Black History
Stanford Libraries receives major Black music collection, supporting new department and expanding possibilities for research
The Dijkstra Black Music Collection includes over 8,000 vinyl discs spanning the history of Jazz, Blues, Reggae, and R&B
STANFORD, Calif. /PRNewswire/ — Bram Dijkstra, professor emeritus at UC San Diego, and renowned literary agent Sandra Dijkstra have donated their music collection, nearly 65 years in the making, of irreplaceable recordings of jazz, Jamaican music, blues, soul, and other genres.
Stanford Libraries has accepted the generous donation of the Dijkstra Black Music Collection, a selection of approximately 8,000 commercial vinyl discs in near mint condition. “The collection is remarkable in its scope, depth, and curatorial vision,” said Michael A. Keller, the Ida M. Green University Librarian at Stanford.
About half of the discs in the Dijkstra collection document the work of essential twentieth-century jazz artists, creating a core jazz library that according to Keller “complements and dramatically enriches Stanford’s existing holdings, including the Monterey Jazz Festival Collection and the Riverwalk Jazz Collection.” The unparalleled corpus of Jamaican popular music, which includes representation of instrumentalists, vocalists, and DJs, establishes a new research strength for Stanford.
Once the collection is catalogued and available for use, Stanford will follow audio preservation best practices to protect the integrity of the discs and will provide digital listening access to students, faculty, and researchers while welcoming them to examine the physical discs, sleeves, and liner notes by appointment at Stanford’s Archive of Recorded Sound (ARS).
“The ARS was founded in 1958 to preserve sound recordings as a core part of our cultural heritage,” said Tamar Barzel, head music librarian at Stanford. “The Dijkstra Black Music Collection will have a meaningful and profound effect on ARS collections, which have historically been strongest in early jazz, classical music, and opera.”
Bram Dijkstra’s diligence and passion for documenting the full sweep of jazz history and Jamaican popular music has been a lifelong pursuit. Dijkstra, who was born on a small Indonesian island and raised in Holland, traces its inception to a transformative experience listening to a new record by the New Miles Davis Quintet in 1955. “I admired Miles Davis’ clear, coherent trumpet, but I was shocked into incredulous admiration by the hoarse, abrasive, yet melodious solos of the young tenor saxophone player Miles was featuring here for the first time, someone with the rather strange name of John Coltrane,” said Dijkstra. He recalled that Coltrane’s playing, “rough-toned and oddly jagged, daringly dancing on the edge of failure, but driven by an inner rhythm that steadied every part,” seemed to express what he was feeling – it “made almost physically tangible the music that was in my soul.”
That initial impression endured, inspiring a relocation to the United States, an immersion in African American music, and a commitment to creative work. John Coltrane, he wrote, “taught me to listen to Black music in all its many forms: Coltrane called me to America. He taught me that to be creative is to always search for what is better—and that searching for anything likely to make us better is never neat.”
Original and early pressings in the collection represent the best extant examples for many of Coltrane’s recordings. Rare individual discs, including Bob Marley’s original 12-inch 45rpm single of “Buffalo Soldiers,” Sun Ra’s original Saturn issues with blank or hand-made covers, and early hip hop LPs, are also rich in research potential.
“Recordings are essential primary sources for contemporary music scholarship,” remarked Professor Stephen Hinton, chair of Stanford’s Music Department. “As we expand our programmatic offerings in the areas of jazz studies, popular music, and ethnomusicology, the Dijkstra Black Music Collection will be an indispensable resource for research and teaching.”
Deep runs and other exceptional rarities are found within the Dijkstra Black Music Collection, including a full run of the Blue Note 1500 series of the late 1950s; virtually all John Coltrane commercial releases; a strong representation of avant-garde artists on small label releases from the U.S., Europe, and Japan; and a significant complement of artists’ private-issue and limited-edition releases. The collection’s appraised valuation exceeding $2.3 million reflects the many one-of-a-kind and extremely rare items, which are both of immense worth in the collectors’ market and priceless in their cultural heritage and research value.
The donated collection arrives at a fortuitous moment in Stanford’s history in tandem with the formation of the new African and African American Studies Department. Professor Ato Quayson, chair of the English Department, also chairs the Framework Task Force subcommittee focused on the departmentalization of African and African American Studies. “The Dijkstra Black Music Collection will instigate whole new research agendas in different areas of Black music studies,” said Quayson. “It will be a boon to the Stanford community, and indeed to anyone beyond who wants to take jazz, popular music, and ethnomusicology seriously.”
