Source: Boston Review
"Juyin juya hali yana buɗewa - juyin juya halin Amurka wanda bai ƙare ba." Waɗannan kalmomin A. Philip Randolph sune farkon da kuka karanta a cikin bayanin kula na Nat Hentoff zuwa ga almara na 1960 jazz album. Mun nace!: The Freedom Now Suite featuring drummer Max Roach da mawaƙa Abbey Lincoln tare da waƙoƙin Oscar Brown, Jr. The Black Revolution, Randolph's epigraph ya ci gaba, "yana buɗewa a cikin ɗakunan abinci, motocin bas, dakunan karatu da makarantu - duk inda aka hana mutunci da matsayi na maza. Matasa da manufa suna bayyana. Jama'a na Negroes suna tafiya zuwa fagen tarihi kuma suna neman 'yancinsu yanzu!" Kundin, wani aikin seminal a cikin abin da ake kira "jazz yancin jama'a," ya kwatanta wannan lokacin: m, mai gwagwarmaya, dagewa kan sababbin kwatance-na kiɗa da siyasa.
Aikin jazz na kare hakkin jama'a, Mu nace! daura Black arts zuwa Baƙar fata gwagwarmayar 'yanci.
Randolph, shugaban ƙungiyar kuma babban jigo a cikin tsakiyar karni na gwagwarmayar 'yanci na Baƙar fata, ya jaddada abubuwan siyasa na kundin, amma kamar yadda zai iya yin magana game da kiɗa. Roach da abokan aikinsa - ciki har da wasu da yawa ban da Lincoln da Brown, daga cikinsu akwai saxophonist Coleman Hawkins - sun tura iyakokin jazz "madaidaici" zuwa cikin "sabon abu," haɓaka farkon amfani da halaye a wurin sanannun cibiyoyin tonal, abubuwan da aka tsara. ba tare da tsari mai jituwa ba, da kuma mai da hankali kan ƙwanƙwasa da ƙwanƙara na Afirka. A wannan shekarar da aka saki kasashe goma sha bakwai a Afirka sun sami 'yancin kai, aikin ya kuma nuna karuwar tsattsauran ra'ayi da kuma mayar da 'yancin kai na gwagwarmayar 'yancin bakar fata. Murfin albam din ya nuna wasu Bakar fata guda uku a wurin cin abinci, abin da ke nuni da fashewar wurin zama na cin abincin rana a farkon wannan shekarar, inda dubban matasa 'yan rajin kare hakkin jama'a bakar fata suka mamaye wurare daban-daban na jama'a tare da neman a dauke su a matsayin daidai. 'Yanci a yanzu, ayyukansu sun kira; mu nace, albam din ya kara.
Kundin ya tura abubuwan juyin juya halin Black Arts gaba zuwa bangarori biyu. A gefe guda, Roach da masu haɗin gwiwarsa sun ɗauki ikon hoton-na motsin "bayyana" a kewaye da su, na radicalization na masu fafutukar motsi - don samar da wani nau'i na kiɗa wanda ya kasance gudunmawar da ba za a iya mantawa ba ga siyasar Baƙar fata. 'yanci da fadada hangen nesa na kiɗa a cikin jazz na al'ada. A gefe guda kuma, sun ƙi zaɓi tsakanin babban fasaha da fasaha na siyasa, suna karɓar sabon haɗin kai na mahallin zamantakewa, bayanin sirri, da gwaji na fasaha. Mu nace! don haka ya kafa kansa a matsayin babban aikin fasaha da siyasa a lokaci guda, kuma ya zama shaida mai ɗorewa ga sararin sararin samaniya na 'yancin Baƙar fata.
