Jazz Religion, the Second Line, and Black New Orleans

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Hardcover: 144 pages
Publisher: Moody Publishers (October 1, 2010)
Language: English
ISBN-10: 0802458572
ISBN-13: 978-0802458575
Product Dimensions: 8.3 x 5.3 x 0.8 inches
Shipping Weight: 10.4 ounces (View shipping rates and policies)

"Turner straddles religions, music, the performance arts, languages, nationalities, and identities skillfully... with aplomb, with brio, in a language all his own that sings." -- Patrick Bellegarde-Smith, University of Wisconsin, Milwaukee"A well-written, well-researched, thoughtful, and generative book." -- George Lipsitz, University of California, Santa Barbara"Turner (Univ. of Iowa) has written an outstanding study of jazz religion and the second line in New Orleans, the 'most African city' in the US. This study is both personal and academic... Highly recomended." -- Choice, March 2010"Students of 'popular religion' will find in Turner's work a fascinating study of a religious tradition flourishing almost entirely outside of institutional boundaries, while those with an interest in the history of jazz or the city of New Orleans will find gems of insight valuable to students of both." -- Journal of Religion and Popular Culture"If you are interested in New Orleans jazz, Voodoo, Haiti, and what underlies these important topics, this is definitely the book to have on hand for frequent reference. The author has done a splendid job, and the reader will find this book a helpful treasure of reading material." -- jazzreview.com, July 9, 2010"Overall, the essays in this collection offer a fresh, thoughtful look into African American religious communities outside of the Christian mainstream.... [T]his is a commendable collection that should encourage and inform subsequent study." -- American Historical Review, 116.1, February 2011 Product Description In his new book, Richard Brent Turner explores the history and contemporary significance of the popular religious traditions, identities, and performance forms celebrated in the second lines of the jazz street parades of black New Orleans. The second line is the group of dancers who follow the first procession of church and club members, brass bands, and grand marshals. Here musical and religious traditions interplay. Jazz Religion, the Second Line, and Black New Orleans examines the relationship of jazz to indigenous religion and spirituality. It explores how the African diasporist religious identities and musical traditions -- from Haiti and West and Central Africa -- are reinterpreted in New Orleans jazz and popular religious performances, while describing how the participants in the second line create their own social space and become proficient in the arts of political disguise, resistance, and performance. Jazz Religion, the Second Line, and Black New Orleans