In the early 1990s; a major exhibition Chicano Art: Resistance and Affirmation; 1965-1985 toured major museums around the United States. As a first attempt to define and represent Chicano/a art for a national audience; the exhibit attracted both praise and controversy; while raising fundamental questions about the nature of multiculturalism in the U.S.This book presents the first interdisciplinary cultural study of the CARA exhibit. Alicia Gaspar de Alba looks at the exhibit as a cultural text in which the Chicano/a community affirmed itself not as a "subculture" within the U.S. but as an "alter-Native" culture in opposition to the exclusionary and homogenizing practices of mainstream institutions. She also shows how the exhibit reflected the cultural and sexual politics of the Chicano Movement and how it serves as a model of Chicano/a popular culture more generally.Drawing insights from cultural studies; feminist theory; anthropology; and semiotics; this book constitutes a wide-ranging analysis of Chicano/a art; popular culture; and mainstream cultural politics. It will appeal to a diverse audience in all of these fields.
#2794959 in eBooks 2013-06-26 2013-06-26File Name: B00DP3JOS8
Review
0 of 0 people found the following review helpful. Certainly a useful and informative biography of a major figureBy RonaldCertainly a useful and informative biography of a major figure; but its theory in the introduction promises a lot more than the actual book delivers. It is largely a chronological rendering of Cages experiences and achievements. Seems to be well researched.2 of 2 people found the following review helpful. AN EXCELLENT BIOGRAPHY OF CAGE AND HIS MUSICAL CONTRIBUTIONSBy Steven H ProppDavid Revill is "a writer; teacher; composer; and percussion player based in Hampshire; England... his reviews have appeared in the London Times; Times Literary Supplement; and Manchester Guardian."He quotes Cage; "I didnt study music with just anybody; I studied with Schoenberg... Ive always gone; insofar as I could; to the president of the company." When Cage told Schoenberg that he had no money; "Schoenberg asked him if he would devote his life to music. Cage... said yes. It is a promise which has never been far from his mind since. In that case; Schoenberg concluded; I will teach you free of charge." (Pg. 47) When Schoenberg told Cage that "Without a feeling for harmony; he warned; Cage would always be thwarted in his efforts to write music... Cage responded; In that case I will devote my life to beating my head against that wall." (Pg. 53)Cage developed the Prepared Piano because there was no room for a percussion ensemble in the available space for a dance work he was accompanying---only room for a conventional piano. "I decided that what was wrong was the piano; not my efforts; Cage recorded... With the performance deadline looming; Cage tried placing objects in the piano... After experimentation; he wrote the Bacchanale for a piano treated with a small bolt; a screw with nuts; and some fibrous weather-stripping." (Pg. 69-70)His breakup with his wife Xenia "was not only the loss of one relationship; an important one; but of a sexual orientation and an identity. The catalyst can be seen; with hindsight; as Merce Cunningham; he and Cage would become partners in the personal as well as artistic sense... Cages life-decisions; work and thought need to be placed within that context." (Pg. 84)After being told by an East Indian musician that the function of music was "to sober and quiet the mind; thus making it suceptible to divine influences;" Cage said; "I was tremendously struck by this. I decided then and there that this WAS the proper purpose of music." (Pg. 90) He later attended the lectures on Zen by D.T. Suzuki ("The only musician generally present was John Cage"; pg. 108).Cage noted; "not paying any attention to not having any money led me to continue my work as I saw fit... When years later a young composer explained he wanted to make a living; Cage replied; You have to decide whether you want to make a living or whether you want to make music." (Pg. 142) Observing that Cage began calling himself an Anarchist in 1966; Revill says; "From then on it was a point which he would often make; and which set the tone of his increasingly frequent pronouncements on political and social matters." (Pg. 240)This book is a fantastically insightful book into the man; and his very creative music.8 of 10 people found the following review helpful. John Cage : "Perhaps You Would Understand It If You Did It"By apromisemadeThe Roaring Silence by David Revill includes all of this information and much; much more. This biography gives a very personal account of the life of John Cage; and Revill makes it clear to the reader all too often that he knew Cage personally. It seemed as if this personal relationship interfered with the account of Cages life and made it confusing. This confusion was caused by explanation and not enough placement of where the author was in Cages life (even though the chapters are labeled by a span of a few years each). This makes it difficult to figure exactly when Cage did some things and makes the reader guess all too often. Perhaps this non-straight forwardness should be applauded in getting into tremendous detail about some things that another author might skim over; but I only found it discouraging. Name-dropping and over-quoting were another consequence of this personal approach; which I also felt was inappropriate. Adding to this narrative confusion; Cages life is extraordinarily complex in and of itself. To try to explain what Cage attempted in his work; along with giving concise descriptions of it would be quite a feat. Though it was nice that The Roaring Silence encapsulated all of his work; be it painting; music; or prose; it may have benefited both the author and the audience if it was clearer about what was what. In the very same chapter that discussed an integral and complex piece of music; Revill would quickly run-down what his art looked like at the time; then return to talking about the music composition. This also sparked some confusion. In terms of biographical information; The Roaring Silence seems extremely thorough. Aside from the abundance of contextual information regarding his works in the text; there is an extensive Chronology of Works among the last pages of the book. A Bibliography and Source Notes accompany the text with many other sources of information about Cage. A full sixteen pages wedged between chapters contains some black-and-white photos of his life along with some images of his artwork and compositions on staff paper. However; there is