I've been getting interested in reimagining folk songs and writing songs that should have existed but didn't, particularly around the Civil War when black voices were muted and only allowed particular channels.
Rhiannon GiddensRead
When I first heard the minstrel banjo - I played a gourd first - I almost lost my mind. I was like, Oh, my god. And then I went to Africa, to the Gambia, and studied the akonting, which is an ancestor of the banjo, and just that connection to me was just immense.
Interpretation
The quote expresses a deep connection between musical heritage and personal identity.
Rhiannon Giddens reflects on her initial emotional reaction to the minstrel banjo and how it led her to discover its ancestral roots in the akonting of Africa. This journey signifies not only a personal and musical exploration but also highlights the profound ties between culture, history, and the evolution of art forms.
In practice
During a presentation on cultural influences in music, I used this quote to illustrate the importance of ancestry in modern art.
I've been getting interested in reimagining folk songs and writing songs that should have existed but didn't, particularly around the Civil War when black voices were muted and only allowed particular channels.
I think it's important that everybody has access to music, and not just people who live in cities or who can afford to drive to the nearest city.
In order to understand the history of the banjo, and the history of bluegrass music, we need to move beyond the narrative we've inherited, beyond generalizations that bluegrass is mostly derived from a Scotch-Irish tradition with influences from Africa. It is actually a complex Creole music that comes from multiple cultures.
The question is not how do we get diversity into bluegrass, but how do we get diversity back into bluegrass?
You use a glass mirror to see your face; you use works of art to see your soul.
The poet ranks far below the painter in the representation of visible things, and far below the musician in that of invisible things.
That strain again! It had a dying fall: _x000D_ _x000D_ O, it came o'er my ear like the sweet sound _x000D_ _x000D_ That breathes upon a bank of violets, _x000D_ _x000D_ Stealing and giving odour! Enough; no more: _x000D_ _x000D_ 'Tis not so sweet as it was before.
Political satire is a serious thing. In democratic newspapers throughout the world there are daily cartoons that often are not even funny, as is the case especially in many English-language newspapers. Instead, they contain a political message, and the artist takes full responsibility.
Very often people looking at my pictures say, 'You must have had to wait a long time to get that cloud just right (or that shadow, or the light).' As a matter of fact, I almost never wait, that is, unless I can see that the thing will be right in a few minutes. But if I must wait an hour for the shadow to move, or the light to change, or the cow to graze in the other direction, then I put up my camera and go on, knowing that I am likely to find three subjects just as good in the same hour.
Our Euripides the human, With his droppings of warm tears, and his touchings of things common Till they rose to meet the spheres.
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