Alan Lomax (1915-2002) a Remembrance

ALAN LOMAX (1915-2002) A REMEMBRANCE JOHN B ISHOP Do I contradict myself? Very well then I contradict myself, (I am large, I contain multitudes). Walt Whitman, Song of Myself Fig. 1. Alan watching rushes from The Land Where the Blues Began in Mira’s Café, Greenville Ms. 1978. Photo: John Bishop. After two weeks in New Caledonia last year, filming space, that their movement style stood in profound relief the Pacific Arts Festival, I wearied of spear-brandishing to all the extremely varied Polynesian and Melanesian young men posturing fiercely at me. As the burly line dancing I had been watching. I was thinking in advanced on the camera, I found it more irritating than choreometric terms while shooting. Choreometrics was intimidating. One day, at a small venue outside Noumea, Alan Lomax’s monumental work to characterize dance local cultural organizations of non-Pacific Islanders also styles and relate them to subsistence and social organi- performed. The ethnic Chinese dragon dancers, who zation. It is not much discussed these days, and I was were half the size of their Polynesian counterparts, surprised how much its resonance continues to inform moved so fast and nimbly, with such complex use of and guide current my work. 14 Volume 17 Number 2 Fall-Winter 2001-2002 Visual Anthropology Review I feel awkward writing about Alan Lomax. We enjoyed moments of brilliant collaboration and periods “When the record was over,” Lomax later recalled, of tension and distrust. At times he encouraged me and “we played it back and there was immense joy in this pushed me to work boldly, and then undercut my group because they felt they had communicated their confidence. He envied my youth and I hungered for his problem to the big world…. They knew (the machine) breadth of experience and gift for synthesis. Nothing came from somewhere else and they wanted those was ever simple. Someone who worked with Alan once said he re- sembled Casaubon, the mythology scholar in George Elliot’s Middlemarch who caught people in the web of his enthusiasm and the greater-than-self importance of his work, and ultimately sucked the vital- ity out of them before they realized that the work would never be done. The fact that Alan is my wife’s uncle, the brother of Bess Lomax Hawes whose worldview and mentorship pro- foundly influenced me, complicated my engagement with him. I know nobody else who so fits the descrip- tion, “I am large, I contain multitudes”; so if I contradict myself, it is because my subject is large and con- tradictory. Alan’s first college roommate, Walter Goldschmidt, was astonished when Alan suddenly left the Univer- sity of Texas. “He got whisked away...his father wanted him to go collect songs. It surprised me because Alan was part of that whole radical movement, (which is) anti-family— there’s the element of slaying the father…” (Bishop 2001b). It was the summer of 1933, and John Avery Lomax (Alan’s father) was returning to the field after a ten- year hiatus. The first place he and Alan went was the Smither’s Planta- tion in the Brazos Bottoms of Texas where a black tenant farmer named Fig. 2. Alan with his sister Bess Hawes at the Smithsonian Festival of Blue recorded the following verse— American Folklife 1976. Photo: John Bishop. They get all the farmer makes people at the other end of the line to know what life was His clothes is full of patches and his hat is full of holes like for them. That’s why they were singing for us; they Steppin’ down, pullin’ cotton from the bottom bolls wanted to get into the big network…that experience Visual Anthropology Review Volume 17 Number 2 Fall-Winter 2001-2002 15 totally changed my life. I saw what I had to do. My job important songs, and the most remarkable perfor- was to get as much of these views, these feelings, this mances. He was never able to explain it, and was irritated unheard majority onto the center of the stage” (1978). to be questioned on the subject. I suspect that in addition Shortly thereafter, John and Alan started the Library to responding to the music, Alan picked up kinesic clues of Congress Folk Music Archive in Washington D.C. from the audience that validated his perceptions. Two threads intertwined in Alan’s work—bringing the Once in Mississippi in the mid-1980s, after it best recording technology to people where they live and became known that we were filming, performers would work, and simultaneously pre- serving the recordings in an archive while making them avail- able to the public on radio, pho- nograph records, and later, film and television. When his father, John Lomax, first began collect- ing cowboy songs in Texas, there was no