Born in the late 19th century, jazz gained mainstream popularity during a volatile period of racial segregation and gender inequality. It was in these adverse conditions that jazz performers discovered the power of dress as a visual tool used to defy mainstream societal constructs, shaping a new fashion and style aesthetic as a subversive representation.

Drawing on fashion studies and cultural theory, it is possible to do an in-depth analysis of the social and political entanglements of jazz and dress, exploring key themes such as race, class and gender.

Dressing the mind is indeed powerful. In this post I’m going to focus in displaying some of the hats Spiritual Jazz choosed to dress its ideological journey, most of them variations of Funktopia’s kufi hats that you can find here.



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by Cristina Morales

Cristina Morales is a London-based Spanish born Cultural Activist. With a BA in Social and Cultural Anthropology from the University of Barcelona and a MA in Cultural Production from the Open University of Catalonia, she has become an artist, writer and cultural producer / curator linking art with politics. Keen on bridging art and society, she works for freelance projects and organisations using arts & culture as a tool to address topics such as identity, civil rights and community development. Examples of such projects and organisations include HostelArt, Ribermusica and Interarts in Barcelona or Black Cultural Archives, Peckham Platform, Mahogany Carnival Arts and Haringey Arts in London to mention a few. In addition to being the founding artist of the political fashion brand Totem Taboo, she also writes punctually for specialist media such as Voces, Wiriko and Radio Africa on contemporary African arts & culture, counter-culture and human development through art. www.moralescristina.com