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On Pinterest. See more ideas about Saatchi gallery, Contemporary art and South india.By Aldo Magagnino I probably met Jan Kemp around the year 2000, at a conference organized by Bernard Hickey at the University of Salento (at the time, University of Lecce).
It was a brief meeting, someone introduced us as it is often the case at conferences, but we rapidly lost sight of each other. At that time, I had already begun my activity as a literary translator, I translated short stories, novels, essays, but I would have balked shivering at the very idea of translating poetry. How could I dare? Roy Orbison Greatest Hits Album Torrent.When case, or destiny, brought me to sit beside Jan and her husband Dieter Riemenschneider at another conference in Lecce, at the same university but thirteen years later, I was maybe a little more experienced and I tried to translate one of her poems, which was later published in Le Simplegadi, an online review of the University of Udine, edited by Antonella Riem and Stefano Mercanti (“Un Jardin Suspendu: to music”, Le Simplegadi, 2013, XI, 11: 47-50.
– ISSN 1824-5226. A flattering opinion expressed by Stefano Mercanti spurred me to accept Jan’s suggestion and to try to translate her Dante’s Heaven, first published in New Zealand by Puriri Press in 2006. Jan Kemp gave me a copy of Dante’s Heaven and she wrote ‘ Buon’avventura con il mio Dante’ (‘ have a nice adventure with my Dante’) on the title page. And an adventure it was reading and translating it, an immersion into an antipodean world of colours and exotic sounds, names heavy with suggestions, references to New Zealand modern culture, rooted in the European classic tradition, and to the aboriginal Maori culture.
Jan Kemp’s use of the language is exuberantly rich and she shows a rare ability to incorporate onomatopoeic sounds, neologisms, expressions in other languages, all precious outcomes of her cosmopolitan experience. For an expatriate, “a NZ European” as she sometimes refers to herself, it is not strange that William Shakespeare and Dante Alighieri are among the foundations of her cultural background.In Jan Kemp’s poetry, her life experience, the memory of her friends and masters, the European and the Maori cultural tradition blend into a perfect synthesis in the poet’s vision and in her original lyric research, “made plankton shoaling through/the incoming whale tide of costumes and custom”, in a “spectacular blossom” of verses and images. 4/13/2018 Post navigation.
Book Description:Southern music has flourished as a meeting ground for the traditions of West African and European peoples in the region, leading to the evolution of various traditional folk genres, bluegrass, country, jazz, gospel, rock, blues, and southern hip-hop. This much-anticipated volume in The New Encyclopedia of Southern Culturecelebrates an essential element of southern life and makes available for the first time a stand-alone reference to the music and music makers of the American South.With nearly double the number of entries devoted to music in the original Encyclopedia, this volume includes 30 thematic essays, covering topics such as ragtime, zydeco, folk music festivals, minstrelsy, rockabilly, white and black gospel traditions, and southern rock. And it features 174 topical and biographical entries, focusing on artists and musical outlets. From Mahalia Jackson to R.E.M., from Doc Watson to OutKast, this volume considers a diverse array of topics, drawing on the best historical and contemporary scholarship on southern music. It is a book for all southerners and for all serious music lovers, wherever they live. In 1989 years of planning and hard work came to fruition when the University of North Carolina Press joined the Center for the Study of Southern Culture at the University of Mississippi to publish the Encyclopedia of Southern Culture.
While all those involved in writing, reviewing, editing, and producing the volume believed it would be received as a vital contribution to our understanding of the American South, no one could have anticipated fully the widespread acclaim it would receive from reviewers and other commentators. But the Encyclopediawas indeed celebrated, not only by scholars but also by popular audiences with. Any accounting of the cultural contributions of the American South must rank music near the top of the list.
The region had a lively folk music from early on and then in the 20th century produced some of the nation’s most acclaimed musical talent. Indeed, much of the most popular American music came out of the South, whether New Orleans jazz, Nashville’s country music, the Delta’s blues, or Memphis’s rock and roll. The two dominant demographic groups, whites from Western Europe and blacks from West Africa, contributed core features to the South’s musical culture, but the contributions of other ethnic.
For more than a century and a half, the South has fired the imagination of musicians and songwriters. As a land of romance and enchantment and as the home of exotic people—both black and white—the South has inspired a seemingly unending body of songs that speak longingly of old Virginia or the hills of Caroline, while also singing the praises of the region’s towns, counties, hills, rivers, bayous, plains, and people. As a source of songs and musical images, the South has inspired a veritable industry of songwriters, from Stephen Foster, Will Hays, and Dan Emmett in the. Black musical life was never limited to a single style or musical tradition.
In the 19th century American popular songs found their way into the repertoire of black folk musicians, European fiddle tunes appeared in medleys performed by itinerant fiddlers, and shape-note singing was adopted by black congregations in imitation of the colonial traditions developed in the North but transplanted to the South in the 1830s. Black musicians were aware of various ethnic musical traditions; and the process of musical acculturation, forced on blacks because of their need to accommodate themselves to a sometimes hostile culture or accepted by them.
