Daniel Fischlin is University Research Chair and Professor in the School of English and Theatre Studies at the University of Guelph and coauthor of The Fierce Urgency of Now: Improvisation, Rights, and the Ethics of Co-creation, also published by Duke University Press.Eric Porter is Professor of History and History of Consciousness at the University of California, Santa Cruz, and coauthor of New Orleans Suite: Music and Culture in Transition.

• Acknowledgments  ixPlaying for Keeps: An Introduction / Daniel Fischlin and Eric Porter  11. manifesto / Matana Roberts  252. The Exhibition of Vandalizim: Improvising Healing, Politics, and Film in South Africa / Stephanie Vos  293. The Rigors of Afro/Canarian Jazz: Sounding Peripheral Vision with Severed Tongues / Mark Lomanno  554. "Opening Up a Space That Maybe Wouldn't Exist Otherwise" / Holding It Down in the Aftermath / Vijay Iyer in conversation with Daniel Fischlin and Eric Porter  815. Experimental and Improvised Norths: The Sonic Geographies of Tanya Tagaq's Collaborations with Derek Charke and the Kronos Quartet / Kate Galloway  946. Nina Simone: CIVIL JAZZ! / Randy DuBurke  1217. Free Improvised Music in Postwar Beirut: Differential Sounds, Intersectarian Collaborations, and Critical Collective Memory / Rana El Kadi  1298. Street Concerts and Sexual Harassment in Post-Mubarak Egypt: Tarab as Affective Politics / Darci Sprengel  1609. Improvisation, Grounded Humanity, and Witnessing in Palestine: An Interview with Al-Mada's Odeh Turjman and Reem Abdul Hadi / Daniel Fischlin  19110. Silsulim (Improvised "Curls") in the Vocal Performance of Israeli Popular Music: Identity, Power, and Politics / Moshe Morad  25011. Three Moments in Kī Hō`alu (Hawaiian Slack Key Guitar): Improvising as a Kanaka Maoli (Native Hawaiian) Adaptive Strategy / Kevin Fellezs  27512. From Prepeace to Postconflict: The Ethics of (Non) Listening and Cocreation in a Divided Society / Sara Ramshaw and Paul Stapleton  300Contributors  325Index  331

“Casting an eye on the world of improvisation, Playing for Keeps is a major corrective to the latent ethnocentrism of improvisation studies and shifts the field's focus in a revolutionary way. The volume challenges readers to think more carefully and critically about the status of improvisation in various traditional cultural contexts and the intersection of those contexts found in contemporary society. A smart, decisive statement on globalism and improvisation.” - John Corbett, author of (Vinyl Freak: Love Letters to a Dying Medium) "This is a rewarding project that is already extended by a special edition of the Journal Critical Studies In Improvisation and is to be further extended in a companion book now in progress." - Phil England (The Wire) "A major academic achievement, Playing for Keeps: Improvisation In The Aftermath is an enlightening examination of different manifestations of improvisation, their transforming possibilities, and of the ethics of listening." - Ian Patterson (All About Jazz) "I was deeply touched by the description of your experience of our visit to Ramallah and the camps together. I would sincerely hope that your book will be read by more than the academics and intelligentsia, it’s very important." - John McLaughlin "Playing for Keeps collects critical, thoughtfully selected on how musical improvisation can respond to and through trauma. . . . Case studies in this collection illustrate global improvisatory practices, framing them as solutions to encounters with difference that have failed in the past. These solutions seem especially timely for a world reckoning with dual crises: racism and disease. Each case study testifies to improvisation’s power to maintain and restore dignity through dialogic exchanges of creative response to horrific injustices, exchanges that facilitate co-creation of new community identities with an eye toward nurturing rather than perpetuating destruction. . . . Highly recommended. Upper-division undergraduates through faculty and professionals." - S. Schmalenberger (Choice) “With beautifully written individual chapters on different musical events and communities, and each writer’s interpretation of improvisation in their research topic, [Playing for Keeps] is significant as a collection of essays, and builds upon the growing field of interdisciplinary critical research on improvisation.” - Rebecca Zola (Jazz Perspectives) “[Playing for a Keeps] is a beacon of hope in times of crisis and will continue to be a reference point as the aftermaths of current crises persist in the years to come. The authors all outline ways in which improvisatory musics-and, more fundamentally, improvisation itself-can help those who suffer through and navigate crises and, afterward, salve the psychological wounds of the survivors.” - Mike Ford (Current Musicology)

Daniel Fischlin is University Research Chair and Professor in the School of English and Theatre Studies at the University of Guelph and coauthor of The Fierce Urgency of Now: Improvisation, Rights, and the Ethics of Co-creation, also published by Duke University Press.Eric Porter is Professor of History and History of Consciousness at the University of California, Santa Cruz, and coauthor of New Orleans Suite: Music and Culture in Transition.