A lokaci guda, Roach da tawagarsa sun fuskanci koma baya ga wannan nasarar, kuma ita kaɗai ce Bakar fata a kan aikin, Abbey Lincoln, wadda ta ɗauki nauyin amsa. Sauraron wannan kundi a yau yana da babban abin da zai gaya mana game da fasaha, siyasa, da magana. A cikin 2021 muna fuskantar yanayi iri ɗaya: “juyin juya halin da ba a gama ba,” da irin wannan koma baya a ƙoƙarin kammala shi. Tabbas, yayin da siyasar motsi ta Black Lives Matter ke gina hanyarta zuwa fasahar baƙar fata da nishaɗi, gwagwarmayar yanzu ta yi kama da waɗanda Lincoln, Roach, da sauransu suka fuskanta. Har yanzu dai ƴan matan Baƙar fata ne da shugabannin ƙungiyoyi waɗanda suke ci gaba, suna ɗaukar mu zuwa sabbin hanyoyi.
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Mu nace! ya samo asali ne a cikin gwagwarmaya: samarwa kuma an sake shi a tsayin farko na gwagwarmayar haƙƙin jama'a, yana zuwa a kan dugadugan Little Rock Nine, Montgomery Bus Boycott, da ɗakin cin abinci na ɗalibi a cikin watanni da shekarun da suka gabata. Roach ba bako ba ne ga gwagwarmayar kare hakkin jama'a. A wannan shekarar ne aka fitar da kundin, tare da bassist Charles Mingus, Roach da sauransu sun shirya zanga-zangar Newport Jazz Festival, daya daga cikin manyan abubuwan jazz a kasar. Bikin ya biya mafi girma rates ga manyan suna ayyuka, sau da yawa fari rashin daidaituwa, yayin da masu fasaha masu daraja, galibi Baƙar fata, an biya su kaɗan. Mingus da Roach sun gudanar da wani biki mai gasa da ake kira "Bikin 'Yan tawayen Newport" don nuna rashin amincewarsu, wani lokaci na mutane da yawa a cikin faɗuwar fage na motsi ya ƙarfafa jazz 'yancin ɗan adam.
Gado mai alaƙa jazz da tsarin siyasa ya fara shekaru da yawa a baya. Daga Duke Ellington 1943 Black, Brown da kuma Beige Ya dace da rikodin Charlie Parker na 1945 Yanzu ne Lokaci, Wasu mawakan jazz na baya-bayan nan sun binciko nau'ikan gogewar baƙar fata a Amurka da hankali. Daga baya, a cikin shekarun da suka gabace aikin Roach, masu fasaha da yawa sun fito da bayanan siyasa a sarari. Mingus daya ne; shekara ta 1959 Tatsuniya na Faubus ya ci gaba da mayar da martani na ba'a da macabre ga yunƙurin gwamnan Arkansas Orval Faubus na toshe haɗin gwiwa a jiharsa. A cikin 1958 dan wasan saxophonist Sonny Rollins ya saki nasa Freedom Suite, a paean ga unfolding gwagwarmaya don Black 'yanci wanda featured Roach a matsayin mai ganga. Tsarin ikon mallakar farin da aka sanya akan kiɗan Baƙar fata da manyan rubuce-rubucen jama'ar Amurka sun ƙara zama batun tsararrun jazz, wasan kwaikwayo, da rikodi.
"'Yancin" na jazz na kyauta ya nuna alamar 'yanci na Baƙar fata, sararin gwagwarmaya, sararin samaniya na 'yanci.