Bluegrass took shape as a distinctive style of acoustic southern string band music between 1939 and 1945, dates that are intimately associated with the career of a specific bandleader and his ensemble—Bill Monroe and his Blue Grass Boys. With the possible exception of funk music’s association with James Brown, no other American music genre’s origins are so singularly traced to one father figure as bluegrass’s are to western Kentuckian Bill Monroe. But the classic ensemble sound of bluegrass came into being following crucial contributions from other members of his group. Similarly, while the appellation “bluegrass” suggests origins in western.
In the 1890s several new musical forms arose in the black communities of the southern and border states. Among the most important of these forms were ragtime, jazz, and blues. The generation that created this new music had been born in the years immediately following the Civil War, the first generation of blacks that did not directly experience slavery. As this generation reached maturity in the 1890s, there arose within it a restlessness to try out new ideas and new courses of action.
New economic, social, and political institutions were created to provide a network of mutual support within the. Cajun music blends elements of American Indian, Scotch-Irish, Spanish, German, Anglo-American, and Afro-Caribbean music with a rich stock of western French folk traditions. The music traces back to the Acadians, the French colonists who began settling at Port Royal, Acadia, in 1604. The Acadians were eventually deported from their homeland in 1755 by local British authorities after years of political and religious tension. In 1765, after 10 years of wandering, many Acadians began to arrive in Louisiana, determined to re-create their society.
Within a generation, these exiles had so firmly reestablished themselves as a people that they became the dominant. By the 18th century, it had become a mark of social distinction for members of the seaboard gentry to demonstrate an appreciation of good music and to perhaps play an instrument. Thomas Jefferson enjoyed the violin and collected a fine music library, consisting of pieces by Corelli, Bach, Handel, and Haydn, and William Byrd’s library at Westover included examples of English and Italian opera.
Williamsburg emerged as the music center of Virginia, after Peter Pelham began giving recitals there in 1752. Amateur concerts were also held weekly in the drawing room of the Governor’s Palace.Musical life in Charleston became.
Although country music is a powerful cultural presence in the United States and an international export of growing magnitude, it is difficult to define. It is a creation and organic reflection of southern working-class culture, changing as that society has changed, but it is, at the same time, a dynamic element of American popular culture.
In the 80 years or so since Texas fiddler Eck Robertson made the first documented phonograph recording by a white rural entertainer, the music has become a massive industry with an appeal that cuts across social, generational, and geographic lines.Country music had its origins. An enduring expressiveness, even during the oppression of slavery, marks the history of black dance in America, and through dance many aspects of the African heritage of black Americans thrive. As Lynne Fauley Emery, in her seminal work Black Dance in the United States from 1619 to 1970(1972), explains, “A fundamental element of African aesthetic expression was the dance.” When slave traders plundered Africa, dance assumed new meaning.
Aboard slave ships, the traders frequently forced their captives to dance, either for entertainment for the crew or for exercise (healthy slaves brought higher prices). Even under such conditions the slave. Ethnic dance traditions and the latest dances dictated by changing fashions in European high culture were not common in the dispersed settlements of the South. Into the mid-20th century, the South’s reluctance to adopt popular dance trends and the security afforded it by folk traditions dictated regional dance expressions. No historical studies, however, offer a broad perspective on the development of dance in this region. Folklore studies of dance remain geographically specific and do not deal with issues of time.Three European nations provided the greatest influences on the development of dance in the Anglo-American South.
From the West Indies. Music festivals have been part of southern cultural experience at least since the fiddlers’ contests of the mid-18th century. Prior to 1900, however, most communally shared music was sung and played informally at family reunions, corn shuckings, and barn raisings, on court and election days, at house dances, revivals, and all-day singings at churches, rent parties, school commencements, county fairs, and on a variety of other occasions that brought families, neigh and the dulcimer festivals at Birmingham, Ala., and Mountain View, Ark., celebrate a romanticized feature of Appalachian music and culture. Music festivals remain, however, one of the most vital.
Despite its immense popularity, widespread appeal, and influence on American popular music, African American gospel music is a comparably recent music phenomenon. Rooted in the religious songs of the late 19th-century urban revival, in shape-note songs, spirituals, blues, and ragtime, gospel emerged early in the 20th century.The term “gospel music” suggests many things to different people. In its most general application, the word simply refers to any religious music, regardless of the music’s age or origin.
Congregational songs, ring shouts, quartets, sacred harp choirs, Sanctified groups, and even some work songs would all qualify. Less broadly, the term refers. For most people, the term “white gospel music” connotes a type of music characterized not so much by style as by content. Although the sound of white southern gospel can range from that of a sedate vocal quartet to an amplified country band, or from a singing convention assembly of 300 voices to the simple brother-duet harmony framed by mandolin and guitar, the message of the music is usually a direct and often optimistic reflection of a working-class Protestant ethos. Since white gospel music emerged as a recognized form in the 1870s and 1880s, it has tended to graft this.
