By Pim Higginson
France's "tumulte noir," the jazz craze among the 2 international wars, consolidated a cultured version found in Western philosophy because Plato that coalesced into French "scientific" racism over the nineteenth century; a version which formalized the suggestion of tune as black. France's "jazzophilia" codified what the writer names the "racial score:" concurrently anarchive and script that, in defining jazz as "black music," has had wide-reaching results on modern perceptions of the creative and political efficacy of black writers, musicians, and their aesthetic productions.
analyzing avant-garde French writers Sartre and Soupault to prize-winning Francophone authors Congolese Emmanuel Dongala to Cameroonian Léonora Miano, Scoring Race explores how jazz masters Louis Armstrong, Duke Ellington, Charlie Parker, and John Coltrane turned touchstones for claims to African authorship and aesthetic subjectivity around the lengthy 20th century.
This quantity specializes in how this naturalization of black musicality happened and its effect on Francophone African writers and filmmakers for whom the assumption in their personal crucial musicality represented an epistemological crisis. regardless of this hindrance, due to jazz's profound value to diaspora aesthetics, in addition to its the most important position within the French imaginary, many African writers have selected to make it a structuring precept in their literary projects.
How and why, Pim Higginson asks, did those writers and filmmakers strategy jazz and its participation in and formalization of the "racial score"? To what volume did they reproduce the phrases in their personal systematic expulsion into track and to what quantity, of their most unlikely call for for writing (or film-making), did they come at tactical technique of operating via, round, or past the strictures in their assumed musicality?
Pim Higginson is Professor of worldwide French stories on the college of NewMexico, Albuquerque.