By Richard Brent Turner
In his new booklet, Richard Brent Turner explores the historical past and modern value of the preferred spiritual traditions, identities, and function varieties celebrated within the moment traces of the jazz road parades of black New Orleans. the second one line is the crowd of dancers who persist with the 1st procession of church and membership participants, brass bands, and grand marshals. the following musical and non secular traditions interaction. Jazz faith, the second one Line, and Black New Orleans examines the connection of jazz to indigenous faith and spirituality. It explores how the African diasporist spiritual identities and musical traditions—from Haiti and West and important Africa—are reinterpreted in New Orleans jazz and renowned spiritual performances, whereas describing how the members within the moment line create their very own social house and turn into educated within the arts of political cover, resistance, and function.
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Extra info for Jazz Religion, the Second Line, and Black New Orleans
Is burning with all the intensity of a suppressed religion. It has thousands of secret adherents. It adapts itself like Christianity to its local environment, reclaiming some of its borrowed characteristics to itself. . 23 In her Vodou trilogy—Mules and Men, “Hoodoo in America,” and Tell My Horse—Hurston maps New Orleans as a significant religious site not only because of its relationship to black southern conjure and root work but, more important, for its connection to the Creolized fragments of Haitian culture and spirituality that lie deep in its history.
Secretly to reinvent. Th is claim is especially relevant to the performances that flourish within the geohistorical matrix of the circum-Atlantic world. Bounded by Europe, Africa, and the Americas, North and South, this economic and cultural system entailed vast movements of peoples and commodities to experimental destinations, the consequences of which continue to visit themselves upon the material and human fabric of the cities inhabited by their successors. . While a great deal of violence instrumental to the creation [of modernity] may have been officially forgotten, circum-Atlantic memory maintains its consequences; one of which is that the unspeakable cannot be rendered forever inexpressible.
77 Despite these restrictions, Hurston continued to experience the stages of her initiation: I sat obedient before the altar, shivering unknowingly. I knew when I was dismissed. I rose and turned from the altar. ” I passed with bowed head. . At the end of the nine days I returned with the skins and again sat before the altar. . He prepared the skins and placed them before the Great One. 79 Th is magical emphasis in Vodou attracted Hurston and also influenced the performances and rituals of second-line secret societies in her time.
Jazz Religion, the Second Line, and Black New Orleans by Richard Brent Turner