Anti-racism

Continuing my reflections on Harmony University, Deke Sharon’s keynote address is going to take a post of its own, and probably quite a long one at that. Which is entirely how it should be – his job as keynote speaker is to get people thinking, and he succeeded in starting conversations that went on all week.

His theme was ‘Divergent paths’: reflecting on the way that organised barbershop separated off from the Black vocal harmony traditions the genre had once been part of, and using examples from continuing African American traditions to imagine how barbershop might have turned out if it had not spent so much of the past 80 years as a segregated genre. This is a fabulous thought experiment through which to consider the history of vocal harmony genres, though on reflection I am starting to suspect it was also the root of many of the ‘yes, buts…’ that emerged in response.

Harmony University 2018 faculty

I am just back from a week teaching at the Barbershop Harmony Society’s Harmony University, and I am sure nobody will be surprised to know I come home with a full notebook. Indeed, I had collected a goodly collection of notes before the event had even started, as they had me travel out early to take advantage of cheaper airfares, and so I arrived as the previous event on the campus, a leadership summit, was finishing. I thus had the chance to chat with the organisation’s staff and administrative leaders to get a picture of how life is on the ground at the moment in the Barbershop Harmony Society.

Ever since I started writing about race and repertoire a couple of years ago, I have been quietly fretting about a particular piece of piano music that I, like many piano students, learned in my teens for one of my grade exams. It is still appearing on exam syllabuses today. Earlier this spring, these private misgivings became public when I found myself involved in an online conversation about its problematics with a group of pianists and piano teachers, many of whom also teach and perform it.

The piece in question is ‘The Golliwog’s Cakewalk’ from Debussy’s Children’s Corner suite. The conversation has stayed with me since, forcing me to clarify my own feelings about the piece. I’m reflecting on those feelings here to try and bring some coherence to them in the aftermath of the difficult experience of finding myself at odds with people I’d usually identify with quite strongly. I keep telling myself it’s the uncomfortable experiences that lead to growth.

My last post gave an overview of some of the ways that John Bush Jones’s book Reinventing Dixie: Tin Pan Alley’s Songs and the Creation of the Mythic South is both useful and problematic. Today’s will consider his central thesis, that the mythic South constructed within Tin Pan Alley songs is a vision of a south contemporaneous with the songs’ own times, not nostalgia for a South of the past.

One of the strengths of this book, as I mentioned before, is that it provides plenty of specific detail with which to test the author’s analysis, and the evidence to support this thesis is mixed at best.

There are some specifically contemporary references in the war songs – those songs about Dixie boys, or indeed Alexander with his band, going over to France are clearly topical for the years of World War I. And one could make a case for the promulgation of contemporary styles of popular music such as ragtime to support the contemporary thesis, though Jones mostly confines himself to discussion of lyrics, with only passing mention of musical content.

In the light of barbershop’s current debates about the role of Dixie songs in its repertoire, I was interested to hear of a book published a couple of years ago about exactly this corpus of songs. Reinventing Dixie: Tin Pan Alley’s Songs and the Creation of the Mythic South sounded exactly like the kind of thing I should be reading!

I have not yet worked out whether I would recommend it in turn, for reasons that I aim to tease out in the next blog post or two (there may be more to talk about than will fit in just one). Overall I’d say it is more informative than explanatory – it told me lots of stuff that I didn’t otherwise know, but the analysis is weak, in places embarrassingly uncritical.

So, it’s a few months since Joey Minshall captured the feeling of a moment with her #donewithdixie post. In the time since, the hard work has started of negotiating with individual ensembles about why these songs, once so central to barbershop repertoire, are no longer being received quite so enthusiastically in all quarters as they once were.

You can understand singers who have put a lot of time and love into polishing performances feeling reluctant to let go of that investment, and they will often bring out arguments as to why they should continue singing these songs. This post takes a few of the frequently-heard points to consider outside of the context of any one conversation. Just so we can get our heads round them in a place where nobody has to take it personally right here right now.

The discussions about how and to what extent barbershop as a genre and as a community moves away from repertoire that glorifies the Old South is ongoing, and likely to continue for some time. This post is about the more practical question of working out which of the songs in the established barbershop repertoire are likely to be problematic.

I’m assuming that it’s mostly people outside the US who need to walk through this. We have imported a genre, and through mastering its craft have allied ourselves with a worldwide family with whom we identify and share emotional, cognitive and visceral patterns of being. But the repertoire we have imported along with these ways of being doesn’t always bring all of its meanings with it.

Moral hazard. Noun. Economics.
Lack of incentive to guard against risk where one is protected from its consequences, e.g. by insurance.

I looked up the term moral hazard as I thought it might make a catchy pun for my title in relation to a topic that’s going to turn up a bit later in this post. On checking the definition, my first thought was: well, maybe not – it’s quite specific to its context. But as I reflected, I realised that actually it works better than I first thought as a metaphor in cultural spheres outside economics.

Moral hazard. Noun. Real Life.
Lack of incentive to guard against risk where one is protected from its consequences, e.g. by white privilege.