Tag Archives: cakewalk

The Cakewalk: A Predeccesor

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William A. Pratt’s Following Up The Band: An African Sonata for Piano, published in 1900, presents an example of how African American influences were making their way into notated music 1.

Following Up The Band: Cake Walk Characteristic Two Step March

 

 

The piece, written as a piano sonata, mimics the sound of a marching band parading through the streets, taking on the style of a characteristic two-step march. The cover of the score, showing men in tailcoats and a woman in Victorian dress, shows imagery associated with the cakewalk, a dance that played a role in shaping early American music. This imagery, along with the music itself, suggests a blend of the social and cultural practices of the time.

 

 

The cakewalk, a dance that was originally created to mock the European minuet, was adopted by Minstrel shows in the late 19th century. As John Jeremiah Sullivan points out, it began as a satire but was adopted by white performers as part of a caricature in their shows, creating a layered and looped irony: African Americans making fun of the minuet, and white people, in turn, making fun of the cakewalk2.

This irony, noted by writers like Amiri Baraka, reflects the complex relationship between African American culture and how mainstream society consumed it, particularly within minstrelsy3. Pratt’s African Sonata for Piano can be seen as part of this broader context. It combines the structure of a European sonata with a two-step rhythm that characterizes marching band music. I can not point to much syncopation or polyrhythms that would have been characteristic of a cakewalk, in the score, which makes me wonder about the performance practice for a sonata with the subtitle An African Sonata for Piano. 

Following up the band : an African sonata for piano

As we learn about the evolution of jazz, ragtime, and blues, the connection of the cakewalk becomes more apparent. Its influence on later musical forms is evident in works like Pratt’s, which, though written for piano, paints a picture of a marching band and the energy of a parade. The imagery on the score’s cover reinforces the connection to the cakewalk, reflecting the cultural dynamics of the time, both celebratory and ironic. This sonata serves as an example of how African American culture, despite being appropriated and caricatured in many contexts, was central to shaping later forms of American music as we know it.

 

1 William A. Pratt, Following up the band : cake walk characteristic two step march (New York, NY: K. Dehnhoff, 1900), accessed October 22 2024, https://dc.lib.unc.edu/cdm/compoundobject/collection/sheetmusic/id/35013/rec/1

2 Sullivan, John Jeremiah. “‘Shuffle Along’ and the Lost History of Black Performance in America” New York Times. March 24, 2016. https://www.nytimes.com/2016/03/27/magazine/shuffle-along-and-the-painful-history-of-black-performance-in-america.html

3 Baraka, Amiri. Blues People: The Negro Experience in White America and the Music that Developed from it. New York, NY: William Morrow and Company. https://search.alexanderstreet.com/view/work/bibliographic_entity|bibliographic_details|452295.

What’s a Cakewalk?

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Last class period, we briefly talked about cakewalk dances and songs, and I decided to do some digging. I was very intrigued in the origin and history of cakewalks, as well as what type of music makes it a cakewalk.

According to Grove Music, a cakewalk is a “social and theatrical dance of African American origin, developed from a competitive “prize walk” done by slaves on antebellum plantations in southern states.1”

There are musical similarities between the cakewalk and ragtime, and I noticed this while I was perusing the Sheet Music Consortium database. Of the numerous results for “cakewalk”, most of the sources are also listed as “two-step”, and some are categorized as a ragtime also. See for example this image below the entry2 for “Raz ma taz” by William H. Smith.

The source fits into quite a few categories, and I also think it’s interesting that ragtime and the cakewalk are so similar, yet I had never known the cakewalk to be anything but an elementary school carnival game.

Admittedly, my source-searching-and-locating process felt a little random this time. Eventually, I found a source titled “Raz-Ma-Taz”, which is shown below. This piece was composed in 1901 by William H. Smith, and was intended to accompany a two-step dance. 

Something that immediately struck me was the obvious rhythmic similarities to some of the famous ragtime pieces we have all heard before.

Looking at arguably one of the most well-known pieces in a ragtime style out there (above), we can see the rhythmic and structural similarities between these two pieces. From the left hand stride pattern prominent in both pieces to the syncopated melodic figures and flourishes, it is pretty clear that these styles are closely intertwined.

 

Works Cited:

[1] Conyers, Claude. “Cakewalk.” Grove Music Online. 23 Feb. 2011; Accessed 26 Oct. 2021. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002092374.

[2] Smith, William H. “Raz ma taz; Cake walk & two-step; What it is?.” Duke University Libraries Repository. Last modified , 1901. Sheet Music Consortium (B-912). https://idn.duke.edu/ark:/87924/r4hh6hd6n.

The Cakewalk

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Black dancers perform the “Cakewalk” at the Pan Am Expo in Buffalo, New York, 1901.

The Cakewalk is an African American social and performance dance, derived from dances of corn-husking festivals. The Cakewalk was a traditional African American from of music and dance which emerged among southern slaves. Those who won the dancing contest would win a cake, from where the term is derived.1

Here’s where the history on the Cakewalk get’s a little fuzzy. Some sources say it began as a parody of the formal European dances of the white slave owners, but went on to become a popular attraction patronized by white landowners.2 Meanwhile other sources say “Black performers brought dances such as the cakewalk, the shimmy, and the Charleston to the American and European public, and in the process they challenged and redefined constructions of race, gender, and nationality.”3 Both very strong opinions on the same variety of music!

