Tag Archives: racism

Florence Price and the Erasure of Black History

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Florence Price is a name we are all hopefully familiar with. She was the first African-American woman to have her compositions performed by a major American symphony orchestra, and her life and work remain an important part of our history. Born in Little Rock, Arkansas in 1887, she was a musician from an early age and attended the New England Conservatory of Music in Boston when she was a teenager.1  In order to better her chances of attending the conservatory, some sources say she was dishonest about her racial background (she was the child of a biracial couple). In 1932, she won a prestigious composition competition and had the opportunity to have her Symphony No. 1 in E minor performed by the Chicago Symphony.2

Her career took another step forward when she was asked to perform her Concerto in One Movement with the same orchestra as the solo pianist. However, despite a promising start to her career, she struggled to gain recognition and opportunities because of her race and gender. She continued to release music under the male pen name of “Forrest Wood”.3
Throughout her career, she worked closely with pianist and composer Margaret Bonds, poet Langston Hughes, and contralto Marian Anderson.4

Her career was rife with racism and sexism – the fact that she was writing under a male Western name shows how she was forced to erase her own identity to survive. Her reviews, even supposedly positive ones, were all saturated with the same bias, like this one I found in the Chicago Defender:

“Florence Price’s contribution in the form of a piano concerto was by far the most important feature of the concert for here we see what the Negro has taken from his own idiom and good technique is beginning to develop on its own.” 5

Or this quote from Price herself:

“Unfortunately the work of a woman composer is preconceived by many to be light, froth, lacking in depth, logic, and virility. Add to that the incident of race–I have Colored blood in my veins–and you will understand some of the difficulties that confront one in such a position.”6

 

 

Price and her family were forced to leave Little Rock for Chicago in 1927 due to the increasing violence towards Black people in the South, directly following several lynchings in her area.7
While musical opportunities were greater for her in Chicago, she died with most of her 300+ works unpublished and inaccessible to the public until 2009, when boxes of sheet music were found in an abandoned house in St. Anne, Illinois.8 The house had been vandalized with the valuables stolen, but the sheet music was untouched and bore Price’s signature. Price’s music had been left in the house, which was discovered to have been her summer home, since her death in 1953. So why did it take this long for her works to be discovered, and how many other compositions and groundbreaking musical works lie untouched and undiscovered, just like Price’s? how many other Black composers remain uncredited for works we know and love? The erasure of Black history is a massive problem in America, and it is especially prevalent when looking at our musical history. Price is just one example of this.

1 Walker, Karla. “Racism and Sexism Stalled Her Career. Now Florence Price Is Finally Being Heard.” Colorado Public Radio, Colorado Public Radio, 1 July 2019, www.cpr.org/2018/04/16/racism-and-sexism-stalled-her-career-now-florence-price-is-finally-being-heard/
4 “Florence Price: Breaking Barriers of Race and Gender in Classical Music.” Pacific Chorale, www.pacificchorale.org/florence-price-breaking-barriers-of-race-and-gender-in-classical-music. Accessed 11 Nov. 2023

5 STARS WITH WOMEN’S SYMPHONY. (1934, Oct 20). The Chicago Defender (National Edition) (1921-1967) Retrieved from https://www.proquest.com/historical-newspapers/stars-with-womens-symphony/docview/492521061/se-2

6 Busch, Elizabeth. “Florence Price: Composer, Teacher, and Pianist.” Csmleesburg, csmleesburg, 10 Feb. 2022, www.thecatoctinschoolofmusic.com/post/florence-price-composer-teacher-and-pianist.

7 “Florence Price: Breaking Barriers of Race and Gender in Classical Music.” Pacific Chorale, www.pacificchorale.org/florence-price-breaking-barriers-of-race-and-gender-in-classical-music. Accessed 11 Nov. 2023

Leontyne Price and Racism in Opera

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Leontyne Price made her Metropolitan Opera debut in January 1961 as Leonora in Giuseppe Verdi’s Il Trovatore, pictured here.

Leontyne Price is known as the first Black leading performer in opera. She was the first Black prina donna to gain an international reputation and become a singing superstar in the world of opera. Born as Mary Violet Leontyne Price on February 10, 1927, she grew up singing in the church choir and only decided to pursue music after she graduated from the College of Education and Industrial Arts, now Central State University.1 She then attended the Julliard School of Music and began her singing career on Broadway in 1952. She made her operatic debut in 1957 and continued traveling the world singing opera until 1985 when she switched to more recital work.2  Her role in Verdi’s Aida remains her best-known work, and she is widely considered the most stunning Aida this world will ever see (see video below). Price was an incredibly accomplished artist and received numerous awards, including 20 Grammys, the Presidential Medal of Freedom (1964), the Kennedy Center Honor (1980), the National Medal of the Arts (1985), and is a National Endowment for the Arts Opera Honoree. 3 Today, at age 96, she continues to inspire upcoming generations of Black classical musicians.

