Jazz in Socialist Hà Noi: Improvisations between Worlds examines the germination and growth of jazz under communist rule-perceived as the "music of the enemy" and "ideologically decadent"-in the Vietnamese capital of Hà Noi. After disappearing from the scene in 1954 following the end of the First Indochina War, jazz reemerged in the public sphere decades later at the end of the Cold War. Since then, Hà Noi has established itself as a vital and vibrant jazz center, complete with a full jazz program in the national conservatoire. Featuring interviews with principal players involved in cultivating the scene from past to present, this book presents the sociocultural encounters between musicians and the larger powers enmeshed in the broader political economy, detailing jazz's journey to garner respect comparable to classical music as an art form possessing high artistic value. Ethnographical sketches explore how Vietnamese musicians learn and play jazz while sustaining and nurturing the scene, providing insight as to how jazz managed to grow in such an environment. Jazz in Socialist Hà Noi sheds light on those underlying caveats that allow Vietnamese jazz musicians to navigate the middle grounds between "worlds"-between music and politics-not as an act of resistance, but as realisation of artistic expression.
Jazz in Socialist Hà N¿i: Improvisations between Worlds examines the germination and growth of jazz under communist rule-perceived as the "music of the enemy" and "ideologically decadent"-in the Vietnamese capital of Hà N¿i. After disappearing from the scene in 1954 following the end of the First Indochina War, jazz reemerged in the public sphere decades later at the end of the Cold War. Since then, Hà N¿i has established itself as a vital and vibrant jazz center, complete with a full jazz program in the national conservatoire. Featuring interviews with principal players involved in cultivating the scene from past to present, this book presents the sociocultural encounters between musicians and the larger powers enmeshed in the broader political economy, detailing jazz's journey to garner respect comparable to classical music as an art form possessing high artistic value. Ethnographical sketches explore how Vietnamese musicians learn and play jazz while sustaining and nurturing the scene, providing insight as to how jazz managed to grow in such an environment. Jazz in Socialist Hà N¿i sheds light on those underlying caveats that allow Vietnamese jazz musicians to navigate the middle grounds between "worlds"-between music and politics-not as an act of resistance, but as realisation of artistic expression.
