The Negro in Literature and Art in the United States Part 7

Outstanding pianists are Raymond Augustus Lawson, of Hartford, Conn., and Hazel Harrison, now of New York. Mr. Lawson is a true artist. His technique is very highly developed, and his style causes him to be a favorite concert pianist. He has more than once been a soloist at the concerts of the Hartford Philharmonic Orchestra, and has appeared on other noteworthy occasions. He conducts at Hartford one of the leading studios in New England. Miss Harrison has returned to America after years of study abroad, and now conducts a studio in New York. She was a special pupil of Busoni and has appeared in many noteworthy recitals.

Another prominent pianist is Roy W. Tibbs, now a teacher at Howard University. Helen Hagan, who a few years ago was awarded the Sanford scholarship at Yale for study abroad, has since her return from France given many excellent recitals; and Ethel Richardson, of New York, has had several very distinguished teachers and is in general one of the most promising of the younger performers. While those that have been mentioned could not possibly be overlooked, there are to-day so many noteworthy pianists that even a most competent and well-informed musician would hesitate before pa.s.sing judgment upon them. Prominent among the organists is Melville Charlton, of Brooklyn, an a.s.sociate of the American Guild of Organists, who has now won for himself a place among the foremost organists of the United States, and who has also done good work as a composer. He is still a young man and from him may not unreasonably be expected many years of high artistic endeavor. Two other very prominent organists are William Herbert Bush, of New London, Conn., and Frederick P. White, of Boston. Mr. Bush has for thirty years filled his position at the Second Congregational Church, of New London, and has also given much time to composition. Mr. White, also a composer, for twenty-five years had charge of the instrument in the First Methodist Episcopal Church, of Charlestown, Ma.s.s. Excellent violinists are numerous, but in connection with this instrument especially must it be remarked that more and more must the line of distinction be drawn between the work of a pleasing and talented performer and the effort of a conscientious and painstaking artist. Foremost is Clarence Cameron White, of Boston. Prominent also for some years has been Joseph Dougla.s.s, of Washington. Felix Weir, of Washington and New York, has given unusual promise; and Kemper Harreld, of Chicago and Atlanta, also deserves mention. In this general sketch of those who have added to the musical achievement of the race there is a name that must not be overlooked. "Blind Tom," who attracted so much attention a generation ago, deserves notice as a prodigy rather than as a musician of solid accomplishment. His real name was Thomas Bethune, and he was born in Columbus, Ga., in 1849. He was peculiarly susceptible to the influences of nature, and imitated on the piano all the sounds he knew. Without being able to read a note he could play from memory the most difficult compositions of Beethoven and Mendelssohn. In phonetics he was especially skillful. Before his audiences he would commonly invite any of his hearers to play new and difficult selections, and as soon as a rendering was finished he would himself play the composition without making a single mistake.

Of those who have exhibited the capabilities of the Negro voice in song it is but natural that sopranos should have been most distinguished.

Even before the Civil War the race produced one of the first rank in Elizabeth Taylor Greenfield, who came into prominence in 1851. This artist, born in Mississippi, was taken to Philadelphia and there cared for by a Quaker lady. Said the _Daily State Register_, of Albany, after one of her concerts: "The compa.s.s of her marvelous voice embraces twenty-seven notes, reaching from the sonorous ba.s.s of a baritone to a few notes above even Jenny Lind's highest." A voice with a range of more than three octaves naturally attracted much attention in both England and America, and comparisons with Jenny Lind, then at the height of her great fame, were frequent. After her success on the stage Miss Greenfield became a teacher of music in Philadelphia. Twenty-five years later the Hyers Sisters, Anna and Emma, of San Francisco, started on their memorable tour of the continent, winning some of their greatest triumphs in critical New England. Anna Hyers especially was remarked as a phenomenon. Then arose Madame Selika, a cultured singer of the first rank, and one who, by her arias and operatic work generally, as well as by her mastery of language, won great success on the continent of Europe as well as in England and America. The careers of two later singers are so recent as to be still fresh in the public memory; one indeed may still be heard on the stage. It was in 1887 that Flora Batson entered on the period of her greatest success. She was a ballad singer and her work at its best was of the sort that sends an audience into the wildest enthusiasm. Her voice exhibited a compa.s.s of three octaves, from the purest, most clear-cut soprano, sweet and full, to the rich round notes of the baritone register. Three or four years later than Flora Batson in her period of greatest artistic success was Mrs. Sissieretta Jones.