I found this snippet of a newspaper from the Kansas Whip in 1955 titled “Whites Help Welcome Negro Soprano Home”, describing the large mixed-race crowd that greeted Price for a benefit concert in her birth town of Laurel, Mississippi. 4 I found this title to be extremely diminishing of Price’s accomplishments as an artist – according to the snippet, it was the largest gathering of White and Black people in Laurel’s history. To title this as “Whites Help Welcome Negro Soprano Home” is centering White people once again in a story that should be centering Black voices and celebrating Price’s artistry and accomplishments. It reminded me of the conversations we have had in class about White saviorism and White guilt – once again, White people are making themselves the heroes of someone else’s story.

Article published in the Kansas Whip in Topeka, Kansas on April 1, 1955

We can only begin to comprehend the struggles that Price had to overcome as a Black woman in the opera industry, which is a racist and almost exclusively White-dominated industry to this day. Take the Met, for example. With a board of 45, only 3 managing directors are Black.5 Bass-baritone Morris Robinson said in a New York Times article about representation in opera: “In 20 years, I’ve never been hired by a Black person; I’ve never been directed by a Black person; I’ve never had a Black C.E.O. of a company; I’ve never had a Black president of the board; I’ve never had a Black conductor,” Mr. Robinson said. “I don’t even have Black stage managers. None, not ever, for 20 years.”6

Representation in opera is still a huge issue today and racism is prevalent, especially considering the mostly old and white audience that opera attracts. Hopefully, as time goes on, we will center Black artists in the world of opera. Artists like Leontyne Price are an inspiration, but also a reminder of how far we still have to go to achieve equity in the world of opera.  

“I am here and you will know that I am the best and will hear me. The colour of my skin or the kink of my hair or the spread of my mouth has nothing to do with what you are listening to.” – Leontyne Price

 

   

1 Britannica, T. Editors of Encyclopaedia. “Leontyne Price.” Encyclopedia Britannica, October 3, 2023. https://www.britannica.com/biography/Leontyne-Price.

5 Barone, Joshua. “Opera Can No Longer Ignore Its Race Problem.” The New York Times, The New York Times, 16 July 2020, www.nytimes.com/2020/07/16/arts/music/opera-race-representation.html.

Jazz: The Marvelous Syncopation of the African Jungle Reproduced!?

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The questions surrounding the origins of jazz, including what jazz is, where jazz came from and who performs jazz, abound. Numerous articles, books, and dissertations have these or similar titles in reference to jazz. Why? What is the reason? The true origins of jazz have been up for debate for quite some time. Scholars have extensively researched this issue, due in part to its wide and deep lineage of African and African American culture, as well as possessing strong roots in ragtime and blues. 

During my end of semester research on  “Early Jazz” and the pioneers of the jazz genre, I stumbled upon a newspaper article entitled, “The Origins of Jazz” written in 1921 by Madge R. Cayton. The article was published under “Cayton’s Monthly”, a column in the Seattle Republican newspaper. Madge’s father, Horace Roscoe Cayton Sr., was an American journalist and political activist who launched the Seattle Republican. As the biracial son of a slave and a white plantation owner’s daughter, Horace Cayton created the newspaper with the intention of appealing to black and white readers alike. Below is Madge R. Cayton’s “The Origins of Jazz” article. The article obnoxiously reflects the beliefs of the average white reader of this time period rather than those of the average black reader. 

