| Black Orchestras Part 8 |
| Sunday, 10 June 2007 | |
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This series on Black Orchestras focuses on the 19th century and makes connections to the present. Although it’s informative, it’s also really frustrating that after three (3) centuries of documented evidence of the Black presence in classical music, racial authenticity in the symphonic and operatic works by Black composers is still an issue. *sigh* To recap, I’ve demonstrated the emergence of the classical music ensembles (collective groups) from slave culture, and have spoken not only about what the groups produced, but how they were received by society. I’ve also addressed the overall emergence of the Black presence in classical music, as well as the progress of disadvantaged populations as they moved towards social acceptance and equality. How have I been doing so far? ;-) Now what I want to discuss is the representation of concert music in the Black and the White communities respectively, and how concert music was a vehicle of integration in the 19th century. Ultimately, the fact that (mostly) Black orchestras were formed and maintained in the 19th century slave society demonstrates not only America’s fixation with European society and culture (manifested at the time in concert music), but also demonstrates critical and fascinating examples for the way our society operates. So as you can tell, I like the writings of W.E.B Du Bois. In 'Dusk of Dawn' he stated that, “There is no way in which the American Negro can force this nation to treat him as equal until… the majority of whites, are willing to grant equality” (1940:194). He who holds the power..., right D.B? Du Bois viewed the engrained nature of racism and its consequent segregation problem (and ever-impending resolution) as dependent on White thought and society. He makes it clear that until those in control are ready to give you something, you gets nada. So you can kick and scream and advocate all you want, little Rashida “Revolutionary” Black. But in the end, it won’t happen for you until they’re good and ready, until they’ve figured out how they too can benefit from the modicum of leniency given to pacify you. Du Bois made his claim as if to say that knowing and accepting it as fact would diminish the oppressed struggles and frustrations with the world. But no one likes the truth, D.B. But as concerns Blacks in classical music, and as I’ve stated before, 19th century Whites needed people to play at their social functions and entertain them with their own music, music with which they could identify, music from their homeland. So they trained those who already served them. And what did Blacks do? We did what we always do to enjoy our time here in purgatory: we managed to find a way to justify our presence in the music and make it work for us politically, economically and socially. It all breaks down to power and how to gain more, how to better even the playing field as we inch closer and closer to Martin Luther King, Jr.’s “Dream.” But think about what Du Bois is saying. It’s not JUST about Blacks fighting for equality, but about Whites also fighting for equality. Du Bois says “the majority of whites” must be on board to make changes happen. It’s hard for Black organizations to get a majority White vote. But thinking systematically, most of our White supporters are already in the institutions that grant (control) equality, so it’s really on them to work from the inside on our behalf! If they believe in equality for all, they’ve got to convince their contemporaries. So essentially, I say all of this to test your memory (and provoke you to discussion). You know that this series is called Black Orchestras, but what I've suggested is that they were rarely all-Black. It was (and still is) difficult for all-Black anythings to exist. Integration in these orchestras may not have come about because the horn player got sick at that last minute and a White player filled-in last minute because there weren't any other available Black horn players. Politically (and probably monetarily) Blacks probably needed to racially integrate their orchestras. Whites' participation was essential to the survival of the Black ensemble. There were, of course, all-Black performing groups, but I'll bet you dimes to donuts, it served the group much better to integrate which made them more socially acceptable (elevated social status), economically profitable (money=power=elevation of social status) and thusly elevated politically. But maybe it wasn't all that complicated. Maybe Black orchestra organizers already accepted what Du Bois stated. Maybe the two groups, Black performers and White supporters, struggled together for compromise for integration and racial advancements to take place. And really, is there anything wrong with integration? Why not show that both races can co-exist harmoniously (pun intended)? Why not demonstrate that the two can work together to produce appealling music? Why segregate? Perhaps inclusion makes granting equality easier for Blacks... What say you? No. 3 : They just want to pick your brain about the black experience. It's like marketing. It's like you're still not a person with feelings but more a specimen, a lab rat. I don't want to be studied like some experiment. But that's what they do. No. 2 : Why is it always US that have to integrate? There are white people in gospel choir and white people in HBCUs. And we accept them into those places. Then they start to form some identity and want to project like they understand me. Please! But I don't see black people in MANY places. But white people are everywhere and ACCEPTED everywhere like American Express. And they get their own shows like "White Boyz in Da Hood." WTF?! No. 1 : This reminds me of one of the comments from the Hope Briggs vs. San Francisco Opera discussion last week in which the commenter called for Blacks to start their own opera company. As far as integration and history is concerned, all-Black anythings never exist for very long due to overt (or often subtle) racism. (Rosewood, anyone?) But like those orchestras that U spoke about a few weeks ago, they were majority Black, but I noticed that you only mention Blacks as the ones forced to integrate in order to survive. And of course. If there's no white people, we struggle struggle struggle. Only the strong survive, right? White organizations, on the other hand, can survive just fine without one drop of color. Well, until recently and then you get what is sadly referred to as the “token” Black person who is there to pacify the complainers (i.e. advocates of diversity). And then everyone wonders if the “token” really belong there or if it was just charity. As you say "*sigh*." Life is a business transaction full of negotiations often at your own expense… The point is about support. Where does the support come from? Who has the power to influence? |
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