Cette étude vise à montrer le lien entre mouvement et musique dans les œuvres de Jacques Réda, Guy Goffette et Jean-Michel Maulpoix. Leurs textes sont traversés par toutes sortes de déplacements, aussi insatisfaisants que complexes puisque départ et retour se mêlent au point dedevenir interchangeables. Entravés ou contraints d’avancer, les poètes rêvent de s’établir dans un entre-deux : entre mobilité et immobilité, entre départ et retour, entre ici et ailleurs. La partance est le moyen qu’ils trouvent pour concilier les opposés et partir tout en restant. C’est grâce à la musique et à la transposition d’éléments propres à cet art qu’ils parviennent à mener à bien ce paradoxal mouvement de surplace. En effet, par la mise en œuvre d’une partition ils déclenchent une efficace partance. La langue musicale se fait alors pleinement un moyen de transport. Véhicule et émotion, elle débouche sur des épisodes de danse où se réalise l’alliance du mouvement et de la musique. / This study tries to show the connection between movement and music in the works of Jacques Réda, Guy Goffette and Jean-Michel Maulpoix. Many kinds of complex and disappointing movements go accross their texts, and way off and way back are so intermingled that they become interchangeable. Trapped or forced to move forward, the poets dream to live between mobility and immobility, departure and return, here and away. The partance is the way they found out to reconcile the opposite and go away while they stay. Thanks to the music and to the transposition of its elements, they succeed in leading this paradoxical and motionless movement. With the writing of a score – partition – they cause an efficient partance. Their musical language becomes a means of transport. Vehicle and emotion, it leads to danse scenes where the alliance of movement and music shows through.

Die Bluesbewegung war eine Jugendbewegung, die sich Ende der 1960er Jahre in der DDR formierte. Sie regte einen Kulturtransfer an, der in den 1970er und 1980er Jahren amerikanischen Blues in die DDR brachte. Die vorliegende Arbeit rekonstruiert diesen Prozess, angefangen bei den Motiven für die Jugendlichen, sich für Blues zu interessieren, über die Vermittlung des Blues durch verschiedene Medien, vor allem durch den Hörfunk, bis zur DDR-spezifischen Aneignung des Blues inner- und außerhalb der Szene. / “Bluesbewegung” is the name of a youth movement that arose in the late 1960’s in the GDR. This movement encouraged the cultural transfer which brought American blues music into the GDR. My study wants to reconstruct this process beginning with the motives for being interested in Blues music, continuing with the transfer of Blues music throughout the media (especially in radio broadcasting), and finally, ending with the GDR-specific appropriation of Blues within and outside of the youth scene.

The title of this study is Blues & the Political: Identity, Conflict & Feminist Resistance in the Stockholm Informal Blues Music Network. The aim of this study is to examine struggles over power, the construction of identity and the role of the meanings of blues within the Stockholm blues music network from a feminist and intersectionalist perspective. The overarching research question is how the informal network could be seen as political in the sense of a societal struggle over power. Three major power struggles were identified in the interviews with white female blues musicians.   The first struggle takes place between female musicians and older men where conflicts about representation, recognition and authenticity are articulated. A major conflict is about how the blues should be played. Most of the interviewed musicians see themselves as playing modern blues, whereas the older men mostly are portrayed as “organizers”, “blues police”, or “puritans” with a conservative view of blues, and thereby discursively excluding the blues women from the genre, causing negative affect, mostly expressed by cursing. Especially younger blues women are contesting the concept of blues as a twelve-bar structure. Paradoxically, they all partly see it as a very significant element of blues, which indicates a masculine hegemony influencing their minds. Feminist resistance is expressed through irony, anger, debate, lyrics, and performance. Two out of seven musicians do not express a feminist ideology and several express fatigue and resignation. One of them, however, said that taking to the stage is almost enough as a form of resistance. In this way all musicians are ‘claiming space’.   The second power struggle takes place between younger and older musicians, where the younger ones can be seen as part of reproducing a hegemonic masculinity rendering the older blues women invisible. The third struggle concerns cultural appropriation. Black female musicians are said to be not good enough, not welcome because of critique of cultural appropriation or excluded because of their association with jazz, as the white musicians construct jazz as opposed to blues. Although the younger musicians partly express feelings of understanding towards their opponents and there is consensus about the importance of representation in general, the older blues women are more inclined to see accusations of appropriation as racism.

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Though bound historically through hundreds of years, the African-Native American relation has not received much attention by scholars of literature; hence, the emphasis of this thesis is to investigate the literary portrayal of the interethnic relation between African Americans and Native Americans through the blues trope. The blues trope provides an intriguing literary platform for the psychological and physical struggles in finding an identity within such a diverse multiethnic society like the United States. For African American writer Alice Walker and Native American author Sherman Alexie the blues trope is a successful literary device in expressing long lost and rediscovered emotions, identities and hopes among an ever growing multiethnic nation.

