Tamara Roberts – författare

Though cultural hybridity is celebrated as a hallmark of U.S. American music and identity, hybrid music is all too often marked and marketed under a single racial label.Tamara Roberts' book Resounding Afro Asia examines music projects that foreground racial mixture in players, audiences, and sound in the face of the hypocrisy of the culture industry. Resounding Afro Asia traces a genealogy of black/Asian engagements through four contemporary case studies from Chicago, New York, and California: Funkadesi (Indian/funk/reggae), Yoko Noge (Japanese folk/blues), Fred Ho and the Afro Asian Music Ensemble (jazz/various Asian and African traditions), and Red Baraat (Indian brass band and New Orleans second line). Roberts investigates Afro Asian musical settings as part of a genealogy of cross-racial culture and politics. These musical settings are sites of sono-racial collaboration: musical engagements in which participants pointedly use race to form and perform interracial politics. When musicians collaborate, they generate and perform racially marked sounds that do not conform to their racial identities, thus splintering the expectations of cultural determinism. The dynamic social, aesthetic, and sonic practices construct a forum for the negotiation of racial and cultural difference and the formation of inter-minority solidarities. Through improvisation and composition, artists can articulate new identities and subjectivities in conversation with each other.Resounding Afro Asia offers a glimpse into how artists live multiracial lives in which they inhabit yet exceed multicultural frameworks built on racial essentialism and segregation. It joins a growing body of literature that seeks to write Asian American artists back into U.S. popular music history and will surely appeal to students of music, ethnomusicology, race theory, and politics, as well as those curious about the relationship between race and popular music.

Though cultural hybridity is celebrated as a hallmark of U.S. American music and identity, hybrid music is all too often marked and marketed under a single racial label.Tamara Roberts' book Resounding Afro Asia examines music projects that foreground racial mixture in players, audiences, and sound in the face of the hypocrisy of the culture industry. Resounding Afro Asia traces a genealogy of black/Asian engagements through four contemporary case studies from Chicago, New York, and California: Funkadesi (Indian/funk/reggae), Yoko Noge (Japanese folk/blues), Fred Ho and the Afro Asian Music Ensemble (jazz/various Asian and African traditions), and Red Baraat (Indian brass band and New Orleans second line). Roberts investigates Afro Asian musical settings as part of a genealogy of cross-racial culture and politics. These musical settings are sites of sono-racial collaboration: musical engagements in which participants pointedly use race to form and perform interracial politics. When musicians collaborate, they generate and perform racially marked sounds that do not conform to their racial identities, thus splintering the expectations of cultural determinism. The dynamic social, aesthetic, and sonic practices construct a forum for the negotiation of racial and cultural difference and the formation of inter-minority solidarities. Through improvisation and composition, artists can articulate new identities and subjectivities in conversation with each other.Resounding Afro Asia offers a glimpse into how artists live multiracial lives in which they inhabit yet exceed multicultural frameworks built on racial essentialism and segregation. It joins a growing body of literature that seeks to write Asian American artists back into U.S. popular music history and will surely appeal to students of music, ethnomusicology, race theory, and politics, as well as those curious about the relationship between race and popular music.

Cultural hybridity is a celebrated hallmark of U.S. American music and identity. Yet hybrid music is all too often marked -and marketed - under a single racial label. Resounding Afro Asia examines music projects that counter this convention; these projects instead foreground racial mixture in players, audiences, and sound in the very face of the ghettoizing culture industry. Giving voice to four contemporary projects, author Tamara Roberts traces black/Asian engagements that reach across the United States and beyond: Funkadesi, Yoko Noge, Fred Ho and the Afro Asian Music Ensemble, and Red Baraat. From Indian funk & reggae, to Japanese folk & blues, to jazz in various Asian and African traditions, to Indian brass band and New Orleans second line, these artists live multiracial lives in which they inhabit - and yet exceed - multicultural frameworks built on essentialism and segregation.When these musicians collaborate, they generate and perform racially marked sounds that do not conform to their individual racial identities. The Afro Asian artists discussed in this book splinter the expectations of racial determinism, and through improvisation and composition, articulate new identities and subjectivities in conversation with each other. These dynamic social, aesthetic, and sonic practices construct a forum for the negotiation of racial and cultural difference and the formation of inter-minority solidarities. Resounding Afro Asia joins a growing body of literature that is writing Asian American artists back into U.S. popular music history, while highlighting interracial engagements that have fueled U.S. music making. The book will appeal to scholars of music, ethnomusicology, race theory, and politics, as well as those interested in race and popular music.

Cultural hybridity is a celebrated hallmark of U.S. American music and identity. Yet hybrid music is all too often marked -and marketed - under a single racial label. Resounding Afro Asia examines music projects that counter this convention; these projects instead foreground racial mixture in players, audiences, and sound in the very face of the ghettoizing culture industry. Giving voice to four contemporary projects, author Tamara Roberts traces black/Asian engagements that reach across the United States and beyond: Funkadesi, Yoko Noge, Fred Ho and the Afro Asian Music Ensemble, and Red Baraat. From Indian funk & reggae, to Japanese folk & blues, to jazz in various Asian and African traditions, to Indian brass band and New Orleans second line, these artists live multiracial lives in which they inhabit - and yet exceed - multicultural frameworks built on essentialism and segregation.When these musicians collaborate, they generate and perform racially marked sounds that do not conform to their individual racial identities. The Afro Asian artists discussed in this book splinter the expectations of racial determinism, and through improvisation and composition, articulate new identities and subjectivities in conversation with each other. These dynamic social, aesthetic, and sonic practices construct a forum for the negotiation of racial and cultural difference and the formation of inter-minority solidarities. Resounding Afro Asia joins a growing body of literature that is writing Asian American artists back into U.S. popular music history, while highlighting interracial engagements that have fueled U.S. music making. The book will appeal to scholars of music, ethnomusicology, race theory, and politics, as well as those interested in race and popular music.

This dynamic collection explores the life, work, and persona of saxophonist Fred Ho, an unabashedly revolutionary artist whose illuminating and daring work redefines the relationship between art and politics. Scholars, artists, and friends give their unique takes on Ho's career, articulating his artistic contributions, their joint projects, and personal stories. Exploring his musical and theatrical work, his political theory and activism, and his personal life as it relates to politics, Yellow Power, Yellow Soul offers an intimate appreciation of Fred Ho's irrepressible and truly original creative spirit. Contributors are Roger N. Buckley, Peggy Myo-Young Choy, Jayne Cortez, Kevin Fellezs, Diane C. Fujino, Magdalena GÓmez, Richard Hamasaki, Esther Iverem, Robert Kocik, Genny Lim, Ruth Margraff, Bill V. Mullen, Tamara Roberts, Arthur J. Sabatini, Kalamu ya Salaam, Miyoshi Smith, Arthur Song, and Salim Washington.