The Chicago blues got me thinking about migration, and the exchange of ideas and songs between places. So many of the great Chicago blues musicians came from the south, bringing their traditions and methods with them north and influencing the style of music there while adapting to new modes such as the electric guitar. The south was always in their conscience, and a good deal of the songs we listened to this week referenced a place called home - always in the south.
I had an idea of what I wanted my piece this week to stand for - the move from a slow and languorous life in the south (the bottom) to a more high energy and quick environment in the north (the top). It didn't quite work out the way I wanted to, but for the better.
We were asked to ponder some questions on the blues. The use of the electric guitar made me think of the electric highlife genre that was forming around the same time in West Africa. I wondered if they had anything to do with each other, any dialogue, any influence upon the other. While I still don't know the true answer to this question, after our class I'd say of course they do.
We talked about the idea of home for African-Americans, and how the origins of Af-Am music is undoubtedly related to Africa. I was blown away by what Beth said about having a home in the States, but feeling a bond to a home in Africa that she doesn't and most likely will never know. Even though she's several generations removed from Africa, the connection is still there.
My piece ended up having a mind of its own, and serendipitously, the grain of the wood I outlined on its lower half is strangely reminiscent of the shape of West Africa.
No comments:
Post a Comment