In her article, Cayton briefly explores the origins of the word “jazz” as well as the two specific types of jazz: the “Siamese jazz” which originated in China, and the “Oriental jazz” originating in Africa. Right from the outset, Cayton displays a narrow-minded view of the research on the origins of this “street rhythm” and a lackluster degree of understanding of the topic. Cayton focuses on the African “Oriental jazz” music, outlining her racist and discriminatory remarks. Throughout the article Cayton repeatedly conveys her distaste for jazz music and its glamorization of the African jungle, stating, “It is an attempt to reproduce the marvelous syncopation of the African Jungle. It is the result of the savage musician’s wonderful gift of progressive retarding and acceleration which is guided by his sense of ewing.”  The use of the word “savage” in describing the musicians is an immediate indicator of Cayton’s racist tone and underlying belief in white supremacy. The term “savages” has long been denounced as a racial stereotype for African Americans because of their basis in racially motivated scientific studies that found African Americans to be inferior to their white counterparts, making them closer to wild animals than to humans. Clayton continues her barrage of racialized and stereotyped comments on African Americans and their love for jazz music, pointing out a concern about the increasingly larger and more notable venues available to this performance tradition, “Jazz has reigned supreme for some years and most likely, will reign for many more for it has invaded our dance halls, theaters, and concert halls. Even our churches have not escaped without their share of tempestuous music. It has even snatched our very songs, classical and popular, and taken them for its own use, ragging them to death.”  This “invasion” Clayton suggests, should return its music to the “forest primeval” which is “more real and refined there than in a hall filled with dancers.” Clayton finishes expanding on the same belittling themes stating, “Because jazz is elemental bringing the savage to the surface, it is dangerous. We cannot afford in our present stage of civilization to accept the standard of the savage even if it is only through the giddy measure of a dance”. Based on Clayton’s writing, jazz puts civilization itself at stake.  

I can say with a high degree of confidence that Ms. Cayton’s article on the origin of jazz should be considered frivolous in nature, repugnant given it is rooted in Jim Crow thinking, and filled with racist ideas and a display of close-mindedness common among a large number of white folks in the U.S. in the early 1900’s. Additionally, some people of color, denied the opportunity to learn better, held similar views. For more scholarly research and accurate information into the origins of jazz, pursued by bright, open minded college students, please follow this link >>> (will put link to final project here when finished). 

Works Cited

“Cayton’s Monthly. [Volume] (Seattle, Wash.) 1921-1921, February 01, 1921, Page 10, Image 10.” News about Chronicling America RSS, H.R. Cayton, https://chroniclingamerica.loc.gov/lccn/sn87093354/1921-02-01/ed-1/seq-10/#date1=1836&index=7&rows=20&searchType=advanced&language=&sequence=0&words=jazz+Jazz&proxdistance=5&date2=1989&ortext=&proxtext=&phrasetext=jazz&andtext=&dateFilterType=yearRange&page=1. 

“Horace R. Cayton Sr..” Wikipedia, Wikimedia Foundation, 26 Nov. 2022, https://en.wikipedia.org/wiki/Horace_R._Cayton_Sr. 

“Negative Racial Stereotypes and Their Effect on Attitudes toward African-Americans.” Ferris State University, https://www.ferris.edu/HTMLS/news/jimcrow/links/essays/vcu.htm. 

Music: giving us insight into the disgusting ideas held about black Americans.

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As someone who is currently studying musicology, one of the main tasks required of me is to use music as a clue to make larger claims about society at that time. In other words, I sleuth around in musical documents to figure out how people thought. Just like any primary source, music leaves us a trail that can bring us to bigger discoveries about human nature. So this week, I decided to embark on the task of using musical documents to bring light popular sentiments about black Americans.

I decided to take a closer look at this document:

 

(It’s a little blurry here, so take a look here for a clearer picture: https://www.loc.gov/pictures/resource/cph.3b35698/)

This is a sheet music cover for a piece titled “the Contraband Schottische” written by Septimus Winner in 1861 (the beginning of the Civil War). Winner dedicated this piece of music to Union General Benjamin F. Butler. Butler was in charge of implementing the “Contraband Decision” in which escaped slaves who retreated to the North during the Civil War were considered “contraband” or illegally stolen goods. This allowed Slaves to live in a state not being owned but also not being free in the North. This was decided in retaliation to the Fugitive Slave Act of 1850 in which slaves were to be returned to their masters if caught after escaping.1 On the cover of “the Contraband Schottische” there is a cartoon depicting a slave owner chasing his four black slaves rolling down the hill as if they are merely goods. Although the Contraband Decision ended up being a helpful decision for slaves as a side effect, we can’t sit here and celebrate Butler, he wasn’t even an abolitionist after all.

The depiction of slaves in this cartoon gives us an inside look into some of the attitudes held by society at the time. In this cartoon, slaves are illustrated to be synonymous with products or goods, as they are rolling down the hill like a sack of potatoes falling out of an 18-wheeler.

This sentiment of black Americans being treated as “property” or “goods” seems to infiltrate and inform other assumptions about their intellectual ability or identity as functioning humans. If we fast forward to 1943, this idea develops into another held by author George Pullen Jackson in his book White and Negro Spirituals. He holds the belief that black Americans are not capable of producing sophisticated spirituals, and therefore, must have developed all of their music from the influence of Europeans.

