Taylor & Francis Ltd Paperback English
Black Women's Liberation Movement Music
Soul Sisters, Black Feminist Funksters, and Afro-Disco Divas
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Black Womens Liberation Movement Music argues that the Black Womens Liberation Movement of the mid-to-late 1960s and 1970s was a unique combination of Black political feminism, Black literary feminism, and Black musical feminism, among other forms of Black feminism. This book critically explores the ways the soundtracks of the Black Womens Liberation Movement often overlapped with those of other 1960s and 1970s social, political, and cultural movements, such as the Black Power Movement, Womens Liberation Movement, and Sexual Revolution. The soul, funk, and disco music of the Black Womens Liberation Movement era is simultaneously interpreted as universalist, feminist (in a general sense), and Black female-focused. This musics incredible ability to be interpreted in so many different ways speaks to the importance and power of Black womens music and the fact that it has multiple meanings for a multitude of people. Within the worlds of both Black Popular Movement Studies and Black Popular Music Studies there has been a long-standing tendency to almost exclusively associate Black womens music of the mid-to-late 1960s and 1970s with the Black male-dominated Black Power Movement or the White female-dominated Womens Liberation Movement. However, this book reveals that much of the soul, funk, and disco performed by Black women was most often the very popular music of a very unpopular and unsung movement: The Black Womens Liberation Movement. Black Womens Liberation Movement Music is an invaluable resource for students, teachers, and researchers of Popular Music Studies, American Studies, African American Studies, Critical Race Studies, Gender Studies, and Sexuality Studies.
Black Womens Liberation Movement Music argues that the Black Womens Liberation Movement of the mid-to-late 1960s and 1970s was a unique combination of Black political feminism, Black literary feminism, and Black musical feminism, among other forms of Black feminism.
This book critically explores the ways the soundtracks of the Black Womens Liberation Movement often overlapped with those of other 1960s and 1970s social, political, and cultural movements, such as the Black Power Movement, Womens Liberation Movement, and Sexual Revolution. The soul, funk, and disco music of the Black Womens Liberation Movement era is simultaneously interpreted as universalist, feminist (in a general sense), and Black female-focused. This musics incredible ability to be interpreted in so many different ways speaks to the importance and power of Black womens music and the fact that it has multiple meanings for a multitude of people. Within the worlds of both Black Popular Movement Studies and Black Popular Music Studies there has been a long-standing tendency to almost exclusively associate Black womens music of the mid-to-late 1960s and 1970s with the Black male-dominated Black Power Movement or the White female-dominated Womens Liberation Movement. However, this book reveals that much of the soul, funk, and disco performed by Black women was most often the very popular music of a very unpopular and unsung movement: The Black Womens Liberation Movement.
Black Womens Liberation Movement Music is an invaluable resource for students, teachers, and researchers of Popular Music Studies, American Studies, African American Studies, Critical Race Studies, Gender Studies, and Sexuality Studies.