Bernice Johnson Reagon's Musical Coalition Politics, 1966–81

IF 0.2 1区 艺术学 0 MUSIC Journal of the Society for American Music Pub Date : 2024-02-26 DOI:10.1017/s1752196323000469
Stephen Stacks
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Abstract

In 1981, Bernice Johnson Reagon gave a talk at the West Coast Women's Festival, challenging the group of mainly white feminists to embrace coalition politics—a political praxis theorized and advocated by Black and Israeli feminists that sought to build coalitions only after distinct group identities were embraced and nurtured. Long before she articulated this concept as the future of the Movements within which she worked, Reagon piloted it in her post-Civil Rights Movement music making. In her work with the Harambee Singers and the Southern Folk Cultural Revival Project between 1966 and 1974, Reagon developed a musical coalition politics that would inform her later interventions. Not only were Reagon's musical coalition politics during this period a musical embodiment of the vanguard of feminist theory, but they also shed light on how one of the most important musician-scholar-activists of the twentieth century approached the crafting of a new political identity in conversation with the shifting front of the Black Freedom Movement in the immediate wake of the classical phase of the Civil Rights Movement. This little-known period of Reagon's output offers scholars of Black music, scholars of American music, feminists/Black feminists, and activists much to contemplate and incorporate into our work.

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伯尼丝-约翰逊-里根的音乐联盟政治,1966-1981 年
1981 年,伯尼斯-约翰逊-里贡在 "西海岸妇女节"(West Coast Women's Festival)上发表演讲,向主要由白人女权主义者组成的小组提出挑战,要求她们接受 "联盟政治"--黑人和以色列女权主义者理论化并倡导的政治实践,即只有在独特的群体身份得到接受和培育之后,才能建立联盟。早在里贡将这一理念阐述为她所从事的运动的未来之前,她就在民权运动后的音乐创作中尝试了这一理念。1966 年至 1974 年间,里贡在与哈兰比歌手和南方民间文化复兴项目的合作中,发展了一种音乐联盟政治,为她后来的干预提供了借鉴。里贡在这一时期的音乐联盟政治不仅是女权主义理论先锋的音乐体现,而且还揭示了 20 世纪最重要的音乐家、学者和活动家之一如何在民权运动古典阶段结束后,与黑人自由运动不断变化的阵线对话,打造新的政治身份。里贡这一鲜为人知的时期为黑人音乐学者、美国音乐学者、女权主义者/黑人女权主义者和活动家提供了许多值得思考的问题,并将其融入我们的工作中。
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CiteScore
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发文量
49
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