Category: Music & Songs

Today is the 100th anniversary of the ratification of the 19th Amendment, which states “The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex.” In other words, it finally gave American women the right to vote and be represented.

Congress ratified this amendment on June 4, 1919, but it still needed to be affirmed by 3/4 of the states in order to become law. Suffragettes and their supporters had been working for this day since 1832, and the very first amendment for women’s right to vote was introduced in 1878, taking 42 years to reach ratification. The road was long and hard with women fighting through words, negotiation and diplomacy, and acts of civil disobedience to gain the right to vote. American democracy has been a beacon to many outside our shores, but it makes one pause to think that women only gained this basic right 100 years ago.

The Birthplace of Country Music Museum is fortunate to have two poster exhibits that explore this complex history, the people who fought to be recognized, and the acts that brought them to victory on August 18, 1920. The first – Votes for Women: A Portrait of Persistence – comes to us from the Smithsonian Institution Traveling Exhibition Service. This exhibit traces the story of women’s suffrage, of inclusion in and exclusion from the franchise, and of our civic development as a nation while also examining the relevance of this history to Americans’ lives today. The second – To Make Our Voices Heard: Tennessee Women’s Fight for the Vote, created by the Tennessee State Museum and the Tennessee State Library and Archives – digs deep into the history of the woman’s suffrage movement, Tennessee’s dramatic vote to ratify the 19th Amendment in 1920, and the years that followed. Both of these exhibits will be on display by September 1 and are definitely worth a visit over the next few months!

As a music museum, there is one thing we know for sure: music has power and impact, and so I wanted to explore some of the songs that helped fuel the suffrage movement. Artists have long used songs to throw light on the world around them – for instance, Hazel Dickens and other musicians who highlighted the tribulations and dangers of Appalachian coal mining communities or the anthems, often with their origins in African American spirituals and traditional hymns, that powered Civil Rights activists in the struggle. Music is a way for people to express their contemporary burdens and their dreams for a better future.

The women of the suffrage movement also lifted themselves up with song, highlighting the rights they were fighting for and inspiring them in that fight. The lyrics to these songs were often set to popular tunes or traditional hymns, thus making them easier to sing and remember. For instance, “Human Equality,” written in the 1870s by William Lloyd Garrison, was sung to the tune of another popular song used in support of labor reform and abolition. While not about women’s right to vote, the poem”Rights of Woman,” written by “A Lady” in 1795, declared women free and was later set to the tune of “My Country Tis of Thee.” “Daughters of Freedom” was published in 1871 and was composed by Edward Christie with lyrics by George Cooper, while a song by Frank Boylen from 1881 asked “Shall Women Vote?” America being the melting pot that it is, some songs also came from immigrant sources, such as “Damen Rechte (Suffragettes),” a popular Yiddish song that not only called for women’s right to vote but also extolled other freedoms and equality in society at large. Some songs were also written specifically for suffrage marches and meant to be played by brass bands, such as “Fall in Line.” Around 1880, D. Estabrook wrote “Keep Woman in Her Sphere,” which on first glance seems to be anti-women’s rights with various men declaring that women should stay in their traditional roles and not expect equal rights. However, the last verse turns this notion on its head with the assertion:

I asked him “What of woman’s cause?”
The answer came sincere —
“Her rights are just the same as mine,
Let woman choose her sphere.“

Where there was a fight for women’s rights, however, came societal and political push back – also expressed through music. Songs that mocked the suffragettes’ struggle and emphasized women’s “proper” place abounded, such as “Since My Margaret Became a Suffragette,” “The Anti-Suffrage Rose,” “Mind the Baby, I Must Vote Today,” and “Your Mother’s Gone Away to Join the Army” both published in the early 1910s. Various songs also questioned the other changes women were embracing, often deemed as “unladylike.” This was especially true as women pushed for less restrictive clothes like the “Bloomer costume,” which was attacked in the 1851 song “The Bloomer’s Complaint.” Women riding bicycles were also seen as a sign of these times; indeed, Susan B. Anthony viewed bicycles as doing “more to emancipate woman than any one thing in the world.” “Eliza Jane,” a song from 1895, brought all these horrors together – less restrictive clothing, bicycles, and the desire to vote!

Was there any connection between suffrage and the songs of early country music? I don’t know of any hillbilly songs that embrace the suffrage movement in song, but there are certainly a few songs that reflect the changes that were happening on this front and give hints to women moving beyond their stereotypical roles. For instance, The Carter Family’s “Single Girl, Married Girl,” recorded at the 1927 Bristol Sessions and sung only by Sara and Maybelle, contrasts the freedom of the singleton with the restrictions a married woman bears taking care of husband, babies, and home. And as with the anti-suffrage songs, there were also reactions from hillbilly musicians to the ways women’s roles were changing. Blind Alfred Reed, another 1927 Bristol Sessions singer, later recorded “Why Do You Bob Your Hair, Girls?,” which declared that “every time you bob it, you’re breaking God’s command,” and “Woman’s Been After Man Ever Since,” which bemoaned the early days of Eve in the Garden of Eden and all the ways women were trying to be like men in contemporary society. More disapproval of women’s ways can be found in Ira and Eugene Yates recording “Powder and Paint” from the Johnson City Sessions in 1929.

