·•· . • 0 .;·.. ~~ . ::. ~ . • . : .-:s ·.· :::·.~.... .. ..... .... , · . .. ..... 'SN11 3l~O 1d30 SNOiliSinOJ~ ..... A~~~ 9I l ~NOl ~ 1~~ 3 :. · : . SN~~l~O M3N ~0 A1ISM3AINn . .·. .... .·. .... 66/66/66 ;o~ o .···. :::/. .-:::.:'.':·::.:::: =:· :·:;.. :: '\?@?·1<·;·::.:.::• • • • ••• •• • • • • • • • • • • • • ::~=:·~• •• • • • • · • ••• 0. 0 • • • • •• • • • • • • • • • • • •••••·: • ••• • • • • •• • . • . • • • ••• : • • • • • • ... • • • : • 0 0 • • • • • • • • • • • • • • •• • • • • • • • • • • •• ... NEW ORLEANS M u s I c MAGAZINE __ UJauelenalh For ISSUE NO. 45 e .JULY 1984 ISSN 07 41 · 2460 New "''m not sure, but I'm almost positive, that all music came from
    [Show full text]