Honoring Mexico on Cinco de Mayo

This week in North Philly Notes, we showcase books about Mexico in honor of Cinco de Mayo.

urban leviathanUrban Leviathan: Mexica City in the Twentieth Century by Diane E. Davis

Why, Diane Davis asks, has Mexico City, once known as the city of palaces, turned into a sea of people, poverty, and pollution? Through historical analysis of Mexico City, Davis identifies political actors responsible for the uncontrolled industrialization of Mexico’s economic and social center, its capital city. This narrative biography takes a perspective rarely found in studies of third-world urban development: Davis demonstrates how and why local politics can run counter to rational politics, yet become enmeshed, spawning ineffective policies that are detrimental to the city and the nation.

effects of the nationThe Effects of the Nation: Mexican Art in an Age of Globalization edited by Carl Good and John V. Waldron

What is the effect of a “nation”? In this age of globalization, is it dead, dying, only dormant? The essays in this groundbreaking volume use the arts in Mexico to move beyond the national and the global to look at the activity of a community continually re-creating itself within and beyond its own borders.

Mexico is a particularly apt focus, partly because of the vitality of its culture, partly because of its changing political identity, and partly because of the impact of borders and borderlessness on its national character. The ten essays collected here look at a wide range of aesthetic productions—especially literature and the visual arts—that give context to how art and society interact.

Ethical Borders sm compEthical Borders: NAFTA, Globalization, and Mexican Migration by Bill Ong Hing

In his topical new book, Ethical Borders, Bill Ong Hing asks, why do undocumented immigrants from Mexico continue to enter the United States and what would discourage this surreptitious traffic? An expert on immigration law and policy, Hing examines the relationship between NAFTA, globalization, and undocumented migration, and he considers the policy options for controlling immigration. He develops an ethical rationale for opening up the U.S./Mexican border, as well as improving conditions in Mexico so that its citizens would have little incentive to migrate.

Sounds Modern Nation smallSounds of the Modern Nation: Music, Culture, and Ideas in Post-Revolutionary Mexico by Alejandro L. Madrid

Sounds of the Modern Nation explores the development of modernist and avant-garde art music styles and aesthetics in Mexico in relation to the social and cultural changes that affected the country after the 1910-1920 revolution. Alejandro Madrid argues that these modernist works provide insight into the construction of individual and collective identities based on new ideas about modernity and nationality. Instead of depicting a dichotomy between modernity and nationalism, Madrid reflects on the multiple intersections between these two ideas and the dialogic ways through which these notions acquired meaning.

MinichCompFinal.inddAccessing Citizenship: Disability, Nation, and Cultural Politics of Greater Mexico  by Julie Avril Minich

Accessible Citizenships examines Chicana/o cultural representations that conceptualize political community through images of disability. Working against the assumption that disability is a metaphor for social decay or political crisis, Julie Avril Minich analyzes literature, film, and visual art post-1980 in which representations of nonnormative bodies work to expand our understanding of what it means to belong to a political community. Minich shows how queer writers like Arturo Islas and Cherríe Moraga have reconceptualized Chicano nationalism through disability images. She further addresses how the U.S.-Mexico border and disabled bodies restrict freedom and movement. Finally, she confronts the changing role of the nation-state in the face of neoliberalism as depicted in novels by Ana Castillo and Cecile Pineda.

Mexican Voices Border Region compMexican Voices of the Borders Region by Laura Velasco Ortiz and Oscar F. Contreras

Mexican Voices of the Border Region examines the flow of people, commercial traffic, and the development of relationships across this border. Through first-person narratives, Laura Velasco Ortiz and Oscar F. Contreras show that since NAFTA, Tijuana has become a dynamic and significant place for both nations in terms of jobs and residents. The authors emphasize that the border itself has different meanings whether one crosses it frequently or not at all. The interviews probe into matters of race, class, gender, ethnicity, place, violence, and political economy as well as the individual’s sense of agency.

