Spirituals performed by jubilee troupes became a sensation in post-Civil War America. First brought to the stage by choral ensembles like the Fisk Jubilee Singers, spirituals anchored a wide range of late nineteenth-century entertainments, including minstrelsy, variety, and plays by both black and white companies. In the first book-length treatment of postbellum spirituals in theatrical entertainments, Sandra Jean Graham mines a trove of resources to chart the spiritual's journey from the private lives of slaves to the concert stage. Graham navigates the conflicting agendas of those who, in adapting spirituals for their own ends, sold conceptions of racial identity to their patrons. In so doing they lay the foundation for a black entertainment industry whose artistic, financial, and cultural practices extended into the twentieth century. A companion website contains jubilee troupe personnel, recordings, and profiles of 85 jubilee groups. Please go to: http://www.press.uillinois.edu/books/graham/spirituals/
One of the songs that Williams and Walker had written together, and were presumably using at Koster and Bial's, was a rather ordinary southern lullaby called “Mammy's Pickaninny Boy.” Whether the team meant it as a parody, ...
He tells the captivating story of how slaves and the children of slaves used this music to affirm their essential humanity in the face of oppression. The blues are shown to be a "this-worldly" expression of cultural and political rebellion.
Bringing together the viewpoints of ethnomusicologists, historians, and performers, these essays cover topics including the music industry, women and gender, and music as resistance, and explore the stories of music creators and their ...
Traveling companions included brother Joseph and his new wife, Ruthella, and Homer's longtime friend, Grace Saxe. For all that has been said about the women in Rodeheaver's life —his frontpage romances with Georgia Jay and Aimee Semple ...
Sweatman was another figure whose career began well before “jazz” as such was a recognized phenomenon, earning a reputation by 1910 as one of the most accomplished “ragtime” clarinet players to be found. After playing alongside ...
Boston: Isaiah Thomas and Ebenezer T. Andrews, 1795. Holyoke, Samuel. Harmonia Americana. Boston: Thomas and Andrews, 1791. Holyoke, Samuel. The Instrumental Assistant. Exeter: H. Ranlet, 1801? Hopkinson Music Collection, binder's ...
Most of what Dean unveils in this book is fascinating and salacious, but all of it is true. He also shares his own secrets, and an account of the pain of his mother’s addiction, and the poverty and molestation he experienced as a child.
I say blue. I can't remember being the first one in my own dress. Now to have one made just for me. I try to tell Kate what it mean. I git hot in the face and stutter. She say. It's all right, Celie. You deserve more than this.
influential White critic William Dean Howells praised the dialect poems above the others in the volume, ... and was influenced primarily by White American and British poets such as Poe, Longfellow, Tennyson, Shelley, and Shakespeare.
In their 1967 blueprint for new political action, Stokely Carmichael and Charles V. Hamilton envisioned a different result from white power. “The ultimate values and goals are not dominion or exploitation of other groups, but rather an ...