nearly no background information given about his family; or even the young Cages life. The beginning of the book skims over Cages life through high school in about the time that Revill would later focus on only two years of the older Cage. I contend that because Revill did not know Cage at a young age; he did not bother to research these years and thusly skimmed over it so that he could emphasize the point that he knew John before anything significant happened. Though this is yet another foreseeable weak point of the book; it does not mean that the book is all that bad. The ways in which this book are effective can be clearly overtaken by the plethora of confusion in The Roaring Silence. However; this should not be taken to mean that Revills work should be taken for granted. In the biography; he effectively compiles as much information about John Cages composing life that anyone could dig up. Throughout the progress of the book; he consistently refers to actual letters Cage sent or received along with transcripts of speeches or dialogues Cage was actively involved in. There is a highly objective sense in the book though it is clear that Revill has some personal biases based on his knowing Cage. Revill never comments on any of Cages pieces or editorializes on why this piece of art is more profound than that one. Personally; for such a confusing composer such as Cage; I treasure the omission of unnecessary opinion when already having difficulty sorting out what it is that Cage actually accomplished in his life. However; I can also see why some may want the author to comment more than he does in trying to understand some peoples active opinions of Cage during his life. In reviews of the biography found elsewhere; the most positive comment I could find was that The Roaring Silence is; at best; a "fine" companion to Cages autobiographical work Silence. Though I have not read Cages autobiography; I believe that I am more strongly encouraged to go and read a copy. Perhaps having read the biography first; I might have gotten a fuller picture of his life. Perhaps this would only create more confusion. With all of the quotes straight from Cages mouth or from Silence encapsulated in this work; I am inclined to imagine that the holes that remain here are also found in the autobiography. Cages influence is apparent throughout the pages of the book. Revill draws connections with other composers directly affected by Cages work. In Cages constant defense; Revill also continually argues that he is possibly the most important composer of our time. He spares no time at all in delving into the heart and mind of Cage; brushing off any of the negative criticism he received continually throughout his life. The way in which Revill constructs the biography extends Cages influence into the realms of poetry; video art; printmaking; painting and dance. Revills The Roaring Silence is the first of its type; a complete biography (non-autobiographical) of John Cage. It is clear that throughout the early writing process; Revill worked closely with Cage in constructing the most authentic biography possible. In doing so; it captures much more that just a synopsis of Cages external life. In many chapters; he discusses philosophical and aesthetic ideals that Cage held dear. In doing so; he relates periods of Cages work to his state of mind of the time. Just as confusing as some of Cages pieces were; so were his beliefs. Ever changing; non-committal and fervent were his ideas; sometimes all at once. The skepticism; however; that was typical of Cages personality was evident throughout his life in both his music and his beliefs. As a media scholar myself; I find of particular interest the close intellectual bond that he shared with the ideas of Marshall McLuhan. These were both people who were out to prove the world wrong and to change it and challenge it in ways never before thought possible. The idea of the world as a global village fascinated Cage greatly; and he constantly went back to McLuhans ideas for inspiration that are evident in his own poetry; paintings and other composition. It has been said that Cage was not of this world; he was merely living in it and I strongly believe that this is a just description of the man. Cages innovations also do not go unnoticed in this book. His prepared piano is still commonly referred to and used by many musicians today. In his time; this avant-garde instrument was looked down upon and today is commonplace among many post-modern composers. Cage also pioneered the idea of indeterminate notation in which instructions on staff paper are very loosely based and much is left largely to the performer. This focus on the performer is something that many composers tended to ignore before Cage. Now; there is a clear interest in many classical performers and the composers who write for them. Finally; Cages use of aleatoric music and chance methods of composition such as the I Ching were extremely huge innovations for his time. Again; today; there remains a large influenced group of post-modern composers who utilize aleatoric music in nearly every composition. These sorts of influences are used by Revill in determining and emphasizing Cages importance in the realm of classical music. In doing so; he focuses on more than just Cages quirkiness and bizarreness and cuts through to a key element of his compositional life. As stated previously; this book also spans many years and many phases of Cages life. Not only does Revill illuminate the composer that Cage was; he also delves into the more brushed-over aspects of his life: the performer; the printmaker; the watercolorist; the expert amateur mycologist; the game show celebrity; the political anarchist; and the social activist. His influence in all of these areas is noted doubly by Revill. I am told today by my fashion-designer girlfriend that even the 2007 color for winter is named J. Cage. The cult phenomenon known as John Cage clearly found his way into nearly everyones life he touched in some way. It is clear that Cages influence; not only as a composer; is evident in The Roaring Silence. This; I believe; is the strongest element of Revills work. The personal flares that he adds in sometimes enhance the reading experience; and sometimes distract from the overall cohesiveness of the work. I can honestly say that I wish that I had read Cages own Silence before reading this. As a companion to Silence; I am sure that this biography only enhances the readers understanding. However; not all is wrong with The Roaring Silence. An overall fascinating read cover to cover; it was a joy to experience the mystery that was John Cage.