Music Research Series

In this talk we consider a range of emotions as expressed in women’s music-making in Afghanistan. These include romantic and familial love, sadness and separation, celebration, anger and protest, and humour. I draw particularly on my own ethnographic work with girls and women in the Persian language traditions of Herat (western Afghanistan). I also refer extensively to work by other scholars, including recent material collected separately by two young Afghan women in north-eastern Afghanistan. My main focus is on domestic and ritual music-making, linking songs and dances to the life experiences and expectations of girls and women.

How did French musicians and critics interpret jazz—that quintessentially American music—in the mid-twentieth century? How far did players reshape what they learned from records and visitors into more local jazz forms, and how did the music figure in those angry debates that so often suffused French cultural and political life? After Django begins with the famous interwar triumphs of Josephine Baker and Django Reinhardt, but, for the first time, the focus here falls on the French jazz practices of the postwar era. The work of important but neglected French musicians such as André Hodeir and Barney Wilen is examined in depth, as are native responses to Americans such as Miles Davis and Thelonious Monk. The book provides an original intertwining of musical and historical narrative, supported by extensive archival work; in clear and compelling prose, Perchard describes the problematic efforts towards aesthetic assimilation and transformation made by those concerned with jazz in fact and in idea, listening to the music as it sounded in discourses around local identity, art, 1968 radicalism, social democracy, and post colonial politics.