Lalle ne, an ji tasirin farin fata a duk duniya jazz, har ma ga waɗanda suka zaɓi kada su bayyana abubuwan da suka faru da fasaha. Trumpeter Miles Davis, alal misali - wanda ake iya cewa shine mafi girma a cikin jazz - wani dan sanda na birnin New York ya yi masa dukan tsiya kuma ya kama shi saboda ya tsaya a bakin titi a wajen wasan kwaikwayonsa a shekara ta 1959. Ko da yake Davis bai mayar da martani ga harin da aka kai masa ba a cikin aikinsa. Kwarewa da tashin hankalin 'yan sanda shi ne wani lamari guda daya da aka ziyarta a kan mawakan jazz Black jazz. A shekarar da ta gabata, an ciro dan wasan pian Thelonious Monk daga motarsa tare da lakada masa duka saboda ya nemi gilashin ruwa a wani otal na Delaware. A cikin 1943 dan pianist Bud Powell yana asibiti bayan 'yan sanda Philadelphia sun doke shi, bala'in da ya riga ya wuce matsalar lafiyar kwakwalwa, gwajin gwaji na electro-shock, da farkon mutuwarsa daga tarin fuka a 1966. Ga masu fasaha na Black a cikin al'umma mai zurfi, tare da kewayawa daban don Mawakan bakar fata da bakar fata, albashin wariya, da kuma fallasa da barazanar tashin hankalin da ake yi a Arewa da Kudu, sai ji na siyasa ya karu.
A cikin wannan yanayin ne Mu nace! an haife shi. Girma daga haɗin gwiwar da aka yi niyya a farkon karni na 1963 na shelar Emancipation a cikin XNUMX amma an sake shi da wuri don Candid Records a cikin rikice-rikicen siyasa na girma, kundin ya motsa masu sauraro ta hanyar tarihin Black, baya da kuma komawa zuwa Afirka, bautar, 'yanci, 'yancin ɗan adam, da ƙungiyoyin mulkin mallaka. Kamar yadda masanin kida Ingrid Monson ta lura a cikin littafinta 'Yanci Sauti: 'Yancin Jama'a Kira ga Jazz da Afirka (2007), ainihin asalin labarin ba a sani ba. Roach ya tuna karbar kwamiti daga NAACP, yayin da Brown ya yi tunanin ya samo asali ne daga babban aikin choral da za a kira. The Beat, binciko yanayin al'adun kade-kade na kasashen waje na Afirka tare da mai da hankali kan kari-cikakke ga Roach mai ganga. Duk da haka aikin ya taru, uku daga cikin waƙoƙi biyar da aka saki a cikin kundin 1960 an fara yin su ne don wannan aikin, wanda ya fara a Afirka kuma ya ƙare a Amurka: "All Africa," "Driva' Man," da "Ranar 'Yanci."
Bayan lokaci wannan ƙirar ta asali ta rikiɗe a ƙarƙashin rinjayar Roach. Kamar yadda Monson ya yi bayani, Brown ya tuna da faɗuwar da aka yi game da ainihin aikin:
Ina wa'azin soyayya. Max yayi tunanin Malcolm X yana da mafita mafi kyau fiye da Martin Luther King. Wannan shi ne karshen rigimarmu a lokacin, wadda ta yi tsanani sosai. Don haka an soke duk haɗin gwiwar, kuma a wannan lokacin ba a taɓa gamawa ba—ko da yake yana kusa da ƙarshe lokacin da muka fadi.
A cikin tunanin Roach, matsalar ita ce "fahimtar abin da yake gaske shine a sami 'yanci." Rikicin ya yi tasiri sosai har Roach ya ci gaba da yin rikodi na Candid a ƙarshen Agusta 1960 ba tare da gaya wa Brown ba, wanda ya koyi kundin kundi kawai daga buƙatar Hentoff na abubuwan tarihin rayuwa don bayanin kula. Kamar yadda suka bayyana a cikin kundin, waƙoƙin uku-da aka sake tsara su daga farkon tunaninsu, tare da Afirka a ƙarshe maimakon farkon - sun ɗauki mafi girman ra'ayi na siyasa, suna nuna kishin kasa da kasa, ikon Baƙar fata, da kuma gwagwarmaya ta fuskar zalunci. Duk da wannan, Monson ya lura, "Brown ya jaddada cewa shi da Roach sun yi yarjejeniya ta asali game da bukatar sadaukar da aikin fasaha ga zamantakewa." Yayin da galibi suka yarda, masu fasaha sun bambanta a cikin magana da takamaiman alkiblar siyasa na aikinsu.
