Der Marsalis-Komplex. Studien Zur Gesellschaftlichen Relevanz Des Afroamerikanischen Jazz Zwischen 1992 Und 2007

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Der Marsalis-Komplex. Studien Zur Gesellschaftlichen Relevanz Des Afroamerikanischen Jazz Zwischen 1992 Und 2007 Der Marsalis-Komplex. Studien zur gesellschaftlichen Relevanz des afroamerikanischen Jazz zwischen 1992 und 2007 vorgelegt von Diplom-Soziologe Christian Broecking von der Fakultät I – Geisteswissenschaften der Technischen Universität Berlin zur Erlangung des akademischen Grades Doktor der Philosophie - Dr. phil. - genehmigte Dissertation Berichter: Prof. Dr. S. Weinzierl Berichterin: Prof. Dr. E. Ungeheuer Tag der wissenschaftlichen Aussprache: 14. Juli 2011 Berlin 2011 D 83 Zusammenfassung Zwölf Jazzmusiker, eine Jazzsängerin und drei Schriftsteller afroamerikanischer Herkunft wurden vom Autor zwischen 1992 und 1996 zu Einstellungen und Verhaltensweisen hinsichtlich ihrer Rassismuserfahrung und deren Bewältigung befragt. Dabei standen Fragen zu Marktzugang, Gesellschaft, Rezeption und kultureller Identität im Mittelpunkt. Die Interviews waren ursprünglich zu journalistischen Zwecken durchgeführt worden, für diese Arbeit wurden sie in der Originalsprache transkribiert und mittels qualitativer Inhaltsanalyse ausgewertet. Hinsichtlich ihrer politischen Intention und Haltung überwiegt der Wunsch, mit der Musik gesellschaftlich Einfluss nehmen zu wollen. Die Verknüpfung mit einer sozialen Bewegung wird vermisst, die Möglichkeit wird geschätzt, auf die Herkunftskultur zurückzugreifen und darüber künstlerische Kompetenz zu begründen. Die Kontroverse um die Bildung eines verbindlichen Kanons von (afro)amerikanischen Jazz-Meisterwerken wird als ökonomischer Verteilungskampf um knappe Ressourcen diskutiert. Während des Untersuchungszeitraumes erschien den Befragten der Ausgang der Auseinandersetzung noch offen. Im darauffolgenden Jahrzehnt sollte es den Neotraditionalisten um Wynton Marsalis gelingen, den Jazz auf der hochkulturellen Ebene zu institutionalisieren und somit durchzusetzen. In den Äußerungen zu gesellschaftlichen und politischen Fragen entwerfen die Befragten ein heterogenes Meinungsgefüge, das nicht mit der Rezeption einer als homogen empfundenen schwarzen Kultur korreliert. Die Erwartung, dass Jazzmusiker sich entsprechend ihrem favorisiertem musikalischem Stil politisch positionieren würden, wird von den Ergebnissen dieser Untersuchung nicht gestützt. Die Forschungsfrage, wie die Befragten die Erfahrung von Rassismus und Diskriminierung in ihrer Wirkung auf das künstlerische Werk reflektieren, führt als Ergebnis der Untersuchung zur Bildung von heterogenen Haltungstypen. Eine 2 essentialistische Variante drückt sich in einer Sehnsucht nach einer homogen konstruierten, antiimperialistisch orientierten schwarzen Kultur aus. Ein Blues- idiomatischer Typus symbolisiert den Kampf um die hochkulturelle Anerkennung und Förderung des (afro)amerikanischen Jazz. Eine trans-idiomatische Position zielt auf eine Neubestimmung künstlerischer Artikulation unter den Bedingungen von Globalisierung und internationaler Netzwerkbildung. 3 Inhaltsverzeichnis Einleitung ................................................................................................................7 1. Jazz und Politik: Zur Geschichte der Diskurse ..........................................10 1.1. Weiße Neger und schwarze Authentizität: Zur politisch bedingten Aktualität des afroamerikanischen Jazz zwischen originärer Kunst und legitimer Kultur ......10 1.2. Die Konstruktion des Schwarzen: Die Adorno-Berendt-Kontroverse, Hobsbawms Zuhälter und Marcuses Rebellen......................................................20 1.3. The Cool: Jazz als Symbol gesellschaftlicher Opposition, sozialer Abweichung, politischer Fortschrittlichkeit und direkter Demokratie......................31 1.4. Die Konstruktion der Community: Schwarze Musiker zwischen soziokultureller Herkunftsgruppe und Künstlerclique ............................................43 2. Black Codes: Porträts der Interviewpartner ...............................................48 2.1. Albert Murray..............................................................................................48 2.2. Bill Dixon ....................................................................................................55 2.3. Ornette Coleman ........................................................................................58 2.4. Betty Carter ................................................................................................61 2.5. Amiri Baraka...............................................................................................63 2.6. Eddie Harris................................................................................................65 2.7. Archie Shepp..............................................................................................67 2.8. Lester