Jazz libre
Musique-action » ou la recherche d'une praxis révolutionnaire au Québec (1967-1975)
Dados Bibliográficos
| ID | 3982913 |
|---|---|
| Autores | Eric Fillion (autor correspondente) |
| Ano | 2016 |
| Volume | 77 |
| Fascículo | 1 |
| Páginas | 93-120 |
| Data de publicação | 2016-01-01 |
| Peer Reviewed | Sim |
| Open Access | Não |
| Tipo | ARTICLE |
| Periódico | Labour / Le Travail (JOURNAL) |
| Identificadores do periódico | ISSN: 0700-3862 • E-ISSN: 1911-4842 |
| Editora | Athabasca University Press (PUBLISHER • CA) |
| DOI | 10.1353/llt.2016.0043 |
| OpenAlex | W2346271746 |
| Idioma | EN |
| Citações recebidas | 2 |
| Referências citadas | 7 |
Fonde en 1967, le Jazz libre se demarque dans le paysage culturel du Quebec par sa quete d’une praxis revolutionnaire dont la visee est de promouvoir la democratie culturelle dans les milieux ouvriers. Durant ses huit annees d’existence, ce groupe d’improvisateurs tisse des liens non negligeables avec le Conseil central des syndicats nationaux de Montreal, le Front de liberation du Quebec et le Front de liberation des femmes. Les membres de ce collectif s’approprient le free jazz – une musique rattachee au nationalisme noir – afin de situer leur projet d’un Quebec socialiste et independant dans un processus historique marque par la decolonisation. Cette appropriation exprime un desir de concretiser un rapprochement entre l’individu quebecois colonise – celui que Pierre Vallieres qualifie de « negre blanc d’Amerique » – et son homologue afro-americain. Elle repose sur la conviction que l’improvisation en musique est un vecteur de communication, d’organisation et de participation. La presente etude interroge le discours politico-culturel sur lequel la « musique-action » du Jazz libre repose. Elle propose une analyse elargie de la place occupee par le free jazz dans les mouvements de resistance au pouvoir tout en mettant en relief le volet culturel du militantisme politique deploye au Quebec durant les annees 1960 et 1970. Abstract: Founded in 1967, Free Jazz stands in the cultural landscape of Quebec by its quest for a revolutionary praxis which aims to promote cultural democracy among workers. During its eight years of existence, this group of improvisers weaves significant links with the Montreal Council of the Confederation of National Trade Unions, the Quebec Liberation Front and the Women’s Liberation Front. Members of this group appropriated Free Jazz – a music attached to black nationalism – in order to insert their project of a socialist and independent Quebec in a historical process marked by decolonization. This appropriation expressed a desire to achieve a rapprochement between the colonized individual Quebecker – Pierre Vallieres, whom one calls “white negro in America” – and his African-American counterpart. It was based on the belief that musical improvisation is a vehicle for communication, organization and participation. This study questions the political and cultural discourse on which the “music-action” of Free Jazz was based. It offers a broader analysis of the place of Free Jazz in resistance movements while highlighting the cultural aspect of political activism in Quebec during the 1960s and 1070s
Art · Art history · Ethnology · Humanities · Jazz · Sociology · Canadian Identity and History · French Literature and Poetry · Literature, Musicology, and Cultural Analysis
| Obras citantes distintas | 2 |
|---|---|
| Citações por ano | 0,22 |
| Intervalo de citações | 2017 - 2021 (5) |
| Velocidade de citação | historical |
| Altamente citado | Não |
| Tipos de citação | Neutras: 1 |