Babu inda wannan rashin jituwa ya fi kaifi kamar a waƙa ta uku na kundin, "Triptych: Prayer, Protest, Peace," cibiyar fasaha ta. Waƙar da ba ta da kalma tana bin tsarin tunanin tunani na gwagwarmaya da fifikon farar fata a cikin kayan aikin da aka keɓe wanda ke nuna ganguna na Roach kawai da muryar Lincoln. (Su biyun sun kasance cikin dangantaka a lokacin kuma sun yi aure a 1962.) Aikin kamawa ne: kuka, roƙo, wani nau'i na bayyanar da takaici, shirye-shirye, da gajiya daga gwagwarmaya, haɗin kai na fasaha da siyasa. . Waƙar tana buɗewa da “addu’a,” ruhi mai ƙasƙantar da kai, tare da rera waƙa daga Lincoln yana nuna rashin jin daɗin murabus, Roach ya ɗanɗana amma wasa mai ban mamaki yana haɓaka tunanin sa rai. Tsakanin waƙar, " zanga-zangar," ta fashe yayin da Lincoln ya fara yin kururuwa a cikin makirufo - a wasu lokuta cikin jin zafi da firgita - yayin da Roach ya buge wani yanayi mai ban sha'awa don daidaitawa. A ƙarshe, waƙar ta rushe cikin gajiya, "zaman lafiya," yayin da Lincoln da Roach suka dawo zuwa wani yanki mai rauni, numfashi, da kuma ganewa mai ƙima don ƙudurin kiɗa.
Wannan siyasa ce iri daban-daban - bayyananniyar ra'ayi, mai ban sha'awa, na sirri, rashin daidaituwa da rashin kulawa.
Waƙar nan take ta jawo cece-kuce, ga siyasarta da kiɗanta. Masu zane-zane ba su guje wa abubuwan da ke da tasiri na gwagwarmayar siyasa ba - fushi, fushi, wuce gona da iri, da tashin hankali da ke fitowa daga rashin adalci. Bayanan layi na Hentoff sun yi wannan a sarari. Ya rubuta: "Ƙananan zanga-zangar ta ƙarshe ce, ba za a iya sarrafa ta da fushi da fushi waɗanda suka daɗe cikin tsoro ba wanda kawai catharsis zai iya kasancewa mai tsananin raɗaɗi daga cikin dukan fushin da aka tara da rauni da kuma makanta." Wannan ba siyasar zaman lafiya ba ce ta ƙungiyoyin kare haƙƙin jama'a na yau da kullun, mai haƙuri amma aiki mai dagewa da dabara don ɗaukaka farin jini. Wannan siyasa ce iri daban-daban - bayyananniyar ra'ayi, mai ban sha'awa, na sirri, rashin daidaituwa da rashin kulawa. Bambance-bambancen da aka tace a cikin takaddama tsakanin Roach da Brown. A cikin wata hira da Monson, Brown ya tuna: “A tsawon wannan lokacin ba mu rabu ba. Mun kasance tare a wata ma'ana; muna jayayya. Muna ta jayayya game da kururuwa. Muna jayayya ne game da hoton da yake son Abbey ya samu.”
A cikin nasa tambayoyi, Roach ya bayyana cewa a gare shi, waƙar ba ta kasance mai ɗagawa ba, ci gaba, da fansa na ƙarshe amma ɗaya na gwagwarmaya, kuma ba tare da ƙuduri ba. Dangane da sashin karshe kuma ya ce, “Ba addu’a ce ta addu’a ba, addu’a ce ta shiri. Kuma sashin zanga-zangar ya bi sashin shirye-shiryen, wanda ke nufin cewa sai kun fita, kuma ku, idan kuna so, ku kururuwa . . . Ciwon ku, kawai kun bayyana zafin ku a cikin zanga-zangar. Wannan furci ya ƙare da “salama,” amma “salama ce da kuke samu daga gajiyar da kanku kawai.” Kuma, Roach ya kammala, "babu zaman lafiya."
