Elizabeth Taylor Greenfield
(Wikimedia Commons)
Sergio A. Mims writes:
I think that you and your readers would be interested in this article from the Smithsonian Magazine.
Sergio
By
smithsonian.com
In 1851, a concert soprano named Elizabeth Taylor Greenfield embarked on a national tour that upended America’s music scene.
In antebellum America, operatic and concert songs were very popular forms of entertainment. European concert sopranos, such as Jenny Lind and Catherine Hayes, drew huge crowds and rave reviews during their U.S. tours. Lind was so popular that baby cribs still bear her name, and you can now visit an unincorporated community called Jenny Lind, California.
Greenfield, however, was different. She was a former slave. And
she was performing songs that a burgeoning field of American music
criticism, led by John Sullivan Dwight, considered reserved for white
artists. African-American artists, most 19th-century critics argued,
lacked the refined cultivation of white, Eurocentric genius, and could
create only simple music that lacked artistic depth. It was a prejudice
that stretched as far back as Thomas Jefferson in his “Notes on the State of Virginia” and was later reinforced by minstrel shows.
But when Greenfield appeared on the scene, she shattered preexisting beliefs about artistry and race.
‘The Black Swan’
Elizabeth Taylor Greenfield was born into slavery in Natchez,
Mississippi, around 1820. As a girl, she was taken to Philadelphia and
raised by an abolitionist.
Largely self-taught as a singer, she began her concert career in New York with the support of the Buffalo Musical Association.
In Buffalo, she was saddled with the nickname “the Black Swan,” a crude
attempt to play off the popularity of Jenny Lind – known as “the
Swedish Nightingale” – who was wrapping up one of the most popular
concert tours in American history.
In 1851, Colonel Joseph H. Wood became
Greenfield’s promoter. Wood, however, was an overt racist and inhumane
promoter known for creating wonderment museums in Cincinnati and Chicago
that featured exhibits like the “Lilliputian King,” a boy who stood 16
inches tall. With Greenfield, he sought to replicate the success that
another promoter, P.T. Barnum, had with Jenny Lind.
In a letter to Frederick Douglass,
Martin R. Delany, a physician, newspaper editor and Civil War hero,
wrote that Wood was a fervent supporter of the Fugitive Slave Act of
1850 and would not admit black patrons into his museums or at
Greenfield’s concerts.
For Greenfield’s African-American supporters, it was a point of huge contention throughout her career.
Critics reconcile their ears with their racism
In antebellum America, the minstrel show was one of the most
popular forms of musical entertainment. White actors in blackface
exploited common stereotypes of African-Americans, grossly exaggerating
their dialect, fashion, dancing and singing.
For example, the popular song “Zip Coon” portrayed
African-Americans as clumsily striving for the refinement of white
culture. The cover of the sheet music for “Zip Coon” shows an
African-American attempting to mimic refined fashions of the day and
failing. The song goes on to mock its subject, Zip Coon, as a “learned
scholar,” while putting him in situations where his apparent lack of
intelligence shows.
Greenfield’s performances, however, forced her critics to rethink
this stereotype. The Cleveland Plain Dealer described the confusion
that Greenfield caused for her audiences:
“It was amusing to behold the utter surprise and intense pleasure which were depicted on the faces of her listeners; they seemed to express – ‘Why, we see the face of a black woman, but hear the voice of an angel, what does it mean?’”
Critics agreed that Greenfield was a major talent. But they found
it difficult to reconcile their ears with their racism. One solution
was to describe her as a talented, but unpolished, singer.
For example, the New-York Daily Tribune reported that “it is
hardly necessary to say that we did not expect to find an artist on the
occasion. She has a fine voice but does not know how to use it.” (We see a similar phenomenon today in sports coverage,
in which black athletes are often praised for their raw physical
athleticism, while white athletes are praised for their game
intelligence.)
By performing repertoire thought too complex for black artists –
and by doing it well – Greenfield forced her white critics and audiences
to reexamine their assumptions about the abilities of African-American
singers.
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