Mexican American Women Activists: Identity and Resistance in Two Los Angeles Communities by Mary Pardo

mexican american women activistsMexican American Women Activists tells the stories of Mexican American women from two Los Angeles neighborhoods and how they transformed the everyday problems they confronted into political concerns. By placing these women’s experiences at the center of her discussion of grassroots political activism, Mary Pardo illuminates the gender, race, and class character of community networking. She shows how citizens help to shape their local environment by creating resources for churches, schools, and community services and generates new questions and answers about collective action and the transformation of social networks into political networks.

nothing nobodyNothing, Nobody: The Voices of the Mexico City Earthquake by Elena Poniatowska

September 19, 1985: A powerful earthquake hits Mexico City in the early morning hours. As the city collapses, the government fails to respond. Long a voice of social conscience, prominent Mexican journalist Elena Poniatowska chronicles the disintegration of the city’s physical and social structure, the widespread grassroots organizing against government corruption and incompetence, and the reliency of the human spirit. As a transformative moment in the life of mexican society, the earthquake is as much a component of the country’s current crisis as the 1982 debt crisis, the problematic economic of the last ten years, and the recent elections.

Musica Nortena sm compMúsica Norteña: Mexican Migrants Creating Community Between Nations by Cathy Ragland

Música norteña, a musical genre with its roots in the folk ballad traditions of northern Mexico and the Texas-Mexican border region, has become a hugely popular musical style in the U.S., particularly among Mexican immigrants. Featuring evocative songs about undocumented border-crossers, drug traffickers, and the plight of immigrant workers, música norteña has become the music of a “nation between nations.” Música Norteña is the first definitive history of this transnational music that has found enormous commercial success in norteamérica. Cathy Ragland, an ethnomusicologist and former music critic, serves up the fascinating fifty-year story of música norteña, enlivened by interviews with important musicians and her own first-hand observations of live musical performances.

New ImageSurviving Mexico’s Dirty War: A Political Prisoner’ s Memoir by Alberto Ulloa Bornemann

This is the first major, book-length memoir of a political prisoner from Mexico’s “dirty war” of the 1970s. Written with the urgency of a first-person narrative, it is a unique work, providing an inside story of guerrilla activities and a gripping tale of imprisonment and torture at the hands of the Mexican government.

Alberto Ulloa Bornemann was a young idealist when he dedicated himself to clandestine resistance and to assisting Lucio Cabañas, the guerrilla leader of the “Party of the Poor.” Here the author exposes readers to the day-to-day activities of revolutionary activists seeking to avoid discovery by government forces. After his capture, Ulloa Bornemann endured disappearance into a secret military jail and later abusive conditions in three civilian prisons.

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Fernando Ortiz Today

This week in North Philly Notes, Robin Moore, editor of Fernando Ortiz on Music, writes about the relevance and influence of Ortiz’s writing on Cuban music, history, and culture

Who is Fernando Ortiz, why should anyone care about what he wrote, and what does he have to offer to readers today? Those are important questions, especially given that Ortiz lived and wrote many years ago; that his writings focus primarily on black music in other countries; and that—as an author trained in late nineteenth-century Europe—he inherited many biases toward Afro-descendant expression. As such, some of his observations sound dated or even racist by the standards of the present day. The relevance of his writings in 2018 may not be immediately apparent to everyone.

I first became acquainted with a few of Ortiz’s books as a graduate student at the University of Texas in the early 1990s. I planned to write a dissertation on Cuban music, and Ortiz loomed large as an individual who undertook the first detailed studies of Afro-Cuban culture in that country, based in large part on ground-breaking ethnographic excursions and interviews. His work was impressive in many respects: he published tremendous amounts of material, many thousands of pages over the course his career, and on a wide array of topics. He read widely in half a dozen languages. His knowledge of Cuban history and access to primary and secondary sources supporting such work were extraordinary. Fernando Ortiz on MusicSMIt became clear to me that countless individuals interested in black history, African-influenced languages in the new world, drumming and dance traditions, Afro-descendant religions, the Atlantic slave trade, and other topics had drawn heavily on Ortiz as they pursued academic work in the US, the Caribbean, South America, and elsewhere. Those influenced by his work in the U.S., for example, include the dancer Katherine Dunham; the anthropologist and founder of black studies in the United States, Melville Herskovits; and the art historian Robert Farris Thompson. Simply put, Ortiz was very influential; and if his work had written in English rather than Spanish, I am certain that it would have met an even more enthusiastic reception internationally.