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Roach ya kira "Triptych" aikin da ya fi dacewa a cikin aikinsa, kuma ana iya kiran shi aikin gwaninta saboda ma'anar, siyasa, da tsarin fasaha sun dace sosai. Karɓar ma'auni na kiɗan jituwa na Yammacin Turai ɗaya ne na haɓakar motsi a farkon shekarun 1960 wanda ke tura iyakokin jazz. A lokacin ana kiran wannan sabon karfi daban-daban a matsayin "sabon abu," "jazz kyauta," ko "avant-garde," kuma an bambanta da jazz "madaidaiciya", irin Miles Davis, Dave Brubeck, da kuma manyan jazz modernism. Kawai watanni uku bayan Roach da kamfani sun yi rikodin Mu nace!, Ornette Coleman ya rubuta Jazz kyauta. Ba da daɗewa ba, John Coltrane da sauransu sun ƙara tura jazz, suna gwaji tare da hanyoyin da aka gabatar Mu nace! da kuma gabatar da wasan kwaikwayo masu ban mamaki a kulab ɗin jazz na New York, wasu daga cikinsu sun fara bayyana akan faifai.
Yawancin masu sukar jazz, musamman na hagu, suna ganin sabon kiɗan yana cike da siyasar gwagwarmayar Baƙar fata. Kamar yadda ƙungiyar 'yanci ta Black' ta tura iyakokin siyasa na mutuntawa da labarun haɗin kai na sassaucin ra'ayi na ci gaba da "ɗaukawar launin fata," sun yi jayayya, haka ma sabon abu ya tura iyakokin kiɗa na yammacin Turai. Kamar yadda masu fasaha da yawa suka jaddada kayan aikin gabas da na Afirka, musamman ganguna, da tsari ko tsari mara kyau, masu suka sun ga babban farkawa na al'adun Afirka da na duniya a cikin kiɗan. Ko da "'yanci" na jazz na kyauta, kamar yadda aka sani, ya nuna alamar 'yanci na 'yanci na Black, sararin gwagwarmaya, sararin samaniya na 'yanci.
Amma a lokaci guda, da yawa masu fasaha da kansu sun ƙi wannan alaƙar da ke tsakanin kiɗa da siyasa, har ma fiye da rashin jituwar Brown game da ainihin hanyar haɗin da ya kamata ya ɗauka. Monk, na ɗaya—“babban firist” na jazz na zamani—ya taɓa gaya wa ɗan jarida cewa waƙarsa “ba magana ce ta zamantakewa game da wariya ko talauci ko makamancin haka ba.” Coltrane ya kasance mai ƙarfi musamman akan wannan batu. A gare shi, waƙarsa ta siyasa ce, amma kuma wani abu ne mai yawa: hanyar kwarewa ko sadarwa ko yin tunani tare da allahntaka. Lokacin da aikinsa ya kasance mai ban sha'awa na siyasa, kamar yadda yake tare da "Alabama" (1963), ya ɗauki nau'i na makoki, yana ɗauke da baƙin ciki mai zurfi da tsayin daka wanda ya zo daga shaida ga tashin hankali na fararen fata. Coleman da wasu na sabon motsi suma sun kaucewa matsayin siyasa a fili tare da wakokinsu. Yayin da 'yancin kiɗa na jazz kyauta yayi magana game da siyasa na 'yanci, manyan masu aikin sa sun nisanta daga waɗannan ƙungiyoyi.
