Jazz manouche—a genre known best for its energetic, guitar-centric
swing tunes—is among France’s most celebrated musical practices of the
twentieth and twenty-first centuries. It centers on the recorded work of
famed guitarist Django Reinhardt and is named for the ethnoracial
subgroup of Romanies (also known, often pejoratively, as “Gypsies”) to
which Reinhardt belonged. French Manouches are publicly lauded as
bearers of this jazz tradition, and many take pleasure and pride in the
practice while at the same time facing pervasive discrimination. Jazz
manouche uncovers a contradiction at the heart of France’s
assimilationist republican ideals: the music is portrayed as
quintessentially French even as Manouches themselves endure treatment as
racial others.
In this book, Siv B. Lie explores how this
music is used to construct divergent ethnoracial and national identities
in a context where discussions of race are otherwise censured. Weaving
together ethnographic and historical analysis, Lie shows that jazz
manouche becomes a source of profound ambivalence as it generates
ethnoracial difference and socioeconomic exclusion. As the first
full-length ethnographic study of French jazz to be published in
English, this book enriches anthropological, ethnomusicological, and
historical scholarship on global jazz, race and ethnicity, and
citizenship while showing how music can be an important but insufficient
tool in struggles for racial and economic justice.
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