Introduction

Author(s):  
Stephen Wade

This introductory chapter first describes the artists featured in this volume. These twelve musicians, singers, and groups recorded between 1934 and 1942—seven black and five white—provide a baker's dozen of folksongs and traditional tunes. Apart from their surpassing artistic gifts, these individuals illuminate an America rich with local creativity. They resided in such places as Salyersville, Kentucky; Byhalia, Mississippi; and Salem, Virginia. They also confined their music making largely to their own communities. Sometimes they sang on playgrounds, sometimes while chopping cotton, and sometimes from behind bars. The remainder of the chapter discusses sociologist and a leading figure in the Harlem Renaissance, Charles S. Johnson; the origins of the present volume; and the author's recollections of the wonderful, frustrating, frightening, and transporting moments with the songs and singers that comprised the present volume.

1997 ◽  
Vol 62 (1) ◽  
pp. 166
Author(s):  
Peter Powers ◽  
George Hutchinson

2008 ◽  
Vol 40 (S1) ◽  
pp. 95-105
Author(s):  
Victoria Phillips Geduld

In May 1931 the ballet Sahdji premiered at the Eastman Theatre in Rochester, New York: with a libretto by Harlem Renaissance's Alain Locke and Richard Bruce Nugent, music by composer William Grant Still, the ballet by Thelma Biracree, and dedicated to the Eastman School's Howard Hanson, the work was set in Africa and performed by dancers in blackface. In 1934 the work was performed with an all-black cast in Chicago and revived in Rochester through 1950. Sahdji demonstrates that the participants shared two tenets: the desire to create high art, and the belief in African forms to achieve artistic aims. Locke and Nugent had a small shared world that included Lincoln Kirstein. Locke wrote about The Rite of Spring, and Sahdji became Locke's African answer to Spring. Sahdji begs for a reinvigoration of dance history that credits philosophical underpinnings of the American ballet to the Harlem Renaissance and its queer connections.


1999 ◽  
Vol 33 (3) ◽  
pp. 526
Author(s):  
A. Yemisi Jimoh ◽  
Cary D. Wintz

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