• Acknowledgments  ixPlaying for Keeps: An Introduction / Daniel Fischlin and Eric Porter  11. manifesto / Matana Roberts  252. The Exhibition of Vandalizim: Improvising Healing, Politics, and Film in South Africa / Stephanie Vos  293. The Rigors of Afro/Canarian Jazz: Sounding Peripheral Vision with Severed Tongues / Mark Lomanno  554. "Opening Up a Space That Maybe Wouldn't Exist Otherwise" / Holding It Down in the Aftermath / Vijay Iyer in conversation with Daniel Fischlin and Eric Porter  815. Experimental and Improvised Norths: The Sonic Geographies of Tanya Tagaq's Collaborations with Derek Charke and the Kronos Quartet / Kate Galloway  946. Nina Simone: CIVIL JAZZ! / Randy DuBurke  1217. Free Improvised Music in Postwar Beirut: Differential Sounds, Intersectarian Collaborations, and Critical Collective Memory / Rana El Kadi  1298. Street Concerts and Sexual Harassment in Post-Mubarak Egypt: Tarab as Affective Politics / Darci Sprengel  1609. Improvisation, Grounded Humanity, and Witnessing in Palestine: An Interview with Al-Mada's Odeh Turjman and Reem Abdul Hadi / Daniel Fischlin  19110. Silsulim (Improvised "Curls") in the Vocal Performance of Israeli Popular Music: Identity, Power, and Politics / Moshe Morad  25011. Three Moments in Kī Hō`alu (Hawaiian Slack Key Guitar): Improvising as a Kanaka Maoli (Native Hawaiian) Adaptive Strategy / Kevin Fellezs  27512. From Prepeace to Postconflict: The Ethics of (Non) Listening and Cocreation in a Divided Society / Sara Ramshaw and Paul Stapleton  300Contributors  325Index  331

“Casting an eye on the world of improvisation, Playing for Keeps is a major corrective to the latent ethnocentrism of improvisation studies and shifts the field's focus in a revolutionary way. The volume challenges readers to think more carefully and critically about the status of improvisation in various traditional cultural contexts and the intersection of those contexts found in contemporary society. A smart, decisive statement on globalism and improvisation.” - John Corbett, author of (Vinyl Freak: Love Letters to a Dying Medium) "This is a rewarding project that is already extended by a special edition of the Journal Critical Studies In Improvisation and is to be further extended in a companion book now in progress." - Phil England (The Wire) "A major academic achievement, Playing for Keeps: Improvisation In The Aftermath is an enlightening examination of different manifestations of improvisation, their transforming possibilities, and of the ethics of listening." - Ian Patterson (All About Jazz) "I was deeply touched by the description of your experience of our visit to Ramallah and the camps together. I would sincerely hope that your book will be read by more than the academics and intelligentsia, it’s very important." - John McLaughlin "Playing for Keeps collects critical, thoughtfully selected on how musical improvisation can respond to and through trauma. . . . Case studies in this collection illustrate global improvisatory practices, framing them as solutions to encounters with difference that have failed in the past. These solutions seem especially timely for a world reckoning with dual crises: racism and disease. Each case study testifies to improvisation’s power to maintain and restore dignity through dialogic exchanges of creative response to horrific injustices, exchanges that facilitate co-creation of new community identities with an eye toward nurturing rather than perpetuating destruction. . . . Highly recommended. Upper-division undergraduates through faculty and professionals." - S. Schmalenberger (Choice) “With beautifully written individual chapters on different musical events and communities, and each writer’s interpretation of improvisation in their research topic, [Playing for Keeps] is significant as a collection of essays, and builds upon the growing field of interdisciplinary critical research on improvisation.” - Rebecca Zola (Jazz Perspectives) “[Playing for a Keeps] is a beacon of hope in times of crisis and will continue to be a reference point as the aftermaths of current crises persist in the years to come. The authors all outline ways in which improvisatory musics-and, more fundamentally, improvisation itself-can help those who suffer through and navigate crises and, afterward, salve the psychological wounds of the survivors.” - Mike Ford (Current Musicology)

Daniel Fischlin is University Research Chair and Professor in the School of English and Theatre Studies at the University of Guelph and coauthor of The Fierce Urgency of Now: Improvisation, Rights, and the Ethics of Co-creation, also published by Duke University Press.Eric Porter is Professor of History and History of Consciousness at the University of California, Santa Cruz, and coauthor of New Orleans Suite: Music and Culture in Transition.

