Everything Man: The Form and Function of Paul Robeson
Tony Perucci's Paul Robeson and the Cold War Performance Complex: Race, Madness, Activism (2012) employs a more critical approach, one that situates Robeson's leftist and internationalist politics within and alongside the theatricality that characterized the domestic front of American Cold...
Saved in:
| Published in: | Current Musicology 2020-09 (107), p.219-225 |
|---|---|
| Main Author: | |
| Format: | Article |
| Language: | eng |
| Subjects: | |
| Online Access: | Get full text |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| Summary: | Tony Perucci's Paul Robeson and the Cold War Performance Complex: Race, Madness, Activism (2012) employs a more critical approach, one that situates Robeson's leftist and internationalist politics within and alongside the theatricality that characterized the domestic front of American Cold War politics. Redmond draws upon a diverse range of materials for her analysis, including, but not limited to, poetry, plays, pictures, paintings, sculptures, trees, stained-glass windows, the Hollywood Walk of Fame, postage-stamps, museum exhibits, and other artifacts of material culture. [...]perhaps most vital to Redmond's central argument, Robeson's Voice-like the voices Nina Eidsheim critically listens to in her writings on race, embodiment, and vocality (Eidsheim 2015)-is collective. [...]thinking of Robeson as a hologram in Wales forces us to contend with the Cold War politics that acted on his corporeal body to prevent him from occupying that space in that moment-politics fuming with the stench of McCarthyism and resistance to (Black) internationalism. |
|---|---|
| ISSN: | 0011-3735 2640-883X |