There’s “whiteness” in Bluegrass?

It is interesting that when a majority of us think of Bluegrass music, we immediately think of it being white music, from the south, and “hillbilly.” After listening to and reading the transcript from Rhiannon Giddens’ keynote address, I found that she also had the idea that there is “whiteness” in Bluegrass (specifically the banjo), although she doesn’t use the term “whiteness,” the picture that was portrayed to her was that Bluegrass originated from white people in and around the south.

An important quote from Rhiannon Giddens

“This was not the picture I was painted as a child! I grew up thinking the banjo was invented in the mountains, that string band music and square dances were a strictly white preserve and history – that while black folk were singing spirituals and playing the blues, white folk were do-si-do-ing and fiddling up a storm – and never the twain did meet – which led me to feeling like an alien in what I find out is my own cultural tradition.”1

We should take note of the origins of Bluegrass. Where did it originate? Who was playing where? These are questions that most of us think we know the answer to but are in fact actually quite wrong. Bluegrass has origins that date back to as early as 1780 in Greenville, South Carolina. A majority of this music had a widespread diaspora throughout Southern Appalachia, the most notable state would be Kentucky, where the Blue Grass Boys band originated.These answers show that Bluegrass was coined by white people and that it has white origins. From listening to Giddens’ keynote address, we find these answers to be untrue.2

Another quote from Giddens

“But the black to white transmission of the banjo wasn’t confined to the blackface performance. In countless areas of the south, usually the poorer ones not organized around plantation life, working-class whites and blacks lived near each other; and, while they may have not have been marrying each other, they were quietly creating a new, common music.”1

Bluegrass music can’t be white. Although the media would say otherwise, Bluegrass music has origins from all throughout Southern Appalachia, whether it be from white people or not. White men used what they heard from African Americans and put their label on it, claiming it as their own. In other words, it’s okay when white people sing and play African American “blues” or “bluegrass” because it is entertaining but when African Americans are the ones performing, it is considered as “lazy,” used as “complaining” songs, and simply not good.3

Here’s an interesting vinyl cover I found: 4

A Closer Look

Upon approaching research for this week’s blog post, I stumbled across this image in the Library of Congress’ digital archive of images. In the name of the thirst for knowledge, I looked for further images; maybe one that was a more readily used piece of music, or maybe a log of a certain event that might point me towards the cultural events of a given time period. Though educational and truly interesting, I kept remembering the painting of the happy black fiddler and the happy white family and the happy children dancing happily. 

image link: https://www.loc.gov/item/98516820/

The picture’s description as it states in the Library of Congress’ web archive is as follows:

Print shows an African American man playing fiddle and family dancing. It resembles, but is an Americanized variation of, Auguste Dircks (1806-1881) “Dancing to the fiddle” now in the Josef Mensing Gallery, Hamm-Rhynern, Germany. 

The reading of Eileen Southern jumped to the front of my mind. Her reading explores the means of musical practices in the the South during the years of slavery, and the ways that black musicians were often times used as entertainment for white slave owners. With that knowledge, I began to consider the circumstances of this image’s creation, as I was very taken aback by the painting’s lighthearted nature. Certainly a painting depicting a slave and white family happily coexisting to the credit of some fire fiddle music should have been painted by a white person, someone with a stake to try and “paint” the history of black Americans playing music in servitude in a far more positive light. 

Not much is known about August Dircks other than the information that he was German-born and lived from 1806-1871. With the knowledge that this painting was not American born, my viewing of it was altered slightly. Though it is important to mention the African diaspora was not exclusive to the United States, knowing this painting came from a mind outside of the Antebellum South shifted my focus. My attention went toward the black fiddler in the center of the painting, the only character painted who does not have attention paid to his expression. Rather his face is obscured by the fiddle he is being forced to play, looking downward as a slave player like him would likely be privy to not making mistakes when performing for his oppressors. Obscured, ignored, relegated to the painting’s source of joy without the slightest mention of his experience or attitude, this man fades into ambiguity. 

I think that this painting is actually quite interesting, as the experience that I had dissecting its contents is likely the desired experience for Dircks. As a white person in America, the circumstances of my upbringing have predisposed me to ignore the experiences of minority individuals. My white eye went directly to the white family having a good bit of Southern fun, and not the enslaved black man, quite literally playing for his life. This realization is the painting’s purpose, a mirror image towards the viewer’s worldview. 

I don’t know if I did this assignment entirely correctly, but I just had an interesting experience researching this image and was reminded that music research can be flawed as well.

Duval & Hunter, and James Fuller Queen. Power of music / chromo. of Duval & Hunter, Philadelphia ; Jas. F. Queen after A. Dircks. New York: published by A. & C. Kaufmann. Photograph. Retrieved from the Library of Congress, <www.loc.gov/item/98516820/>.