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Dergiler / Journal of American Studies of Turkey / 2019 / Cilt: 2 - Sayı: 51

The Song, For Real!

Özge ÖZBEK AKIMAN
Sayfa
97–113
Yayın Tarihi
2022-10-19
DOI
—
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⚡ TL;DR(1 Cümlede Hızlı Çıkarım)

In his omniverse, the soundless ghosts represent the destructive force, whereas the everresisting creative spirit is represented by sound, voice, music and funk.

📌 3 Maddede Bu Makale

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Amaç & Hipotez:This article emphasizes the primacy of the song (both as content and form) in Amiri Baraka’s poetics and limits its discussion to the collection entitled, Funk Lore (1996) and the album Real Song (1994) in dialogue with each other.
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Temel Bulgular & Veri:In the context of the theories that value sound and music in terms of their cultural and historical rootedness, Baraka’s “funk lore” means collective knowledge and behavior that incorporates body and kinetics.
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Sonuç & Katkı:In his omniverse, the soundless ghosts represent the destructive force, whereas the everresisting creative spirit is represented by sound, voice, music and funk.
🔬Tür:Araştırma Makalesi
📍Kapsam:Genişletilmiş Akademik Örneklem
⚙️Değişkenler:Amiri Baraka · Funk Lore · Real Song

Abstract

This article emphasizes the primacy of the song (both as content and form) in Amiri Baraka’s poetics and limits its discussion to the collection entitled, Funk Lore (1996) and the album Real Song (1994) in dialogue with each other. In the context of the theories that value sound and music in terms of their cultural and historical rootedness, Baraka’s “funk lore” means collective knowledge and behavior that incorporates body and kinetics. Baraka breaks the Western forms of reading and writing with his insistence on musicality, orality and performance, which are more than personal choices—the most distinctive of African American expressions. In his omniverse, the soundless ghosts represent the destructive force, whereas the everresisting creative spirit is represented by sound, voice, music and funk.

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Bu Makaleye Atıf Yap

AKIMAN, Ö. Ö. (2022). The Song, For Real!. Journal of American Studies of Turkey, Cilt: 2 - Sayı: 51, 97–113. https://ajindex.com/articles/559517

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Kaynakça (14)

  1. Attali, Jacques. Noise: The Political Economy of Music. Translated by Brian Massumi, U of Minnesota P, 2009.
  2. Baraka, Amiri [Jones, LeRoi]. Blues People: The Negro Experience White America and the Music That Developed from It. Morrow Quill, 1963. --- [Jones, LeRoi]. “The Changing Same (R&B and New Black Music).” Black Music, Apollo, 1970, pp. 180-211. ---. Real Song, Enja, 1994. xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx ---. Funk Lore: New Poems (1984-1995).
  3. Edited by Paul Vangelisti, Los Angeles: Littoral Books, 1996. ---. “Somebody Blew Up America.” Counterpunch, 3 Oct. 2002. xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx ---. Lecture. Civil Disobediences: Poetics and Politics in Action, edited by Anne Waldman and Lisa Birman, Coffee House Press, 2004, pp. 294-300. ---. “Dig This! Out?” Tales of the Out and Gone. Akashic, 2007, pp. 138-143. xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx ---. “Rhythm Travel.” Tales of the Out and Gone. Akashic, 2007, pp. 162-164.
  4. Bolden, Tony. “Groove Theory: A Vamp on the Epistemology of Funk,” American Studies, The Funk Issue, vol. 52, no. 4, 2013, pp. 9-4,
  5. Project Muse. Bull, Michael, and Les Back, editors. The Auditory Culture Reader. BERG, 2003. ---. Introduction: Into Sound. Bull and Back, pp. 1-17. xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx DuBois. “The Sorrow Songs.” The Souls of Black Folk, Penguin, 1989, pp. 204-216.
  6. Filmer, Paul. “Songtime: Sound Culture, Rhythm and Sociality.” Bull and Back, pp. 91-112.
  7. Gery, John R. O. “Duplicities of Power: Amiri Baraka’s and Lorenzo Thomas’s Responses to September 11,” African American Review, vol. 44, no.1-2, 2011, pp. 167-180,
  8. JSTOR. Gilroy, Paul. “Between the Blues and the Blues Dance: Some Soundscapes of the Black Atlantic.” Bull and Back, pp. 381-395.
  9. Glennie, Evelyn. “How to Truly Listen.” TED, 2003, https:// www.ted.com/talks/evelyn_glennie_shows_how_to_listen/ transcript?language=en#t-93140. Gwiazda, Piotr. “The Aesthetics of Politics/The Politics of Aesthetics: Amiri Baraka’s ‘Somebody Blew Up America,’” Contemporary Literature, vol. 45, no. 3, 2004, pp. 460-485.
  10. Harris, William J., and Aldon Nielsen. “Somebody Blew Off Baraka,” African American Review, Amiri Baraka Issue, vol. 37, no. 2/3, 2003, pp. 183-187,
  11. JSTOR. Henriques, Julian. “Sonic Dominance.” Bull and Back, pp. 451-480.
  12. Lorde, Audre. “Poetry Is Not A Luxury.” Sister Outsider: Essays and Speeches, Crossing Press, 1984, pp. 36-39.
  13. Nielsen, Aldon. “Belief in Lyric.” American Studies, The Funk Issue, vol. 52, no. 4, 2013, pp. 171-179,
  14. Project Muse. ---. “Alab