The Games Black Girls Play: Learning the Ropes from Double-dutch to Hip-hop

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NYU Press, 2006 - Music - 221 pages
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2007 Alan Merriam Prize presented by the Society for Ethnomusicology

2007 PEN/Beyond Margins Book Award Finalist

When we think of African American popular music, our first thought is probably not of double-dutch: girls bouncing between two twirling ropes, keeping time to the tick-tat under their toes. But this book argues that the games black girls play —handclapping songs, cheers, and double-dutch jump rope—both reflect and inspire the principles of black popular musicmaking.

The Games Black Girls Play illustrates how black musical styles are incorporated into the earliest games African American girls learn—how, in effect, these games contain the DNA of black music. Drawing on interviews, recordings of handclapping games and cheers, and her own observation and memories of gameplaying, Kyra D. Gaunt argues that black girls' games are connected to long traditions of African and African American musicmaking, and that they teach vital musical and social lessons that are carried into adulthood. In this celebration of playground poetry and childhood choreography, she uncovers the surprisingly rich contributions of girls’ play to black popular culture.

  

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Contents

Games as Lessons in Black Musical Style
19
Learning the Ropes of a Musical Blackness
37
The Earliest Formation of a Popular Music
56
Music between the Sexes
89
5 Whos Got Next Game? Women HipHop and the Power of Language
111
Reclaiming Girls Music in the Sport of DoubleDutch
133
Dancing with the Double Dutch Divas
158
Conclusion
181
Musical Transcriptions of GameSongs Studied
188
Bibliography
197
Index
211
About the Author
221
Copyright

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Page 13 - The major things black art has to have are these: it must have the ability to use found objects, the appearance of using found things, and it must look effortless. It must look cool and easy. If it makes you sweat, you haven't done the work. You shouldn't be able to see the seams and stitches.

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About the author (2006)

Kyra D. Gaunt is associate professor of ethnomusicology at Baruch College-CUNY. She lectures nationally and internationally on African Americans and Africans in the U.S. She is also a jazz vocalist, songwriter and recording artist.

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