The voice of this singer, when it first attracted wide attention, about 1893, commanded notice as one of unusual richness and volume, and as one exhibiting especially the plaintive quality ever present in the typical Negro voice.

At the present time Harry T. Burleigh instantly commands attention. For twenty years this singer has been the baritone soloist at St. George's Episcopal Church, New York, and for about half as long at Temple Emanu-El, the Fifth Avenue Jewish synagogue. As a concert and oratorio singer Mr. Burleigh has met with signal success. Of the younger men, Roland W. Hayes, a tenor, is outstanding. He has the temperament of an artist and gives promise of being able to justify expectations awakened by a voice of remarkable quality. Within recent years Mme. Anita Patti Brown, a product of the Chicago conservatories, has also been prominent as a concert soloist. She sings with simplicity and ease, and in her voice is a sympathetic quality that makes a ready appeal to the heart of an audience. Just at present Mme. Mayme Calloway Byron, most recently of Chicago, seems destined within the near future to take the very high place that she deserves. This great singer has but lately returned to America after years of study and cultivation in Europe. She has sung in the princ.i.p.al theaters abroad and was just on the eve of filling an engagement at the Opera Comique when the war began and forced her to change her plans.

In this general review of those who have helped to make the Negro voice famous, mention must be made of a remarkable company of singers who first made the folk-songs of the race known to the world at large. In 1871 the Fisk Jubilee Singers began their memorable progress through America and Europe, meeting at first with scorn and sneers, but before long touching the heart of the world with their strange music. The original band consisted of four young men and five young women; in the seven years of the existence of the company altogether twenty-four persons were enrolled in it. Altogether, these singers raised for Fisk University one hundred and fifty thousand dollars, and secured school books, paintings, and apparatus to the value of seven or eight thousand more. They sang in the United States, England, Scotland, Ireland, Holland, Switzerland, and Germany, sometimes before royalty. Since their time they have been much imitated, but hardly ever equaled, and never surpa.s.sed.

This review could hardly close without mention of at least a few other persons who have worked along distinctive lines and thus contributed to the general advance. Pedro T. Tinsley is director of the Choral Study Club of Chicago, which has done much work of real merit. Lulu Vere Childers, director of music at Howard University, is a contralto and an excellent choral director; while John W. Work, of Fisk University, by editing and directing, has done much for the preservation of the old melodies. Mrs. E. Azalia Hackley, for some years prominent as a concert soprano, has recently given her time most largely to the work of teaching and showing the capabilities of the Negro voice. Possessed of a splendid musical temperament, she has enjoyed the benefit of three years of foreign study, has published "A Guide to Voice Culture," and generally inspired many younger singers or performers. Mrs. Maud Cuney Hare, of Boston, a concert pianist, has within the last few years elicited much favorable comment from cultured persons by her lecture-recitals dealing with Afro-American music. In these she has been a.s.sisted by William H. Richardson, baritone soloist of St. Peter's Episcopal Church, Cambridge. Scattered throughout the country are many other capable teachers or promising young artists.

XIII

GENERAL PROGRESS, 1918-1921

The three years that have pa.s.sed since the present book appeared have been years of tremendous import in the life of the Negro people of the United States, as indeed in that of the whole nation. In 1918 we were in the very midst of the Great War, and not until the fall of that year were the divisions of the Students' Army Training Corps organized in our colleges; and yet already some things that marked the conflict are beginning to seem very long ago.

To some extent purely literary and artistic achievement in America was for the time being r.e.t.a.r.ded, and in the case of the Negro this was especially true. The great economic problems raised by the war and its aftermath have very largely absorbed the energy of the race; and even if something was actually done--as in a literary way--it was not easy for it to gain recognition, the cost of publication frequently being prohibitive. An enormous amount of power yearned for expression, however; scores and even hundreds of young people were laying solid foundations in different lines of art; and within the next decade we shall almost certainly witness a great fulfillment of their striving.

