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Representations of African American Fife and Drum Music in North Mississippi

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Representations of African American Fife and Drum Music in North Mississippi University of Alberta Representations of African American Fife and Drum Music in North Mississippi By Kathleen R. Danser A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Department of Music © Kathleen R. Danser Fall 2011 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or oth- erwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-90289-9 Our file Notre référence ISBN: 978-0-494-90289-9 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformément à la loi canadienne sur la Privacy Act some supporting forms protection de la vie privée, quelques may have been removed from this formulaires secondaires ont été enlevés de thesis. cette thèse. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. ABSTRACT This thesis is a comparative analysis of representations of the African American fife and drum musical tradition in North Mississippi, tracing the ways these represen- tations are shaped by the ideologies, aims, methods, and social positions of the per- son(s) in primary control of representation. It includes the exploration and interpreta- tion of audio recordings (including music, graphic presentation, and album copy), video, and film representations. African American fife and drum music is rooted in cross-cultural exchanges of folklore, melody, lyrical text, and instrumentation between African and Anglo Ameri- cans dating back to the American Revolutionary War in the United States. It re- mained a strong musical practice in the southern states throughout the twentieth cen- tury but is now solely borne by the Turner family of Senatobia, Mississippi. Through the years, varied representations of this musical tradition reflect the idiosyncratic style of the producer illuminating otherwise hidden structures of cultural power. ACKNOWLEDGEMENTS I would like to thank: Sharde Thomas and the Turner family for sharing their musical heritage; my thesis committee at the University of Alberta (Dr. Michael Frish- kopf – Advisor, Dr. Regula Qureshi, and Dr. Andie Palmer); Dick ‘St. Louis Frank’ Fuhrman for his generosity and respect; Willie Wilkinson for his historical knowledge of North Mississippi; Greg Johnson at the Blues Archive at the University of Missis- sippi for guiding my archival research; Shelley Ritter at the Delta Blues Museum for broadening my understanding of North Mississippi music; Jill Chesley for her cross cultural insights, support, and editing skills; Dr. David Evans at the University of Memphis, Kip Lornell at George Washington University, Dr. Gregory Hansen at the University of Arkansas, and Dr. Richard Leppert for research direction; and, my the- sis study group at the University of Alberta (Matthew Knight, Patrick Smith, Ben Doleac). Also, I gratefully acknowledge research financial support from: Canada Council for the Arts (Artistic Development Program); the Social Sciences and Hu- manities Research Council of Canada (Joseph-Armand Bombardier Canada Gradu- ate Scholarship – Masters); the Canadian Federation of University Women (Margaret Brine Award); and the University of Alberta (Walter H. Johns Fellowship and travel grants from the Department of Music, Faculty of Arts, and the Faculty of Graduate Studies & Research). TABLE OF CONTENTS CHAPTER ONE: A NEW ERA OF AFRICAN AMERICAN FIFE AND DRUM MUSIC IN NORTH MISSISSIPPI I. Introduction ........................................................................................................ 1 The Ethnographic Setting ............................................................................. 3 Discovering the Tradition .............................................................................. 6 Fieldwork Research Methodology ................................................................ 7 II. Dead Ends and Detours .................................................................................... 8 “No Audio, No Interviews, No Video” ............................................................ 8 Fieldwork Limitations, Fieldwork Freedoms ............................................... 11 Research Aims ........................................................................................... 12 III. A Brief Overview of the 2010 Turner Family Picnic ......................................... 13 Preparation ................................................................................................. 13 Performance ............................................................................................... 16 IV. Chapter Overview ............................................................................................ 20 CHAPTER TWO: EARLY FIFE AND DRUM HISTORY AND ITS REPRESENTATIONS I. Thoughts on Historical Construction ................................................................ 22 II. Early History of African American Fife and Drum ............................................ 23 Musical Translocation: West Africa and Europe ......................................... 23 Fife and Drum Music in the American Revolution ...................................... 27 III. Representations .............................................................................................. 31 Legacy, Lineage, and Economic Control .................................................... 35 CHAPTER THREE: AUDIO RECORDINGS: MUSIC, IMAGES, AND WORDS I. Framework for Interpretive Analysis ................................................................ 45 II. Academic Representations .............................................................................. 46 “Afro-American Folk Music from Tate and Panola Counties, Mississippi” (2000) ........................................................... 46 “Sounds of the South” (1959) ..................................................................... 50 III. Educational Representations ........................................................................... 53 “Othar Turner and the Afrossippi Allstars: ‘From Senegal to Senatobia’ Featuring the Rising Star Fife & Drum Band” (2000) ....................... 53 “Everybody Hollerin’ Goat” (2001) .............................................................. 56 IV. Independent Artist Representations ................................................................ 58 “What Do I Do?” (2010) .............................................................................. 58 V. Commercial Entertainment Industry Representations ..................................... 60 “The George Mitchell Collection: Vol. 1-45” (2008) .................................... 60 “Mississippi to Mali” (2003) ......................................................................... 63 VI. Discussion ....................................................................................................... 66 Intragroup Comparisons ............................................................................. 66 Intergroup Comparisons ............................................................................. 70 CHAPTER FOUR: VIDEO AND FILM REPRESENTATIONS I. Framework for Interpretive Analysis ................................................................ 72 II. Academic Representations .............................................................................. 73 “Gravel Springs Fife and Drum” (1972) ...................................................... 73 “The Land Where the Blues Began”
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