Kheshti, Roshanak. Modernity's ear: listening to race and gender in world music. xx, 178 pp., illus., bibliogr. New York: Univ. Press, 2015. £17.99 (paper)

2017 ◽  
Vol 23 (1) ◽  
pp. 194-195
Author(s):  
Derek Pardue
1996 ◽  
Vol 37 (2) ◽  
pp. 67-92 ◽  
Author(s):  
David Krasner

Although Aida Overton Walker (1880–1914) belonged to the same generation of turn-of-the-century African American performers as did Bob Cole, J. Rosamond Johnson, Bert Williams, and George Walker, she had a rather different view of how best to represent her race and gender in the performing arts. Walker taught white society in New York City how to do the Cakewalk, a celebratory dance with links to West African festival dance. In Walker's choreography of it, it was reconfigured with some ingenuity to accommodate race, gender, and class identities in an era in which all three were in flux. Her strategy depended on being flexible, on being able to make the transition from one cultural milieu to another, and on adjusting to new patterns of thinking. Walker had to elaborate her choreography as hybrid, merging her interpretation of cakewalking with the preconceptions of a white culture that became captivated by its form. To complicate matters, Walker's choreography developed during a particularly unstable and volatile period. As Anna Julia Cooper remarked in 1892.


2018 ◽  
Author(s):  
◽  
Rachel (Rachel Lindsey) Grant

"Mary Church Terrell, Black female journalist and civil rights activist, stood in front of the United Nations board in Lake Success, New York, on Sept. 21, 1949, to present a brief on Rosa Lee Ingram. Ingram and her two sons had been sentenced in 1948 to life in prison after they were accused of murdering John Stratford, their white neighbor who attacked Ingram after her livestock ventured onto his Georgia property. As a mother of 14 children, Ingram believed she acted in self-defense, but the Southern justice of an all-white jury convicted her. In front of an audience of 75 people, Terrell stated: "Under similar circumstances it is inconceivable that such an unjust sentence would have been imposed upon a white woman and her sons." She went further in noting the role that both race and gender played in the Ingram case." -- Introduction


2019 ◽  
Vol 5 ◽  
pp. 237802311982891 ◽  
Author(s):  
Kalisha Dessources Figures ◽  
Joscha Legewie

This figure depicts the disparities in average police stops in New York City from 2004 to 2012, disaggregated by race, gender, and age. Composed of six bar charts, each graph in the figure provides data for a particular population at the intersection of race and gender, focusing on black, white, and Hispanic men and women. Each graph also has a comparative backdrop of the data on police stops for black males. All graphs take a similar parabolic shape, showing that across each race-gender group, pedestrian stops increase in adolescence and peek in young adulthood, then taper off across the adult life course. However, the heights of these parabolic representations are vastly different. There are clear disparities in police exposure based on race and gender, with black men and women being more likely than their peers to be policed and with black men being policed significantly more than their female counterparts.


Author(s):  
Carol Muller

This chapter explores the life and career of Sathima Bea Benjamin, who grew up in Cape Town, South Africa, during the transition to apartheid in the 1940s. Taking melodies she heard on her grandmother's radio, Sathima developed her own jazz singing voice, weaving in her own compositions. With a life embedded in an awareness of race and gender, she left for Europe in 1962. Her migratory lifestyle took her through tours in Europe, supporting her husband musician and caring for her daughters, to her own career development in New York City as a jazz singer with her own trio—where she continues to record, create, and perform. Sathima's vocality and life-stories reveal risks, freedoms, and creative processes as she creates a counternarrative to the discourses of masculinity in jazz.


2020 ◽  
Vol 40 ◽  
pp. 7-34
Author(s):  
I.I. Valuitseva ◽  
◽  
M.O. Krukovskaia ◽  

ork Age, Atlanta Voice, The Atlantic and others. Materials from early newspapers were taken from the New York Times official archives. The presented research aims, among other things, to identify the social factors that affect certain politically taboo vocabulary units in relation to the black population in America, how the environment and social events have influenced the politically correct language. The following analysis has identified the most frequently tabooed lexical units for a given period of time and the frequency of their occurrence in American public opinion at different time intervals. The article provides concrete examples of language changes at the morphological and lexical level as a response to an existing social demand in society, such as combating discrimination on the grounds of race and gender in public space, in employment or in personal interaction, combating xenophobia and segregation at the level of politically correct language. Projections, concerning the derivation in ethically appropriate language, are made on the basis of the obtained data about the future development vector of political correctness indicators.


Author(s):  
Michael Pfeifer

The Making of American Catholicism: Regional Culture and the Catholic Experience argues that regional and transnational relationships have been central to the making of American Catholicism. The book traces the development of Catholic cultures in the South, the Midwest, the West, and the Northeast and their contribution to larger patterns of Catholicism in the United States. Exploring the history of Catholic cultures in New Orleans, Iowa, Wisconsin, Los Angeles, and New York City, the book carefully explores the history of American Catholic cultures across regions and their relation to factors such as national origin, ethnicity, race, and gender. The chapters include close analysis of the historical experiences of Latinx and African American Catholics as well as European immigrant Catholics. Eschewing a national or nationalistic focus that might elide or neglect global connections or local complexity, the book offers an interpretation of the American Catholic experience that encompasses local, national, and transnational histories by emphasizing the diverse origins of Catholics in the United States, their long-standing ties to transnational communities of Catholic believers, and the role of region in shaping the contours of American Catholic religiosity. Drawing on extensive archival research, the book argues that regional American Catholic cultures and a larger American Catholicism developed as transnational Catholic laity and clergy ecclesiastically linked to and by Rome in a hierarchical, authoritarian, and communalistic “universal Church” creatively adapted their devotional and ideological practices in particular American regional contexts that emphasized notions of republicanism, religious liberty, individualistic capitalism, race, ethnicity, and gender.


Author(s):  
Doris Kadish

The Secular Rabbi is an intellectual biography of Philip Rahv, co-founder of Partisan Review. It focuses on the ambivalent ties that Rahv, a Russian immigrant, retained to his Jewish cultural background. Drawing on letters Rahv wrote to her mother from 1928 to 1931, Doris Kadish delves into Rahv’s complex and enigmatic character, his experience teaching Hebrew in Savannah, GA and Portland, OR; his attitudes toward class, race, and gender. Kadish positions herself in relation to Rahv in attempting to understand her own Jewish identity and perspective as a 21st century woman. The book draws on historical accounts, genealogical records, memoirs by Rahv’s friends and associates, interviews, and secondary scholarship devoted to the New York intellectuals, the history of Partisan Review, and Jewish studies. Key components of Rahv’s Jewishness—appearance, voice, name, attitudes toward Yiddish and Zionism—are explored, as is his deep-seated faith in Marxism. Textual analyses of Rahv’s works are interwoven with analyses of writers whose works appeared in Partisan Review: Delmore Schwartz, Franz Kafka, Isaac Bashevis Singer, Bernard Malamud, Saul Bellow. Rahv’s relations with writers who figured prominently in his life—most notably T.S. Eliot, Mary McCarthy, and Irving Howe—are explored. Events relating to anti-Stalinism, responses to the Holocaust, and alleged ties with the CIA, are discussed. Kadish sheds light on modernism, proletarian literature, and Jewish writing as well as movements that defined American political history in the 20th century: immigration, socialism, Communism, fascism, the cold war, feminism, and the New Left.


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