Throughout my research and writing in this class, Nationalism seemed to be the strongest course theme. Most of my papers and blog posts discussed nationalism prominently, and although they alluded to other course themes, they all addressed ideas of what French music should be. It seems many people, institutions, and works shaped national artistic ideals, contributing to ‘lifestyle modernism.’ Although race, gender, sexuality, and class were all addressed by the material of this class, it seems that these other themes all establish and affirm aspects of French national identity.
In the readings, I came to know many characters and institutions of Paris during the 1920s. This familiarity made me realize just how small the world of Interwar French music really was. Les Six, Cocteau, Satie, and the Princesse de Polignac were some of the most prominent figures, and their activities often intersected to create the music and art of this time.
I like to imagine how they all would have interacted with each other at parties, social events, and performances, and in doing so, I’ve reflected on the interdisciplinary, nuanced, and complicated nature of music-making in 1920s Paris. Patrons, composers, artists, and institutional pressures all had a profound affect on the type of art created by composers, choreographers, and performers. Now, as I think about applying course ideas, I realize just how similar today’s society is to Interwar Paris. Although some things may seem different at first, we’re really out here doing a ton of the same stuff roughly one hundred years later. 1920s Paris seems like a pretty small world, and despite increased globalization, it’s a world much like ours, in which art and culture reflect broader social views and trends, especially those promoted by the class in power.
I really love to watch Saturday Nigh Live (SNL) on NBC with my friends and family, and I’ve grown to appreciate it as a popular artistic expression of society. The skits performed there often suggest our current feelings on politics, gender, sexuality, race, class, and even nationalism. Of course, like the music of 1920s Paris, it likely only showcases the views of a small, powerful sect of society, but it is still a compelling piece of the puzzle. If you’ve never watched SNL before, take some time to absorb a few recent episodes and see if you can apply any course lenses, I know I can.
(Here’s an article with some top sketches from 2021.)
Do you think people will ever try to study modern America through SNL sketches?
I think they should.