{"id":556,"date":"2020-03-10T09:10:36","date_gmt":"2020-03-10T14:10:36","guid":{"rendered":"https:\/\/pages.stolaf.edu\/performinghistory\/?p=556"},"modified":"2020-03-10T09:10:36","modified_gmt":"2020-03-10T14:10:36","slug":"on-othering-and-music","status":"publish","type":"post","link":"https:\/\/pages.stolaf.edu\/performinghistory\/2020\/03\/10\/on-othering-and-music\/","title":{"rendered":"On Othering and Music"},"content":{"rendered":"<p><span style=\"font-weight: 400\">It is always easiest to exoticize and revel in the newness of an art form that is \u201cother.\u201d While one might enjoy the art form, if thoughts of the artist are rooted in deeply problematic beliefs, it is difficult to treat admiration of the art form as love. On reflecting upon <\/span><i><span style=\"font-weight: 400\">Andre Levinson on Dance<\/span><\/i><span style=\"font-weight: 400\"> I have reached the conclusion that, while Parisians of the 1920s might have appeared to love, respect, and celebrate African American artists, they viewed this love through an eye of white supremacy, and therefore could not truly love these artists and art forms. By calling Black talent \u201can innate gift, not a conscious art,\u201d Levinson might as well be saying that Black artists do not spend hours meticulously perfecting their craft, while at the same time, implying that when Black artists are better than their white counterparts, it is no responsibility of the white artists.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">Levinson indicates that Milhaud\u2019s approval of Jazz being entered into the \u201chierarchy of the arts\u201d gave it a time and place in musical history. This, too, disturbs me. Why is it that white Parisians get to dictate what constitutes fine art? Black Americans had been making art the entire time, but it took a Parisian\u2019s approval for other Parisians to accept it as a valid art form. As Jordan writes, Milhaud even wrote \u201cjazz-inflicted music\u201d for Cocteau\u2019s musical drama <\/span><i><span style=\"font-weight: 400\">Le boeuf sur le toit<\/span><\/i><span style=\"font-weight: 400\">, of which I have included a link below, conducted by my favorite orchestral conductor<\/span><span style=\"font-weight: 400\">. This, I feel, could lead into a discussion on distinctions between appreciation and appropriation, which follow us to our present-day relationships with \u201cother\u201d musics. It leads us to ask questions like, \u201cwhat is appreciation? What is the extent of it? Is historical appropriation excusable?\u201d<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"Darius Milhaud, Le B\u0153uf\u00a0sur le Toit - Alondra de la Parra &amp; Orchestre de Paris\" width=\"580\" height=\"326\" src=\"https:\/\/www.youtube.com\/embed\/Bv9ii_uc2Rc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>It is always easiest to exoticize and revel in the newness of an art form that is \u201cother.\u201d While one might enjoy the art form, if thoughts of the artist are rooted in deeply problematic beliefs, it is difficult to treat admiration of the art form as love. On reflecting upon Andre Levinson on Dance [&hellip;]<\/p>\n","protected":false},"author":2604,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-556","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/556","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/users\/2604"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/comments?post=556"}],"version-history":[{"count":1,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/556\/revisions"}],"predecessor-version":[{"id":558,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/posts\/556\/revisions\/558"}],"wp:attachment":[{"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/media?parent=556"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/categories?post=556"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/performinghistory\/wp-json\/wp\/v2\/tags?post=556"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}