Cuba, along with a few other Latin American/Caribbean countries, has a unique cultural profile because of the large numbers of enslaved Africans brought the island, and the fact that many of them arrived rather late (clandestinely the slave trade continued there well into the 1870s). In broad strokes, Cuba and the United States share a history of European colonization, the decimation of local indigenous populations, and the use of slave labor. Yet the fact that free and enslaved Africans and their descendants have constituted a majority of the island’s population for most of the past two centuries, and that African-derived traditions have been re-created in overt ways there, means that Cuba looks and sounds very different from the United States. I find that the study of Cuban music and history suggests interesting points of comparison for those based in the U.S. It helps us recognize similar Afrodescendant cultural influences in our own country. Cuba’s music and dance traditions that blend influences from West Africa and Europe are quite similar to our own, providing insights into processes of cultural fusion and how Afro-descendant cultures manifest themselves in repertoire such as black gospel. Reading about Cuban and Caribbean history helps us situate US history within a broader framework and makes us realizes that our “unique” cultural forms — from rap to blues to jazz — emerged out of broader processes.

Not only do I find the ethnographic data in Ortiz’s work still broadly relevant, but I consider even his ideological flaws and limitations to be instructive. The post-WWII period, which represents the apex of Ortiz’s career, was one in which leading authors throughout Europe and the Americas began to seriously question racist beliefs about non-European people for the first time. Much of this soul-searching was inspired by the Nazis and their horrendously racist views of non-Arian people, of course, as well as political challenges to colonial rule in Asia, Africa, and elsewhere. Ortiz’s struggles with entrenched Eurocentric points of view, notions of racial and cultural hierarchy, and the “proper place” of Afrodescendant culture within his country represent a corollary to similar debates taking place throughout the Western world and beyond. Including Ortiz in the study of racial debates of the era expands our understanding of such discourse beyond the spheres of U.S. and European academia. It helps “decenter” that literature by underscoring the important contributions and perspectives of those in developing countries. And it helps us better appreciate the true extent of slavery’s impact on politics, culture, and ideology throughout the Western hemisphere.

Announcing the new issue of Kalfou

This week in North Philly Notes, we highlight the new issue of our journal, Kalfouedited by George Lipsitz at the UCSB Center for Black Studies Research

Kalfou volume 4, no. 1, continues the journal’s pioneering work in creating timely and lively conversations among academics, activists, and artists. The new issue features a forum on the BlackLivesMatter movement and its impact on and implications for the Black Prophetic Tradition in religion and politics. Participants in that discussion are Juan Floyd-Thomas of Vanderbilt University; Johari Jabir of the University of Illinois, Chicago; Lawrence Brown of Morgan State University; and Kalfou senior editor George Lipsitz of the University of California, Santa Barbara.

Arts activist Natasha Thomas-Jackson writes about the ways in which her innovative youth performance troupe RAISE IT UP!! mobilized young people to step up and speak out about the water crisis created by racially targeted privatization schemes in Flint, Michigan.

University of Wyoming American Studies Professor Lilia Soto compares and contrasts the commemoration of the activism of César Chávez, Dolores Huerta, and the United Farm Workers movement in Napa, California, with public commemorations of the anti-apartheid struggle in South Africa.

Musician, arts administrator, and researcher Russell C. Rodríguez contributes a moving eulogy for Ramón “Chunky” Sánchez, a legendary Chicanx musician and activist.

Also featured is a teacher’s guide to the film Becoming Ourselves by Asian Immigrant Women Advocates; a rumination on apologies and reparations by Washington University anthropologist Peter Benson; and a discussion by Venise L. Keys of her artistic practice.

Table of Contents

Feature Articles

Lawrence T. Brown
Johari Jabir
Juan Floyd-Thomas
George Lipsitz

Talkative Ancestors

Keywords

Peter Benson

La Mesa Popular

Lilia Soto

Art and Social Action

Venise L. Keys

Mobilized 4 Movement

Natasha Thomas-Jackson

Teaching and Truth

Asian Immigrant Women Advocates

In Memoriam

Russell C. Rodríguez

Book Reviews

Barbara Tomlinson

A video showcasing jazz biographer and critic Jim Merod

This week in North Philly Notes, a video featuring Jim Merod, co-author of Whisper Not.

Jazz critic and historian Jim Merod has recorded live jazz for more than forty years across the United States and Europe. His BluePort Jazz label has been featured in the audio journal, The Absolute Soundfor its “on location” audiophile albums.

Jim has published essays in the journal Boundary 2 on Miles Davis, Louis Armstrong, John Coltrane, Beethoven’s last string quartetHe has been responsible for producing and directing jazz concerts in Boston, La Jolla, the Napa Valley and is currently the Director of the “Jazz Monsters” concert series in the highly-acclaimed Performing Arts Hall at Soka University in Southern California, where he teaches a course on jazz and classical music.

He is collaborating with David Bowie’s pianist extraordinaire, Mike Garson, on a major symphonic production dedicated to the prospect of preserving earth’s ecosystem as a central objective of global responsibility for the purpose of world peace.

