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Risto Lenz, Alan Lomax, the South, and the American Folk Music Revival, 1933-1969

Paul-Thomas Cesari
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Risto Lenz, Alan Lomax, the South, and the American Folk Music Revival, 1933-1969, Peter Lang GmbH, 2022.

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1While the political dimension of Alan Lomax’s work has already been explored in studies that have become authoritative within the field of American studies (Lieberman 1989, Filene 2000, Cohen 2002, Cohen 2016), to my knowledge, no work had been specifically dedicated to this particularly compelling aspect of the Texan ethnomusicologist’s career. That is no longer the case. In Alan Lomax, the South, and the American Folk Music Revival, 1933-1969, Risto Lenz meticulously examines the life and career of this major figure in 20th-century song-collecting. The book offers an in-depth analysis of how Lomax, a specialist in vernacular cultures, consistently navigated the intersections of fieldwork, political activism, and academia to establish himself as an authority in the domain of folk music.

2From the outset, the author highlights an important paradox—yet another in Lomax’s career: while Lomax sought to make some of America’s most disadvantaged populations visible and audible through their cultural expressions, he also seemed to overlook other social, racial, and ethnic groups, as well as other geographical areas. Lenz thereby challenges the notion that Lomax adopted a national approach in his work or advocacy of vernacular music. On the contrary, he argues that Lomax’s focus was primarily on “vernacular music that was mainly of Southern origin or had migratory ties to the South.” (p. 20)

3As one goes through the pages of a very comprehensive and well-structured introduction, one (re-)discovers Lomax’s versatility and his ability to navigate across various social, professional, and political milieus. Lenz sees in this versatility a strategy to “[create] his own authenticity as a folklore specialist, aiming to combat the perceived prejudice that Southern cultures were still considered 'inferior’ by much of America’s mainstream audience” (p. 33). This idea of versatility underpins a major concept in the book, introduced later in chapter II, that of the “expert from below” (p. 84).

4The first chapter of the book delves into the analysis of Alan Lomax’s role in the 1930s as a key figure in a new type of folklore studies in America: applied folklore. The chapter traces the emergence of this approach, which, in contrast to a mere study of vernacular music, viewed the dissemination of music and oral history as a political act, one with the potential to improve race relations and draw attention to social issues. After tracing the major theories of applied folklore and the various critiques it encountered from more traditional branches, Lenz demonstrates how folk music evolved into a vehicle for social resistance and a means of amplifying the voices of marginalized communities, particularly through the example of Alan Lomax, his participatory vision of folklore (p. 68), and his concept of cultural equity (p. 72), which is now widely regarded as his theoretical manifesto.

5In the next chapter, the author provides an analysis of various articles published by Lomax in the mainstream press during the 1940s, illustrating how Lomax adapted his messaging to different audiences to promote different aspects of his ideology: the democratization of field work in “Music in Your Own Backyard” (1940), the pursuit of a collective American identity in “America Sings the Saga of America” (1947), and the idea of a modern, vibrant, and dynamic folk music in “The Best of the Ballads” (1946). He argues that the distinctiveness of the expertise from below advocated by Alan Lomax was partially constructed through the contrast between how he is introduced in an article by the magazine editor and how he presents himself: “the combination of downplaying his own expertise and still being introduced as a folklore specialist resulted in a phenomenon I refer to as ‘expert from below’” (122). Lenz thereby offers a new interpretation of Alan Lomax’s singular and paradoxical position by coining the term “expert from below” in a compelling manner. I am already convinced that it will become an important concept in academic works related to Alan Lomax and ethnomusicology.

6The third chapter offers an engaging analysis of Alan Lomax’s strategic use of radio, particularly during World War II, in the context of his work with the Office of War Information, including interesting correspondences with OWI officials. The author notes that from an early stage, Lomax “discovered the potential of radio as a tool to disseminate not only his songs but his very ‘message’ about the groups of Americans who, in his view, made up ‘the folk’” (p. 128), especially through programs like “Mister Ledford and the TVA” (1941), in which he critically engaged with the limitations of New Deal socio-economic policies. This chapter highlights how Lomax aligned his work with the rise of educational radio in the United States for activist purposes and examines his film activities, such as the short film “To Hear Your Banjo Play” (1946), which illustrates the duality of the vision of the South developed by Lomax and other contemporary folklorists, shedding light on their role in shaping American collective imagination (p. 171).

7In the fourth chapter, Lenz explores the dynamics of gender and race in folklore studies during the first half of the 20th century through the work of Zora Neale Hurston and Sidney Robertson, both of whom collaborated with Alan Lomax at some point. This analysis brings to light the challenges these two women faced in a field dominated by white men, and how their marginalized positions may have influenced their approach to folklore, thus revealing the limitations of traditional male paradigms, including those of Lomax. While this chapter offers an enriching contrast by highlighting the shortcomings of Lomax’s vision, it somewhat diverges from the main thread of the book. Its inclusion, although relevant, seems to introduce a tangent that might have benefited from more in-depth development in a separate work. It invites a broader exploration that could be considered within a larger framework, while still maintaining the overall coherence of the book on Lomax.

8With 6 subsections and nearly 120 pages, the fifth chapter is by far the longest, richest, and most comprehensive in the book. It could almost stand alone as a separate work, given the depth and near-exhaustiveness of its analysis of Alan Lomax’s relationship with the blues. This chapter thoroughly explores Lomax’s work on the rural blues of the Mississippi Delta, especially his renowned expedition with Fisk University (1941-1942), which laid the groundwork for his magnum opus The Land Where the Blues Began (1993). The strength of chapter V lies in the extensive scope of its analysis: Lomax’s relationship with the blues, arguably the most prevalent music in his career, is examined from a multitude of lenses, each serving as a case study: Delta blues (p. 231), female blues (p. 314), work songs and hollers (p. 272), New Orleans blues (p. 305), the blues of Big Bill Broonzy (p. 235), Son House (p. 298), Jelly Roll Morton (p. 307), Muddy Waters (p. 292), Native American roots of the blues (p. 280), penitentiaries and chain gangs (p. 329).

