Caribbean Art at the Crossroads of the World Wojnarowicz
Roots in Africa
past Steven Lewis
Describing the African-American influence on American music in all of its glory and variety is an intimidating—if not impossible—job. African-American influences are then fundamental to American music that there would be no American music without them. People of African descent were amongst the earliest not-ethnic settlers of what would become the Us, and the rich African musical heritage that they carried with them was part of the foundation of a new American musical civilisation that mixed African traditions with those of Europe and the Americas. Their work songs, trip the light fantastic toe tunes, and religious music—and the syncopated, swung, remixed, rocked, and rapped music of their descendants—would become thelingua franca of American music, eventually influencing Americans of all racial and ethnic backgrounds. The music of African Americans is ane of the most poetic and inescapable examples of the importance of the African American experience to the cultural heritage of all Americans, regardless of race or origin.
Given its importance in American history and culture, exploring the history and impact of African American music is a cardinal part of the mission of the National Museum of African American History and Culture. Music occupies a unique place in the museum both because of its importance in its own right and the integral role that music and musicians played in all aspects of African American history, from civil rights struggles and religious ceremonies to social commentary and community building. Musical Crossroads, the permanent music exhibition at the NMAAHC, explores this history through the lens of v central themes: Roots in Africa, Hybridization, Agency and Identity, Mass Media & Entertainment, and Global Impact and Influence.
The most distinctive features of African-American musical traditions tin be traced back in some grade or other to Africa. Many of the expressive performance practices seen as synonymous with African American music, including blue notes and phone call-and-response, take their roots in techniques originally developed in western and central Africa before arriving to the U.s.a. via the Middle Passage. Over the centuries, African American musicians have fatigued on the ancestral connectedness to Africa as a source of pride and inspiration. Ane of the most evocative illustrations of this connectedness from the NMAAHC drove is a wooden drum originally used in the Sea Islands off the coast of South Carolina, probably in the 19th century. Every bit an American manifestation of an African musical tradition, the pulsate illustrates one of many ways that African culture persisted in the United states of america, even during the long night of slavery.
Hybridization
Although the African elements of African American musical culture remain strong, the music of African Americans is a hybrid of the musical traditions of Africa, Europe, and Native American cultures, forth with other influences from around the world. This process, which began in the 17th century with the inflow of the first enslaved Africans at Jamestown, continues into the present as black musicians continue to depict on various influences to create new sounds. Information technology is this hybridity that makes African American music a distinctly American phenomenon. A nineteenth century banjo in the NMAAHC'due south Slavery and Freedom exhibition is a vivid example of the fusion of African and European musical traditions that African Americans created in America.
The banjo was one of the nearly important instruments in early on African American music, and though seldom associated with African Americans in contemporary popular culture, information technology is a archetype example of the way that African Americans composite African and European musical traditions together in the United states of america. The primeval banjos were likely based on West African lutes. Over the course of centuries, banjo makers gradually adapted their instruments to arrange to European tuning systems, resulting in a truly American instrument that incorporated Western music theory even as its design recalled its African models.
Jazz is another iconic example of African American musical hybridity that occupies a central position in the Musical Crossroads gallery. In the late 19th century, African American musicians combined popular songs and marches with African American folk forms like ragtime, sacred music, and the blues to create a new form of heavily syncopated and improvisatory music. Jazz, as the music came to be called, today occupies such a central place in America'south cultural heritage that many fans and scholars call it "America's classical music." The Musical Crossroads gallery tells the stories of jazz musicians through their music and through objects such equally a accommodate jacket designed for jazz innovator and style icon Miles Davis.
