W10

It was nice to go back down South to Mississippi. These blues of the Mississippi River Delta show a new twist on the Negro soul. Reading Blues people I was reminded of the formalities that come with being removed from the motherland. Even though so far gone, she is still with the Negro and defines and informs us in almost every way of life the American Negro has. 

I interpret Blues as the aftermath of the permanent separation of Blacks from Africa. Its like a dream that occurs when you are living in a struggle, go to sleep and dream about your troubles and wake up and realize they are still there. Through the Delta Blues you can hear the musicians coping. The deep emotion and dark sentiment that lies within these songs is not coming from technical performance, training, or anywhere else...it's coming from somewhere. Somewhere that is the someplace where Negros hold emotions of sorrow and consciousness of their positions in foreign White America. Even though the topics of the Delta Blues may be personal it is all directed by where the artist is coming from.  

Despite these Blues coming from  a dark place they are beautiful because they are real and the reality even a white man can not deny. At the common denominator of us all is human and with that comes emotion- reason being why the blues is intrinsic. 

My work this week was meant to show the darkness of the Delta Blues bound up in the intersections of a dark reality informed by a brighter and richer past that was never tangible but somehow seemingly and comfortably exist in this labyrinth. 

Um, hm-hm

Um-hm

Um, hm-hm

Um, hm-hm-hm

You know that people

They are driftin' from do' to do'

But they can't find no heaven

I don't care where they go

                                                                    

                             -Hard Time Killin' Floor Blues -Skip James 

W8/W9

Studying good ole Leadbelly and Woody Guthrie together heightened my social awareness regarding both of their works.

Starting with Leadbelly, the popular image that was portrayed of him was slightly awful. He was Black ex-convict redeemed by his White superior, none other than Mr. Lomax, because of his wonderful talent of musical artistry.

First of all, the fact that his special musical talents could redeem him from his sentence (at the will of Lomax) explicitly says a lot about racial processes at work in this time.  Leadbelly comes across as docile even though physically mighty. His "character" reinforced many stereotypes and socio-racial orders in the Jim Crow South. Even through all this I could see all of Leadbelly's talent and personal character deep behind the filtered image. Yet and still much of what Leadbelly represented was not authentic and was beyond his control in most respects. I wish Leadbelly could have really and truly been exposed as Leadbelly not Lomax's Leadbelly or anyones else's Leadbelly crafted for an audience of others.

Woody Guthrie was a man of men. Guthrie was active in using his music to engage with a social agenda that was behind those who did not have the vehicles to popularize the misfortune that they lived. Guthrie as a musician was honest. Honest enough to make listeners, listen and engage. Singing about the dustbowl and America the Great in positive respects, promoting public works projects and otherwise as sung in This Land is Your Land, Guthrie's place as a popular artist walked a fine line but walked it well enough to successfully get his points noticed.

Guthrie's effective political activism and honest image even though sometimes distorted got his message across in ways that Leadbelly could never dreamt of employing music in. Largely because of racial divides but looking at these musicians together makes it possible to think about who is singing, for what reason and to who and ultimately why. Answering this set of questions makes a clear divide and shows us everything we should know about what we are listening to and what it is subliminally or consciously feeding into...which goes even further and starts to inform our personal positions not only related to the music but in society. 

Left images for Leadbelly, right Woody Guthrie

W7

                   

M i s s i s s i p p i John Hurt

When I first heard Mississippi John Hurt I could hear and see people I’ve known before. When I was a child every summer my grandfather, my mother, my father and I would get into our 1980s blue and white striped Chevrolet conversion van and head South to Mississippi. In Mississippi we would reunite with family in the Mississippi 
backwoods my family calls home.

People that reminded me of John Hurt could be met at our family reunions or should I say John Hurt reminds me of people I've met at family reunions. One man in particular that comes to mind is a man named Jigg. Jigg was a jokester full of life, even though probably not in good health. He was probably more outspoken than John Hurt but Jigg was a story teller. He told peculiar stories about his voodoo encounters, day to day life, and anything else he wanted to talk about. He captured everyones attention and imaginations and made my folks holler with laughter. In my eyes, Jigg and John are cut from the same cloth. Mississippi men who have a way of connecting to people in order to bridge worlds and entertain imaginations.  

Listening to John Hurt I could feel down home Southern comfort and simplicity in his voice. The same type of Southern comfort and simplicity that makes the pallet on the floor (of which I have slept on many times while in Mississippi and at home).

Through his music John Hurt represents the humble Mississippi Negro something like Jigg and even my great grandmother.  John Hurt himself was evidently very simple yet convoluted. Which is the same way I saw my great-grandmother who was never educated a day in her life but was so blissfully complacent yet all knowing.                          

The testament of a friend told by E.G. Dubovsky tells of how a humble Mississippi man of no particular formal education or global exposure had limitless wisdom capable of teaching us all the most important things in life. With that I can affirmatively say that knowledge and wisdom lay at the roots of humbleness and ignorance somewhere in the Mississippi backwoods.

Make me down 
Make me a pallet down, soft and low 
Make me a pallet on your floor 
Up the country 
Up the country by the cold sleet and snow 
I'm going up the country 

W6

This week I was entertained by Barby Allen also know as Barbara Ellen. The song sung by Jean Ritchie is flawless. So much so that I got lost in the lyrics as I let her voice mask everything else in the song but after listening to it over and over again I got the story. The man and woman in the song are distantly close and the objective point of view made the song all encompassing as you could understand the relationship at a glance. In the end they become one in a way as they die in vein of each other. What I showed in my art was the intricate relationship between the two. The blocks of color symbolized the two lovers connection and misconnection in love and in life.

W5

Appalachia is a foreign place in a native land. When listening to Clarence Ashley play the Cookoo on the banjo I understood some element of Appalachia. The trance inducing rhythm of the song took me away to peaks of the cool densely wooded Appalachian mountains. The rhythm of the song was so untraditional yet it was grounded in a style that originated from a place with solid roots, just like the people that live high up and away in the Appalachian mountains. My painting captures my imagination of where this song came from. Of course I had to paint the cookoo that symbolizes a beautiful woman who has a strange yet graceful way about her. She is unexplainably gorgeous and perplexing and can only be explained in a way that cannot be understood. Under the dark sky is the mountains full of mystery and in between them is a road that leads to a place that no one knows.