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Le blues et le jazz au service de la révolution? : les positions des communistes américains blancs à l’égard de la musique noire et son utilisation à des fins d’agit-prop durant l’entre-deux-guerres (1919-1941)

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1 Francis NEWTON, Une sociologie du jazz, Flammarion Éditeur, Paris, 1966, p. 17

2 Eric ARNESEN, Black Protest and the Great Migration. A Brief History with Documents, Bedford-St. Martin’s, Boston, 2003, p. 1

(11)

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3 Eric J. HOBSBAWM, L’Âge des extrêmes. Histoire du court XXe siècle, 1914-1991, Éditions Complexe, France, 1999, p. 249

4*William J. MAXWELL, New Negro, Old Left. African-American Writing and Communism Between the Wars, Columbia University Press, New York, 1999, 255 pages

(13)

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6 Par culture populaire, il faut entendre ici une culture qui demeure ancrée dans les aspirations et les espoirs locaux, les tragédies locales et les évènements locaux, qui ne sont que des représentations des expériences et des pratiques quotidiennes de gens ordinaires. Voir aussi : « [P]opular cultur always has its base in the experiences, the pleasures, the memories, the traditions of the people. » Stuart HALL, « What is this "black" in black popular culture?

(Rethinking Race) », Social Justice, Vol. 20, No. 1-2, (Spring-Summer 1993), p. 107 7 LeRoi JONES, Le peuple du blues, Éditions Gallimard, folio, Paris, 1963, 333 pages

8 Philippe CARLES et Jean-Louis COMOLLI, Free Jazz Black Power, Éditions Gallimard, folio, Paris, 1971, 438 pages*

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9 Lorsqu’on dit « hégémonie culturelle », il ne faut pas l’entendre comme une question de domination pure, mais bien comme un changement de configurations et de dispositions du pouvoir culturel. Voir Stuart HALL, Op. cit. p. 106

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10 Philippe CARLES et Jean-Louis COMOLLI, Op. cit. p. 127 11 Ibid., p. 65 et 67*

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12 William G. ROY, Red, Whites, and Blues. Social Movements, Folk Music, and Race in the United States, Princeton University Press, New Jersey, 2010, p. 4

13 Wilson RECORD, The Negro and the Communist Party, University of North Carolina Press, Chapel Hill, 1951, 356 pages

14 Wilson RECORD, Race and Radicalism : The NAACP and the Communist Party in Conflict, Cornell University Press, Ithaca, New York, 1964, 237 pages*

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* AN* /:.(8-'7FJ&%*+%*/.*;2%&&%*=&-#+%*.2?*g(.('>!"#'K*_.')'*'(&#5(%8%"(*'2&*+%'*.&(#5/%'*&)+#;)'* 7.&*+%'*/%.+%&'*5-882"#'(%'*%(*+%'*&%7&)'%"(."('*-==#5#%/'*+:-&;."#'.(#-"'*"-#&%'S*/%'*/#$&%'* +%* o%5-&+* 7&)'%"(%"(* /%* W.&(#* 5-882"#'(%* .8)&#5.#"* 5-88%* /:.&8%* +:2"%* 5-"'7#&.(#-"* #"(%&".(#-"./%K*W-2&*o%5-&+S*/%*5-882"#'8%*.8)&#5.#"*':.$)&.#(*2"%*(%"+."5%*)(&.";J&%*.2* 8-2$%8%"(*"-#&S*'%*'%&$."(*+%*/.*/2((%*+%'*]-#&'*.8)&#5.#"'*<2:9*+%'*=#"'*%?7."'#-""#'(%'* +2* 5-882"#'8%* 9* (&.$%&'* /%* 8-"+%K* \:%'(* %"* 5%* '%"'* <2%* /:F#'(-&#%"* ,.&T* ].#'-"* 8%"(#-"".#(*+."'*'-"*/#$&%*b*90""+(%,4,)%()E'$7#")R+$%(.)4?#)R#6$#,,%0(*c)v*b*j"*o%5-&+:'* ."./a'#'S*1/.5T'*#"$-/$%+*U#(F*(F%*W.&(a*U%&%*%#(F%&*".#$%*#+%./#'('*+%5%#$%+*1a*(F%*W.&(a:'* &%(F-&#5S*-&*5a"#5./*'%&$."('*-=*e-$#%(*7-U%&S*'#"5%*(F%*8-$%8%"(*(F%a*U%&%*7.&(*-=*F.+*"-* #"+#;%"-2'*&--('K*cAO**

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15 Mark NAISON, Communists in Harlem During the Depression, University of Illinois Press, Chicago, 1983, p. xv 16 Harold CRUSE, The Crisis of the Negro Intellectual, New York Review Books, New York, 1967, 594 pages

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18 Gary E. HOLCOMB, « New Negroes, Black Communists, and the New Pluralism », American Quartely, Vol. 53, No. 2 (Jun. 2001), p. 367

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20 Gary E. HOLCOMB, Op. cit. p. 371

21 Robbie LIEBERMAN, ‘’My Song Is My Weapon’’. People’s Songs, American Communism, and the Politics of

Culture, 1930-50, University of Illinois Press, Urbana and Chicago, 1989, 201 pages

22 Michael DENNING, The Cultural Front. The Laboring of American Culture in the Twentieth Century, Verso, London – New York, 1997, 580 pages

23 Bruce M. CONFORTH, African American Folksong and American Cultural Politics. The Lawrence Gellert Story, The Scarecrow Press, Inc., Lanham, 2013, 265 pages

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25 Michael DENNING, Op. cit. p. xvii et xx 26 Ibid., p. 239*

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28 Cette réévaluation de l’utilisation du terme « protest » faite par Conforth rejoint la position novatrice de Lawrence W. Levine dans Black Culture and Black Consciousness : « To state that black song constituted a form of black protest and resistance does not mean that it necessarily led to or even called for any tangible and specific actions, but rather that it served as mechanism by which Negroes could be relatively candid in a society that rarely accorded them that previlege […] and, in the face of the sanctions of white majority, could assert their own individuality, aspirations, and sense of being. » Si Black Culture and Black Consciousness paraît en 1977, il est intéressant de souligner que cette position prise par Levine quant à l’utilisation du terme « protest » a étrangement été occultée par la plupart de ses contemporains jusqu’à aujourd’hui. Voir : Lawrence W. LEVINE, Black Culture and Black

Consciousness : Afro-American Thought from Slavery to Freedom, Oxford University Press, New York, 1977, p.

239-240

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31 Il est à noter qu’ils sont tous d’anciens collaborateurs des journaux marxistes The Masses (1911-1917) et The

Liberator (1918-1924) et qu’ils souhaitaient poursuivre leurs efforts de propagande révolutionnaire en contribuant au New Masses. Voir : Virginia HAGELSTEIN MARQUARDT, « New Masses and John Reed Club Artists,

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(30)

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