Joseph Vogel's piece in The Volunteer impressed me. The drawing shows a soldier with an exaggerated chest holding a gun. The chaos of the painting reflects the insanity of war. The abstract aspects leave room for our imaginations to add to the work. Vogel's work is currently displayed at the MET, the Smithsonian, and other notable museums. It is hard to imagine an artist volunteering to fight in a war, but, as Dr. Fernandez said, it shows his inspiring commitment to the cause of defeating fascism.
Three drawing by Mildred Rackley show three different dancing scenes from the US and Spain. I wonder if drawing helped artists confirm their own existences just as photography helped soldiers convince themselves and their families back home that they were still alive.
Edwin Rolfe's story presents a haunting image of the damage caused by McCarthyism and anti-Communism. An aspiring poet before the war, he later attempted to work in the film industry but was blacklisted in 1947 and twice named as a Communist during the Hollywood hearing of 1951. He was subpoenaed in 1952, but did not appear. All in all, the communist label and McCarthy harrassment ended his film career. The illogical nature of condemning a man who volunteered to defend the Spanish Republic, and later fought in World War II, baffles me.
As I read about more and more artists leaving the US or losing their jobs as a result of the Red Scare, I wonder how much US art was lost forever during the period. I am sure that unemployment prevented artists from getting the materials they needed to paint, draw or even compose music, and producing art often came after finding food, shelter and a little money. The artistic losses sustained during the anti-Communist attacks can never be redeemed.
I love this quote at the end of the Volunteer's issue:
"The fascists won the battles, but we had the good songs."
Friday, October 30, 2009
Tuesday, October 27, 2009
LaborArts Union Songs Exhibit
When I was in the archives, I picked up a flier for the LaborArts online exhibit called "Labor Sings! Songs from the 1930s and 1940s." The exhibit proved to be very interesting. About 20 songs were available to listen to, accompanied by a picture of the labor songbook the lyrics came from, and biographical information about the writers and singers. Some of the songs sounded resigned and mournful - slow acapella ballads condemning society and offering the union as the only hope for salvation. Others emanated energy, with full choirs belting out "Join the Union" and "Solidarity Forever." Some of the songs took their melodies from already popular folk songs, just like Jarama used the melody from The Red River Valley. Maurice Sugar's The Soup Song took its melody from the Scottish folk song "My Bonnie Lies Over the Ocean." The classic union anthem, Solidarity Forever, took its melody from the Battle Hymn of the Republic. The use of this patriotic melody was likely meant to connect the union to patriotism, and to imply that real Americans were union members. Also, replacing the famous line "For the truth shall set us free" with "For the union makes us strong" makes listeners subconsciously associate the union with truth, and, in extension, justice.
I looked at these songs to see how they compared with the songs of the Spanish Civil War, knowing that many of the volunteers were also union members. Bill Bailey, for example, was an active union leader, and in an interview describes one shipping union strike he helped lead before going to Spain. I would guess that some of these union songs were sung unchanged in Spain by some of the American volunteers. Being far from home, the soldiers would want to sing songs they knew well and that reminded them of their homeland. Also, the union struggles for workers' rights share many similarities in spirit with the Spanish Republic in that both struggles represent the poor and middle class people who have been taken advantage of. For this reason, the songs would also resonate in Spain.
I looked at these songs to see how they compared with the songs of the Spanish Civil War, knowing that many of the volunteers were also union members. Bill Bailey, for example, was an active union leader, and in an interview describes one shipping union strike he helped lead before going to Spain. I would guess that some of these union songs were sung unchanged in Spain by some of the American volunteers. Being far from home, the soldiers would want to sing songs they knew well and that reminded them of their homeland. Also, the union struggles for workers' rights share many similarities in spirit with the Spanish Republic in that both struggles represent the poor and middle class people who have been taken advantage of. For this reason, the songs would also resonate in Spain.
