The Routledge Companion to Diasporic Jazz Studies

Cover
Half Title
Series
Title
Copyright
Contents
List of Contributors
Preface
Acknowledgements
Part I What Is Diasporic Jazz?
	1 Jazz as Diaspora Space
	2 What Is “Jazz”? Categories, Passages, Contradictions, and Power
	3 Ways of Conceptualizing the Jazz Diaspora
	4 Rethinking Diaspora in Diasporic Jazz
	5 Diaspora in South African Jazz History and Contemporary Performance
	6 Homecomings as Jazz Diaspora: Return Migrations of US Musicians
	7 Identity Politics and Diasporic Jazz: Reflections from the European Semi-Periphery
Part II Histories and Counter-Narratives
	8 “Snakehips Swing”: The West Indian Contribution to British Dance Band Music
	9 Jazz Diaspora and the Colombian Caribbean: From the Jazz Band to the Big Band
	10 Booker T. Pittman and the Mid-Twentieth Century South American Jazz Diaspora
	11 Individuality in Collectivism—Jazz Clubs in the GDR as Nonconformist Diasporic Institutions
	12 “Real Dance Music in Your Town Soon!” The Importance of Jazz as Dance Music in Aotearoa New Zealand 1920s–1940s
	13 Jazz Diaspora, Latin Musical Influences, and Australia
Part III John Whiteoak  Making, Disseminating, and Consuming Diasporic Jazz
	14 Music Industry and the Media
	15 Public Broadcasting Companies and Jazz Outside of the United States
	16 First Monday Revisited: Production and Dissemination of Diasporic Jazz in the Digital Age
	17 Soviet Jazz on American Vinyl: Consuming Diasporic Jazz at Home
	18 “L’Autre Musique du Québec”: Musique Actuelle and the Making of an Experimental Jazz Scene in Québec
	19 Forum Jazz Indonesia: Organizing and Branding Indonesian Jazz Festivals
Part IV Otto Stuparitz  Culture, Politics, and Ideology
	20 The Making of Jazz in Colonial Asia: Imperial Legacies
	21 Jazz in the Global Arena: The Case of Colonized Bombay, 1920–1947
	22 Jazz in Japan: From Post-War US-Japan Relations’ Perspective
	23 Settler Colonization and Austrological Improvisative Musicality Since the Late Nineteenth Century
	24 Jazz with Mapuche Inspiration: Identities and Political Links in Contemporary Chilean Jazz
	25 Patient Infusion: Strategies of Community Formation in the Vietnamese Jazz Scene
Part V Communities and Distinctions
	26 Becoming Cultural Elites in China: Jazz, Modernization and Professionalism
	27 Jauk Armand Elmaleh-Lemal and the Casablanca Jazz Scene of the 1950s and 1960s
	28 DIY Jazz Cultures in Queensland, Australia
	29 The Isle Is Full of Noises: Tasmania’s Unique Jazz Identity
	30 Improvised Music in Wales
	31 Urban Jazz Scenes in Portugal: Culture, Spaces, and Networks
	32 “Conceptual Jazz” and “Jazz-Off”: Avant-Garde, Globalization, and Personal Interpretations of Jazz in Portugal—The Legacy of Jorge Lima Barreto (1968–1974)
	33 Jazz City Pigeonics: Jazzloftet as a Diasporic \"Ground Zero\"
Part VI Presenting and Representing Diasporic Jazz
	34 Beyond Frontiers: From Japanese Traditional Koto to Transnational Improvised Music
	35 “Säd Afrika”: Django Bates and the South African Imaginary 1985–2012
	36 Bridging the Gap: Re-Rendering Jazz Practice in London’s Displaced Diasporas
	37 “Angry Young Men,” Jazz, and Englishness
	38 Center-Periphery Relations and European Jazz Identities
	39 Jazz in Spanish Film Noir: Modernity and Youth Cultures During Late Francoism
Part VII Challenges and New Directions
	40 Indigeneity Meets Improvisation as Free Jazz: A Musical Director’s/Editor’s Perspective
	41 Jazz as Postwar West-German Cultural Catalyst and African American Resistance
	42 Vivid Stories: Oral Histories, Collective Memory, and the Scottish Jazz Scene
	43 Diasporic Jazz Among the Disciplines
	44 Is Jazz in Europe European Jazz?: Countries, Continents, and Cultural Ownership
	45 Diasporic Jazz and the “Material Turn”: A Case Study
Index