Arts and Humanities Commons^™

"Whether Beast Or Human": The Cultural Legacies Of Dread, Locks, And Dystopia., Kevin Frank

Publications and Research

Analyzing the ongoing problem of Caribbean racial exploitation, particularly fear signified through one of the most potent Caribbean symbols, dreadlocks, Kevin Frank offers a paradigm shift in arguing that Medusa's alterity is altered by Rastafarians' snake-like hair, but the transformative power of Rasta dreadlocks is contested through certain cinematic depictions of dread.

Female Agency And Oppression In Caribbean Bacchanalian Culture: Soca, Carnival, And Dancehall, Kevin Frank

Publications and Research

In this essay Kevin Frank discerningly analyzes agency and gender in public sexual performances emanating out of what Paul Gilroy identifies as part of the compensatory politics of the subordinated within Black Atlantic culture, Jamaican dancehall (dancehall reggae/ dancehall queens).

Introduction: The Sexual Body, Shelly J. Eversley, Jennifer L. Morgan

Publications and Research

Introduction to the special issue, "The Sexual Body," edited by Shelly Eversley and Jennifer L. Morgan.

To Cite Or Not To Cite? Confronting The Legacy Of (European) Writing On African Music, Kofi Agawu

Publications and Research

English Abstract:

The current citational practice in Western scholarship is ideologically loaded, being far more suited to a written economy than a primarily oral culture in which knowledge is preserved in memory and disseminated through repeated performance. The impact of orality on musical scholarship should be more closely investigated; African scholars have all too often become informants rather than theorists of their own traditions. It is therefore proposed that the routine citation of a body of scholarship developed without Africa's historically-specific intellectual needs and ambitions in mind should in fact be discouraged.

German Abstract:

Die heutige Zitierpraxis der westlichen Wissenschaft …

Edward Said And The Study Of Music, Kofi Agawu

Publications and Research

My first encounter with Edward Said’s work was in the 1980s with the book, Beginnings: Intention and Method (1975). I was exploring a semiotic approach to late 18^th-century music, specifically, a beginning-middle-ending paradigm (an Aristotelian paradigm) that seemed to me to capture the rhetorical intentions of Classic composers. Said’s wide-ranging reflections and ruminations on beginnings – as inaugural moments, as sites for the establishment of difference, as authorially privileged moments, and as "first steps in the intentional production of meaning" – proved inspiring. My enduring impression of him at the time was that he was a very good …