Black Aesthetic/s as divine lover of No End In Sight

the progenitors of world altering resiliency

Auteurs-es

  • esperanza spalding Music, Harvard University, USA

DOI :

https://doi.org/10.15845/voices.v21i1.3271

Résumé

This artistic response centers Black aesthetical alchemy as a source of radical healing and liberation. Recognizing the brutal strain of a white supremacist caste system, the author situates resilience as a r/evolutionary spiritual trait and innate cultural praxis. Black life and wholeness is explored through intimate acts of place-making, reclamation, and creation.

Biographie de l'auteur-e

esperanza spalding, Music, Harvard University, USA

Esperanza Spalding aims to ignite and portray various hues of vital human energies through composition, singing, bass playing and live performance, with the intention of offering these sound-energies as an aide for connecting with latent portals of unity consciousness and health. She has aptly named her musical style “what it is”. A lover of all music, especially improvisation-based musics emerging from black American culture, and a fledgling devotee of/to their unique liberatory powers, Esperanza’s musical aesthetic is prismatic. She is currently exploring music as healing technology, and how principles of receptive formlessness and fecundity may be expressed and embodied through sound/ song based performance. Ample archives of accolades and commentary relating to Esperanza’s previous works may be found through an internet search.  

Photo of author esperanza spalding

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Publié-e

2021-04-20

Comment citer

spalding, esperanza. (2021). Black Aesthetic/s as divine lover of No End In Sight: the progenitors of world altering resiliency. Voices: A World Forum for Music Therapy, 21(1). https://doi.org/10.15845/voices.v21i1.3271

Numéro

Vol. 21 No. 1 (2021): Special Multidisciplinary Issue on Black Aesthetics & the Arts Therapies

Rubrique

Artistic Response: Creative Writing

Licence

© esperanza spalding 2021

Licence Creative Commons

Cette œuvre est sous licence Creative Commons Attribution 4.0 International.

Articles published prior to 2019 are subject to the following license, see: https://voices.no/index.php/voices/copyright