Roach, Lincoln, da Brown ba su yi ba. Sun rungumi Baƙar fata masu tsattsauran ra'ayi, ɗan duniya, da ma'anar 'yanci na zane-zane, kuma kodayake kundin da kansa galibi ya sami tabbataccen bita, har yanzu sun ɗauki shit, musamman mace kaɗai a cikin kundin. An duba Lincoln Mu nace! a matsayin matattarar ci gaban fasaha, na sirri da na siyasa. A farkon aikinta ta yi aiki a matsayin ƴar wasan cin abinci kafin Hollywood ta ɗauke ta kuma ta fito cikin hits kamar fim ɗin Marilyn Monroe. Yarinyar Ba Zata Iya Taimaka Ba (1956) da tsarin iri-iri Steve Allen Show. A ƙarshen 1950s ta fito da albam da yawa, kuma zuwa 1958 tana sanye da gashinta a cikin salon yanke "na halitta". Amma Mu nace! ta ba da sanarwa, kuma aikinta shine mabuɗin ga nasarar aikin gaba ɗaya.
Akan albam din da ta biyo baya, Madaidaiciya Gaba (1961), Lincoln ya tsawaita waɗannan jigogi na bincike na kiɗa da kuma siyasar Baƙar fata mai tsattsauran ra'ayi. Kundin nata na solo ya sanya waƙar sanannen waƙar Paul Lawrence Dunbar "Lokacin da Malindy Waƙa," ya ƙara waƙa zuwa abubuwan da Monk ya yi "Blue Monk," kuma ya bincika tseren da aji a cikin "In the Red." A cikin waƙar take, "Madaidaiciya," ta rera waƙa cewa madaidaiciyar hanya "ba za ta iya kaiwa ko'ina ba" kuma ta tafi "oh don haka a hankali," lokacin da ta ɗauki "amintaccen rai a ɓace." Kalmomin suna bayyana a sarari a matsayin misalan gwagwarmayar Baƙar fata, aikinta, da siyasarta gaba ɗaya, duk abin da ta sake maimaitawa a farkon 1960s. Waƙar take ita kanta hanya ce mai wayo sau biyu: hanyar "madaidaiciya" a jazz, kamar yadda a cikin siyasa, ba ta tafiya da sauri sosai. Mafi tsokana, kame kundi na kundi, daga waƙar "Ramuwa," ta ƙunshi sautin rashin fahimta da siyasa na aikin Lincoln: "Bari sakamakon / ya dace da gudummawar," in ji ta.
Har yanzu dai ƴan matan Baƙar fata ne da shugabannin ƙungiyoyi waɗanda suke ci gaba, suna ɗaukar mu zuwa sabbin hanyoyi.
Ga kowane ɗayan waɗannan ci gaban, ko kuma kawai baiwar da ta taru akan waƙoƙinta (album ɗin da aka nuna Roach, Hawkins, da Eric Dolphy), aikin Lincoln yana da mahimmanci. Amma, kamar yadda Monson ya lura, kundin ya sami sharhi mai tsauri a cikin mujallar jazz DownBeat. Mai bita, Ira Gitler, daya daga cikin manyan mutane a sharhin jazz, ya yi watsi da kundin, yana kuka game da farkawa ta siyasa ta Lincoln kuma ya kira ta "ƙwararriyar Negro" don ba da aikin da ya fi mayar da hankali kan siyasar Black don masu sauraron Black. "Yanzu da Abbey Lincoln ta sami kanta a matsayin Negro," in ji shi, "Ina fatan za ta iya samun kanta a matsayin 'yar gwagwarmaya amma ba ta Amurka ba ce mai ban sha'awa." Matsayin Gitler wani bangare ne na babban koma baya a sukar jazz. A shekarar 1962 Time har ila yau, wallafa wani labarin da ya shafi Black Music wanda a cikinsa suka yi iƙirarin cewa jazz ya kasance ƙarƙashin "Crow Jim" mai juyayi wariyar launin fata inda mawakan farar fata suka fuskanci wariya a wuraren kiɗa na Black. "Bature ba shi da 'yancin ɗan adam idan ya zo ga jazz," in ji mujallar. Kada ku manta cewa jazz ya samo asali ne daga wasiƙar kiɗa na baƙar fata, cewa manyan masu samun kuɗi a duniyar jazz sun kasance fararen ƴan wasan kwaikwayo kamar Brubeck, ko kuma ƴan wasan farar fata kamar ɗan pian Bill Evans sun sami babban yabo na ƙwararru da fasaha. A ciki DownBeat da kuma Time koma baya ya fito ne daga manyan muryoyin masu sassaucin ra'ayi da ci gaba da bacin rai tare da jagorancin Bakar siyasa da kiɗa.
