Ring Shout! Literary Studies, Historical Studies, and Black Music Inquiry

Floyd, Samuel A.

doi:10.2307/779269

Cited by 64 publications

(5 citation statements)

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“…Culturally responsive interventions that have been effectively used in disaster response counseling situations include singing, dancing (liturgical and lay), meditation and prayer, and community rituals (e.g., ring shout, a type of dance dating from the time of slavery using various musical rhythmic devices; Floyd, 1991). An example of the use of singing as a form of cultural healing comes from a disaster outreach experience in southern Africa in which community members gather in a circle to share their personal experiences with HIV/AIDS health concerns.…”

Section: Providing Appropriate Interventionsmentioning

confidence: 99%

Entering Communities: Social Justice Oriented Disaster Response Counseling

West-Olatunji

Goodman

2011

J Humanistic Counseling

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Cirecie west-olatunji and rachael D. goodman    Counselors need to learn how to effectively and respectfully enter into communities hit by disasters and create collaborative partnerships with community members. Using critical consciousness theory, the authors describe a humanistic, culturally responsive approach to disaster response counseling for marginalized individuals and communities and discuss empowering clients through culture-centered interventions and providing social justice advocacy.

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Section: Providing Appropriate Interventionsmentioning

confidence: 99%

Entering Communities: Social Justice Oriented Disaster Response Counseling

West-Olatunji

Goodman

2011

J Humanistic Counseling

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“…With the Ellington Orchestra, this process was famously instigated through narrative acts, or "telling stories." A favorite metaphor of jazz musicians, "telling stories" explicitly attaches to instrumental music what Samuel A. Floyd (1991) has called a "semantic value," whereby individual musicians deploy communicative modes that give expression to and critically comment on a range of attitudes, feelings, and cultural values.6 Part painter, part dramatist, Ellington blended, juxtaposed, and stitched together the collaborative "sound identities" and contributions of his soloists.7…”

Section: Lisa Bargmentioning

confidence: 99%

Improvisation and Social Aesthetics

Lomanno

2023

Ethnomusicology

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A new series edited by dAniel Fischlin Books in this new series advocate musical improvisation as a crucial model for political, cultural, and ethical dialogue and action-for imagining and creating alternative ways of knowing and being in the world. The books are collaborations among performers, scholars, and activists from a wide range of disciplines. They study the creative risk-taking imbued with the sense of movement and momentum that makes improvisation an exciting, unpredictable, ubiquitous, and necessary endeavor.IMPROV ISATION AND SOCIAL AESTHET ICS GeorGinA born, eric lewis, And will strAw, eds.

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“…Although somewhat totalising, Signifyin(g), by valorising repetition-with-a-difference, revision, variation, inflection and nuance, constructs a world of meaningful double-play, one in which creative (re)interpretation within prescribed limits assumes priority over radical revision; it allows for a less constrained but socially sanctioned interpretation of texts than do traditional approaches. See Baker (1984), Gates (1988), Tomlinson (1991), Floyd (1991), Gabbard (1992), Walser (1993), Werner (1994), Hollerbach (1995) and Monson (1996). Although Signifyin(g) has its utility as a means of theorising black music, like its oft-cited theoretical relative, DuBois's notion of 'doubleconsciousness', it is not without its limitations within that context, as noted by Graham Lock: 'Signifyin(g) .…”

Section: Attempts To Define What Is and Is Not 'Jazz'mentioning

confidence: 99%

(Re)voicing tradition: improvising aesthetics and identity on local jazz scenes

Hollerbach¹

2004

Pop. Mus.

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Historically, the field of ethnomusicology has tended to neglect the lives and work of individual musicians in favour of a view of music as culture, a disciplinary perspective that has assumed the homogeneity of the world's cultures. Contesting this erasure of the musical subject, biographical micro-histories situate the individual at the centre of music studies. Accordingly, the subject of this article is a self-identified ‘local’ jazz musician, whose narrative elucidates the exigencies of his musical and social life. One of the music's ‘lesser lives’, ‘LC’ is typical of those players who negotiate the contested terrain of jazz scenes peripheral to the jazz world's centre, New York City. The explication of his musical aesthetic and its influence upon his self-image as a jazz musician is directed toward a more representative view of jazz than that of institutionalised histories, which promulgate a ‘Great Man’ narrative. Incorporating contemporary discourse and critical race theories as alternatives to traditional modes of aesthetic inquiry, this study unpacks issues related to musical and social dialogism and signification, ‘voice’ and identity, and race and masculinity as a means of illuminating those criteria deemed crucial by a particular musician in his search for existential meaning and a jazz truth.

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Ring Shout! Literary Studies, Historical Studies, and Black Music Inquiry

Cited by 64 publications

References 0 publications

Entering Communities: Social Justice Oriented Disaster Response Counseling

Entering Communities: Social Justice Oriented Disaster Response Counseling

Improvisation and Social Aesthetics

(Re)voicing tradition: improvising aesthetics and identity on local jazz scenes

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