An event celebrating the collection is scheduled for February 13, 2023 from 5:30 p.m. at the Cecil H. Green Library on Stanford’s historic campus. The event is free and registration is requested. The collection will remain unavailable while it is being processed; inquiries about the collection can be submitted to the Archive of Recorded Sound at Stanford Libraries.
SOURCE Stanford Libraries
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How Black male college athletes deal with anti-Black stereotypes on campus
Jonathan Howe, Temple University
In an effort to avoid stereotypes about Black male athletes, such as being labeled a “dumb jock,” Spike, a college football player, says he wore athletic clothes to class as little as possible.
“I mean, granted, I’m a 6-foot-4, 240-pound Black kid on campus, so it’s kind of hard to get away from that,” he said. “But I didn’t want any, you know, significant confirmation that I was an athlete. So, I just wore like a collared shirt, jeans and nice shoes every day.”
Trey, a baseball player, refrained from speaking up or sharing personal information – even with his teammates.
He said he was often “outnumbered in opinion” as he was one of two Black athletes on a team of 40, which led to him “not even wanting to speak up” about issues that may cause conflict with others. “I’m a Black student-athlete and, like, that already makes me have to carry myself a different way,” he said.
I’m a professor of sport management who researches the experiences of Black male college athletes. During the 2020-21 academic year, I interviewed 16 Black male college athletes at Division I colleges across the U.S. I wanted to know how they changed their behavior to navigate stereotypes about them.
I also asked participants, who competed in numerous sports – including football, baseball, cheer, diving, and track and field – to record audio diaries about the topic as part of the study.
I found that these college athletes, at times, went out of their way to change how they present themselves to others in order to avoid anti-Black racism and “dumb jock” stereotypes on campus. At other times, they pushed back against these stereotypes as a form of resistance.
‘I don’t bring up that I am a student-athlete’
Self-presentation refers to how someone acts or behaves during social interactions in order to influence how others perceive them. For example, a person may change how they speak, or their word choices, depending on who is around them.
The Black male college athletes in my study altered their presentation in a number of ways, including their dress or clothing and their speech. They also limited how much information they shared, and at times they hid details about their identity.
Marc, another football player, reflected on how being a Black male college athlete affected how he spoke – both the frequency and delivery – during class. “You have to be, like, more engaged,” he said. “You got to assert yourself more and you got to be more analytic about things.”
These adjustments were not restricted to academic environments. Marc was also careful about what information he shared in various athletic settings, too. “You do not really talk about personal stuff or anything like that,” he said.
Participants did not want their vulnerabilities used against them by their coaches or academic advisers.
Another strategy Black male college athletes used was hiding details about their identity – most often their athletic identity. Tyler, a track athlete, noted, “I try to make sure I don’t bring up that I am a student-athlete. I’m just trying to build my identity away from the sport.”
Black students, white campuses
Black men represent about 6% of total college students in U.S. four-year public institutions. Yet at Division I schools, the highest level of college athletic competition, they represent roughly 45% of football players and 51% of men’s basketball players.
Overall, Black men represent 12% of all Division I college athletes, excluding historically Black colleges and universities.
Meanwhile, at Power Five schools, where college football is a big-time business, as many as 1 in 6 Black male students are athletes, compared with 1 in 50 white students.
The vast majority of Division I schools are predominantly white institutions. Their athletic departments, including coaching staffs and administrators, are overwhelmingly white. For example, 78% of Division I athletic directors, 81% of head coaches, 68% of assistant coaches and 90% of head athletic trainers are white.
Similar to their athletic experience, these athletes do not see many other Black people across campus. Faculty on these campuses are 93% non-Black.
Racism and discrimination
It is well documented that Black male college athletes experience racism and discrimination while attending these predominantly white schools. This includes, for example, unequal enforcement of school policies and less access to educational opportunities.
They are discriminated against for being Black, for being Black males and for being athletes. Although touted for their physical prowess, Black male athletes are often labeled “dumb jocks” – their intelligence somehow discredited by their physical stature.
They are sometimes seen by students, faculty, staff and even fans as lacking the intellectual ability and motivation to succeed academically. They are characterized as illegitimate students who undermine the academic mission of the university and receive special treatment.
One study found that professors and academic counselors had lower academic expectations of Black college athletes compared with their white counterparts and that these athletes lacked autonomy in making academic decisions. Academic counselors often selected their courses, as opposed to the athletes registering themselves, which made the athletes feel powerless.
Another study found that faculty members were more likely to attribute Black male college athletes’ success to policies, such as affirmative action, instead of their merits, as they did for white athletes.
