Abstract
ABSTRACT Filipino musicians were critical for the spread of jazz throughout Asia yet their place in histories of the music remains peripheral. I argue that the emergence of the Filipino jazz musician was based on contradictions central to a new imperial jazz economy: the possibilities of jazz as a form of labor in colonial Asia have to be paired with the devastating impact of U.S. imperial policies. Furthermore, the Filipino semimonopoly on musical labor in Asia that brought many Filipinos a sense of political pride was made possible by racialized hierarchies of work that served to undermine claims for Philippine independence.
Full Text 
Sign-in/Register to access full text options
Sign-in/Register to access full text options 
Published version (
Free)
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callSimilar Papers
Paper Title
Journal
Date