Monday, October 26, 2009
The Good Fight Production Materials
I looked at the box of production materials for The Good Fight, which produced some very interesting documents. I found a letter from a politician, Cordell Hull, to Senator Key Pittman disagreeing with Pittman's proposed resolution to lift the Spanish embargo. The arms embargo was first put into law on January 8th, 1937. Only one representative voted against it - I wonder who? In his letter, Hull refrains from calling the Spanish Civil War a civil war, but instead refers to the "civil strife" in Spain. This purposeful manipulation of language makes me think of the current US government's tentativeness to call the genocide in Darfur genocide. The terms politicians use to describe world events in themselves hold significance.
In another letter, Albert Einstein praises the work of the North American Community to Aid Spanish Democracy. As I keep coming across strong support for the Republic among prominent leaders of the artistic community, it is hard for me to imagine that the general feeling in the US was against intervention. I suppose the artists are only one small demographic, though, and do not represent nationwide views.
The grant request form for the Media Program, the sponsoring group, listed the total cost to make the movie at $244,331, which seems fairly cheap.
In the publicity folder, I found one ad and several articles spreading information about the film. Through these ads, I found out that the filmmakers were from Boston. One article spoke of the Julio Mela Brigade, made up of Cuban exiles who had fled to the US. This could be an interesting topic to research later on. In one piece, Noel Buckner specifically mentions that a person active in a pro-Republic committee in the US should be called a liberal or conservative, but NOT a leftist. I do not understand the offensive nature or innaccuracy of the term leftist, and I also don't think conservative would ever make sense when describing a US supporter of the Republic. Can you explain to me what Buckner meant?
My favorite find in the box was the transcript from a speech issued by FDR on Oct. 5, 1937. He moves away from the political strategy of isolation. Here are some quotes:
"The peace-loving nations must make a concerted effort in opposition to those violations of treaties and those ignorings of humane instincts which today are creating a state of international anarchy and instability from which there is no escape through mere isolation or neutrality."
"There is a solidarity and interdependence about the modern world, both technically and morally, which makes it impossible for any nation completely to isolate itself from economic and political upheavals in the rest of the world."
"If civilization is to survive, the principles of the Prince of Peace must be restored." What is the Prince of Peace?
"America actively engages in the search for peace." Active engagement implies intervention not isolation.
"It is my determination to pursue a policy of peace." Pursuing peace also implies that avoiding the problem will not preserve peace but that taking action and defeating the nations who wish to wage war will lead to peace.
These quotes are inspiring and on point, but his actions from 1937 -1939 do not reflect these words at all.
In another letter, Albert Einstein praises the work of the North American Community to Aid Spanish Democracy. As I keep coming across strong support for the Republic among prominent leaders of the artistic community, it is hard for me to imagine that the general feeling in the US was against intervention. I suppose the artists are only one small demographic, though, and do not represent nationwide views.
The grant request form for the Media Program, the sponsoring group, listed the total cost to make the movie at $244,331, which seems fairly cheap.
In the publicity folder, I found one ad and several articles spreading information about the film. Through these ads, I found out that the filmmakers were from Boston. One article spoke of the Julio Mela Brigade, made up of Cuban exiles who had fled to the US. This could be an interesting topic to research later on. In one piece, Noel Buckner specifically mentions that a person active in a pro-Republic committee in the US should be called a liberal or conservative, but NOT a leftist. I do not understand the offensive nature or innaccuracy of the term leftist, and I also don't think conservative would ever make sense when describing a US supporter of the Republic. Can you explain to me what Buckner meant?
My favorite find in the box was the transcript from a speech issued by FDR on Oct. 5, 1937. He moves away from the political strategy of isolation. Here are some quotes:
"The peace-loving nations must make a concerted effort in opposition to those violations of treaties and those ignorings of humane instincts which today are creating a state of international anarchy and instability from which there is no escape through mere isolation or neutrality."
"There is a solidarity and interdependence about the modern world, both technically and morally, which makes it impossible for any nation completely to isolate itself from economic and political upheavals in the rest of the world."