Resisting societal pressure
Not all the athletes altered their behavior or appearance to avoid anti-Black stereotypes. Keyvon, a football player, expressed that he presents himself authentically in predominantly white spaces as a way to “apply pressure” and force people to get comfortable with his Blackness.
Being a big-time college athlete indeed presents privileges, such as a pseudo-celebrity status, which at times can shield Black male college athletes from the impact of stereotypes and anti-Blackness. However, this is often the case solely when Black males perform well in their sport.
Sport performance should not determine how people treat Black male college athletes. Nor should Black male college athletes be placed in a box when it comes to how they present themselves, or risk anti-Black discrimination if they express themselves authentically. Ultimately, Black male college athletes will present themselves in a manner they deem appropriate – whether that aligns with what society expects or not.
Jonathan Howe, Assistant Professor of Sport Management, Temple University
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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For enslaved people, the holiday season was a time for revelry – and a brief window to fight back
Ana Lucia Araujo, Howard University
During the era of slavery in the Americas, enslaved men, women and children also enjoyed the holidays. Slave owners usually gave them bigger portions of food, gifted them alcohol and provided extra days of rest.
Those gestures, however, were not made out of generosity.
As abolitionist, orator and diplomat Frederick Douglass explained, slave owners were trying to keep enslaved people under control by plying them with better meals and more downtime, in the hopes of preventing escapes and rebellions.
Most of the time, it worked.
But as I discuss in my recent book, “Humans in Shackles: An Atlantic History of Slavery,” many enslaved people were onto their owners and used this brief period of respite to plan escapes and start revolts.
Feasting, frolicking and fiddling
Most enslaved people in the Americas adhered to the Christian calendar – and celebrated Christmas – since either Catholicism or Protestantism predominated, from Birmingham, Alabama, to Brazil.
Consider the example of Solomon Northup, whose tragic story became widely known in the film “12 Years A Slave.” Northup was born free in the state of New York but was kidnapped and sold into slavery in Louisiana in 1841.
In his narrative, Northup explained that his owner and their neighbors gave their slaves between three and six days off during the holidays. He described this period as “carnival season with the children of bondage,” a time for “feasting, frolicking, and fiddling.”
According to Northup, each year a slave owner in central Louisiana’s Bayou Boeuf offered a Christmas dinner attended by as many as 500 enslaved people from neighboring plantations. After spending the entire year consuming meager meals, this marked a rare opportunity to indulge in several kinds of meats, vegetables, fruits, pies and tarts.
There’s evidence of holiday celebrations since the early days of slavery in the Americas. In the British colony of Jamaica, a Christmas masquerade called Jonkonnu has taken place since the 17th century. One 19th-century artist depicted the celebration, painting four enslaved men playing musical instruments, including a container covered with animal skin, along with an instrument made from an animal’s jawbone.
In the 1861 narrative of her life in slavery, abolitionist Harriet Jacobs described a similar masquerade in North Carolina.
“Every child rises early on Christmas morning to see the Johnkannaus,” she wrote. “Without them, Christmas would be shorn of its greatest attraction.”
On Christmas Day, she continued, nearly 100 enslaved men paraded through the plantation wearing colorful costumes with cows’ tails fastened to their backs and horns decorating their heads. They went door to door, asking for donations to buy food, drinks and gifts. They sang, danced and played musical instruments they had fashioned themselves – drums made of sheepskin, metal triangles and an instrument fashioned from the jawbone of a horse, mule or donkey.
It’s the most wonderful time to escape
Yet beneath the revelry, there was an undercurrent of angst during the holidays for enslaved men, women and children.
In the American South, enslavers often sold or hired out their slaves in the first days of the year to pay their debts. During the week between Christmas and New Year’s Day, many enslaved men, women and children were consumed with worry over the possibility of being separated from their loved ones.
At the same time, slave owners and their overseers were often distracted – if not drunk – during the holidays. It was a prime opportunity to plan an escape.
John Andrew Jackson was owned by a Quaker family of planters in South Carolina. After being separated from his wife and child, he planned to escape during the Christmas holiday of 1846. He managed to flee to Charleston. From there, he went north and eventually reached New Brunswick in Canada. Sadly, he was never able to reunite with his enslaved relatives.
Even Harriet Tubman took advantage of the holiday respite. Five years after she successfully escaped from the Maryland plantation where she was enslaved, she returned on Christmas Day in 1854 to save her three brothers from a life of bondage.
‘Tis the season for rebellion
Across the Americas, the holiday break also offered a good opportunity to plot rebellions.