“We know that our fathers (Europeans) brought to this land a rich and hoary heritage of folk melody. We know that the negro slave entered into this heritage eventually by adopting it to the extent of his ABILITIES and desires”.2

This quote infers that black Americans would not have the ability to create music as sophisticated as Europeans. By looking at these documents surrounding music, we can see that the sick attitudes of black Americans as “goods” or “property” and the conclusion that they therefore can not produce sophisticated music are rampant for over a hundred years. That’s pretty disgusting.

Hot Takes with Henry Hanchett

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I have to commend Henry Granger Hanchett, a musician, doctor, and lecturer, on one thing: his choice of title for this piece, which was published in The Outlook (a New York magazine) in 1896. Posing the question, “What is ‘Good Music’?” in the title of an article implies to me that the author intended to answer that question to some degree of certainty within approximately one page, something most authors would be cautious of. In fact, Hanchett appears to have had few reservations about answering such large musicological questions, having also written during his lifetime a book with the title, “The Art of the Musician. A Guide to the Intelligent Appreciation of Music.”

In this particular article, “What is ‘Good Music’?”, Hanchett explores typical themes such as church music, the purpose of music, personal tastes, the roles of instruments and performers, and so on. However, what I found to be the most telling about Hanchett in this article, as well as the role of race and identity in his musical opinions, were his offhand comments about “Gospel Hymns”. He uses the example of the song “Way Down Upon the Suwanee [Swanee] River” being performed by a beloved opera singer, Christine Nilsson, to illustrate that even the most inferior compositions can be made into good music through a virtuosic  performance. In the midst of an article otherwise dominated by a casual and exploratory tone, Hanchett shifts to an exasperated condemnation of what he believes to be gospel music. He describes these “Gospel Hymns” as “not really worth the paper upon which [they are] printed,” having “no musical sense or meaning,” and overall, “not good music.”

As I attempted to get a clearer understanding of what Hanchett’s definition of a “Gospel Hymn” was, I searched for recordings of “Way Down Upon the Swanee River” (also called “Old Folks at Home”). This immediately led me to a video of Al Jolson, a popular minstrel show performer in the 1900s, performing the song in blackface in the movie Swanee River.

Diving deeper into the background and the lyrics of this song, it turns out that “Way Down Upon the Swanee River” is, in fact, a minstrel song written by Stephen C. Foster (and currently the Florida state song??). In addition to being written by a white guy for other white guys in blackface to perform, the song makes no reference to religion or the gospel. I may not know a perfect definition of what a Gospel Hymn is, but I’m pretty sure that this is not it. All available evidence leads me to assume that Hanchett hates this particular song, as well as the musical style, not because it is rooted in the racist practice of minstrelsy but because he actually perceives it to be genuine Black music and he’s just super racist. Although Henry G. Hanchett had his knack for musicological confidence, behind that confidence was the privilege and ignorance that make his opinions irrelevant today.

 

Citations:

Crawford, R. (2005). America’s musical life: A history. W.W. Norton.

Goldstein, H. (2001, January 20). Jolson, Al. Grove Music Online. Retrieved September 28, 2021, from https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000014435?rskey=pQuzQC.

Hanchett, Henry G. “What is “Good Music”?” Outlook (1893-1924), Feb 15, 1896, 287, https://www.proquest.com/magazines/what-is-good-music/docview/136934140/se-2?accountid=351.

Martin, S. L. (2015, May 28). Hanchett, Henry Granger. Grove Music Online. Retrieved September 28, 2021, from https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002283077?rskey=ittjn6.

Old folks at home. Song of America. (2018, July 16). Retrieved September 28, 2021, from https://songofamerica.net/song/old-folks-at-home/.

Root, D. L. (2013, October 16). Foster, Stephen C(ollins). Grove Music Online. Retrieved September 28, 2021, from https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002252809?rskey=Yle74c&result=1.

Southern, E. (1983). The music of Black America: A history. Norton.

Activism: A Rant on Music, Minstrelsy, New Orleans, and Today’s Racism

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“Minstrelsy is thing of the past!” my old high school teacher once told me. Is it actually a thing of the past? Just because it is no longer featured and accepted in mainstream media it does not mean that the racism in the United States has ended. It has only evolved. We still hear remnants of this racist entertainment culture in sing-along songs that have been played to many children growing up. There are still references made to minstrelsy through the use of costumes in cartoons such as Mickey Mouse. Have African-Americans, or minorities in general, ever been put first when it comes to economic and emergency aid from the United States government or population? If so, why did Cesar Chavez or Martin Luther King, Jr. ever have to step on that soapbox to put minorities first themselves?

