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Cultural Moves: African Americans and the Politics of Representation (American Crossroads), by Herman S. Gray
Free PDF Cultural Moves: African Americans and the Politics of Representation (American Crossroads), by Herman S. Gray
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Herman Gray takes a sweeping look at black popular culture over the past decade to explore culture's role in the push for black political power and social recognition. In a series of linked essays, he finds that black artists, scholars, musicians, and others have been instrumental in reconfiguring social and cultural life in the United States and he provocatively asks how black culture can now move beyond a preoccupation with inclusion and representation.
Gray considers how Wynton Marsalis and his creation of a jazz canon at Lincoln Center acted to establish cultural visibility and legitimacy for jazz. Other essays address such topics as the work of the controversial artist Kara Walker; the relentless struggles for representation on network television when those networks are no longer the primary site of black or any other identity; and how black musicians such as Steve Coleman and George Lewis are using new technology to shape and extend black musical traditions and cultural identities.
- Sales Rank: #1807181 in Books
- Published on: 2005-02-14
- Original language: English
- Number of items: 1
- Dimensions: 9.02" h x .68" w x 6.04" l, .83 pounds
- Binding: Paperback
- 257 pages
Review
"Cultural Moves demonstrates that Herman Gray is the most compelling critical theorist of cultural politics today. A must read."
From the Inside Flap
"For many years now, Herman Gray has crafted brilliant cultural criticism that has illumined and interrogated the complex dimensions of black culture. In Cultural Moves, Gray sends his probing intellect into the fierce battles in black life over representation, identity, and sources of recognition and legitimacy in forms as varied as television and new technologies. He is as fluent in the languages of critical theory of black social and aesthetic agency as he is in the lucid observation of everyday politics that shape black culture. Cultural Moves is one of the most daring, creative, and wise books of black cultural criticism from one of our most gifted critics."—Michael Eric Dyson, author of The Michael Eric Dyson Reader
"Cultural Moves demonstrates that Herman Gray is the most compelling critical theorist of cultural politics today. Focusing on the defining conditions of black cultural formation, Gray provides us with a critical vocabulary for comprehending what moves culture and what makes culture moving, institutionally and politically, technologically and economically, representationally and emotionally. A must read."—David Theo Goldberg, Director, Humanities Research Institute, University of California at Irvine
From the Back Cover
"For many years now, Herman Gray has crafted brilliant cultural criticism that has illumined and interrogated the complex dimensions of black culture. In "Cultural Moves, Gray sends his probing intellect into the fierce battles in black life over representation, identity, and sources of recognition and legitimacy in forms as varied as television and new technologies. He is as fluent in the languages of critical theory of black social and aesthetic agency as he is in the lucid observation of everyday politics that shape black culture. "Cultural Moves is one of the most daring, creative, and wise books of black cultural criticism from one of our most gifted critics."--Michael Eric Dyson, author of "The Michael Eric Dyson Reader""Cultural Moves demonstrates that Herman Gray is the most compelling critical theorist of cultural politics today. Focusing on the defining conditions of black cultural formation, Gray provides us with a critical vocabulary for comprehending what moves culture and what makes culture moving, institutionally and politically, technologically and economically, representationally and emotionally. A must read."--David Theo Goldberg, Director, Humanities Research Institute, University of California at Irvine
Most helpful customer reviews
13 of 21 people found the following review helpful.
The Poverty of Sociological Reductionism in Black Cultural Studies
By K. N.
Gray, a sociologist at the University of California, Santa Cruz, builds on his previous scholarship on the circulation of race in network television and jazz in this study of contemporary black cultural politics. The book starts on a promising foot, offering a paradigm of cultural production that examines how current "black self-representation and collective self-fashioning in music, visual arts, broadcast television, and new information technologies...move beyond cultural politics preoccupied solely with inclusion, representation, and identity" (3). According to Gray, *Cultural Moves* is interested in the interplay between media, technology, consumerism, and institutionality as they bear on current strategies of black cultural representation.
Unfortunately, the rest of the book fails to deliver on this intriguing premise. Gray is the type of sociologist who spends so much time setting up his structuralist account of social action that he never gets around to actually analyzing the things -- artistic practices, musical and visual texts -- that constitute cultural production as such. On the potentially illustrative case of Wynton Marsalis' directorship of the jazz program at the Lincoln Center, for example, Gray is paralyzed by utterly meaningless abstractions -- to wit, "jazz is characterized by a complex set of social values, a sophisticated tradition of recognizable texts and practitioners, and a systemic means of reproduction" (37). Wow. I can almost hear Marsalis howling in mock disgust at Gray's sociological reductionism, for evacuated from this discussion is *any* concept of the properly aesthetic irruptions that Marsalis' jazz project brings to the U.S. musical and concertgoing establishment. Instead, we leave this example with merely a vague intimation of Marsalis' "cultural difference."
In a similar vein, chapters on the circulation of blacks in postnetwork TV culture (pp. 77-113) and in cyberspace (pp. 133-47) cite NO examples of actual texts, television shows, websites, etc. to support Gray's theories, save a smattering of references to Fox's *In Living Color*. Rather than engage original interpretive analysis of the multitude of examples available to him, Gray is content to wax academic on the *idea* of black cultural production with trite, vacuous pieties such as, "To the extent that television ever did produce effective national identifications by managing racial difference through exclusion and eventually incorporation, it did so primarily through representation and consumption" (105). This is a truly unfortunate sentence, enamored as it is of its seeming intelligence when all it says is the painfully obvious -- that television's "racial" meaning is a function of representation and consumption.
In short, this book is a reductive sociological account of complex cultural phenomena -- a mode of scholarship that I've noted is all-too-common in the field of black cultural studies in particular. As someone who is committed to the serious, in-depth study of black cultural politics, I'm dismayed by scholars like Gray who cannot understand cultural practices as they are taken up by living, breathing people rather than disembodied, structuralist theories. (And not especially smart structuralist theories at that.)
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