Racial segregation and collaboration

In a society dominated by white supremacy and racial disintegration jazz served as a medium which provided the Black community with a unifying music genre in which African American artists were empowered with the freedom of cultural self-expression. Jazz emerged from the social constraints imposed upon the black community by discrimination and segregation as a liberating instrument in creating their distinct cultural tradition. Societal oppression and economic disadvantage seemed to vanish in the music, allowing for social freedoms that were previously denied to the African American community. However, as Miles states in his autobiography, the difficulties that Black artists had to face remained evident and undeniably obvious. Despite the safe zone of free expression, the jazz scene experienced many of the tensions induced by discrimination and racial intolerance. As miles states, white appropriation, in which white artists attempt to take claim of the creations of black talent, coupled with their advantaged societal position in a white supremacist society, made it increasingly difficult for black jazz artists to make a living or rise to popularity (Davis 54).

Black artists did not only experience an opposition within the jazz scene by interracial competition with white artists enjoying a more advantageous societal position. As some rose to popularity, financial independence and social recognition for their unmatched talent, fractions among the white population engaged in jealousy driven racism (Davis 67). Jazz was seen as an invasion by Black people, which fueled further racial tensions (Davis 67). Disapproval of Black Jazz musicians bathing in financial success, surrounded by White women and popularity was commonly experienced by Black artists (Davis 67). In addition, the inability of Black artists to independently reach fame during the early stages of jazz influenced by racial discrimination and intolerance created a dependency of Black musicians on white agents and club owners as facilitators of their musical careers (Travis).

The forced racial integration based on the collaboration between white business men and black artists in promoting jazz, however, provided jazz with the necessary means to reach unprecedented fame during the 20s and 30s, which ultimately allowed jazz to function as an instrument for blacks in obtaining social recognition, financial independence and - at least to some extent- racial equality. Promotion of jazz, a predominantly African-American cultural production by famous nightclubs featuring white audiences was what allowed jazz to become the popular music genre in America. In that respect the collaboration between whites and blacks and the associated success allowed Jazz to serve as a catalyst and an opportunity for Black artists to transcend the constraints of impaired economic vertical mobility and boundaries of racial and social segregation.

Contradicting this notion stands the counter-argument that the relationship between black artists and white agents or club owners was polarized in favor of white supremacists and infused with negative vibes relating the collaboration to metaphors such as the plantation system (Travis). Rather than mutual dependency and benefit, the relationship between white club owners and black artists was depicted as a system of exploitation of black talent (Travis). However, if it wasn’t for this collaboration, jazz would have never risen to the fame which is synonymous with power and influence and thus not have the positive effect on the Black community.  

The interesting aspect is the racial inconsistency and controversy surrounding jazz. The emergence of jazz was fueled by discrimination and segregation as it provided the Black community with the freedom of cultural expression; however, what ultimately catapulted jazz to popularity was the collaboration of these racially separate subpopulations economically and musically within a socially deeply segregated society. Jazz was born out of discrimination but succeeded to alleviate the constraints that the segregated social setting in America fueling its emergence imposed on it. Jazz and art are often under-appreciated for their purely aesthetic value neglecting its deeper meaning. Jazz and art in general have served as a remedy from social and racial inequality. It provided a medium in which free expression and personal freedom did not seem alienated by white supremacy. Since jazz is based on improvisational creation which is synonymous to self-dialogue, this music genre provided the foundation for the freedom of self-expression and the freedom of cultural creation that was desperately needed by the Black community in its struggle toward racial equality (Stewart). I guess what makes this argument interesting is the irony about how racial segregation promoted the emergence of jazz as a unifying Black cultural medium, while racial collaboration within the jazz scene empowered jazz to alleviate the constraints of the social construct of discrimination under which it was created.