Most research into blues music over the past thirty years has examined either how the blues contribute to or reflect African-American identity, or how blues lyrics may be used as windows into African-American culture, values, and attitudes. Scholars have generally relied on more conventional songs about male-female relationships in this research, largely ignoring the subset of topical blues songs that related information about current events. Given the widespread illiteracy among African Americans during the height of the blues' popularity, these topical songs are particularly compelling. To date, however, no one has coupled topical blues together with their consumers' educational attainment to consider if and how songs about current events served as a mode of education in the African-American community. By employing Houston Baker's theory of the blues matrix to examine topical blues songs, it becomes clear that functionally illiterate African Americans relied on topical blues as a spoken newspaper during the 1920s, 30s, and 40s.

Thesis advisor: Carlo Rotella / Thesis advisor: Cynthia A. Young / From the BLKARTSOUTH literary collective in the 1970s, to public-storytelling-based education and performance forms in the aftermath of Hurricane Katrina, and fiction and nonfiction collections in the years since the storm, this study traces how New Orleans authors, playwrights, educators, and digital media makers concerned with social justice have mirrored the aesthetics and epistemologies of the collaborative African diasporic expressive traditions that began in the antebellum space of Congo Square and continue in the traditions of second-line parading and Mardi Gras Indian performances today. Combining literary analysis, democratic and performance theory, and critical geography with interviews and participant observation, I show how New Orleans authors, theatre makers, and teachers have drawn on "second-line" knowledges and geographies to encourage urban residents to recognize each other as "divided subjects" whose very divisions are the key to keeping our social and political systems from stabilizing and fixing borders and ethics in a way that shuts down possibilities for dissent, flux, and movement. Building on diverse scholarly arguments that make a case both for New Orleans's exceptionalism and its position, especially in recent years, as a model for neoliberal urban reform, this study also shows how the call and response aesthetics of community-based artists in New Orleans have influenced and benefited from the rise of global democratic performance and media forms. This dual focus on local cultures of resistance and New Orleans's role in the production of national and transnational social justice movements enables me to evaluate New Orleans's enduring central role in the production of U.S. and transnational constructs of African diasporic identity and radical democratic politics and aesthetics. Chapter One, "Second Line Knowledges and the Re-Spatialization of Resistance in New Orleans," synthesizes academic and grassroots analyses and descriptions of second lines, Mardi Gras Indian performances, and related practices in New Orleans through the lenses of critical geography and democratic theory to analyze the democratic dreams and blues approaches to history and geography that have been expressed in dynamic ways in the public spaces of New Orleans since the era of Congo Square. My second chapter, "'We Are Black Mind Jockeys': Tom Dent, The Free Southern Theater, and the Search for a Second Line Literary Aesthetic," explores the unique encounter in New Orleans between the city's working-class African American cultural traditions and the national Black Arts movement. I argue that poet and activist Tom Dent's interest in black working-class cultural traditions in New Orleans allowed him to use his three-year directorship of the Free Southern Theater to produce new and lasting interconnections between African American street performances and African American theatre and literature in the city. Chapter Three, "Story Circles, Educational Resistance, and the Students at the Center Program Before and After Hurricane Katrina," outlines how Students at the Center (SAC), a writing and digital media program in the New Orleans public schools, worked in the years just before Hurricane Katrina to re-make public schools as places that facilitated the collaborative sounding and expression of second-line knowledges and geographies and engaged youth and families in dis-privileged local neighborhoods in generating new democratic visions for the city. This chapter contrasts SAC's pre-Katrina work with their post-Katrina struggles to reformulate their philosophies in the face of the privatization of New Orleans's public schools in order to highlight the role that educational organizing in New Orleans has played in rising conversations throughout the US about the impact of neo-liberal school reform on urban social formations, public memory, and possibilities for organized resistance. Chapter Four, "'Running and Jumping to Join the Parade': Race and Gender in Post-Katrina Second Line Literature" shows how authors during the post-Katrina crisis era sought to manipulate mass market publication methods in order to critically reflect on, advocate for, and spread second-line knowledges. My analysis of the fiction of Tom Piazza and Mike Molina, the non-fiction work of Dan Baum, and the grassroots publications of the Neighborhood Story Project asks how these authors' divergent interrogations of the novel and non-fiction book forms with the form of the second line parade enable them to question, with varying degrees of success, the role of white patriarchy on shaping prevailing media and literary forms for imagining and narrating the city. Finally, Chapter Five, "Cross-Racial Storytelling and Second-Line Theatre Making After the Deluge," analyzes how New Orleans's community-based theatre makers have drawn on second-line knowledges and geographies to build a theatre-based racial healing movement in the post-Katrina city. Because they were unable and unwilling, after the Flood, to continue to "do" theatre in privatized sites removed from the lives and daily spatial practices of local residents, the network of theater companies and community centers whose work I describe (such as John O'Neal's Junebug Productions, Mondo Bizarro Productions, ArtSpot Productions, and the Ashé Cultural Arts Center) have made New Orleans's theatrical landscape into a central site for trans-national scholarly and practitioner dialogues about the relationship of community-engaged theatre making to the construction of just and sustainable urban democracies. / Thesis (PhD) — Boston College, 2011. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