  • 1 An album recorded by Alan Lomax in 1947, which captures the oral testimonies and musical performanc (...)
  • 2 John W. Work, et al., Lost Delta Found: Rediscovering the Fisk University-Library of Congress Coaho (...)

9Lenz offers a thoughtful critique of Lomax’s almost blind faith in the oral histories of the bluesmen interviewed in Blues in the Mississippi Night1, pointing out that these individuals were already commercial artists whose image of poverty had been shaped by the recording industry (p. 249). He further highlights the discrepancies between the musicians’ autobiographical accounts and their official biographies, as well as Lomax’s neglect of urban spaces, particularly New Orleans (p. 305). The analysis also includes a reflection on female blues, in connection with struggles against marginalization (p. 314). The richness of detail and depth of analysis make this chapter essential reading for anyone interested in the blues and the works of Alan Lomax. It also serves as a very pertinent gateway to the book Lost Delta Found: Rediscovering the Fisk University-Library of Congress Coahoma County Study, 1941-1942.2

10The sixth chapter focuses on the folk revival of the 1960s, which Lenz suggests studying through the prism of the Newport Festival, where Lomax was regularly involved as an organizer. According to Lenz, Lomax’s omnipresence partly explains the emergence of an atmosphere of protest at the festival, particularly through debates and workshops with a strong political connotation (p. 363). The author argues that it was in this context, blending folk music and a climate of dissent, that Southern music became politicized, in part to promote the pluralistic philosophy of the Newport Festival. He sees this as the culmination of work initiated by Lomax and other folklorists three decades earlier, according to Lomax’s vision, which placed a strong emphasis on the American South and the concept of authenticity, a “‘utopian’ consciousness that made the American South the locus of authenticity of the folk revival” (p. 349).

  • 3 A series of collecting expeditions conducted by Lomax in the Deep South between 1959 and 1960.

11One will appreciate the richness and diversity of primary sources, mainly composed of Lomax’s own productions and divided into two distinct periods (1933-1950 and 1959-1969). The first period consists mainly of Lomax’s writings, including field notes, correspondence, and other personal documents. The second period focuses on his work in the wake of the Southern Journey3 and the folk revival, drawing from an exceptionally diverse array of sources (books, articles, radio and field recordings, photographs, films). In his effort to examine how Lomax was perceived by his contemporaries, the author also incorporates into the corpus various reviews and critiques of Lomax, as well as excerpts from mainstream press articles and autobiographies in which Lomax is mentioned.

12Overall, this is a well-balanced and highly enjoyable book to read, particularly because it avoids, as is unfortunately often the case with similar works, the systematic use of footnotes that can disrupt the flow of reading. For a book with such a broad chronological scope, the coherence of the whole and the ease with which one transitions from one chapter to the next are remarkable. This book is already establishing itself as essential reading for any researcher, doctoral candidate, or master’s student working on Lomax, but it will also easily interest anyone curious about the American folk music revival. It is filled with high-quality primary sources reflecting a long and meticulous research process. One can only be pleased to see Lomax’s career addressed in such a comprehensive and innovative manner, opening up a multitude of avenues for reflection in the fields of American studies, folklore, and popular music.

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Bibliographie

Cohen, Ronald D., Depression Folk: Grassroots Music and Left-Wing Politics in 1930s America, University of North Carolina Press, 2016

Cohen, Ronald D., Rainbow Quest: The Folk Music Revival & American Society, 1940-1970, University of Massachusetts Press, 2002.

Filene, Benjamin, Romancing the Folk: Public Memory & America’s Roots Music, University of North Carolina Press, 2000.

Lieberman, Robbie, My Song Is My Weapon: People’s Songs, American Communism, and the Politics of Culture, 1930-1950, University of Illinois Press, 1989.

Work, John W. et al., Lost Delta Found: Rediscovering the Fisk University-Library of Congress Coahoma County Study, 1941-1942, édited by Robert Gordon and Bruce Nemerov, Vanderbilt University Press, 2005.

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Notes

1 An album recorded by Alan Lomax in 1947, which captures the oral testimonies and musical performances of three African American blues musicians from Mississippi (Big Bill Broonzy, Memphis Slim, and Sonny Boy Williamson), recounting their lives in the segregated South and providing insight into the socio-cultural roots of the blues.

2 John W. Work, et al., Lost Delta Found: Rediscovering the Fisk University-Library of Congress Coahoma County Study, 1941-1942, édited by Robert Gordon and Bruce Nemerov, Vanderbilt University Press, 2005.

3 A series of collecting expeditions conducted by Lomax in the Deep South between 1959 and 1960.

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Référence électronique

Paul-Thomas Cesari, « Risto Lenz, Alan Lomax, the South, and the American Folk Music Revival, 1933-1969 »Transatlantica [En ligne], 2 | 2024, mis en ligne le 01 décembre 2024, consulté le 09 février 2025. URL : http://journals.openedition.org/transatlantica/24206 ; DOI : https://doi.org/10.4000/134gx

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Paul-Thomas Cesari

E.A. 741 EMMA – Études Montpelliéraines du Monde AnglophoneUniversité Paul-Valéry Montpellier 3

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