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Is Key to What Makes This Fashion Exhibit Unique. the Racialized History of “Inspiring Beauty” Is More Than the Sum of Its Aesthetics

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Is Key to What Makes This Fashion Exhibit Unique. the Racialized History of “Inspiring Beauty” Is More Than the Sum of Its Aesthetics 790 The Journal of American History December 2013 you may be asking, why is this important?”—is key to what makes this fashion exhibit unique. The racialized history of “Inspiring Beauty” is more than the sum of its aesthetics. Natasha Barnes University of Illinois at Chicago Chicago, Illinois doi: 10.1093/jahist/jat456 The Woody Guthrie Center. Tulsa, Okla. http://woodyguthriecenter.org/center/. Permanent exhibition, opened April 2013. 12,000 sq. ft. Deana McCloud, executive director and chief curator; Ali Stuebner, opening exhibit curator; Kate Blalack, archivist, Downloaded from Gallagher and Associates, designer. “The world didn’t mean any more than a smear to me,” Woody Guthrie (1912–1967) wrote in his 1943 autobiography, Bound for Glory, “if I couldn’t find ways of putting it down on something” (p. 177). This powerful urge to express himself would assume multiple forms over http://jah.oxfordjournals.org/ the course of his life. Before he was felled by Huntington’s disease following a fifteen-year decline, he produced more than three thousand songs—some with as many as eighty-seven stanzas—plus short stories, novels, letters, articles, hundreds of pieces of artwork, journal entries, postcards, manuscripts, radio programs, newspaper columns, thousands of letters written in composition notebooks, and more than one hundred diaries and assorted essays. He also left behind more than five hundred photographs, ranging from publicity images and concert photos to family pictures, dating from 1938 to 1954. at Knox College on April 3, 2014 Nora Guthrie assumed responsibility for the vast corpus of Woody’s creative legacy when her mother, Marjorie, Woody’s second wife, died in 1983. In 1990 Nora opened the Woody Guthrie Archives in Mount Kisco, New York. The decision to establish a permanent home for the collection in Tulsa, Oklahoma, sixty-four miles from Woody’sbirthplaceinOkemah,was made possible when the George Kaiser Family Foundation purchased the collection and installed it in a repurposed warehouse, located in the controversially named Brady Arts District. (The dis- trict is named after W. Tate Brady, a prominent businessman and Tulsa’s first alderman, who had associations with the Ku Klux Klan.) According to Nora, most of the material in the collec- tion had never been orchestrated, seriously studied, or even viewed by anyone outside of the Guthrie family besides a handful of archivists, scholars, and journalists. The Woody Guthrie Center () opening was the culmination of many 2013 centennial celebrations focusing on his one hundredth birthday. It is the actualization of Marjorie’s vision for Woody’swork.Today a new Brady Arts District is emerging in Tulsa with multimillion-dollar Kaiser Foundation– sponsored investments and local small-business development linking with cultural institutions such as the Oklahoma Museum of Music and Popular Culture, the University of Tulsa, the Gilcrease Museum, the Philbrook Museum of Art, and the Arts and Humanities Council of Tulsa. The is across the street from Guthrie Green—an “eco-scaped” public space equipped with a sloping natural amphitheater and a stage, a sound system powered by a solar roof, and a geothermal underground field. Nora Guthrie announced at the April opening of the that the center was named to appeal to audiences who might not think that museums and archives were spaces they could occupy and explore. Bob Santelli,the executive director of the Grammy Museum in Los Angeles Exhibition Reviews 791 and a longtime music researcher, commented that the is intended to be a place where people have opportunities to learn about the life, times, and legacy of Guthrie, and where people can gather for town hall meetings centered on community issues. In addition to the exhibits, the center houses the Guthrie archives, which are open by appointment to researchers. Once past the lobby, which includes an information and ticket counter and a refreshingly modest sales area offering Guthrie books, compact discs, and t-shirts, visitors ascend a wide and welcoming platform stairway to a second-floor pavilion. A bank of embedded monitors introduce Guthrie, using photos, words from his songs, and notations on an adjoining wall. The other side of the scrolling wall holds a huge, interactive map of “Your Land”—the conti- nental United States. Visitors touch the map and railway lines appear, tracking Woody’stravels as a hobo riding the rails through most of the country. Headphones placed near the map Downloaded from invite the visitor to listen to short narratives about the songs, poems, and essays Woody pro- duced and accumulated in notebooks on and off the road. A display on another