This Week in the Archive: The Jazz Piano

By Aisling Gorman

“Defining jazz is a notoriously difficult proposition, but the task is easier if one bypasses the usual inventory of musical qualities or techniques, like improvisation or swing . . . ethnicity provides a core, a center or gravity for the narrative of jazz, and its one element that unites the several kinds of narratives in use today.”—DeVeaux, “Constructing the Jazz Tradition”

Jazz music originated amongst African Americans in New Orleans in the late 19th and early 20th centuries. Jazz music developed from the blues genre. This musical form recognized the pain of lost love and injustice and gave expression to facing adversity (PBS.org).

In the beginnings of jazz music, there were no music sheets, instructions or arrangements (The Thelonious Monk Institute of Jazz, 2017). Jazz music was primarily self-taught, and drew upon the African tradition of passing on culture such as music, dance, stories through listening, watching, and recreating (The Thelonious Monk Institute of Jazz, 2017). Due to this, the role models for future jazz musicians were generally of African American descent. Jazz music became a form of expression for African American artists who cultivated and helped spread it. Jazz was music that honored the African cultural traditions of transmission, and yet provided present day African Americans with an outlet from white dominance and oppression.

As jazz music was different, and “raw” in comparison to music genres such as classical music, it was not uncommon in the early 1900s for jazz music to be banned in schools – or just not taught by music teachers. As jazz music was not recognized as “proper” (or sometimes not at all), it was often absent from college campuses (The Thelonious Monk Institute of Jazz, 2017). In the University of Richmond’s literary magazine, The Messenger, there is a piece from 1932 that discusses strange rules at southern college campuses. One of these strange rules is that at the University of Richmond, jazz music was banned from being played on the Grand Piano in the Westhampton Drawing Room. Although the piece does not delve deeper into why jazz music was banned from the piano, this University of Richmond policy is intriguing, as it calls for many questions to be answered. Why was jazz not allowed on the Drawing Room piano? Was it allowed in other places on campus? As jazz music has its roots in African American culture, and many of its prominent figures of the time were of African American descent, this policy also raises the question of whether the ban was driven by racism.

Although mention of the ban on jazz music in The Messenger raises many questions that are difficult to answer, it is possible to try and answer at least some. An article in The Collegian describes the dedication of the Margaret E. James Memorial Music Room. Margaret’s father, Dr. James, donated a fully furnished music room to Westhampton College in 1933. Dr. James donated the room on one condition – that only classical music be allowed on there. However, the Grand Piano was not yet moved into the new room, and was still being kept in the Drawing Room. Although there were many pianos on the University campus, the restriction on the type of music allowed to be played on this specific piano causes us to wonder if this is the same piano as the one that The Messenger refers to? And if so, how did only classical music transform into no jazz music, leaving room for other genres? Another interesting answer to consider is the possibility of the regulation as a means of the university’s efforts to control students’ options regarding what African American music they could perform. By only banning students from playing jazz, a genre that emerged from resistance, the university could have been working to perpetuate white dominance through the policy and restrictions surrounding music.

While many of these questions cannot be answered due to the lack of documents surrounding the policy of the Westhampton Drawing Room Grand Piano, it is still important to question such policy, and to consider the possible reasons for implementing something like this given the background of jazz music and the racial tensions at the time.

Works Cited

DeVeaux, Scott. “Constructing the Jazz Tradition: Jazz Historiography.” JSTOR, 1991. Web. 12 Apr. 2017.

The Thelonious Monk Institute of Jazz. “Jazz Education.” Jazz in America. The Thelonious Monk Institute of Jazz, 2017. Web. 12 Apr. 2017

 

Aisling Gorman is a senior from Hamilton Parish, Bermuda, pursuing a major in Rhetoric & Communications Studies, with a double minor in Anthropology and Sociology. Her biggest takeaway from working on this project, and specifically on past policy at the University of Richmond, is the need to pay closer attention to unquestioned policy, as its implications might reach further than initially apparent. She wrote this post as part of her work on a Spring 2017 independent study (RHCS 387)Read more about University of Richmond Performance & Policy at the Race & Racism at the University of Richmond Project.

This Week in the Archive: “Playing Indian”

By Joshua Kim

“Watchful waiting, sleepless nights, and “Injun” scalping, but for the scalping on the football field held tomorrow, will come to a glorious climax tonight when the leaping flames of the largest Thanksgiving bonfire ever built by the student body will proclaim to the campus and the nearby city of Richmond the intentions of the Spider squad at tomorrow’s annual game” (Collegian, 1940).

