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The forum for inter-american research was established by the American Studies Section of the English Department at Bielefeld University in order to foster, promote and publicize current topics in the studies of the Americas. fiar is the official journal of the International Association of Inter-American Studies (IAS) General Editor: Wilfried Raussert Editors: Yolanda Campos Stephen Joyce Marius Littschwager Mahshid Mayar Luisa Raquel Lagos Ellermeier Paula Prescod Wilfried Raussert Susana Rocha Teixeira Brian Rozema Assistant Editor: Anne Lappert Editorial Board: Prof. Mita Banerjee, Mainz University, Germany Prof. William Boelhower, Louisiana State University, USA Prof. Nuala Finnegan, University College Cork, Ireland Prof. Emerita Lise Gauvin, Université de Montréal, Canada Prof. Maryemma Graham, University of Kansas, USA Dr. Jean-Louis Joachim, Université des Antilles, Martinique Prof. Djelal Kadir, Penn State University, USA Dr. Luz Angélica Kirschner, South Dakota State University, USA Prof. John Ochoa, Pennsylvania State University, USA Prof. John Carlos Rowe, University of Southern California, USA Prof. David Ryan, University College Cork, Ireland Prof. Sebastian Thies, University of Tübingen, Germany Dr. Cécile Vigouroux, Simon Fraser University, Canada Design: Alina Muñoz Knudsen Contact: [email protected] [49] 521-106-3641 www.interamerica.de (European Standard Time) Postfach 100131 The association seeks to promote the interdisciplinary study of the Americas, focusing in particular on inter-connections between North, Central, and South American culture, literatu- re, media, language, history, society, politics, and economics. www.interamericanstudies.net Guest Editors of Vol. 12.2: Martin Butler (University of Oldenburg) Clark D. Halker (Company of Folk, Chicago) Wilfried Raussert (Bielefeld University) ____________________________________________________________________________ www.interamerica.de Vol. 12 No. 2 (Oct. 2019): Music & Rights in the Americas “Jazz Embodies Human Rights”: The Politics of UNESCO’s International Jazz Day � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �5 Mario Dunkel (Carl von Ossietzky University of Oldenburg, Oldenburg) Queer (-/and) Feminist DIY Practices in Punk and the “Sexual Turn” in Human Rights � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �15 Lene Annette Karpp (Freie Universität Berlin, Germany) Popular Music: Identity, Social Change and Human Rights: Responses from Trinidad’s Calypso Music � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �37 Meagan Sylvester (The University of the West Indies, Trinidad and Tobago) La Memoria institucional del Festival de Avándaro�Los documentos sobre el festival en el Archivo General de la Nación en México y el Informe Avándaro del gobierno del Estado de México � � � � � � � � � � � � � � � � � � � � � � � � � � � � �48 Yolanda Minerva Campos García (Universidad de Guadalajara, Guadalajara) Persistent Resistance: The Demand for Collective and Individual Human Rights Action in the Music of Rebel Diaz � � � � � � � � � � � � � � � � � � � � � � � � � � � �65 Terence Kumpf (Technische Universität Dortmund, Germany) Bomba y plena, música afropuertorriqueña y rebeldía social y estética � � � � � � � � � � � � � � � � � � �74 Pablo Luis Rivera (Universidad de Puerto Rico / Restauración Cultural, San Juan) Juan José Vélez Peña (Universidad de Bremen / Restauración Cultural, Bremen) Nahua Reggae and Metal: A Comparative Case between LA and Mexico City� � � � � � � � � � � � � �90 Paloma Coatlicue Rodríguez Villarruel (Bielefeld University, Germany) Book Review: Sonic Politics: Music and Social Movements in the Americas � � � � � � � � � � � � � �105 Anne Lappert (Bielefeld University, Bielefeld) FORUM FOR INTER-AMERICAN RESEARCH (FIAR) VOL. 12.2 (OCT. 2019) 5-14 ISSN: 1867-1519 © forum for inter-american research “Jazz Embodies Human Rights”: The Politics of UNESCO’s International Jazz Day MARIO DUNKEL (CARL VON OSSIETZKY UNIVERSITY OF OLDENBURG, OLDENBURG) Abstract This article explores the representation of jazz at UNESCO’s International Jazz Day, focusing in particular on the 2016 edition of the event hosted by former President Barack Obama at the White House. It locates Jazz Day in the history of US jazz diplomacy, demonstrating that the event results from strategies of the US government that emerged in the 1950s and sought to use jazz as an emblem of an American social order that was ethically superior to the Soviet Union. While Jazz Day – in the tradition of US jazz diplomacy programs – casts jazz as an embodiment of intercultural dialogue, diversity, and human rights, this article seeks to juxtapose this rhetoric