Martin Luther King. Jr. Quote

Is it a cultural norm for the United States to be considered a nation that puts their people last? Unlike the Swiss and Germans, who have helped their people in times of need, New Orleans says a lot about the reality of the United States and the government’s attitude towards affirmative action aimed at minorities, specifically African Americans.

“While Swiss and German governments have paid reparations to Holocaust survivors and those killed in the Holocaust, black intellectuals have pointed out that there has been no such concentrated effort by the United States to repay African Americans for the unpaid labor required under slavery” (The American Mosaic: The African American Experience).

Looters make their way into and out of a grocery store in New Orleans on Tuesday, Aug. 30, 2005. Flood waters continue to rise in New Orleans after Hurricane Katrina did extensive damage when it made landfall on Monday. (AP Photo/Dave Martin)

In 2005, Hurricane Katrina killed over 1,800 people and changed the lives over millions of others. One of the cities most affected by this hurricane was New Orleans, LA. The majority of the people affected by this disaster were African-Americans. According to DataUSA.io, the 75.8% of the New Orleans population is Black, 18.9% is White, and 5.3% is Hispanic.

New Orleans, LA Population Bar Chart of Ethnicity

“The problems that plague the urban poor, who are disproportionately African American, were tangible throughout Louisiana—especially in New Orleans, which sustained the most damage—and in Mississippi near where the storm made landfall. The catastrophic storm only amplified ways the black urban and rural poor in the American South had been ignored” (The American Mosaic: The African American Experience).

It is clear that a disproportionate amount of African-Americans in this part of the South were left without sufficient aid by the US Government emergency systems. According to the article about “New Leadership,” Sanders states that there are many African American intellectuals today drawing on evolving conversations about black identity to “reignite a debate on the need for reparations to African Americans” (Sanders). This debate is similar to that of minstrelsy in the context of African American reparations. What can the United States offer to African Americans as reparations in a post-slavery world? Does the United States do enough for African Americans today? This question is complicated because we must define “United States”. The United States as in: government, citizens, immigrants, and companies. There are many different ways the United States can act as an entity.

The Black Law in Missouri, 1861

Minstrelsy poses the same concerns because it requires reparations in its own context. The question posed with regard to minstrelsy is, “Should minstrel songs and culture be erased from history or should we educate our following generations on its history?” For lack of a better way to state this, I will say it as it is: The United States as a whole is not doing everything it can do to owe reparations to African Americans today.

 

Sources:

  1. Sanders, Joshunda. “New Leadership, 2001–2008.” In The American Mosaic: The African American Experience, ABC-CLIO, 2018. Accessed March 7, 2018. https://africanamerican2.abc-clio.com/Topics/Display/39.
  2. The Black Law in Missouri. The National Era (Washington D. C., United States), Thursday, January 26, 1860; pg. 15; Issue 682 (224 words (1860/01/26/): https://goo.gl/P7Ahw6
  3.  https://datausa.io/profile/geo/new-orleans-la/#ethnicity
  4. Simpson, George. “Disney race shock: Mickey Mouse ‘was based on blackface minstrels’.” Express.co.uk. February 3, 2017. Accessed March 7, 2018. https://www.express.co.uk/entertainment/films/762722/Disney-racist-Mickey-Mouse-gloves-blackface-minstrels-Vaudeville-The-Opry-House.

Minstrelsy and Jay-Z’s “The Story of O.J.”

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This week I found some painfully real minstrel primary source material and just want to warn readers that I deal with some racist material in this blog post. I came across a minstrel song entitled “Isn’t it a Wonder?” which isn’t at all as innocent as the title sounds. Written in 1861 by Henry Wood, “Isn’t it a Wonder?” would have been performed at a minstrel show by Wood’s group, “Wood’s Minstrels.” It is written in a thick dialect, and is full of stereotypes. Blacks are compared to a variety of animals, and are portrayed as confused and unintelligent.

“Isn’t it a Wonder?”

The message of the song is made explicit in the last stanza. Wood encourages white audiences to adjust to the changing society and to stop trying to “kill the colored race.” It is important to note that this song was written in 1861 – marking the year Lincoln was inaugurated and the start of the Civil War. One possible interpretation of this song is that it highlights the fear and uncertainty that many whites felt about slavery coming to an end. Another interpretation is that it expresses the sick and twisted appreciation whites had for black culture, as it was useful for mockery, entertainment/minstrel shows, and to escape social norms.

