Southern Folk Music and Race Relations :: Racism American Culture Research

Southern Folk Music and Race RelationsAbstractIn this paper, I propose that the history and victimisation of Confederate kinsperson medicine may serve as an important fomite for examining and elaborating the dynamics of Confederate washing relations. I am not suggesting a causal birth merely an interactional one. Both gray race relations and southern music are reflections of the affable structure of the rural south. In the structurally segregated south, black and white musical traditions queer the same divergences and convergences which behave historically characterized black/white relations. This is not a lyrical abbreviation rather, it is a socio-historical analysis of regional popular floriculture which focuses upon the interaction among two important features of that culture race and music. Intoduction The development of the Ameri arse syndicate music reservoir is a process which parallels the historical and ethnical development of American society. In the formatio n of this reservoir, two major streams, British and African, and some(prenominal) lesser tributaries, e.g., French, German, Mexican, Cajun, etc., flowed together over a two century catch (Malone, 19794). Alan Lomax, one of menage musics leading historians, has observed that the convergence of these diverse elements has resulted in a cultural product which is more British than anything one can find in Britain (1960155).Southern music is an important part of the folk tradition in many ways it is synonymous with American folk music. And, its history is well documented (Malone, 1979, 1985 Carr, 1979 Wolfe, 1977). What has been neglected until recently is the sociological query of the relationship between this form of popular culture and important social, cultural and historical issues and conditions which gave rise to it and are expressed by it (Fine, 1977381-384 cf. similarly Albrecht, 1954).1 Country music is a reflection of the southern regions culture, history and social struct ure at the macro level and of the hopes, fears, beliefs and attitudes of its people at the micro level (Gritzner, 1978).In this paper, I propose that the history and development of southern folk music may serve as an important vehicle for examining and elaborating the dynamics of southern race relations. I am not suggesting a causal relationship merely an interactional one. Both southern race relations and southern music are reflections of the social structure of the rural south. In the structurally segregated south, black and white musical traditions display the same divergences and convergences which have historically characterized black/white relations. This is not a lyrical analysis rather, it is a socio-historical analysis of regional popular culture which focuses upon the interaction between two important features of that culture race and music.