with the event’s economics and politics. It argues that Jazz Day’s messages of diversity, intercultural dialogue, universal human rights, and peace, in their one-dimensional and non-intersectional form, ultimately serve to obfuscate the economic and political power interests that underlie the event. Contrary to its rhetoric, Jazz Day has so far failed to challenge the power structures that lie at the heart of a socially unequal global order built on the denial of basic human rights. Keywords: UNESCO, International Jazz Day, Politics, Jazz, Diplomacy, International Relations Introduction But jazz is also about diversity, drawing on roots in Africa, the Caribbean, Europe, and Celebrating the fifth edition of UNESCO’s elsewhere. And through jazz we learned International Jazz Day on 30 April 2016, UNESCO about discrimination, about racism, but we Director General Irina Bokova explained why learned about pride and dignity. Through the organization had decided to embrace jazz jazz we improvise with others, we live by introducing an annual International Jazz Day: together better, in dialogue and respect. Jazz I believe touches our hearts and souls and influences the way we think What is most important for us is that we and behave. And this is why UNESCO celebrate jazz as a dialogue among culture, created the International Jazz Day. (United as human rights, as quest for freedom, Nations) and for human dignity. Jazz was born in this country [the US], but now is travelling all around the world. It has helped shape Delivered as a contribution to Jazz Day’s main the American spirit, and now it is owned by event, the so-called Global Concert, Bokova’s all the people all over the world. This [sic] speech in many ways exemplifies the rhetoric is not only that jazz is a great music, it is that has framed UNESCO’s International Jazz because jazz carries strong values. Jazz is Day since its inception in 2011. Accordingly, jazz about freedom, about courage, renewing is a carrier of “strong” but highly opaque “values,” itself every time it is played, and we are including freedom, dignity, dialogue, and human seeing this with every single minute this rights. By thus framing jazz’s values, Bokova evening. Jazz is about civil rights and civil appropriates the music as an embodiment of dignity. It was the soundtrack of struggle UNESCO’s core mission. [1] At the 2017 Global in this country, and I would say beyond. Concert, Bokova would repeat verbatim parts 6 M. DUNKEL: “JAZZ EMBODIES HUMAN RIGHTS” of the speech she gave in 2016, confirming hand, and studies on the history of human rights, that musical differences mattered less than on the other, it is indebted to research on music jazz’s supposedly transhistorical essence as an and diplomacy by such scholars as Penny von embodiment of UNESCO’s ethical agenda. Eschen, Danielle Fosler-Lussier, Lisa Davenport, Rebekah Ahrendt, Jessica Gienow-Hecht, and This article explores the representation of jazz Martha Bayles. Exploring the functions of music at UNESCO’s International Jazz Day. It locates in international relations, their works have helped Jazz Day in the history of US jazz diplomacy, to establish the study of music diplomacy as a demonstrating that the event results from significant academic field that is located between strategies of the US government that emerged history, political science, and musicology. In in the 1950s and sought to use jazz as an her 2004 study Satchmo Blows Up the World: emblem of an American social order that was Jazz Ambassadors Play the Cold War, Penny ethically superior to the Soviet Union (Eschen von Eschen details the way in which the US 1-26). While Jazz Day – in the tradition of US government began to appropriate jazz music in jazz diplomacy programs – casts jazz as an the 1950s, demonstrating the extent to which embodiment of intercultural dialogue, diversity, jazz diplomacy was an integral part of US Cold and human rights, this article seeks to juxtapose War politics. Defined as an African-American this rhetoric with the event’s economics and musical genre, jazz became an emblem politics. Post-colonial feminist scholars such as of diversity and democracy, countering the Chandra Talpade Mohanty, Jacqui Alexander, negative images of US culture that resulted from and Sara Ahmed have pointed to the way in racist violence directed against the Civil Rights which the language of diversity can be emptied Movement (Eschen 1-26). In the course of two and dissociated from the “points at which power decades, the US State Department sent many relations meet” (Ahmed 14). As such, the of the most celebrated jazz musicians abroad, language of diversity can “bypass power and including Dizzy Gillespie, Louis Armstrong,