No Cakewalk On The Program For the State Convention of Afro-American Leagues–A Haytian Lecturer’s; “New York Age” (New York, New York) • 05-03-1890 • Page 2

I stumbled across an article that was published in Rochester NY on April 29th (c. 1890) praising the African American community, but bashing the Cakewalk. The article praises the African American women of Rochester saying “that in no city of New York are the Afro-Americans more thrifty then our people here… Our ladies [the African American “ladies” of Rochester] are educated and refined”4 Is this statement biased? Absolutely! I still was intrigued because this is perspective we don’t read don’t find very often — especially in the 1890s. The article continues, “Of course, Rochester, like other cities, has a few Afro Americans who can not appreciate a notable gathering of their own race at a banquet or a state convention as will take place in this city May 22. They will not be seen at the banquet because there is no cakewalk on the program”4 Ouch… This statement detracts from the compliment made towards the African American women of Rochester earlier in this newspaper article. This article praises the culture of African American women, as long as their culture is now one that appreciates “notable” things such as “banquets” or a “state convention”. They praise African American women for adopting white European ideals of sophistication and anything else is seen as “less than”. Problematic? Incredibly. The article is titled “No Cakewalk on the Program for the State Convention of Afro-American Leagues”. The author creates a division among the African American women of Rochester NY. It personifies naturalization which in this case I would define as: we’ll allow you to become part of our society, only if you become like “us” ( this “us” meaning white people). This author completely dismantles and discourages historically African American dances and ideals thus defining a superior and inferior culture.

Work Cited

1 Cakewalk. (2017). In The American Mosaic: The African American Experience. Retrieved from link

2 Dancers, New York, 1901: Getty Images link

3 Griffin, F. J. (2009). Cake Walk, Shimmy, and Charleston. Women’s Review Of Books, 26(4), 12-13. link

4 New York Age. “No Cakewalk On The Program For the State Convention of Afro-American Leagues–A Haytian Lecturer’s”. News/Opinion; New York, New York 05/03/1890 link

Did they Walk the Walk? (The Cakewalk.)

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The entry on Grove Music Online under “Cakewalk” describes an origin of the contest from slaves on plantations in the American South.  Claude Conyer, the author, explains how the dance became a “strutting parade” parodying the fancy manners of the white slaveholders.  In Conyer’s origin story, the first cakewalks happened around 1850 and inspired the popular comedic minstrel shows that were all the rage.  However, minstrel shows were popular earlier on, beginning in the 1820s and continuing with the Virginia Minstrels’ first show in 1843.

Which came first?  Did slaves dress to the nines in order to make fun of the overly glamorous plantation owners, therefore creating a political statement?  Or did minstrels originate the “Zip Coon” figure, dressed to the nines as a favorite stereotype?

Does it matter?

Conyer’s simple statement is an example of the entire history of minstrel song and the misappropriation of Black Americans in minstrelsy.  He goes on to describe how the dance was performed as a grand parade entrance, dancers wearing ridiculously fashionable attire and exaggerating every gesture.  The accompanying music to the cakewalk often contained characteristics of early ragtime:  syncopated rhythms and leaping bass lines.  One example of a two-step or cakewalk piece is Kerry Mills’ “At a Georgia Camp Meeting,” composed in 1897.

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Screen Shot 2015-04-15 at 12.27.03 AM Screen Shot 2015-04-15 at 12.27.28 AM

1st Verse

A camp meeting took place,

by the colored race;

Way down in Georgia

There were coons large and small,

lanky lean fat and tall,

At this great coon camp-meeting.

Chorus

When that band of darkies began to play

Pretty music so gay hats were then thrown away

Thought them foolish coons their necks would break

When they quit laughing and talking

And went to walking, for a big choc’late cake.

The lyrics to this piece describe a culture without substance, intelligence, or more than base desires.  Every person at the gathering is labeled as a “coon,” and the “foolish coons” walk a cakewalk because no desire could be greater than a chocolate cake.

Although Sterns in Jazz Dance explains that “Negro specialists…everywhere were much in demand” (Stearns 42), it is obvious that even those attending cakewalks were only looking for material to be used as commercial gain.  The endearingly simple “coon” sold seats and gained laughter and applause.  But now the history of minstrelsy, more well-preserved than the history of Black culture, corrupts what we actually attribute to Black Americans.


Now that takes the cake.

 

Sources

Claude Conyers. “Cakewalk.” Grove Music Online. Oxford Music Online. Oxford University Press, accessed April 14, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2092374.

Stearns, Marshall and Jean.  Jazz Dance : The Story of American Vernacular Dance.  New York: The Macmillan Company, 1968.

“At a Georgia Camp Meeting.” Kerry Mills. :: Frances G. Spencer Collection of American Popular Sheet Music. Frances G. Spencer Collection of American Popular Sheet Music. Web. 14 Apr. 2015. <http://digitalcollections.baylor.edu/cdm/compoundobject/collection/fa-spnc/id/14135/show/14129/rec/4>.