• Acknowledgments  ixPlaying for Keeps: An Introduction / Daniel Fischlin and Eric Porter  11. manifesto / Matana Roberts  252. The Exhibition of Vandalizim: Improvising Healing, Politics, and Film in South Africa / Stephanie Vos  293. The Rigors of Afro/Canarian Jazz: Sounding Peripheral Vision with Severed Tongues / Mark Lomanno  554. "Opening Up a Space That Maybe Wouldn't Exist Otherwise" / Holding It Down in the Aftermath / Vijay Iyer in conversation with Daniel Fischlin and Eric Porter  815. Experimental and Improvised Norths: The Sonic Geographies of Tanya Tagaq's Collaborations with Derek Charke and the Kronos Quartet / Kate Galloway  946. Nina Simone: CIVIL JAZZ! / Randy DuBurke  1217. Free Improvised Music in Postwar Beirut: Differential Sounds, Intersectarian Collaborations, and Critical Collective Memory / Rana El Kadi  1298. Street Concerts and Sexual Harassment in Post-Mubarak Egypt: Tarab as Affective Politics / Darci Sprengel  1609. Improvisation, Grounded Humanity, and Witnessing in Palestine: An Interview with Al-Mada's Odeh Turjman and Reem Abdul Hadi / Daniel Fischlin  19110. Silsulim (Improvised "Curls") in the Vocal Performance of Israeli Popular Music: Identity, Power, and Politics / Moshe Morad  25011. Three Moments in Kī Hō`alu (Hawaiian Slack Key Guitar): Improvising as a Kanaka Maoli (Native Hawaiian) Adaptive Strategy / Kevin Fellezs  27512. From Prepeace to Postconflict: The Ethics of (Non) Listening and Cocreation in a Divided Society / Sara Ramshaw and Paul Stapleton  300Contributors  325Index  331

“Casting an eye on the world of improvisation, Playing for Keeps is a major corrective to the latent ethnocentrism of improvisation studies and shifts the field's focus in a revolutionary way. The volume challenges readers to think more carefully and critically about the status of improvisation in various traditional cultural contexts and the intersection of those contexts found in contemporary society. A smart, decisive statement on globalism and improvisation.” - John Corbett, author of (Vinyl Freak: Love Letters to a Dying Medium) "This is a rewarding project that is already extended by a special edition of the Journal Critical Studies In Improvisation and is to be further extended in a companion book now in progress." - Phil England (The Wire) "A major academic achievement, Playing for Keeps: Improvisation In The Aftermath is an enlightening examination of different manifestations of improvisation, their transforming possibilities, and of the ethics of listening." - Ian Patterson (All About Jazz) "I was deeply touched by the description of your experience of our visit to Ramallah and the camps together. I would sincerely hope that your book will be read by more than the academics and intelligentsia, it’s very important." - John McLaughlin "Playing for Keeps collects critical, thoughtfully selected on how musical improvisation can respond to and through trauma. . . . Case studies in this collection illustrate global improvisatory practices, framing them as solutions to encounters with difference that have failed in the past. These solutions seem especially timely for a world reckoning with dual crises: racism and disease. Each case study testifies to improvisation’s power to maintain and restore dignity through dialogic exchanges of creative response to horrific injustices, exchanges that facilitate co-creation of new community identities with an eye toward nurturing rather than perpetuating destruction. . . . Highly recommended. Upper-division undergraduates through faculty and professionals." - S. Schmalenberger (Choice) “With beautifully written individual chapters on different musical events and communities, and each writer’s interpretation of improvisation in their research topic, [Playing for Keeps] is significant as a collection of essays, and builds upon the growing field of interdisciplinary critical research on improvisation.” - Rebecca Zola (Jazz Perspectives) “[Playing for a Keeps] is a beacon of hope in times of crisis and will continue to be a reference point as the aftermaths of current crises persist in the years to come. The authors all outline ways in which improvisatory musics-and, more fundamentally, improvisation itself-can help those who suffer through and navigate crises and, afterward, salve the psychological wounds of the survivors.” - Mike Ford (Current Musicology)