Beginning in the late 1980s, southern hip-hop and rap effectively trumped contemporary R&B as the foremost popular urban music trend. A regional response to the then-burgeoning East and West Coast hip-hop scenes, purveyors of southern rap simultaneously surfaced in cities ranging from Atlanta and Miami to New Orleans, Memphis, and Houston. Although many older music fans downplay the significance and artistic credibility of the genre, southern rap—created by an MC, or rapper, and a DJ, or producer—has emerged as a primary motivator in the youth market, influencing fashion, language, the mass media, and other facets of commercial and.
Honky-tonk, also called “hard country” or “beer-drinking music,” projects the mood and ambience of its birthplace, the beer joint. Born in the 1930s, honky-tonk became virtually thesound of mainstream country music from the late 1940s to about 1955, when rock and roll forced changes in all forms of American popular music. Since then it has endured as a vigorous subgenre of country music, with such important musicians as Ray Price, George Jones, Moe Bandy, and Dale Watson making crucial contributions.Although conditions that contributed to its development prevailed throughout the South and on the West Coast, honky-tonk music experienced. “Jazz started in New Orleans,” Ferdinand La Menthe “Jelly Roll” Morton pronounced confidently to Alan Lomax in 1938. Morton’s magisterial oral autobiography-history resounds with invaluable insights into the story of jazz, New Orleans in the 1890s, and southern life and culture. But, like many great insights, this is a mythic truth.Jazz was an agglomeration of black and white folk music, a rich synthesis that occurred in southern, southwestern, midwestern, and eastern urban centers in the last decade of the 19th century.
Jazz began in New Orleans as well—but ragtime and blues musicians wandered the Gulf Coast, the Mississippi. It is something of a historical paradox that the popular desire for an autonomous cultural tradition in the South—one separating it from the perceived imperfections of the industrial North and of European civilization—should induce the region’s white citizenry to turn to the enslaved African Americans for their music, dance, and humor. Blackface minstrelsy is the clearest antebellum example of this contradictory cultural pattern. In the 1820s individual white thespians began doing imitations of African American song and dance in urban theaters. Their performances presented caricatures of black slaves, portraying them as superstitious, happy-go-lucky “dancing darkies.” The actors blackened.
The development of commercial popular music in the South has paralleled trends in other industries. The region has served as a source of musical raw materials—styles, performers, and creative talents—for the nation as a whole.
Until World War II, however, nonsoutherners controlled most of the institutions vital to marketing popular music, including publishing houses, recording companies, and theater chains. Professional musicians in the South pursued the American goal of material advancement, but profits tended to flow toward New York, Chicago, and Hollywood, the three major music centers of the United States before World War II. Of course, there. Despite the South’s reputation as a conservative region, protest activities and protest music have flourished at various times in its history.
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Indeed, southerners played vital roles in the shaping of the protest genre in the 20th century.Protest has never been absent from American music. America’s revolution against the British was waged in song as well as on the battlefield, and antebellum reformers fought slavery and alcohol in scores of militant songs. In the years surrounding World War I, the famous Industrial Workers of the World (IWW) made music an integral part of their struggle with capitalism, and their Little. R&B (rhythm and blues) is a term that is understood in a number of different ways. In the broadest sense, it covers most low- to middle-brow African American popular music from the World War II era to the present.
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In the narrow sense, it refers to the buoyant music of the 1940s and 1950s that echoed the upbeat mood of blacks migrating from the rural South to the promise held out by the city, a promise of alleviation of racial inequities and of economic opportunity spurred by the war after a decade spent in the throes of the Depression. Radio was a key institution in the popularization of many forms of music in the American South. Broadcasting stations beamed traditional forms of southern music to listeners throughout the region and the nation. Disc jockeys became important personalities associated with southern culture, and performers made use of radio to expand their commercial opportunities through selling records and promoting performance appearances.The earliest radio stations in the South appeared in the early 1920s, including two destined to be mainstays among the region’s broadcasters—WWL in New Orleans, licensed to Loyola University, and WSB, operated by the Atlanta Journal, both of which. In the generation following the Civil War, various elements of southern folk music, especially black-evolved styles from the Mississippi Valley, coalesced to form a piano music known by the 1890s as “ragtime.” Marked by an idiom- atic syncopation in the treble (right-hand) part against a steady, marchlike bass (left-hand) part, the piano rag developed as a highly formalized music in 2/4 time, built of three or more contrasting strains.In its origins ragtime drew from blackface minstrel sources, string band music, sentimental parlor music, brass band music, and many other sources. Called “jig-piano” or “ragged time” by early practitioners, it.