wall, “Woody and His World,” begins in the 1920s in his birthplace of Okemah and then traces his life, decade by decade, from Pampa, Texas, to Los Angeles and New York City. A music bar holds suspended headphones and individual kiosks that allow visitors to digitally summon songs and http://jah.oxfordjournals.org/ listen to them in their entirety. The headphones are arranged so that two or more people can share the experience. In addition, there are kiosks with songs organized by the themes that con- sumed Woody—travel, immigration, the environment, children, human rights, sports, love, war and peace, and Oklahoma. Visitors can hear the song while looking at the words as they actually appeared in one of Woody’s notebooks, or they can listen to interpretations rendered by other artists, and then write their own songs, poems, and essays. Five freestanding plastic cases provide an opportunity for a 360-degree examination of some of Woody’s instruments—four guitars and a fiddle. Engraved on the fiddle is a version at Knox College on April 3, 2014 of the motto Woody made famous: This Machine Killed 10 Fascists. He carried the fiddle with him during World War II on U.S. Liberty ships, where he served as a cook and an entertain- er. One of his ships was torpedoed twice, and both times he jumped to safety, managing to take his fiddle with him. Also encased is a guitar he gave to his son Arlo and another recov- ered from a secondhand store; on the guitar’s inside label, Woody wrote Property of Woody Guthrie OK. Pete Seeger confirmed that Woody often wrote those words on the inside labels of his guitars. Long before modern psychologists began studying children, Woody kept daily journals of conversations he had with his own. Their questions, rhymes, and inventive language became inspirations for his children’s songs, which he saw as tools to teach children about the world around them and as aids for adults curious about their concerns. With songs such as “Little Seed,”“Sleepy Eye,”“All Work Together,”“Build My House,” and “Pick It Up,” Woody urged parents to listen closely to their kids. The original “Rosalee” doll, a gift to his daughter Cathy Ann from Martha and Huddie “Lead Belly” Ledbetter, is on display. Also displayed is a 1946 Guthrie quote in which he urges parents: “Don’t just buy these records and take them home so your kids can play around with them while you go off and do something else . I want to see you join right in, do what your kids do.” Turning left at the top of the stairs, visitors enter the theater, where a looping, polished, thirteen-minute clip summarizes his life. The film is interspersed with riveting testimonials from several generations of troubadours, including musicians such as Billy Bragg, Del McCoury, Ani DiFranco, Donovan, and Jimmy LaFave. Strains of Woody’s guiding light exist in all corners of American music, from folk, rock, punk, and country to classical. 792 The Journal of American History December 2013 Downloaded from http://jah.oxfordjournals.org/ at Knox College on April 3, 2014 Following World War II Woody Guthrie labeled a few of his instruments, including the guitar shown here and a fiddle on display at the Woody Guthrie Center, with antifascist messages. Courtesy Library of Congress Prints and Photographs Division, LC-USZ62-113276. TheimportanceofWoody’s music was realized early on by Pete Seeger. Woody was in the middle of his long period of decline when Bob Dylan, just beginning his career, was singing Woody Guthrie’s compositions exclusively. In addition to Seeger and Dylan, others directly influenced by the “Okie” include the New Lost City Ramblers, the Weavers, Glenn Yar- brough, Judy Collins, Joan Baez, Arlo Guthrie, Bruce Springsteen, Tom Morello, Natalie Mer- chant, Rosanne Cash, Wilco, Jay Farrar, Will Johnson, the Klezmatics, and David Amram. In 2012 the Guthrie biographer Ronald Cohen used the present tense when he wrote that Woody “is the most famous and influential folk music composer and performer in the history of the United States” (Ronald Cohen, Woody Guthrie: Writing America’sSongs,2012, p. 1). Woody’s first major album, Dust Bowl Ballads (1940), and an original copy of his essay “Dust Bowl Refugees” are showcased in a stunning exhibit on “the greatest ecological disaster Exhibition Reviews 793 of the twentieth century.” Visitors pick up headphones and listen to “IAin’t Got No Home in This World Anymore,”“Do Re Mi,”“So Long, It’s Been Good to Know Yuh,” and the seven- teen-verse song “Tom Joad,” while viewing images from the Ken Burns documentary The Dust Bowl (2012). The exhibit includes a map showing the regional scope of the dust bowl and actual clothing, tools, and other artifacts collected from refugees. While linking Woody’s work to the greater dust bowl experience, the exhibit argues that Dust Bowl Ballads was the album that “cemented Woody’s reputation as a talented troubadour whose songs shed a new light on America.” This exhibit alone is worth the trip to Tulsa to visit the .
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