Yet even for the time being there are some things that cannot pa.s.s unnoticed.

Of those who have received prominent mention in the present book, W.E.

Burghardt DuBois and William Stanley Braithwaite especially have continued the kind of work of which they had already given indication.

In 1920 appeared Dr. DuBois's "Darkwater" (Harcourt, Brace & Co., New York), a strong indictment of the att.i.tude of the white world toward the Negro and other colored peoples. This book belongs rather to the field of social discussion than to that of pure literature, and whether one prefers it to "The Souls of Black Folk" will depend largely on whether he prefers a work primarily in the wider field of politics or one especially noteworthy for its literary quality. Mr. Braithwaite has continued the publication of his "Anthology of Magazine Verse" (now issued annually through Small, Maynard & Co., Boston), and he has also issued "The Golden Treasury of Magazine Verse" (Small, Maynard & Co., 1918), "Victory: Celebrated by Thirty-eight American Poets" (Small, Maynard & Co., 1919), as well as "The Story of the Great War" for young people (Frederick A. Stokes & Co., New York, 1919). As for the special part of the Negro in the war, importance attaches to Dr. Emmett J.

Scott's "Official History of the American Negro in the World War"

(Washington, 1919), while in biography outstanding is Robert Russa Moton's "Finding a Way Out" (Doubleday, Page & Co., Garden City, N. Y., 1920), a work written in modest vein and forming a distinct contribution to the history of the times.

Of those poets who have come into prominence within the period now under review first place must undoubtedly be given to Claude McKay. This man was originally a Jamaican and his one little book was published in London; but for the last several years he has made his home in the United States and his achievement must now be identified with that of the race in this country. He has served a long apprenticeship in writing, has a firm sense of form, and only time can now give the full measure of his capabilities. His sonnet, "The Harlem Dancer," is astonishing in its artistry, and another sonnet, "If We must Die," is only less unusual in strength. Mr. McKay has recently brought together the best of his work in a slender volume, "Spring in New Hampshire, and Other Poems" (Grant Richards & Co., London, 1920). Three young men who sometimes gave interesting promise, have died within the period--Joseph S. Cotter, Jr., Roscoe C. Jamison, and Lucian B. Watkins. Cotter's "The Band of Gideon, and Other Lyrics" (The Cornhill Co., Boston, 1918) especially showed something of the freedom of genuine poetry; and mention must also be made of Charles B. Johnson's "Songs of my People"

(The Cornhill Co., 1918), while Leslie Pickney Hill's "The Wings of Oppression" (The Stratford Co., Boston, 1921) brings together some of the striking verse that this writer has contributed to different periodicals within recent years. Meanwhile Mrs. Georgia Douglas Johnson has continued the composition of her poignant lyrics, and Mrs. Alice M.

Dunbar-Nelson occasionally gives demonstration of her unquestionable ability, as in the sonnet, "I had not thought of violets of late"

(_Crisis_, August, 1919). If a prize were to be given for the best single poem produced by a member of the race within the last three years, the decision would probably have to rest between this sonnet and McKay's "The Harlem Dancer."

In other fields of writing special interest attaches to the composition of dramatic work. Mary Burrill and Mrs. Dunbar-Nelson especially have contributed one-act plays to different periodicals; Angelina W. Grimke has formally published "Rachel," a play in three acts (The Cornhill Co., Boston, 1920), while several teachers and advanced students at the different educational inst.i.tutions are doing excellent amateur work that will certainly tell later in a larger way. R. T. Browne's "The Mystery of s.p.a.ce" (E. P. Dutton & Co., New York, 1920), is an interesting excursion in metaphysics; and this book calls forth a remark about the general achievement of the race in philosophy and science.

These departments are somewhat beyond the province of the present work.

It is worthwhile to note, however, that while the whole field of science is just now being entered in a large way by members of the race, several of the younger men within the last decade have entered upon work of the highest order of original scholarship. No full study of this phase of development has yet been made; but for the present an article by Dr.