MA, School of Music, Faculty of Humanities, University of the Witwatersrand / In 2003 I made a documentary film called Karoo Kitaar Blues with South African songwriter and guitarist, David Kramer, on the rare musicians, music, and instruments of scattered coloured communities in the Northern Cape. When I set out, seven years ago, to make the film I had no intention of making an ethnographic film or producing a visual ethnography in the anthropological sense (I am a documentary filmmaker), but two academic reviews, critical of its lack of ‘ethnographic context’ caught my intention. This dissertation attempts to respond to their critique. I explore the territory of visual anthropology and ethnographic methodology in order to understand why my film, with hindsight, is and is not ‘ethnographic’, and to establish how ethnographic practice could enhance my work as a filmmaker. I use Karoo Kitaar Blues as my visual monograph and examine the differences between ethnographic film and documentary (in the observational mode) with reference to ethnographic methodologies and theory in ethnomusicology, and consider how film can be used ‘as’ ethnography or ‘in’ ethnography. I conclude that Karoo Kitaar Blues film lies somewhere between ethnographic and observational filmmaking.

My dissertation is a foray into blues music's intricate web of racial taxonomies, an aspect that has been neglected by most existing studies of the genre. In particular, I am interested in significant changes that took place in the 1960s under which blues was reconfigured from "black" to "white" in its production and reception while simultaneously retaining a notion of authenticity that remained deeply connected with constructions of "blackness." In the larger context of the Civil Rights Movement and the burgeoning counterculture, audiences for blues music became increasingly "white" and European. In their romantic embrace of a poverty of choice, "white" audiences and performers engaged in discourses of authenticity and in the commodification, racialization and gendering of sounds and images as well as in the confluence of blues music's class origins. I argue that as "white" people started to listen to "black" blues, essentialist notions about "race" remained unchallenged and were even solidified in the process. By the end of the 1960s, moments of cross-racial communication and a more flexible approach to racialized sounds had been thwarted by nostalgia for and a reification of essentialist categories. This marked the emergence of a conservative blues culture that has continued into the present. Individual chapters focus on key figures, events and institutions that exemplify blues music's racial politics and transnational movements of the 1960s.

The determination of complexes formed in weakly acidic aqueous solutions containing pentavalent vanadium as well as hexavalent molybdenum has proved diffi cui t due to slow equilibria and 1 imi ted sol ubi 1 i ty of especially the vanadium species. The formation of several different polynuclear complexes with a very varied molybdenum/vanadium ratio also complicates the interpretation of Potentiometrie data. In order to clarify the picture of complexes formed and provide starting points for equilibrium calculations single-crystal X-ray studies were made on crystals obtained from âqueous solutions. In addition, these studies can provide information on bonding conditions and possibly formation mechanisms for molybdovanadate polyanions. Crystals were synthesized by slow evaporation of aqueous solutions. Solutions with varied molybdenum/vanadium ratios and also varied pH values were prepared and used in the synthesis experiments. The X-ray measurements were performed with Philips PAILRED, Syntex P21 and Syntex R3 automatic diffractometers. All data sets were corrected for absorption. Five of the structures were solved with heavy-atom methods and one by direct methods. The structures were refined by computer-performed least-squares methods. The following crystals were obtained and structurally determined: NaV03•1.89H2O, which contains chains of VO5 trigonal bipyramids. Na4V2O7 (H2O)18 , containing discrete V2O74- anions which are completely surrounded by sodium-coordinated water molecules. Discrete molybdovanadate polyanions were found in the structures of the compounds Na6Mo6\/2O26 (H2O)16 , K7Mo8V5O40 • 8H2O, K8Mo4,V8O36 - 12H20 and K6 (V2 , Mo10) VO40 • 13H20. The last substance belongs to a class of compounds named 'heteropoly blues', which contain metal atoms in mixed-valence states, and has one unpaired electron on the polyanion. This compound was also investigated with electron spin resonance spectroscopy. The bonding configurations of oxygen atoms coordinated to molybdenum or vanadium are described and discussed. As the Mo4V8O368-, Mo8V5O407- (which is an isomer of the Keggin anion but has a quite different structure) and Mo6V2O266- anions all contain remnants of mononuclear molybdate and vanadate anions, it seems likely that these polyanions are formed mainly through the condensation of mononuclear species.An electrostatic model for the simulation of bond distances in polyions, starting with perfectly regular idealized models, is presented. / <p>Härtill 6 delar.</p> / digitalisering@umu