The Changing Nature of Protest in Jazz 

Source: JazzTimes.

On May 30, the Saturday after George Floyd’s death, hundreds of (socially distancing) people from the community where the killing took place gathered in Minneapolis’ Powderhorn Park. Among them were multi-instrumentalist Douglas Ewart and vocalist/composer/culture worker Mankwe Ndosi, who played music for the crowd as a duo. “I wouldn’t call it a performance,” Ndosi says a few weeks later in Minneapolis. “I would consider it closer to what we did as a hunter-gatherer species to energize people before the hunt, before they had to rise to address a challenge. That was a time in which, because of the nature of the atrocity of Mr. Floyd being killed by those who we as citizens of Minneapolis pay to protect us, and [because] this is just another example—an extreme one—of the abuse that Black people, poor people, go through on a regular basis, and because of the reaction, the police were either gone or gone—one way or another. I can’t say why. That was the weekend that the white people realized, and leaned into the idea, that the police don’t protect you.”