Bowie...............................................................................................69 2.9. Stanley Crouch...........................................................................................74 2.10. David Murray ..............................................................................................78 2.11. Steve Coleman...........................................................................................80 2.12. Don Byron ..................................................................................................83 2.13. Greg Osby ..................................................................................................85 2.14. Branford Marsalis .......................................................................................87 2.15. Wynton Marsalis.........................................................................................89 2.16. Terence Blanchard .....................................................................................95 4 3. Darstellung des methodischen Vorgehens ................................................97 3.1. Datenerhebung...........................................................................................97 3.2. Qualitative Inhaltsanalyse.........................................................................102 3.3. Kategorien ................................................................................................110 3.4. Zugang zum Feld .....................................................................................113 3.5. Forschungsalltag und Interviewstrategien ................................................116 3.6. Protokollierung .........................................................................................120 3.7. Transkription.............................................................................................122 4. Auswertung der Inhaltsanalyse .................................................................124 4.1. Marktzugang.............................................................................................124 4.2. Gesellschaftlicher Kontext ........................................................................130 4.3. Identität.....................................................................................................136 4.4. Rezeption .................................................................................................143 4.5. Spannungsfelder ......................................................................................148 4.6. Politische Intention ...................................................................................162 4.7. Transkulturalität........................................................................................173 5. Diskussion...................................................................................................196 6. Ergebnisse im Licht späterer Interviewaussagen....................................205 6.1. Jazz at Lincoln Center..............................................................................205 6.2. Veränderungen der schwarzen Perspektive.............................................211 6.3. Politische Optionen ..................................................................................217 6.4. Ästhetik und Kommerz .............................................................................221 6.5. Kultureller Rückschritt...............................................................................223 6.6. Katrina und die Folgen .............................................................................225 6.7. Europa zwischen Widerstand und Bedrohung..........................................231 Literaturverzeichnis .............................................................................................233 5 Anhang................................................................................................................247 Anhang A: Namensverzeichnis ...........................................................................247 Anhang B: Vom Autor geführte Interviews (Transkriptionen) ..............................248 Anhang C: Auswahlliste der vom Autor geführten Interviews zur Marsalis- Kontroverse (geführt zwischen 1992 und 1996)..................................................249 Anhang D: Weitere vom Autor geführte und zitierte Interviews...........................251 Anhang E: 1. Reduktionen ..................................................................................252 Anhang F: 2. Reduktionen ..................................................................................302 6 Einleitung Die Auseinandersetzung um die politische Relevanz, den gesellschaftlichen Nutzen und eine Re-Definition des (afro)amerikanischen Jazz spitzte sich zwischen 1992 und 1996 in der Kontroverse um den Jazzmusiker Wynton Marsalis zu. Afroamerikanische Jazzmusiker
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