Cape Jazz presentation (Unisa, 10 October 2013)


By popular request with thanks and a caveat. The scholars who inspired this are properly credited in the forthcoming paper of which this is a sketch outline. If not cited directly in the paper per se, these are Chris Ballantine, Phil Tagg, George Lewis, Jonathan Eato, Aryan Kaganof, Tony Whyton, Sylvia Bruinders, Stefanus Muller, Nishlyn Ramanna, Willemien Froneman, Jostine Loubser, Tony McGregor, John Edwin Mason, and Denis-Constant Martin. Thank you for your inspiring insights as ever.

The caveat simply is: there’s a big chunk of theory missing, where I look to Michel de Certeau’s concepts of tactics and strategies to interrogate how the ‘powerless’ claim access to machineries like the state, the church, the army and so on. This struggle is also rooted in place for Certeau, hence I am able to link this to George’s understanding of timbre as a marker of identity, since identity is forged in place, following the neo-Heideggerian thinking of Jeff Malpas.

The phenomenological reduction carries through into the attempt to let Jansen’s piece speak for itself, although this is tricky for me having grown up in Cape Town and sensing how the humour and ambiguities play out in Robbie and Alex’s playing. I’m tremendously sorry I never met Alex: seems like finestkind. In any case, enjoy and thanks.


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