In 1811, enslaved and free people of color planned a series of revolts in Cuba, in what became known as the Aponte Rebellion. The scheming and preparations took place between Christmas Day and the Day of Kings, a Jan. 6 Catholic holiday commemorating the three magi who visited the infant Jesus. Inspired by the Haitian Revolution, free people of color and enslaved people joined forces to try to end slavery on the island.
In April, the Cuban government eventually smashed the rebellion.
In Jamaica, enslaved people followed suit. Samuel Sharpe, an enslaved Baptist lay deacon, called a general strike on Christmas Day 1831 to demand wages and better working conditions for the enslaved population.
Two nights later, a group of enslaved people set fire to a trash house at an estate in Montego Bay. The fire spread, and what was supposed to be a strike instead snowballed into a violent insurrection. The Christmas Rebellion – or Baptist War, as it became known – was the largest slave revolt in Jamaica’s history. For nearly two months, thousands of slaves battled British forces until they were eventually subdued. Sharpe was hanged in Montego Bay on May 23, 1832.
After news of the Christmas Rebellion and its violent repression reached Britain, antislavery activists ramped up their calls to ban slavery. The following year, Parliament passed the Slavery Abolition Act, which prohibited slavery in the British Empire.
Yes, the week between Christmas Day and New Year’s Day offered a chance to feast or plot rebellions.
But more importantly, it served as a rare window of opportunity for enslaved men, women and children to reclaim their humanity.
Ana Lucia Araujo, Professor of History, Howard University
This article is republished from The Conversation under a Creative Commons license. Read the original article.
The Bridge is a section of the STM Daily News Blog meant for diversity, offering real news stories about bona fide community efforts to perpetuate a greater good. The purpose of The Bridge is to connect the divides that separate us, fostering understanding and empathy among different groups. By highlighting positive initiatives and inspirational actions, The Bridge aims to create a sense of unity and shared purpose. This section brings to light stories of individuals and organizations working tirelessly to promote inclusivity, equality, and mutual respect. Through these narratives, readers are encouraged to appreciate the richness of diverse perspectives and to participate actively in building stronger, more cohesive communities.
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Celebrate Black Poetry Day!
October 17 is Black Poetry Day, celebrating the contributions of Black poets through events, virtual exhibits, and recommended readings that highlight diverse experiences and voices.
October 17 marks an important celebration for lovers of literature and culture enthusiasts alike: Black Poetry Day. This day is a tribute to the contributions of Black poets and writers who have enriched the tapestry of American literary history. From the powerful verses of past luminaries to the vibrant voices of contemporary writers, Black poetry offers a window into diverse experiences, struggles, triumphs, and dreams.
This year, we’re excited to present a variety of opportunities to dive into the world of Black poetry. Whether you’re a seasoned poetry aficionado or a curious newcomer, there’s something for everyone to enjoy and explore.
Start your celebration with virtual exhibits and podcasts featuring insightful discussions on the history and influence of Black poets. These digital resources provide a deeper understanding of the cultural and social contexts that shaped—and continue to shape—Black poetry.
Expand your reading list with recommended works from both established and emerging Black poets. Whether you gravitate towards the radiant wisdom of Maya Angelou, the searing social critiques of Langston Hughes, or the innovative expressions of contemporary voices like Danez Smith, there’s an abundance of incredible work to discover.
Don’t miss out on poetry performances, either! Virtual events offer an opportunity to experience the emotional resonance and dynamic delivery that are hallmarks of spoken word poetry. Listening to poetry read aloud can be a transformative experience, bringing the words to life in powerful ways.
Celebrating Black Poetry Day
Remember, this list is just a starting point. Explore further, attend events, share your discoveries, and most importantly, engage with the community. We invite you to leave a comment sharing your favorite Black poets and poems. Let’s celebrate the richness of Black poetry together and honor the voices that continue to inspire and challenge us.
Happy Black Poetry Day!
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The Bridge is a section of the STM Daily News Blog meant for diversity, offering real news stories about bona fide community efforts to perpetuate a greater good. The purpose of The Bridge is to connect the divides that separate us, fostering understanding and empathy among different groups. By highlighting positive initiatives and inspirational actions, The Bridge aims to create a sense of unity and shared purpose. This section brings to light stories of individuals and organizations working tirelessly to promote inclusivity, equality, and mutual respect. Through these narratives, readers are encouraged to appreciate the richness of diverse perspectives and to participate actively in building stronger, more cohesive communities.
https://stmdailynews.com/the-bridge
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