Agency and Identity
Musical Crossroads uses objects to explore the ways in which African American musicians and music lovers exercised personal agency and asserted their identities fifty-fifty in the confront of daily humiliation and oppression by the American mainstream. Music played a central role in the African American civil rights struggles of the 20th century, and objects linked directly to political activism bring to light the roles that music and musicians played in movements for equality and justice. A ticket to a 1963 concert of the Pupil Non-Vehement Analogous Committee(S.Northward.C.C.) Freedom Singers for example, immediately calls to listen the important role that music played in lifting the spirits of activists during the Ceremonious Rights Movement of the 1950s and 1960s. The outfit associated with Marian Anderson'due south legendary 1939 performance at the Lincoln Memorial highlights another musical blow to entrenched racism. Later on the Daughters of the American Revolution denied her utilize of Washington, DC'southward Constitution Hall considering of her race, Anderson gave a concert at the Lincoln Memorial to an audience of 75,000 people. The skirt and re-designed jacket from that concert evoke her historic performance.
Other objects in the Musical Crossroads gallery explore the creative agency that many African American artists utilize to claiming stock-still notions of African American identity. There have always been black musicians who—in spite of overwhelming commercial pressure—insisted on remaining across category. The utterly unique singer, songwriter, and multi-instrumentalist Prince was one of those trigger-happy iconoclasts. From the start of his spectacular career, Prince struggled for commercial autonomy while defying racial, gender, and genre norms with his uncategorizable music.
Similarly, the Black Rock Coalition has spent decades debunking the stereotype of rock as "white" music by highlighting rock'due south origins in African American culture and showcasing contemporary blackness rock musicians. This drum belonged to Will Calhoun, a member of BRC-affiliated stone band Living Colour.
Mass Media & Entertainment
The appearance and evolution of the mass media and entertainment industries in the early 20th century was perhaps the unmarried most important factor in the worldwide popularity of African-American musical forms that developed later the Civil War. The objects connecting mass media technologies to African American life and culture stretch beyond nearly a century of history, encompassing a broad swath of American history and technological developments. Musical Crossroads presents items ranging from a phonograph owned by an early 20th century black family to the MIDI Product Center and Minimoog synthesizer used past trailblazing hip hop producer J Dilla.
Other objects, like the Soul Train Artist of the Decade trophy awarded to Whitney Houston [Photo Soul Railroad train Award2014.161.5] or the microphone box used on early on hip-hop TV show Video Music Box [Microphone Box 2015.188], point to television'southward importance equally a medium for African American music.
Global Bear on and Influence
In addition to their cardinal influence on American culture, the stories almost African American music being told in Musical Crossroads had a seismic impact on world musical civilization. Because of mass media technologies and the broad influence of American culture on music around the world, African Americans' musical innovations have influenced artists in nearly every corner of the world, and there are enthusiastic international audiences for black musicians. Promotional materials from international tours by African American artists including Lena Horne and the Blackness Rock Coalition demonstrate the impact that practitioners of African American music have had on global popular culture.
Whatever story of the global bear upon and influence of African American music besides needs to include explorations of the Afro-diasporic connections that continue to enrich the music of the Americas and the globe. African American musicians throughout history have fatigued inspiration from African-derived music in the Caribbean and Latin America, also as the African continent itself.
Trumpeter John Birks "Dizzy" Gillespie's embrace of Afro-Cuban music, for example, was a crucial moment in the development of Latin jazz, and he maintained close ties with Latin American musicians and audiences throughout his long career. Countless black musicians from elsewhere in the diaspora have made their mark on American music history. Built-in in the Virgin Islands in 1889, composer and bandleader Alton Adams became the kickoff blackness bandmaster in the United states Navy in 1917.
Even more influential was Cuban-American salsa legend Celia Cruz, whose clothes is featured in the Musical Crossroads gallery.
The Musical Crossroads gallery uses the NMAAHC's incredible assortment of artifacts to explore and celebrate the rich African American musical legacy. Featured objects ranging over centuries of creativity, struggle, and triumph tell the stories of African American artists and communities whose songs rang out despite America's long history with systemic racism. Despite these circumstances, these musicians—famous, obscure, and unknown—continue to exist the wellspring of America'due south musical heritage.
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Source: https://music.si.edu/story/musical-crossroads
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