References

“Miles Davis: Autobiography”. Miles Davis and Quincey Toupe. Simon & Schuster. 1990

 “The Autobiography of Black Jazz”. Travis, D. J. Chicago IL: The Urban Research Institute, Inc. 1983

“Black Studies 14 Lectures”. Professor Stewart. UCSB. 2015

The Synergism of intrinsic musical talent and external influences

San Juan Hill was a community characterized by a duality between cultural potential and ethnic disintegration. The cultural diversity within the predominantly African-American community was infused with racial tension leading to various outbursts of violence (Kelley, 16). The diverse ethnic and cultural groups of San Juan Hill were partitioned into sub-populations under the influence of social constraints imposed by racial disintegration. The racial divide was amplified by a lack of economic potential and populous housing conditions which forcefully condensed these opposing subpopulations into a limited living space, thereby fueling the racial tensions felt within the community. Economic struggle, poverty and drug affiliated crime involvement had socially deteriorating effects on the community and facilitated frustration and desperation driven race conflicts (Kelley 19, 23). In contrast the cultural diversity of San Juan Hill fostered an environment enabling immense cultural exchange. Despite the racial tensions induced by cultural differences and economic disparity, the diversity of San Juan Hill was granted a medium which allowed for cross-cultural integration in the form of music and art. Contrary to the negative image portrayed of San Juan Hill, its vibrant music scene and prominent jazz culture fueled enormous cultural exchange (Kelley 18). The residents of San Juan Hill living in the societal duality between diversity-induced violence, racism, and economic disparity contrasting immense potential of cross cultural integration granted by the art forms, were often polarized towards one of these opposing scenes. Thelonious Monk, however, managed to nurture from the hardships he faced growing up within his community, strengthening his personality, which ultimately allowed him “to stay true to his own musical vision despite disparaging critics and musicians” (Kelley 37).

After moving to New York from rural North Caroline, Barbara Monk, Thelonious’ mother managed to keep her son from the streets by emphasizing the concepts of tolerance, virtue and discipline (Kelley 22). Her strong affiliation with the Baptist church influenced Monk’s education further and exposed him and his siblings to the rhythms of sacred music and hymns (Kelley 27). In addition to the educational values implemented by his mother, Monk’s involvement with the Columbus Hill Community Center significantly influenced his development. The Columbus Hill Community Center provided various social services including musical training and constituted “the true center of social life for Black youth in the neighborhood”, shielding them from the racial tensions and violence prevailing in the streets (Kelley 25). Similar to the Columbus community center functioning as a refuge in escaping the harsh reality of the streets, cultural hubs in Leimert Park fostered an environment in which free expression, cultural exchange and an anti-violence ideology was promoted. The “Coffee House” and “World Stage” of Leimert Park functioned similarly to the Columbus Hill Community Center by creating an alternative to the violence ridden reality of disintegration in that they promoted peaceful coexistence as well as providing a unifying communal institution.

However, what ultimately polarized Monk towards pursuing a musical career and sharing his musical genius with the world cannot be entirely attributed to his mother’s education or the influences of the community center. The most important impulse sparking his passion for music and his decision to pursue a career in jazz was the rich enthusiasm that lingered in the air of San Juan Hill’s music culture. San Juan Hill boasted the largest concentration of black musicians in the city of New York and music was persistently heard throughout the hallways of apartment complexes and the streets (Kelley 20). The cultural diversity constituting the social setting in San Juan Hill enabled the cross-cultural integration of European and African-American music complemented by influences from musical traditions ranging to the Caribbean and the West Indies. The vast diversity of cultural input that was felt in the music scene in New York supports the analogy of Jazz being New York. People submerged in the cultural and societal setting of New York experienced many of the challenges that characterized the jazz scene: Racial tensions and competition fueled by the ideology of segregation and intolerance. The diversity of New York with the mass cultural exchange that was enforced by the condensed living space was similar to the accelerated racial integration felt in the jazz community as jazz rose to national popularity. Both New York and the Jazz scene similarly overcame these challenges by creating a cultural space that remains unmatched in its diversity and complexity.  The cultural diversity of New York created a vibrant and enthusiastic cultural environment similar to the liveliness of artistic innovation that is portrayed in Jazz. This similarity between the jazz culture and New York produced a viable environment for the development of Monk’s musical genius. Intrinsic musical talent coupled with the nurturing external influences of a music infused culture in a vibrant and diverse setting produced a powerful synergistic effect that shaped the success of Thelonious Monk’s career as a jazz musician.  

References:

“Thelonious Monk: The Life and Times of an American Original”. Robin Kelley

“Leimert Park: A Documentary Film” J. Lindsay