Exhibitions of "Darkness".


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Gospel is music that is composed to: express either individual or a common conviction with respect to Christian life, and to give a Christian option ...
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Exhibitions of "Obscurity" An examination of E. patrick johnson\'s appropriating obscurity: " nevah had uh cross word": mammy and the figure of speech of dark womanhood & Sounds of darkness down under: the bistro of the door of salvation Molly andrews & Sara schriefer

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Mammy and the Trope of Black Womanhood Part I By Molly Andrews

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Black Authenticity in Performance Johnson takes a gander at the execution and development of the Black "mammy" through meetings with his Grandmother Mary. Addresses how the "dark residential" is spoken to in society by looking into other insightful writing on the dark "mammy".

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Johnson "In this part, I look at such a reappropriation by enlightening the routes in which my grandma\'s execution of "mammy" in her oral story about her days as a live-in cleaning specialist acknowledges and denies that prototypical picture" 105

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Prototypical picture? " Dinahs", "Auntie Jemimas" and "Mrs. Butterworths"105 http://www.youtube.com/watch?v=rFlAV5Y94nc&feature=PlayList&p=B16BDF23408DF54A&playnext=1&playnext_from=PL&index=13 "virtuous, subservient, indiscriminate, cheeky and whose mission in life is to serve her courtesan and fancy women family"106 "cheerful to make your flapjacks and wash your clothes"106

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Performance of "mammy" " the development toward and development of an all the more "trusting" relationship between the local and her manager is every now and again fulfilling to both sides. Then again, in light of the fact that the local\'s monetary business is reliant on her boss\' needs and fulfillment, her position is constantly subordinate to that of her employer"108

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Mammy as Trickster The possibility of the twofold sided local (Mammy), beginning from old West-African Cultures-the cleric/priestess of deceit and concealing. Like priestess of deceit, the local is regularly a "deceptive, multiplied mouthed, bilingual limit crosser as well".109

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Mary Rhyne: a "swindler" account Four key qualities emerge in Mary\'s story: Her residential work was physically requesting with low pay Non-fiscal pay consolidated with the Smith\'s as "exceptionally decent people"= some portion of worker/manager contract Mary took pride in her work Mary\'s experience as a local impacts her post-work life

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Mary Rhyne: An Authentic Black Image " Ah Done Ol\' a\' Broke Down" Hard physical work Yet, kind treatment and relations with family "adjust" Authorizing Power "Like One of the Family" Non-financial remuneration, similar to pre-worn stuff and home-product, additionally a section in the family-most typically the supper table. Had colossal impact in the Smith family, reaffirmed her personality and qualities in her account.

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Mary Rhyne: An Authentic Black Image " Proud Mary": the Valuing of Domestic Work Unlike the characteristically "mammy" picture, Mary had a limit Took self pride in genuineness and reliability again a perspective that made a bona fide dark picture for Mary. " Homeplace" After Domestic Work Her encounters and activities inside the eighteen years in the Smith family unit immensely formed her life at Tate Terrace from her built up feeling of power to self-determination.

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Performing the "Other": White Blackness & Black Whiteness Part II An Examination of the Café of the Gate of Salvation Gospel Chorus and other White Performances of "Dark" Music By Sara Schriefer

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African American Gospel is music that is composed to: express either individual or a shared conviction in regards to Christian life, and to give a Christian contrasting option to standard mainstream music. Exhibitions are portrayed by development, vitality, soul Mutual relationship amongst group of onlookers and entertainers: "clapping hands, shaking bodies, and stepping feet that shook the church\'s… floorboards."

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"... a suddenness and dynamism ... a tight outfit that draws in and motivates the gathering of people by its eagerness, high vitality sound and unique material." Barry Walmsley , Newcastle Herald The Café of the Gate of Salvation

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E. Patrick Johnson-Black Gospel Down Under Rejection: Difficulty tolerating execution as "real" Australian gospel artists romanticize dark gospel music and dark American history Australian Media: Sexism, exoticization and fetishization of white Australian gospel music Performing the "Other" Gospel as a circle for Australian social expression Acceptance: Dialogic Performance

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Performance of the "Other" "I\'ve generally sung music that originates from a dark convention. So in the event that it\'s not soul, it\'s funk, or reggae. So I think dark music touches me somehow, I don\'t know why that is, a white Jewish young lady from Sydney, what would I be able to say, them\'s in my underlying foundations." - Tracey, Café of the Gate of Salvation

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Judith Carson "When Judith put those sights, sounds, and rhythms in her body, her body reacted in way that engaged her to locate her own voice by singing with and through Others\' voices. Her "change" was passionate, mental, and physical… . Her "broken" voice was "recuperated" through the "marvel" and force of gospel" (pg. 210).

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Dialogic Performance The gathering of people, the entertainers and the subject being played out "Every time the choir performs gospel music they partake in what has gotten to be a standout amongst the most unmistakable signifiers of dark society… They perform darkness when they sing… The execution of their own and the Others\' personality, be that as it may, is never a static procedure but instead one of flux and stream of conceivable outcomes." (218)

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Establishing their "credible" voice "Obscurity" is built up when the dark group of onlookers supports of the execution: "This obscuring of subjectivities in the typical space of execution closer views and the verbose way of character… the Australian choir and the dark listening crowd took an interest in the co creation of darkness. Consequently in every way that really matters the Cafe of Gate of Salvation in face of confirmation actually "got to be" dark " (pg. 216).

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Performing "obscurity" Cafe of the Gate of Salvation Performance

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Other Performances of Black Gospel Heritage Mass Choir "Taking their motivation from Afro-American church music, the Heritage Mass Choir presents unique Korean Gospel music ." Video: My Desire is to Worship God

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Examining White Blackness Performances in Popular Music

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Applying White Blackness to Popular Music White specialists\' reception and execution of "dark" music: White craftsmen enter dark society Adopting components of "dark" music: Soul Hip-bounce Jazz " An all-white, generally nonbeliever Australian gospel choir-at first it sounds conflicting. However, when arranged in challenged settings of "darkness" and "execution" white Australian, nonbeliever gospel vocalists are not any more conflicting than dark gay republicans. Undoubtedly we experience the inconsistencies of our lives" (pg. 161).

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Interracial Collaborations White exhibitions of "obscurity" are legitimized and hardened when dark craftsmen team up with them. Coordinated efforts amongst highly contrasting specialists that yield and/or reflect "dark" music sets up and confirms the white craftsman inside the dark society and group.

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Disparity between the unmistakable quality of white craftsmen performing "dark" music and dark specialists performing "white" music However, the joint effort of dark specialists who add "dark" music into "white" music has yielded another class of music and execution Coldplay and Jay-Z coordinated effort: Coldplay accomplishment. Jay Z-"Lost" The Other side of Performing the "Other"

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Now for a touch of diversion… . John Stewart on White Blackness-Larry Wilmore enrolls the assistance of Robin Thicke to show kids there is promise for white individuals… Robin Thicke on the Daily Show - "White In America"

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