HONK!: A Street Band Renaissance of Music and Activism

Cover
Half Title
Title Page
Copyright Page
Table of Contents
Preface
Acknowledgements
Notes on Contributors
Introduction
	History and Scope
	Repertoire, Pedagogy, and Performance
	Inclusion and Organization
	Festival Politics
	On the Front Lines of Protest
	Parading Onwards
	Notes
	References
PART I: History and Scope
	1. The Many Roads to HONK! and the Power of Brass and Percussion
		HONK! and BOOM: A Deep History of Brass and Percussion
		Transforming the Military Model
		The Path to HONK!
		The HONK! Rhizome
		Notes
		References
	2. Autonomous Street Carnival Blocos and Reinventing Citizenship in Rio de Janeiro
		Revival and “Officialization” of Street Carnival in Rio de Janeiro
		Unofficial Street Carnival as an Affirmation of a Political Practice
		Unofficial Street Carnival as Spontaneous and Autonomous Resistance
		Unofficial Street Carnival as a Stage for the Marginalized
		Final Considerations
		Notes
		References
	3. Jericho’s Harvest: A Short History of Brass Bands as a Voice for Political Opposition in Europe
		Why Brass Bands in Mid Twentieth-Century Political Struggles?
		Precursors
		England, 1956 – Ken Colyer, Trad Jazz & the Committee for Nuclear Disarmament (CND)
		Holland, 1972 – Willem Breuker, Louis Andressen & De Volharding
		Germany, 1972 – Berlin East & West and Frankfurt
		Onward
		References
	4. Protest, Polyvalence, and Indirection in Benin’s Brass Band Music
		Cultural Autonomy and Entrepreneurship
		Cultural Autonomy Vs. Entrepreneurship?
		A History of a Divided Movement
		Noubioto (“The Beggar”)
		Conclusion
		Notes
		References
	5. Japanese Perspective on HONK! Fest West: A Conversation with O¯ kuma Wataru of Jinta-la-Mvta
		Politics of Pleasure and Historicism
		Public Space, Militarism, and Gender
		Professionalism and Activism
		Notes
		References
PART II: Repertoire, Pedagogy, and Performance
	6. Musical Eclecticism, Cultural Appropriation, and Whiteness in Mission Delirium and HONK!
		The Music of a Globalized Brass Band
		On the Questionable Appropriateness of Musical Eclecticism
		Notes
		References
	7. Learning on Parade with the School of HONK
		Getting the Party Started
		The Promise of Fun
		Learning on Parade
		School of HONK as Social Action
		Notes
		References
	8. From Page to Performance: Learning a Song in an Italian Multi-Level Activist Brass Band
		Titubanda
		The Song
		The Arrangement
		The Transcription
		The Rhythm Section
		The Theme
		The Improvisations
		Inclusion in the Repertoire
		Notes
		References
PART III: Inclusion and Organization
	9. Leadership, Inclusion, and Group Decision-Making in HONK! Bands
		Methods
		Leaders, Structure, and Inclusivity
		Implications and Conclusions
		Notes
		References
	10. Building Connections while Maintaining the Band: The Challenging Politics of Inclusion in Activist Work
		About the Rude Mechanical Orchestra
		Injustice, Critical Consciousness, and Inclusion
		About the Participants
		An Emerging Tension between Processes of Inclusion
		A Developing Politic of Widening Inclusion
		A Developing Politic of Inward Provisional Inclusion
		The Paradox of Inclusion
		Notes
		References
	11. Horns and Hers: The Subversion of Gendered Instrumentation in the HONK! Movement
		Gendered Patterns of Low Brass in the Classroom, Community Concert Bands, and a HONK! Festival
		HONK! and a Re-Gendering of Low Brass Instruments
		Conclusion
		Notes
		References
	12. Collective Effervescence and the Political Ethos of the HONK! Movement
		Social Aesthetics of HONK! Bands and Functions in Protest
		Collective Effervescence
		Origins of Collective Effervescence
		A History of Collective Effervescence and the Communitarian Ethos of HONK!
		Conclusion
		References
PART IV: Festival Organization and Politics
	13. HONK! and the Politics of Performance in Public Space
		Introduction
		Roots: Brass Bands and Community Performance in Public Space
		Public Space in the 1960s as Sites of Resistance
		Theorizing Street Performance as Situation
		The Somerville HONK! Festival: Activist Celebration in Public Space
		Conclusion
		Notes
		References
	14. Why Do We Honk? How Do We Honk? Politics, Antipolitics, and Activist Street Bands
		When Do We Honk?
		How Do We Honk?
		Why Do We Honk?
		Notes
		References
	15. Pittonkatonk and Valuing Music as a Public Good
		Listening, Live Music, and Pittsburgh
		Music and Labor, Pittonkatonk, and the Young Musicians Collaborative
		Considerations and Conclusions
		Notes
		References
	16. The Key of Rest: HONK!’s Hospitality Activism
		Genesis of Exploration
		Conceiving of an Ancient Practice in the Modern World
		HONK!’s Hospitality Activism
		HONK! Networks: The Relationship of Trust
		Stranger in a Strange Band: Challenges of HONK! Hospitality
		Conclusion: HONK!’s Hospitality Activism as Community Building
		References
PART V: On the Front Lines of Protest
	17. Infernal Noise: Sowing a Propaganda of Sound
		Notes
		References
	18. Listening for Lefebvre: Chant Support, Sonic Disobedience, and the City as “Oeuvre”
		The Techniques
		Possibilities and Limitations: The City as “Oeuvre”
		Notes
		References
	19. Syncopation against the Occupation: Handling High-Risk Situations as an Activist Street Band in Israel-Palestine
		Meet Me in the Middle (East)
		You’re Gonna Hear Me RoR!
		This Is How We Do It
		Touch the Sky
		And the Beat Goes on (to Fuel an International Movement)
		Notes
		References
	20. Sounding Solidarity at the Suffolk County ICE Immigration Detention Center
		Notes
		References
Index