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#Michael jackson man in the mirror luke skywalker series
1 What I mean by “black popular taste” are the distinctions drawn by people who identify with musical (.)ġ This article (adapted from a chapter in my book the games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop published by NYU Press, 2006) explores the remarkable and veiled connections found between girls’ musical game-songs - an oral and embodied tradition of same-age group play that includes 1) hand-clapping games, 2) embodied cheers, and 3) double-dutch jump rope activities accompanied by a series of interchangeable rhymed-chants - and commercial songs recorded by male artists over several decades.
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En constant dialogue avec les performances d’artistes masculins médiatisés par l’industrie musicale, ils engendrent et renforcent dans les communautés afro-américaines certaines relations sociales et musicales se tissant entre les sexes, et entre les enfants et les adultes. Ces regards portés aux sources de la construction sociale du goût et de la division de genre dans les chansons populaires afro-américaines - qu’il s’agisse du Rythm’n’ blues ou du hip-hop -, démontrent comment les jeux des petites filles, par les claquements de main, les exclamations, les jargons auxquels ils donnent lieu, contribuent à la formation locale d’une culture « populaire ».
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Gaunt met en lumière l’intertextualité orale et kinétique existant de façon cachée entre les jeux des petites filles et les musiques populaires afro-américaines, pour interroger la place du genre dans la construction sociale du goût musical. En se basant sur l’analyse de chansons des petites filles et sur des interviews collectées auprès de femmes afro-américaines durant des enquêtes de terrain menées entre 1994 et 2002, il décrit comment les petites filles noires expérimentent, au travers des danses et des chansons contenues dans leurs jeux, une forme de socialisation musicale et d’apprentissage d’une identité noire de genre. Those insights into the social and distinctly gendered construction of taste in black popular songs (Rhythm n blues as well as hip-hop) shows how girls' musical play, in handclapping games, cheers, and double-dutch, are a local formation of a "popular" culture that is in constant dialogue with the mass-mediation of black male performances, engendering and sustaining certain musical and social relationships between the sexes, and between children and adults in African American communities.Ĭet article explore les connexions existant entre les jeux musicaux des petites filles et les chansons populaires enregistrées par des artistes masculins aux Etats-Unis durant les dernières décennies. Kyra Gaunt highlights the oral and kinetic veiled intertextuality existing between girls' musical games and black popular songs, to question the role of gender in the social construction of popular musical taste. Basing on analysis of game songs’ and interviews of African American women (collected during fieldworks conducted from 1994 to 2002), it describes how black girls, through their dance and singing games, experience a musical socialization and inhabit an African American musical aesthetics and a gendered blackness. This article explores connections between girls’ musical game-songs and commercial songs recorded by male artists over several decades in United States.