"If civilization is to survive, the principles of the Prince of Peace must be restored." What is the Prince of Peace?
"America actively engages in the search for peace." Active engagement implies intervention not isolation.
"It is my determination to pursue a policy of peace." Pursuing peace also implies that avoiding the problem will not preserve peace but that taking action and defeating the nations who wish to wage war will lead to peace.
These quotes are inspiring and on point, but his actions from 1937 -1939 do not reflect these words at all.
Tuesday, October 20, 2009
Songs of the War Thesis Continued
I read chapters 3 and 4 of the thesis dealing with the songs of the war. These chapters were more interesting to me because they dealt with specific musical aspects of the songs, even showing snippets of sheet music as examples.
Republican songs were sung in many languages to showcase the international struggle and the universal goals embodied by the international brigade and the Republican fighters. Also, the Basque people and others sung songs in their regional languages to emphasize the regional differences the Nationalists failed to recognize in Spain. This reminds me of what Senegalese singer Baaba Maal said at a recend concert I attended. He sings songs in many different languages, and he said he chooses the language based upon which group he wishes to address or speak to in the song. The choice of language was important to the Republicans and is still important for Baaba Maal. In fact, The International, one of the most popular songs, was translated into a dozen languages in one songbook released by the Republic.
Melody was second to lyrics, and many songs simply changed the lyrics to already popular melodies. This made the songs easy for the population to pick up and remember. Also, some composers worked with successful Spanish poets who would create couplets as lyrics to the songs.
Some songs were improvised in the trenches.
In 1937, the Republican National Music Committee held a public song writing contest. The winners were published as Six Songs for Democracy, which were sung as a group on the album you let me borrow entitled Songs of the Spanish Civil War by Ernst Busch and Chorus.
Some of the musical propaganda groups included the Alianza de Intelectuales para la Defensa de la Cultura, the National Institute of Culture, the Milicias de la Cultura, the Brigadas Volantes, and the Republican radio station Altavoz del Frente. Carlos Palacio was the main composer for the station, and was given the money to work with a full orchestra in recording new songs.
Although many of the composers were highly-trained classical musicians, they generally stuck to simple marches because the intent of the songs was not groundbreaking new music but music that the people could relate to. Many of the songs were loud and grand, with a repetitive baseline to emphasize the march tempo. The 2/4 time signitures further underscored the march theme. Although it is true that some songs were improvised in the trenches, the musical propaganda associations often claimed their professionally-crafted songs were thought up by soldiers in the heat of battle. This lie tried to add authenticity and raw emotion to the songs, but many of them were passionate despite the fact that they were not composed by a soldier.
I was surprised by the amount of emphasis and organization propaganda groups for both sides placed in music.
Republican songs were sung in many languages to showcase the international struggle and the universal goals embodied by the international brigade and the Republican fighters. Also, the Basque people and others sung songs in their regional languages to emphasize the regional differences the Nationalists failed to recognize in Spain. This reminds me of what Senegalese singer Baaba Maal said at a recend concert I attended. He sings songs in many different languages, and he said he chooses the language based upon which group he wishes to address or speak to in the song. The choice of language was important to the Republicans and is still important for Baaba Maal. In fact, The International, one of the most popular songs, was translated into a dozen languages in one songbook released by the Republic.
Melody was second to lyrics, and many songs simply changed the lyrics to already popular melodies. This made the songs easy for the population to pick up and remember. Also, some composers worked with successful Spanish poets who would create couplets as lyrics to the songs.
Some songs were improvised in the trenches.
In 1937, the Republican National Music Committee held a public song writing contest. The winners were published as Six Songs for Democracy, which were sung as a group on the album you let me borrow entitled Songs of the Spanish Civil War by Ernst Busch and Chorus.
