{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/b56d21t40d/manifest","type":"Manifest","label":{"en":["Cross the Water Blues: Musical Archeology in Imperial Germany"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Rainer E. Lotz (Presenter)"]}},{"label":{"en":["Date"]},"value":{"en":["2009-05-28 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eMusical archaeology reveals that African American musicians were among the pioneers of recorded music not only in the United States but also in Europe. The presence of African-American entertainers in Europe, the impact of African-American music in Europe around the turn of the century, and aspects of their cross-fertilization remain largely unresearched. Most of the early authors of scholarly books and discographies on blues and jazz were Europeans, who had little or no first-hand impressions of Sedalia, or New Orleans, or Clarksdale, or Chicago. Their only contact with the music was through recordings available to them in Europe from the 1920s up to the 1960s. And they did not have access to recording ledgers, black papers, and other such research material, that has only recently been discovered, or rediscovered. All blacks travelling overseas had to bear in mind that they performed for exclusively white audiences. Their niche in vaudeville entertainment was twofold: by exotic appearance and by eccentric performances. Exotic they were on account of their dark skin and facial features, and eccentricity was achieved by posing as knockabout clowns and by introducing African-American elements in dancing, singing and playing instruments – even though many, if not most – may not have had any affinity for African-American musical traditions. They had to provide a carefully balanced selection of popular tunes and Tin-Pan-Alley coon songs, spiced with both European elements – recognizable by their audiences – and black elements. Just how continental European audiences reacted to black performance styles we shall probably never know. Although, in contrast to Britain, the language barrier seems to have been something of a problem on the European continent, and in countries such as Germany, there had nevertheless been an ever increasing demand for what was then often advertised as “n----- song and dance” until the War dramatically changed the situation. Many of these performances left a legacy of recordings and moving pictures, as well as postcards, publicity shots, and illustrated publicity items. Thanks to their rediscovery we now have a much better understanding than only a few years ago. We shall have to amend the Blues, Gospel, Country, Music Hall and Ragtime discographies, and rewrite chapters of the early black music research literature.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eMusical archaeology reveals that African American musicians were among the pioneers of recorded music not only in the United States but also in Europe. The presence of African-American entertainers in Europe, the impact of African-American music in Europe around the turn of the century, and aspects of their cross-fertilization remain largely unresearched. Most of the early authors of scholarly books and discographies on blues and jazz were Europeans, who had little or no first-hand impressions of Sedalia, or New Orleans, or Clarksdale, or Chicago. Their only contact with the music was through recordings available to them in Europe from the 1920s up to the 1960s. And they did not have access to recording ledgers, black papers, and other such research material, that has only recently been discovered, or rediscovered. All blacks travelling overseas had to bear in mind that they performed for exclusively white audiences. Their niche in vaudeville entertainment was twofold: by exotic appearance and by eccentric performances. Exotic they were on account of their dark skin and facial features, and eccentricity was achieved by posing as knockabout clowns and by introducing African-American elements in dancing, singing and playing instruments \u0026ndash; even though many, if not most \u0026ndash; may not have had any affinity for African-American musical traditions. They had to provide a carefully balanced selection of popular tunes and Tin-Pan-Alley coon songs, spiced with both European elements \u0026ndash; recognizable by their audiences \u0026ndash; and black elements. Just how continental European audiences reacted to black performance styles we shall probably never know. Although, in contrast to Britain, the language barrier seems to have been something of a problem on the European continent, and in countries such as Germany, there had nevertheless been an ever increasing demand for what was then often advertised as \u0026ldquo;n----- song and dance\u0026rdquo; until the War dramatically changed the situation. Many of these performances left a legacy of recordings and moving pictures, as well as postcards, publicity shots, and illustrated publicity items. Thanks to their rediscovery we now have a much better understanding than only a few years ago. We shall have to amend the Blues, Gospel, Country, Music Hall and Ragtime discographies, and rewrite chapters of the early black music research literature.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128454/file/240063","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2009_Lotz_audio.mp3"]},"duration":2878.46675,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128454/file/240063/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128454/file/240063/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/240/063/original/ARSC_conf_2009_Lotz_audio.mp3?1714698430","type":"Audio","format":"audio/mpeg","duration":2878.46675,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128454/file/240063","metadata":[]}]}],"annotations":[]}]}