Finally, it’s worth noting a couple of great songs that teach the history of the suffrage movement and celebrate its achievement. The first is from a much-loved slice of my childhood, Schoolhouse Rock – “Sufferin’ till Suffrage,” sung by the wonderful Etta James. And then, of course, there is Dolly Parton (it’s ALWAYS Dolly…). In 2018, she contributed to 27: The Most Perfect Album, “a collection of songs about the Constitutional amendments that have shaped our democracy, and yet are often at the center of fierce political debate.” Dolly’s song about the 19th amendment starts with a brief spoken introduction to the suffrage story, and soon transitions into a rousing song about the fight for the vote.

On March 6, the museum opened a special exhibit called Real Folk: Passing on Trades & Traditions Through the Virginia Folklife Apprenticeship Program, in partnership with the Virginia Folklife Program. While the COVID-19 situation meant that for three months no one was able to visit the exhibit – except virtually – we have now reopened, and the exhibit is waiting to be enjoyed through its closing date in August!

This is one of my favorite special exhibits that we’ve had on display at the museum – the images by photographers Pat Jarrett and Morgan Miller are stunning, the stories of the master artists and apprentices told by Virginia State Folklorist Jon Lohman are fascinating, and the range of crafts, trades, and traditions astounding.

Here are just a few of the interesting things I’ve learned from Real Folk:

A Virginia Town’s Salty Past

Saltville – found in the Southern Appalachians – is named for its unusually high number of salt marshes, or as locals call them, salt licks. Not only is the salt source extensive here, but the salt from Saltville is also especially salty – around 10 times saltier than ocean water! Saltville’s natural salt deposits have influenced the history of the region from the late Pleistocene period, when they attracted Ice Age mammals and Paleoamericans to the area, to early European traders to the Civil War when nearly two-thirds of the South’s salt was produced in Saltville and two bloody battles were fought here.

Quilt Signals

We have quite a few quilt connections in our museum – from the huge Birthplace of Country Music quilt hanging in our atrium to the quilt “tapestries” on sell in The Museum Store to the museum’s color scheme based on old quilts and flour sacks. Master Artist Sharon Tindall has conducted substantial research in support of the theory that African American quilts contained coded messages integral to the success of the Underground Railroad, codes that told enslaved people about what to expect next on their journey and how to find safe haven.

A Connection Between Music and Language

The đàn bâu – translated to mean “gourd lute” – is a monochord or one-stringed instrument, which plays a central role in Vietnamese music. Playing the đàn bâu can create microtones capable of imitating the six essential tones and variations of the Vietnamese language, nearly impossible to achieve with any other instrument. Traditionally, it is also used as an accompaniment to Vietnamese poetry readings.

From Everyday Object to Musical Instrument

Music has often been made from everyday objects – for instance, think of a washtub bass or the spoons. The steel drum, or “pan” as it is called in the Caribbean, was invented in Trinidad around World War II, when island locals resourcefully crafted these instruments from oil drums left behind by the U.S. Navy. Contemporary pans are created when a 55-gallon steel oil drum is hammered concave, a process known as sinking. The drum is then tempered and notes are carefully grooved into the steel, resulting in a melodic percussive instrument that can play three full octaves.

For the Love of Fonts

Prior to the advent of photocopiers, short-run quick print, email, and social media, the local letterpress was the primary producer of the vast majority of materials for mass communication – from church bulletins to wedding announcements to commercial advertisements, and so much more. My favorite elements of letterpress are the individual letters used in the printing process (and so many possible fonts!) and the wonderful act of rolling out the ink ready to print. We have our own letterpress studio here in Southwest Virginia at the Burke Print Shop in the Wayne C. Henderson School of Appalachian Arts.

Different Dulcimers

When I used to think of a dulcimer, I thought of one particular type – an hourglass-shaped instrument – because we had one like that hanging in our home when I was a child. Since then, I’ve learned there are many types of dulcimers (all from the zither family) that are played in many places throughout the world – from the Appalachian or mountain dulcimer and the hammered dulcimer to the banjo dulcimer and the bowed dulcimer – with different shapes and different ways of being played. The dulcimer from my house – and the one most familiar around our area – is the mountain dulcimer, a fretted string instrument that first appeared in the 19th century among Scots-Irish communities. It is also known as the lap dulcimer.