practical or easy way to record performances. He wrote the text, made musical notations, and performed the songs himself in his lectures. As recording fidelity im- proved and the machines became more portable, two phi- losophies of recording evolved— You are there, and They are here. Most commercial music strives for the feeling that the musicians are in the listening space. In contrast, field recordings take the listener to where the musicians are. Many of Alan’s recordings evoke the physical and social space in which they were made, and feel more like documentary films. This elusive qual- ity suggests that what is real about documentary recordings are the subliminal elements, the grace notes that come from the mo- Fig. 3. Alan typing. Photo: courtesy Association for Cultural Equity. ment. Perhaps making a good recording means responding to things of which you are not con- sciously aware. These nuances also contribute to good find us and play for Alan. He told me the worst ones film soundtracks, and have counterparts in documen- come forward, the community pushes the better ones tary cinematography. forward, and the phenomenal ones sulk in the back- More important than recording technique was Alan’s ground until you notice them. A few days later, on the intuition; he was gifted with exceptional taste in music. last day of the trip, we had been filming all day and most He could quickly find the best performers, the most of the night, when Alan noticed a man with a guitar 16 Volume 17 Number 2 Fall-Winter 2001-2002 Visual Anthropology Review scowling at us. Alan asked him to sing, and Belton sensed he cared about presenting them well: “I found Sutherland sat down and gave us two songs. We had that by my own recent experience, that if I confide my never heard of him before and never heard of him after, own difficulties and sentiment very frankly and naively, but his rough guitar and expectorated lyric—kill the old just as I would with my friends, the response is always grey mule, burn down a white man’s barn—is one of wonderful. People can understand it in connection with the most emotional moments in the film The Land Where their own life problems because they are similar if not the Blues Began. exactly the same, especially in folk cultures. When you Once Alan found something or someone he liked, he confide, you get confidence back” (Thompson 1953:85). was relentless in capturing it to best advantage. He told Alan told me another story about filming at the 1966 me about recording the United Sacred Harp Musical Newport Folk Festival. He had rented a bar and hired Association Singing Convention in Fyffe, Alabama, in blues players from the festival to play and be filmed. Fig. 3. Newport 1963— Alan Lomax, Bess Lomax Hawes, Pete Seeger at the 1963 Newport Folk Festival. Photo: Jim Marshall. 1959. The small wooden church was acoustically live (Stuart Cody, who later became a fixture in the Boston and echoic which would distort the massed vocals. He documentary scene, did sound.) Howling Wolf just asked everyone to bring old rugs and quilts which he and wanted to do his part and leave. Alan kept putting Wolf the congregation tacked up on the walls and piled in off, and he became increasingly angry and dismissive of corners dampen the echoes. People did it because they the other players. By the time Alan put him on, he was John Bishop is a documentary filmmaker who works primarily in anthropology, folklore and expressive culture. He teaches in the Department of World Arts and Cultures at University of California- Los Angeles. Visual Anthropology Review Volume 17 Number 2 Fall-Winter 2001-2002 17 in a rage and all that emotion flowed into the music. Wolf humankind, and the only antidote was the diverse voices gave ten times the performance he would have if he had of common people. He would storm the walls to make been handled with the kid gloves required for more them heard. Like Don Quixote, he responded to the fragile musicians. This footage was finally edited and cultural universe as it should be, rather than as it was. released in 1996 as Devil Got My Woman (Vestapol While filming for the Mississippi PBS affiliate, he would 13049). Many times when I worked with Alan, he referred to performers as Homeric, in the sense that they were the bards of their community, the carriers of particular values and tradi- tions. At some point in Mississippi when I was filming, it dawned on me that Alan played Homer; he was not only a scholarly recorder, but a myth- maker. We were not engaged in a survey, but a quest for people of knowledge and virtuosity in whom the essence of a culture was distilled.

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