From Piano to Fortissimo: Jazz Poetry Over the Years
African Americans have been fighting for rights and equality since 1619. Their art and expression have never wavered, but, alongside the tides of time, have ebbed and flowed to fit each era. Jazz poetry during the time of the Black Arts Movement was more explicitly rage filled in comparison to the Harlem Renaissance, which reads more like an explosion of expression or even a celebration at times.
Jazz poetry in both eras was a way to counter the melancholy of blues; however Harlem Renaissance era jazz poetry continued to embrace the themes and constructs of blues while moving in a more exuberant and vibrant direction. In his poem, Cabaret, Sterling Brown interlaces a jarring and powerful story of death and suffering with a musical description of an audience’s perception of a live performance.
“Their corralled mouths; seductive bodies weaving
Bending, writhing, turning
My heart cries out for
M U D D Y W A T E R”
This poem sits in a very interesting place between jazz and blues, old and new, suffering and growth. His themes are seemingly desolate; he describes the unimaginable, but he does so in an improvisational and syncopated style. There is a meta-narrative aspect in how he used the art of the time, both blues and jazz, as a secondary plot to illustrate how these expressions were informed by the experience of being African American. We see how the performers are telling a valuable story and sharing their struggles, but the audience sees only the more shocking elements, or rather the artistic expressions which reflect a culture un-aligned with their own. The performers are objectified and sexualized; this dehumanization represents the way art of the time was disrespected and also mirrored blues themes represented in jazz forms, how this undermined the themes but also gave a new life to art.
Contrastingly, Black Arts Movement jazz poetry often directly denounced blues. The tone changed from putting an upbeat spin on struggle and looking for hope to greater themes of resilience and power. Haki Madhubuti’s Don’t Cry, Scream doesn’t need so much as a full quote to illustrate this shift, but here’s one anyway.
“we ain’t blue, we are black.
we ain’t blue, we are black.
(all the blues did was
make me cry)”
This poem is created deep within the soul of African American history, long seeped in anger and pain. Don’t Cry, Scream aligns with the widespread disillusionment towards complacency and mellow song. Acknowledging pain and history is no longer enough; something must be done. In every unflinching line Madhubuti looks the reader in the eye and forces them to understand the horrifying truth.
Jazz poetry has long been a form of protest. Each rhythmic line has played harmony in the story of African American literature. As time developed so too did the themes and aspirations behind this poetry. The Harlem Renaissance's allegro gave way to the Black Arts Movement’s fortissimo.
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Olly, your blog's examination of jazz in both the Harlem Renaissance and the BAM accurately captured the difference in how the blues were denounced. I especially liked your commentary on Cabaret's kind of in-between state stylistically, as well as the dehumanization and sexualization occuring in the poem. I'd be interested in even more depth on the meta-narrative point, because I felt like you were explaining something really cool, but I only sort of got it. It's a very complex topic! Overall, great blog :)
ReplyDeleteHi Olly! I found the Black Arts Movements' denouncement of the blues very interesting, so I'm excited that you chose to write about it. The shift from expressions of sadness and desperate hope to expressions of anger and power is I think a great example of the way that Black Americans are constantly reshaping the narrative and adapting literary works to the time period in order to say something intellectually new as the fight for progress marches on. I also commented about this on Charlotte's blog, but I find it so meaningful how we can see the different approaches to the trauma of Black people's treatment by American society throughout history. All these approaches make sense in their historical context and build upon each other to continue moving forward. Ultimately, it's one of my favorite parts about studying African American Literature this semester -- seeing the progression of literature as it follows the progression of history. Great blog!
ReplyDeleteHey Olly! I also found the differences between the Harlem Renaissance and the Black Arts Movement very fascinating, and it's really interesting how you tackle it from a blues angle. One can look directly at the sentiment in the jazz poetry of both periods and see the differences clearly, but I didn't expect how effectively the blues could illuminate the emotional and ideological contrasts much more clearly and effectively! I especially like your choice of poems: two powerful poems with meaning in every line and strong emotions throughout. Really great post!
ReplyDeleteYour insightful interpretation of the evolution of jazz poetry between the Harlem Renaissance and the Black Arts Movement shows how shifts in tone, purpose, and emotional expression reflect changing political and cultural demands. While I had read the story as mainly a contrast between two artistic styles, your alternative reading challenges me to think about the role of audience perception and misinterpretation in some new way. I wonder, though, how you think the scene in Brown’s “Cabaret” where the performer's message is misunderstood would complicate this reading.
ReplyDeleteI wrote on this subject as well, and I do agree with a lot of your points. Also, overall "Cabaret" is such an interesting poem to me, and its blend of seeing black art for white consumption as uncomfortable and sinister, while emphasizing the suffering of African Americans, especially considering it was often the focus in a lot of Black art. I also agree with your analysis of "Don't Cry, Scream" and how Jazz was used to push against the ideas of blues, instead furthering the disillusionment of complacency. However, I do think there is also a large emphasis on political action in jazz within the BAM. Not only do these jazz poems want you to get angry, they want you to organize and do something about it, which I think truly sets it apart from its previous uses. Overall, very solid analysis.
ReplyDeleteYou do a great job showing how jazz poetry evolves over time, especially by comparing the Harlem Renaissance’s mix of influences with the Black Arts Movement’s focus on power and resistance. I appreciate your insight into Brown’s Cabaret as being “between jazz and blues, old and new, suffering and growth.” This highlights how the poem’s form comments on the tensions in African American expression. You point out how audiences sometimes misread or objectify performers, and I’m curious how you think this affects the poet’s sense of responsibility. Does Brown criticize the audience, try to take back the performance space, or show the challenges of being understood across cultures? You clearly show how moving from “allegro” to “fortissimo” marks a community redefining art’s purpose. Good work!
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