Emmett J. Scott, "Scientific Achievements of Negroes" (_Southern Workman_, July, 1920), will probably be found an adequate summary. Maud Cuney Hare has brought out a beautiful anthology, "The Message of the Trees" (The Cornhill Co., Boston, 1919); and in the wide field of literature mention might also be made of "A Short History of the English Drama," by the author of the present book (Harcourt, Brace & Co., New York, 1921).

The general att.i.tude in the presentation of Negro characters in the fiction in the standard magazines of the country has shown some progress within the last three years, though this might seem to be fully offset by such burlesques as are given in the work of E. K. Means and Octavus Roy Cohen, all of which but gives further point to the essay on "The Negro in American Fiction" in this book. Quite different and of much more sympathetic temper are "The Shadow," a novel by Mary White Ovington (Harcourt, Brace & Co., New York, 1920) and George Madden Martin's "Children of the Mist," a collection of stories about the people in the lowlands of the South (D. Appleton & Co., New York, 1920).

In the field of the theatre and the drama there has been progress, though the lower order of popular comedy still makes strong appeal; and of course all legitimate drama has recently had to meet the compet.i.tion of moving-pictures, in connection with which several members of the race have in one way or another won success. Outstanding is n.o.ble M.

Johnson, originally of Colorado, a man of great personal gifts and with a face and figure admirably adapted to Indian as well as Negro parts. In the realm of the spoken drama attention fixes at once upon Charles S.

Gilpin, whose work is so important that it must be given special and separate treatment. It is worthy of note also that great impetus has recently been given to the construction of playhouses, the thoroughly modern Dunbar Theatre in Philadelphia being a shining example.

Interesting in the general connection for the capability that many of the partic.i.p.ants showed was the remarkable pageant, "The Open Door,"

first presented at Atlanta University and in the winter of 1920-21 given in various cities of the North for the benefit of this inst.i.tution.

In painting and sculpture there has been much promise, but no one has appeared who has gone beyond the achievement of those persons who had already won secure position. Indeed that would be a very difficult thing to do. Mr. Tanner, Mr. Scott, Mrs. Meta Warrick Fuller, and Mrs.

May Howard Jackson have all continued their work. Mr. Tanner has remained abroad, but there have recently been exhibitions of his pictures in Des Moines and Boston, and in 1919 Mrs. Jackson exhibited at the National Academy of Design and at the showing of the Society of Independent Artists at the Waldorf-Astoria. In connection with sculpture, important is a labor of love, a book, "Emanc.i.p.ation and the Freed in American Sculpture," by Frederick H. M. Murray (published by the author, 1733 7th St., N. W., Washington, 1916). This work contains many beautiful ill.u.s.trations and deserves the attention of all who are interested in the artistic life of the Negro or in his portrayal by representative American sculptors.

In music the noteworthy fact is that there has been such general recognition of the value of Negro music as was never accorded before, and impetus toward co-operation and achievement has been given by the new National a.s.sociation of Negro Musicians. R. Nathaniel Dett has been most active and has probably made the greatest advance. His compositions and the songs of Harry T. Burleigh are now frequently given a place on the programs of the foremost artists in America and Europe, and the present writer has even heard them at sea. Outstanding among smaller works by Mr. Dett is his superb "Chariot Jubilee," designed for tenor solo and chorus of mixed voices, with accompaniment of organ, piano, and orchestra. To the _Southern Workman_ (April and May, 1918) this composer contributed two articles. "The Emanc.i.p.ation of Negro Music" and "Negro Music of the Present"; and, while continuing his studies at Harvard University in 1920, under the first of these t.i.tles he won a Bowdoin essay prize, and for a chorus without accompaniment, "Don't be weary, traveler," he also won the Francis Boott prize of $100. Melville Charlton, the distinguished organist, has gained greater maturity and in April, 1919, under the auspices of the Verdi Club, he conducted "Il Trovatore" in the Grand Ballroom of the Waldorf-Astoria. Maud Cuney Hare has helped to popularize Negro music by lecture-recitals and several articles in musical journals, the latter being represented by such t.i.tles as "The Drum in Africa," "The Sailor and his Songs," and "Afro-American Folk-Song Contribution" in the _Musical Observer_. In January, 1919, with the a.s.sistance of William R. Richardson, baritone, Mrs. Hare gave a lecture-recital on "Afro-American and Creole Music" in the lecture hall of the Boston Public Library, this being one of four such lectures arranged for the winter by the library trustees and marking the first time such recognition was accorded members of the race. The violinist, Clarence Cameron White, has also entered the ranks of the composers with his "Bandanna Sketches" and other productions, and to the _Musical Observer_ (beginning in February, 1917) he also contributed a formal consideration of "Negro Music." Meanwhile J.