This video, created by northern California videographer, Francisco Lopez, was initiated after a conversation Merod had on the Lyons stage at the Monterey Jazz Festival in September, 2016 with Quincy Jones. That conversation inspired Lopez to travel to Soka University to cover Jim’s three day jazz festival, where these interviews took place.

Give a look and a listen….

Video courtesy of Tank Frank Filmz

Temple University Press is having a Back-to-School SALE!

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Benny Golson returns to Philadelphia

This week in North Philly Notes, we celebrate Benny Golson in images and interviews. Golson visited his hometown of Philadelphia last week to promote his autobiography, Whisper Notco-authored with Jim Merod.

Benny Golson started his day at 91-FM, WHYY’s Radio Times, where he chatted with host Marty Moss-Coane.
There’s no stoppinGolson RTg BENNY GOLSON. The internationally famous jazz composer, arranger, and saxophonist has recorded over 30 albums, and has composed and arranged music for John Coltrane, Miles Davies, Ella Fitzgerald, Quincy Jones and many others. This year, at the age of 87, he released a new album called “Horizon Ahead.” Golson was born in Philadelphia in 1929 and has played in the bands of Benny Goodman, Dizzy Gillespie and Art Blakey. He has composed not only jazz standards, including “Killer Joe” and “Along Came Betty,” but his songs have also appeared in tv shows and films including M*A*S*H and Mission Impossible. Marty talks with Golson about his life, his new autobiography Whisper Not, and what it’s like to be considered an “elder statesman of jazz.”

Benny was also interviewed with Brian Lockman, host of Pennsylvania Cable Network’s PA Books program. The show will air at a future date and be available as a free podcast on iTunes. Benny PCN

During a stop at Temple University’s radio station, WRTI, Benny paused to pose with Art Kane’s 1958 photo, “A Great Day in Harlem.” Golson is one of the last two surviving members of the famous photograph.

Golson Great Day

Golson capped off the day with an appearance at the Free Library of Philadelphia, where he was interviewed by WRTI‘s Jeff Duperon. This video records their conversation.

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Saxophonist and composer Benny Golson learned his instrument and the vocabulary of jazz while still in high school in Philadelphia. Over the course of an illustrious 60-year career, he has recorded more than 30 albums, written well over 300 compositions, and given hundreds of performances around the globe alongside dozens of jazz greats, including Benny Goodman, Dizzy Gillespie, Lionel Hampton, Earl Bostic, and Art Blakey. “A composer with an unusually brilliant melodic sense” (New York Times), his major contributions to the world of jazz include the standards Killer Joe, Along Came Betty, Whisper Not, and Five Spot After Dark. His new book, Whisper Not, is a collection of anecdotes and photographs that recount the high and low notes of a life dedicated to jazz.

As the night ended, Golson posed with and signed books and records(!) for his adoring fans. 

Knowledge Unlatched enables a further 78 books to be Open Access

This week, we highlight the Knowledge Unlatched (KU) program. Round 2 of this open access program “unlatched” three Temple University Press titles:  We Shall Not Be Moved/No Nos Moverán by David Spener,  The Muslim Question in Europe by Peter O’Brien, and The Struggling State, by Jennifer Riggan.  The KU program allows publishers to recover costs while making important current content available openly online.

These Temple University Press titles are among the 78 unlatched* books that have been made open access through the support of both individual libraries and library consortia from across the globe. This round brings the total to more than 100 titles now available as open access since 2014, when the KU Pilot Collection of 28 humanities and social science monographs from 13 publishers was unlatched by nearly 300 libraries worldwide.  Constructing Muslims in France, by Jennifer Fredette, was included in the Pilot Collection.

These 78 new books from 26 publishers (including the original 13 participants) have been successfully unlatched by libraries in 21 countries along with support from a number of library consortia, who together raised over $1 million. The books are being loaded onto the OAPEN and HathiTrust platforms, where they will be available for free as fully downloadable PDFs. The titles cover five humanities and social science subject areas (Anthropology, History, Literature, Media and Communications, and Politics): http://collections.knowledgeunlatched.org/packages/.

The second round of KU allowed libraries to choose from subject packages as well as publisher packages. It also introduced consortium participation into the program. Additional plans for KU expansion will be announced soon.

* ‘Unlatching’ is term for KU’s  collaborative and sustainable way of making content available using Creative Commons licences and fully downloadable by the end user.

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