These are the first lines of an article found in the University of Richmond Collegian newspaper–dark, ominous sentences describing a metaphorical scalping of “Injuns.” The word “Injun” dates back to the early 1800s, a slang term to describe indigenous people in the U.S. It is now recognized as outdated and offensive, a calculated mispronunciation of the word “Indian” as a means to mock indigenous people.

The article discusses a rivalry between Richmond and William & Mary in which the teams enthusiastically participate in multiple events, such as a cheer out, a bonfire celebration — with cheerleaders and a marching band — and a mock scalping, all grossly misconstrued variations of “indigenous”culture.

“Along with other pre-game activity came the capture Monday night of 18 boldly brazen Indian braves…but the Spiders…left silent testimony of their victory with the effect of slashing shears on Indian scalps” (Collegian, 1940).

Although we don’t practice mock scalpings anymore, we still find plenty of problematic behavior within our student body.

On October 24, 2016, the University of Richmond Collegian published an article describing how a student government senator posted a photo of himself dressed as a “Native American.” His costume consisted of a Washington Redskins jersey, feathers in his hair, and red paint on both his arms and face (Collegian, 2016).

Seventy-six years later, we find ourselves continuing to perpetuate harmful stereotypes of indigenous people. Although they are unique cases, we must address the similarities between the two events, namely the role of power structures.

After further research of the 1940s event, I was unable to locate anything to suggest that the Richmond students who had kidnapped and “scalped” the 18 William & Mary “Indians” ever faced any form of punishment from the university.

This suggests that the University of Richmond either did not care about, or approved of, its students’ problematic, faux-Indian traditions, even participating themselves:

“President F. W. Boatwright of the University of Richmond and President John Stewart Bryan of William and Mary spoke from their respective schools at a joint radio rally held last night over station WRVA” (Collegian, 1940).

What we see here is a power structure openly supporting the harmful misrepresentation of an underrepresented group, but this should not come as a surprise as playing “Indian,” and cultural appropriation in general, was commonplace in the 1940s.

A week before the Collegian had posted its article about the RCSGA senator in redface in 2016, the senator resigned from his position.

With such a pertinent issue at hand, it would have seemed as if the senator would have faced harsher punishment from both student government and from the university, but instead he quietly resigned, and the matter almost instantly disappeared.

While some would say that justice had been served, others would disagree.

For its article, the Collegian interviewed several people, including Richmond alumnus Young Brinson, a member of the Cheroenhaka Nottoway tribe of Virginia. In the article, Brinson expressed her frustration with the event, pointing out that her culture was not someone else’s costume. Furthermore, she touches on the subject of the usage of Indigenous culture as mascots in sports culture, and the hypocrisy with American perspective on what is, and is not racist:

“Having a football team named Redskins is disrespectful on a historical level when they used to call us that on a derogatory level,” Brinson said. “You would never see a team with blackface as their mascot. So why are you doing this to us? It’s disrespectful” (Collegian, 2016).

Brinson brings up a very fair point: If the senator had been caught in blackface, would he have faced harsher consequences from the university?

From what we may garner from the university’s reaction, the answer is yes because the university does not acknowledge the violent history that they once exemplified towards the indigenous population.

Almost a century later we find ourselves reflecting the same attitude and behavior towards indigenous people as we did in 1940. This is quite contradictory to the image the university portrays.

The university advertises itself as a campus of culture, one that boasts a diverse student population, but how can it say that when it has not learned from its past?

This is a very troubling question, but what it leads me to believe is that it is not the fact that redface is less offensive, but rather the lack of exposure to indigenous culture has silenced indigenous oppression, leading non-indigenous students to commit these acts in complete ignorance.

According to the Collegian article, only 0.3 percent of students at Richmond identified as American Indian or Alaska Native in 2014 (Collegian, 2016). Compare this to 6.1 percent Asian, 7.8 percent Black/African American, and 7 percent Latino, and you can see that the indigenous population on campus is a minority group within a minority group.

Consequently, you can see how difficult it must be for indigenous students to organize and educate the culture at Richmond.

Does this mean that the lack of representation of indigenous students is justification for the offensive acts? Absolutely not. With the access to resources we have today, there is no reason why college-educated adults should remain uneducated about the subject.

Yet, this is why these findings are so troubling.

Our access to the internet gives us a huge resource advantage over our peers from 1940, yet we continue to appropriate indigenous culture and remain ignorant to their history. Even more troubling is the fact that the power structures at the university are complicit in this ignorance and violence.

President Boatwright rallied the students to victory. The senator was simply allowed to resign.