Rosamond Johnson, Carl Diton, and other musicians have pressed forward; and it is to be hoped that before very long the ambitious and frequently powerful work of H. Laurence Freeman will also win the recognition it deserves.

In the department of singing, in which the race has already done so much laudable work, we are evidently on the threshold of greater achievement than ever before. Several young men and women are just now appearing above the horizon, and only a few years are needed to see who will be able to contribute most; and what applies to the singers holds also in the case of the young violinists, pianists, and composers. Of those who have appeared within the period, Antoinette Smythe Garnes, who was graduated from the Chicago Musical College in 1919 with a diamond medal for efficiency, has been prominent among those who have awakened the highest expectation; and Marian Anderson, a remarkable contralto, and Cleota J. Collins, a soprano, have frequently appeared with distinct success. Meanwhile Roland W. Hayes, the tenor, has been winning further triumphs by his concerts in London; and generally prominent before the public in the period now under review has been Mme. Florence Cole Talbert, also the winner of a diamond medal at Chicago in 1916. Mme.

Talbert has been a conscientious worker; her art has now ripened; and she has justified her high position by the simplicity and ease with which she has appeared on numerous occasions, one of the most noteworthy of her concerts being that at the University of California in 1920.

A list of books bearing on the artistic life of the Negro, whether or not by members of the race, would include those below. It may be remarked that these are only some of the more representative of the productions within the last three years, and attention might also be called to the pictures of the Van Hove Statues in the Congo Museum at Brussels in the _Crisis_, September, 1920.

A Social History of the American Negro, by Benjamin Brawley.

The Macmillan Company, New York, 1921.

Songs and Tales from the Dark Continent, recorded from the singing and the sayings of C. Kamba Simango, Ndau Tribe, Portuguese East Africa, and Madikane Cele, Zulu Tribe, Natal, Zululand, South Africa, by Natalie Curtis Burlin. G. Schirmer, New York and Boston, 1920.

Negro Folk-Songs: Hampton Series, recorded by Natalie Curtis Burlin, in four books. G. Schirmer, New York and Boston, 1918.

The Upward Path: A reader for colored children, compiled by Myron T. Prichard and Mary White Ovington, with an introduction by Robert R. Moton. Harcourt, Brace & Co., New York, 1920.

J. A. Lomax: Self-Pity in Negro Folk-Songs. _Nation_, August 9, 1917.

Louise Pound: Ancestry of a "Negro Spiritual." _Modern Language Notes_, November, 1918.

Natalie Curtis Burlin: Negro Music at Birth. _Music Quarterly_, January, 1919, and _Current Opinion_, March, 1919.

William Stanley Braithwaite: Some Contemporary Poets of the Negro Race. _Crisis_, April, 1919.

Elsie Clews Parsons: Joel Chandler Harris and Negro Folklore.

_Dial_, May 17, 1919.

Willis Richardson: The Hope of a Negro Drama. _Crisis_, November, 1919.

N. I. White: Racial Traits in the Negro Song. _Sewanee Review_, July, 1920.

Our Debt to Negro Sculpture. _Literary Digest_, July 17, 1920.

C. Bell: Negro Sculpture. _Living Age_, September 25, 1920.

Robert T. Kerlin: Present-Day Negro Poets. _Southern Workman_, December, 1920.

Robert T. Kerlin: "Canticles of Love and Woe." _Southern Workman_, February, 1921.

XIV