An Unorthodox Route to Creativity

The late Pastor Mary Onley, known as “Mama-Girl,” was a self-taught artist who came from generations of farm laborers, working in the fields herself at the age of 12. Severe allergies resulted in several hospitalizations, and during one of these, she reported being visited by a spirit who instructed her to create art out of paper and found objects – something she had never done before. She went on to become one of the most celebrated folk artists on the East Coast, creating lyrical newspaper and glue sculptures that reflected her inner visions and unique creativity.

On March 6, the museum opened a special exhibit called Real Folk: Passing on Trades & Traditions Through the Virginia Folklife Apprenticeship Program. Two weeks later the museum closed its doors in accordance with the state mandate in response to the COVID-19 situation. Sadly that has meant we haven’t been able to share this wonderful exhibit with very many on-the-spot visitors, but happily we are able to share some of it with our virtual visitors! The curatorial team is hard at work on pulling together a virtual tour of Real Folk (so watch this space!), but in the meantime, we wanted to give you the chance to learn a little bit about the exhibit and the apprenticeship program right now.

Since 2002, the Virginia Folklife Apprenticeship Program has drawn from a wide range of communities and traditional folkways to pair more than 150 experienced master artists with dedicated apprentices for one-on-one, nine-month learning experiences, in order to help ensure that particular art forms are passed on in ways that are conscious of history and faithful to tradition. The master artists are selected from applicants in all forms of traditional, expressive culture in Virginia – from decoy carving to fiddle making, from boat building to quilt making, from country ham curing to old-time banjo playing, from African American gospel singing to Mexican folk dancing. These crafts and traditions come from the Appalachian hills to the Chesapeake shore to new immigrant traditions brought to the state  – and everywhere in between! The Folklife Apprenticeship Program helps to ensure that Virginia’s treasured folkways continue to receive new life and vibrancy, engage new learners, and reinvigorate master practitioners.

Out of these apprenticeship pairings, deep friendships and relationships have grown as the master artists pass on their knowledge, skills, and passion for the various crafts and traditions, along with the history and cultural importance that attaches to each. For instance, Sharon Tindall, who worked with gifted quilter Nancy Chilton in 2014, specializes in early African American quilt patters and in working with fabrics that aren’t typically used in quilting, such as Malian mud cloth. She is also a quilt historian and has conducted substantial research in support of the theory that African American quilts contained coded messages that were integral to the success of the Underground Railroad.

Several apprenticeships have focused on music, from music making to instrument building to the related art of dance. The variety of traditions on display within this realm is astounding, including African American gospel, Chickahominy dance, bluegrass fiddling, mandolin making, Sephardic ballad singing, steel drum making, and so much more. Because music is so central to the cultural heritage of southwest Virginia, numerous musicians, singers, and makers from this area have taken part in the program. Musician and luthier Gerald Anderson spent more than 30 years apprenticing in the shop of legendary instrument builder Wayne Henderson in Rugby, Virginia. Fellow musician Spencer Strickland recognized his mastery and skills, and asked if Gerald would take him on as an apprentice. Their time working together in 2005 turned into a deep friendship, musical partnership, and one of the longest running and most successful apprenticeships in the program’s history. Though barely out of his teens at the time, Spencer took to building instruments immediately, and the two soon opened their own shop in Gerald’s home in Troutdale. They also played and toured together as a duo and with the Virginia Luthiers. Gerald passed away unexpectedly in 2019, and Spencer has continued to build instruments and carry on Gerald’s memory.

Many of Virginia’s cultural traditions have been brought here by immigrant communities, and the state is all the richer from this. These immigrants have shared their heritage not only within their own communities, but also more widely through educational programs, touring and performances, the creation of larger cultural organizations, and partnerships with other groups. For instance, Nam Phuon Nguyen began playing the đàn bâu at 17, later touring throughout the United States with her family as the Nguyen Đinh Nghĩa Family and performing at prestigious concert halls and festivals. The đàn bâu – translated to mean “gourd lute” – is a monochord (one-stringed) instrument, which plays a central role in Vietnamese music. Guitarist Anh Dien Ky Nguyen met Nam Phuong while playing at a music club, and he asked her to teach him the đàn bâu, partnering with her in the apprenticeship program in 2011.

These few images are just a taste of this fascinating and beautiful exhibit, and we hope that you will be able to visit it later in the year. In the meantime, you can engage with the exhibit in another way by listening in to Radio Bristol’s Toni Doman as she talks with Virginia Folklife photographer Pat Jarrett about his work with the apprenticeship program — check out Episode 60 on March 12, 2020 in the Mountain Song & Story archives here. And you can support the artists who are so important to Virginia’s cultural heritage by going to Virginia Folklife’s website and exploring TRAIN (Teachers of Remote Arts Instruction Network). Created in response to the global COVID-19 pandemic and its devastating impact on the livelihoods of artists, TRAIN connects interested students of all skill levels with a diverse range  of master musicians, craftspeople, and tradition bearers offering online instructional opportunities. Start your lessons today!

Finally, keep an eye on our website for a virtual tour of Real Folk coming soon!