Lincoln ya amsa irin waɗannan ikirari a wani taron tattaunawa kan bita na Gitler wanda ya shirya DownBeat wanda ya ƙunshi Roach, Gitler, kanta, da sauransu. "Akwai lokacin da nake gaske ƙwararriyar Negro, ”in ji ta, yayin da take magana game da lokacinta na mawaƙin jibi kuma tauraruwar Hollywood. Ta ce: "Na yi la'akari da gaskiyar cewa ni Negro ne," in ji ta, "kuma na kalli yadda mutanen yamma ke tsammanin za ku kasance. Ni ƙwararren Negro ne. Ni ba mai fasaha ba ne. Babu abin da zan ce. Na yi amfani da kayan wawa mara kyau a kan mataki." Sabanin haka, sabon zamaninta na fasaha, ci gaban kai, da binciken siyasa, ta dage, wani abu ne daban. Kuma ba kawai siyasa ba ne, amma wani bangare ne na tsarin gano kai da balaga. Duk da wannan haɓakar fasaha, Lincoln ya sha wahala sakamakon ƙwararru; Ba ta sake yin wani kundi ba sai a shekarar 1973, bayan shekaru goma sha biyu Madaidaiciya Gaba aka bayar.
Wannan jigon, da'awar wariyar launin fata, da kuma ci gaba da mayar da martani ga masu fasaha na siyasa baƙar fata daga manyan masu suka, ya jagoranci mawaƙi kuma marubuci Amiri Baraka, sannan ya rubuta a matsayin Leroi Jones, don rubuta ɗaya daga cikin shahararrun kasidunsa. "Jazz da White Critic," a cikin 1963. "Mafi yawan masu sukar jazz farar Amurkawa ne, amma mafi yawan mawakan jazz ba su kasance ba," in ji maƙalar. Tsarin yana da mahimmanci saboda "yana cire waƙar da fasaha sosai daga manufar zamantakewa da al'adu." "Don a fahimta sosai," in ji Baraka, " blues da jazz aesthetic . . . dole ne a gan shi a kusan cikakkiyar mahallin ɗan adam-wanda ke nufin kulawa ga aji, kabilanci, da "falsafar zamantakewa da al'adu" wanda daga ciki aka haifi fasaha.
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Kimanin shekaru sittin bayan haka, muna cikin wani sabon zamani na siyasar Baƙar fata mai fafutuka da fasahar siyasa. Ƙungiya da kira na fasaha da amsa suna ci gaba da faɗakarwa da suka saba, amma kuma tare da nata “falsafar al’adu da zamantakewa.” Bayan ƙungiyar Black Lives Matter ta sami karɓuwa ta ƙasa a cikin 2014, waƙoƙin siyasa kamar Childish Gambino's "This is America" da YG da Nipsey Hussle's "FDT" sun kasance ba za a iya tserewa ba a lokacin shugabancin Trump. Kyaututtukan Grammy na 2018 sun haɗa da wasan kwaikwayo daga mawaki Kendrick Lamar wanda ke nuna baƙar fata ana ɗaukarsu ɗaya-bayan-ɗaya, a alamance, kamar yadda ya jera matsalolin tsarin ga 'yancin Baƙar fata. Amma duk da haka yayin da motsi ya ci gaba, haka ma koma baya; Jakadiyar Amurka Nikki Haley da wasu sun soki Grammy's na 2018 saboda sun kasance "siyasa ma yawa." Sannan kuma, bakar fata mata masu fasaha ne ke fuskantar ɓacin rai.