No justice was pursued. No educational efforts were attempted. Even if the administration found no reason to punish the student, it should have realized that it was the perfect opportunity to educate both the students, and the campus as a whole, about indigenous culture.

What could have been a moment to uplift indigenous voices instead became one that silenced them.

The archive reveals that our past is nothing more than our present, and it will become our future if we do not take active action to stop it.

(More on William & Mary’s history with sports and indigenous culture here).

 

Joshua Hasulchan Kim is from Colonial Heights, Virginia. He is a sophomore at the University of Richmond who is double majoring in Journalism and French. Joshua is involved in various clubs on campus: He is the co-president of Block Crew dance crew, the opinions editor for the Collegian newspaper, and is the Co-Director of Operations for the Multicultural Lounge Building Committee. Joshua developed this blog post as part of his work on a Spring 2017 independent study (RHCS 387). He will be continuing his research with the Race & Racism at the University of Richmond Project during Summer 2017 with the support of an A&S Summer Research Fellowship.

Making the Invisible Visible: Activating Black History Through Digital Storytelling

Please join us Thursday, October 6, from 3-4:30pm, at VCU’s Cabell Library for a panel connecting digital humanities projects and black history collections. Speakers from Umbra: Search African American History, VCU Library’s Mapping the Second KKK Project, and the University of Richmond’s Digital Scholarship Lab and Race & Racism Project will connect library and archive work in black collections to digital projects from students, faculty, and community members.  This panel will be moderated by Kelley Libby of the WVTF/Radio IQ/Finding America’s UnMonumental radio series. Refreshments will be provided!  

For more details and to RSVP for this excellent event, see here.

Welcome

Dear Friends and Colleagues –

Welcome back to campus! We hope your semester is off to a good start. Many of you have been part of conversations, formal and informal, out of which the Race & Racism at the University of Richmond Project has taken shape. Without your vision and energy, this project would not be possible. And so, we, the Project’s Advisory Group, would like to take this opportunity to share with you some exciting developments and inform you of a couple of things coming up in the near future.

Joining us…

Irina Rogova, a recent MLIS graduate from Simmons College, joins us as Project Archivist. Bringing to UR a deep commitment to racial justice, Irina was chair of the Progressive Librarians Guild student chapter at Simmons, orienting her work around issues of diversity and inclusion. Her experience with archives at several cultural heritage institutions points to her commitment to giving voice to marginalized populations through archives and archival practice. We are thrilled to have her with us!

One of the founding student members of the Race and Racism at UR Project, Victoria Charles recently graduated from UR with a double major in American Studies and Political Science. Victoria joins us as an inaugural Humanities Post-Baccalaureate fellow, continuing research begun on black students at UR during the 1960s and 1970s. We are so glad she is continuing to work with us!

We have a (growing) digital collection!

As of December 2015, we have a site, which houses documents uncovered to build a digital archive. The site started with a joint-American Studies/Rhetoric & Communication Studies seminar, Digital Memory & the Archive, 15 students, and much collaboration across campus. The second iteration of Digital Memory & the Archive is currently under way. An open public forum at the end of the semester to share this semester’s student research will be announced once details are finalized. In the meantime, please feel free to navigate the site.

This is, of course, just a beginning. If you have any feedback, suggestions for the site, and/or documents/contacts to share, please be in touch. We want to hear from you!

Looking Ahead

There is much to do as the Project launches, but in the meantime we would like to give you some additional information on a couple of events coming up soon…

  • Welcome Reception. Learn more about the Project, meet Irina and Victoria, and connect with the community. Friday, September 9, from 4-5:30 PM on the patio outside Boatwright Memorial Library. Rain location: inside.
  • Lemonade Syllabus Exhibit. Stop by and view the #LemonadeSyllabus exhibit on the 2nd floor of Boatwright. Created in response to the April 23, 2016 release of Beyonce’s 6th solo album, the #LemonadeSyllabus was crafted by primarily black women to further investigate and appreciate the black feminist and womanist themes throughout the artist’s visual album and the ongoing struggle for black liberation encapsulated in recent years by the #BlackLivesMatter movement. Bringing together over 200 resources ranging from fiction to film to self-care guides, the Lemonade Syllabus is an ongoing project in centering and elevating the voices and experiences of black women in the United States and around the world. Created by Irina Rogova, the Exhibit gives visitors the opportunity to check out resources from the syllabus, contributing to an ongoing conversation and ever-evolving exhibit!

We hope to see you on September 9 and look forward to our continued work together.

Sincerely,

The Race & Racism Project Advisory Group