Fast-forward 156 years. Jay-Z releases the music video for “The Story of O.J.” which uses many of the inaccurate techniques that minstrelsy did to portray black people. It is drawn in a black and white cartoon style, and presents the viewer with a flood of stereotypical images of black people — they are monkeys, slaves, jazz players, and football players just to name a few. The characters resemble old Disney cartoons, such as Steamboat Willie, which most likely had ties to minstrelsy. We understand this due to the white gloves, over exaggerated animalistic facial features, and caveman portrayal of a child playing the bones. So, why does Jay-Z use these stereotypes? And why now?

I believe Jay-Z’s use of these racist stereotypes found in minstrelsy highlights his message about race in America – we’re dealing with the same issues now. He also addresses the racism within the black community, and the struggle for financial freedom and responsibility. In this music video Jay-Z responds to one of the problems that minstrelsy and songs like “Isn’t it a Wonder?” pose– the comedic relief that blacks provide to white audiences. Jay-Z expresses that no matter what black people do they are still exploited for profit and treated as second class citizens.

Sources

Wood, Henry. Isn’t it a Wonder. 1961. http://infoweb.newsbank.com/iw-search/we/Evans/?p_product=EAIX&p_theme=eai&p_nbid=F59V55CJMTUxMDgwMTg5MC44MDEyOTQ6MToxMzoxMzAuNzEuMjI4Ljgy&p_action=doc&p_docnum=2000&p_queryname=2&p_docref=v2:10D2F64C960591AE@EAIX-10F453B3EBFA3590@925-@1

The Privilege of Romanticizing

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Louis Arden Schuch (1876-1944) was a composer. Born in Germany, immigrated with his parents to the United States and settled in Auburn New York. He composed his problematic work titled “Mineola” in 1904. “Mineola” which translates to “pleasant place” in the Algonquian language. The piece’s alternative title is “The Wedding of the Indian and the Coon”. The piece is subtitled: “A Characteristic Indian Serenade”. The text is as follows:

“Mineola or the Wedding of the Indian and the coon” cover art

Out near the town named the Needles
There lives a pretty Indian maid
She is the Pride of the Kickapoo Indian
and her skin of Navajo shade
While out way up on a vista
A Coon perchance the maid to meet
and to her he took a fancy
 … every night and day
this Coon to her would say,

[chorus]
Won’t you be my Indian baby?
Love you yes indeed I do
I will make you happy, happy
Babe, now that I’ll be true
…
On the Indian reservation
Say you’ll be mine, don’t decline
the wedding of the Indian and the Coon

Told him she hadn’t thought of marriage
although she loved him heap much so
And if he expected her to Marry
To the Big Chief he would have to go
….
The ask’d what shall I say to him
In reply says dear don’t worry
have nerve drink some Tom Gin
As he said good bye that day
… to her did say

Where to even begin? Right off the bat, we have the term “coon” used to describe an African American man. This term came from the Spanish word barracón which was a large building constructed to hold merchandise, where slaves were kept for sale. This word was later anglicized into “barracoon” then shortened into the slag: “coon”. The first verse sexualizes the Native American woman emphasizing her skin tone. In the chorus begins “Won’t you be my Indian baby? Love you yes indeed I do” to be followed later in the piece by “Told him she hadn’t thought of marriage” which leads me to question motives/consent. Last but not least, the final verse mentions how the gentleman caller would need to ask the “Big Chief” referencing the Chief of that Indian tribe. Additionally, this piece says the love interest was from the Kickapoo tribe. This tribe was believed to be located in the part of the country that is now Oklahoma and Texas. I find it hard to believe that Schuch had any contact with this tribe in Auburn, NY. This piece is a whole new level of problematic. Written by a  German immigrant, a love song between two people of cultures to whom the composer does not belong nor know enough about to compose a piece of music. This is just scratching the surface on how people can completely abuse traditions they are not educated on.

Work Cited

Schuch, Louis Arden. Mineola or the Wedding of the Indian and the coon. Sheet Music Consortium, Duke Music Libraries. Auburn, NY. 1904. link

Schuch, Louis Arden Jr., Find A Grave.com link

Swanton, John R. The Indian Tribes of North America. Bureau of American Ethnology, Bulletin 145. Washington DC: US Government Printing Office. 1953.