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Department of English and American Studies English Language and Literature Reflection of Jazz Music in American Racial Past

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Department of English and American Studies English Language and Literature Reflection of Jazz Music in American Racial Past Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Mária Takáčová Reflection of Jazz Music in American Racial Past and Present Bachelor’s Diploma Thesis Supervisor: Jeffrey Alan Vanderziel, B.A. 2016 Acknowledgement: I would like to thank my supervisor, Jeffrey Alan Vanderziel, B.A., for his kind guidance and valuable advice. I would also like to thank my family and friends for their endless support. I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature Table of Contents 1. Introduction .............................................................................................................. - 5 - 2. Historical Legacy ..................................................................................................... - 8 - Cry for Freedom ....................................................................................................... - 8 - Roar for Freedom ................................................................................................... - 12 - Max Roach: Freedom day .................................................................................. - 13 - Nina Simone: Mississippi Goddam ................................................................... - 14 - John Coltrane: Alabama ..................................................................................... - 18 - Charles Mingus: Fables of Faubus ..................................................................... - 19 - 3. The 21st century Legacy: Hands Up! ..................................................................... - 21 - Christian Scott: Ku Klux Police Department ......................................................... - 22 - Terence Blanchard: Breathless .............................................................................. - 25 - Matana Roberts: Black Lives Matter/ All Lives Matter ........................................ - 27 - Tributes .................................................................................................................. - 30 - Ambrose Akinmusire ......................................................................................... - 30 - Robert Glasper ................................................................................................... - 31 - 4. Conclusion ............................................................................................................. - 33 - Works Cited ............................................................................................................... - 35 - Resumé (English) ....................................................................................................... - 41 - Resumé (Czech) ......................................................................................................... - 42 - 1. Introduction The concept and the notion of races were defined and gained greatest anthropological attention at the end of the 18th and during the 19th century. The work of Johann Friedrich Blumenbach on division of human species into five races had become a scientific milestone. His concept was based on shape of the human skull because “color (of skin) cannot constitute species or a variety” (Blahopal). Interestingly, the color happened to be a key factor determining segregation in the aftermath of abolition of slavery and the term “colored” was first adopted to define African Americans exclusively. Scholars Christine Clark and Teja Arboleda argue on the topic of race as: The term “People of color” was revived from a term based in the French colonial era in the Caribbean and La Louisiane in North America: gens de couleur libres applied generally to people of mixed African and European descent who were freed from slavery or born into freedom. In the late 20th century, it was introduced in the United States as a preferable replacement to both non-white and minority, which are also inclusive, because it frames the subject positively; non-white defines people in terms of what they are not (white), and minority frequently carries a subordinate connotation. (17) However, minorities have always struggled in society. Every single minority, whether religious, gender, racial or age, that survived until nowadays mirrors its harsh history in the present. In case of the most important and the largest racial minority in the US, African Americans, black political activist W.E.B. Du Bois defined the struggle as “To be a poor man is hard but to be a poor race in a land of dollars is the very bottom of hardships” (Of Our Spiritual Strivings, para.10). After the state of Georgia ratified the - 5 - Thirteenth Amendment1, abolition of slavery was completed only in a constitutional sense. It was impossible for white population to change their attitude towards black people at the same time. The Thirteenth Amendment officially abolished slavery in the US but did not and could not force white people to treat blacks equally after generations of white society were used to the lowest inhumane form of their treatment. On December 18, 1865 was put an end to the one cruel and dishonoring period for African Americans but the doors opened for another one. The era of segregation has begun. It has passed more than half a century since from the Civil Rights Act was signed. In 2008 Barack Obama was elected as a first African American president in the US history, yet in the following decade of the 21st century, black America is struggling again. Historical wounds of African Americans have never been healed and remain until nowadays. Nevertheless, the bleak times of slavery gave birth to the most significant manifestation of African Americans which later become their fundamental cultural heritage. Manuel Zabel claims that “Jazz– as the very organ of all parties involved– had inevitably been used to the benefit from the promotion of a changing state of affairs concerning the relations between ‘black’ and ‘white’ Americans”(8). It has created and persists creating soulful theme tune of a movement for freedom but furthermore, jazz is blurring the borderlines of racial prejudices among people. The aim of the thesis is to show how the work of the contemporary jazz musicians continues reflecting the ongoing issues in the US society as well as it also extends the cultural heritage of African Americans. The thesis also concentrates on cultural and self-reflective analyses in order to find key factors that formed the musicians creating jazz music both in the past century just as well as in the present, 21st century. 1 To obtain more information see Amendment XIII on www.constitutionus.com. - 6 - First chapter of the thesis deals with historical overview of the socio-political changes of the 20th century. It begins with lynchings, predominantly of African Americans in Southern states, what is significantly reflected in Abel Meeropol’s mournful poem “Strange Fruit”, performed and internationalized afterwards by Billie Holiday. Then follows realms of racial segregation, oppression, civil rights activism and how Nina Simone, Max Roach, John Coltrane, Sonny Rollins and Charles Mingus (to name only a few) reacted and contributed with their powerful musical artwork to the development of turbulent times for African Americans, especially on injustice of certain governmental acts. The second part discusses the 21st century social issues of American society which contemporary African American jazz musicians reflect in their work. Especially, the urge to draw attention to the persisting moral, racial and other socio-political problems is present in the artwork of the contemporary jazz musicians, namely at the compositions of young trumpet player Christian Scott, saxophonist Matana Roberts and trumpeter Terence Blanchard. Very significant are contributions on this topic by pianist Robert Glasper and trumpeter Ambrose Akinmusire. These two musicians are considered for their innovative approach to be the most influential jazz musicians of the st 21 century. All of them, however, continue in the tradition of aforementioned 1960s jazz musicians and are as well considered to be the new wave of jazz musicians “contributing to the evolving soundtrack of new early 21st century movement #BlackLivesMatter.”2 Finally, the thesis provides characteristic instances of how jazz became an inter- connector of socio-political realms and how the two influenced one another in its following development. 2 See www.blog.berlinerfestspiele.de/soundtrack-of-a-movement/ for John Murph coment on contepomrary jazz . - 7 - 2. Historical Legacy Cry for Freedom To be born black in the US before 13th amendment was established, most likely meant to be born slave. But even long after the abolition of slavery, majority of black Americans were perceived as submissive creatures, barely treated as humans. After the assassination of the first president who was in opposition slavery of African Americans not only in terms of morality but also economy and politics, Abraham Lincoln, the new president became Andrew Johnson. He declared: “This is a country for white men and as long as I'm president, this will be a government of white men” (Anderson). But what freedmen wanted, the very fundamental right every white American citizen had and took for granted was a piece of land to work on and a chance to live a decent life there. However, after over two hundred years of slavery, ruling white Americans were not able to treat freedmen equally.
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