Ya rage namu duka-masu ƙirƙira, masu sauraro, masu fafutuka, masu suka, magoya baya—mu zaɓi rungumar wannan lokacin kuma mu gane sautunan gwagwarmaya.
A cikin 2020 an kai hare-hare na kafofin watsa labarai na dama-dama da aka yi niyya ga mawakan rap Megan Thee Stallion da Cardi B - wanda ke magana kan lamuran siyasa kuma ya harbe shi. talla ga Bernie Sanders- don waƙarsu ta jima'i mai suna "WAP." A halin yanzu, dan wasan rap na Chicago Noname ya ɗauki matsayin siyasa a cikin kiɗa yayin da yake neman a kulob na littafin, sauran ayyukan siyasa, da kuma fadi sharhin kafofin watsa labarun akan al'amuran siyasa, wanda ya jawo hankalin jama'a zargi daga mawakan ’yan uwa. Waƙar daga mawakin ɗan wasan Grammy J. Cole a lokacin rani na 2020, "Snow on tha Bluff," ya haɗa da nassoshi na Noname da da ake kira a hankali, mafi girman hali daga masu fafutuka na "auren sarauniya". A cikin mako guda Noname ya amsa da "Song 33," bayaninta game da fasahar baƙar fata da kiɗan siyasa, ƙididdiga tare da gunaguni na rashin aikin siyasa na rayuwar Baƙar fata. Waƙar ta yi kira ga sauran mawaƙan rappers da su yi la'akari da gazawar da jama'a suka yi na yaki da ta'addancin baƙar fata. Ayyukanta suna tambayar masu sauraro, ta yaya muke fahimtar kanmu da lokacinmu? Me za mu yi game da yanayin da muka tsinci kanmu a ciki? Noname yana tura mu gaba: "Ina mafarkin duk Baƙar fata," in ji ta, "Mun ƙone kan iyakoki / Wannan shi ne sabon mai gadi / Ni ne sabon mai gadi." Mai fafutuka, mara yarda, mai mai da hankali kan motsi, mai bayyana kansa, aikin Noname ya yi daidai da na Lincoln a cikin kai tsaye da mallakar kansa.
Abin baƙin ciki, Lincoln, Roach, Brown, da sauran masu ba da gudummawa ga Mu nace! zai gane 2021 da kyau, amma tare da farfado da ƙungiyoyi don 'yantar da Baƙar fata muna ganin farfado da maganganun fasaha da siyasa. Ko a cikin kiɗa tare da Noname da Cardi B, zane-zane na gani tare da Kara Walker, Ebony G. Patterson, da Mickalene Thomas, ko ƙungiyoyin al'umma a ƙarƙashin shugabannin ƙungiyoyi irin su Nikkita Oliver, Robin Wonsley Worlobah, da Patrisse Cullors, matan Black suna tura fasaha da siyasa. hangen nesa gaba. Ya rage namu duka-masu ƙirƙira, masu sauraro, masu fafutuka, masu suka, magoya baya—mu zaɓi rungumar wannan lokacin kuma mu gane sautunan gwagwarmaya. Kamar yadda masu fasaha na baƙar fata da masu fafutuka ke ci gaba don samun 'yanci da faɗar fasaha, dukkanmu dole ne mu zaɓi mu matsa tare da su - don ƙirƙirar motsi, ɗaukar matakai zuwa ƴancin kai, siyasa, da gama kai. Tare da waɗannan muryoyin a gefenmu kuma a gabanmu, dole ne mu dage da shi.
Michael Reagan masanin tarihi ne kuma mai fafutuka da ke zaune a Seattle, Washington. Shi ne marubucin Intersectional Class Struggle: Theory and Practice, buga AK Press da IAS. Nemo shi akan Twitter @reaganrevoltion.
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