Some of the musical propaganda groups included the Alianza de Intelectuales para la Defensa de la Cultura, the National Institute of Culture, the Milicias de la Cultura, the Brigadas Volantes, and the Republican radio station Altavoz del Frente. Carlos Palacio was the main composer for the station, and was given the money to work with a full orchestra in recording new songs.
Although many of the composers were highly-trained classical musicians, they generally stuck to simple marches because the intent of the songs was not groundbreaking new music but music that the people could relate to. Many of the songs were loud and grand, with a repetitive baseline to emphasize the march tempo. The 2/4 time signitures further underscored the march theme. Although it is true that some songs were improvised in the trenches, the musical propaganda associations often claimed their professionally-crafted songs were thought up by soldiers in the heat of battle. This lie tried to add authenticity and raw emotion to the songs, but many of them were passionate despite the fact that they were not composed by a soldier.
I was surprised by the amount of emphasis and organization propaganda groups for both sides placed in music.
Museo del Barrio Visit
I went to the newly reopened Museo del Barrio this weekend and came across a whole section of Communist and Spanish Civil War works of art. Diego Rivera, David Alfaro Siqueiros and others took a stand against Fascism in their art. Rivera's 1933 painting "Opponent of Fascism" depicts a strong workman restraining a Fascist hand holding a bloody knife with the Communist hammer and sickle in the background. This clearly and brazenly denounces Fascism before the Spanish Civil War, when Mussolini has power and Hitler has just achieved it. Another of Rivera's paintings, "Man at the Crossroads", shows a robotic army wearing gas masks in contrast with an army led by a women's choir which represents the army of the people. Also in the picture appear rich people having a dinner party, and a representation of Lenin and his followers. The mural was commisioned by Rockefeller, but when Rockefeller saw Lenin in the mural, he had the painting destroyed and forced Rivera to repaint without the important figure of Lenin present.
Another Communist artist, Siqueiros, came to the US as a Mexican government official in the mid 1930s. He had served as a captain in the 1910 Mexican Revolution. From April 1936 to January of 1937, Siqueiros led the Experimental Workshop as he taught his style of mural painting and collaborated with American artists. In 1937 Siqueiros left to fight in Spain for Mexico. Much later in his life, he admitted having attempted to assasinate Trotsky in his Mexico City home in 1940 after returning from Spain, but his admission came too long after his trial to merit arrest.
In Siqueiros' Tamiment vertical file are articles concerning his 1960 arrest and 8 year imprisonment for inciting student demonstrations against the Mexican government. The Artists Committee to Free Siqueiros included Georgia O'Keeffe among others. He painted from jail, and his paintings still sold and were popular.
Another Communist artist, Siqueiros, came to the US as a Mexican government official in the mid 1930s. He had served as a captain in the 1910 Mexican Revolution. From April 1936 to January of 1937, Siqueiros led the Experimental Workshop as he taught his style of mural painting and collaborated with American artists. In 1937 Siqueiros left to fight in Spain for Mexico. Much later in his life, he admitted having attempted to assasinate Trotsky in his Mexico City home in 1940 after returning from Spain, but his admission came too long after his trial to merit arrest.
In Siqueiros' Tamiment vertical file are articles concerning his 1960 arrest and 8 year imprisonment for inciting student demonstrations against the Mexican government. The Artists Committee to Free Siqueiros included Georgia O'Keeffe among others. He painted from jail, and his paintings still sold and were popular.
Monday, October 12, 2009
Songs of the SCW Thesis
I read the introduction as well as Chapter 1 of the thesis detailing the songs of the SCW, with the chapter entitled "Song Heritage and the Civil War." The author describes how the isolation of Spain because of being surrounded by mountain ranges and its location on the Iberian Peninsula led to slower cultural development, which allowed for the preservation of folk songs. Also, he explains that little information can be found on the songs of the war because musicologists studying Spanish music generally focused on more professional styles (ie not folk music). Also, Franco's ban on Republican songs and the domination of pro-Franco historians obscured the history of the songs. Lastly, because of the nature of folk songs, they were passed down via the oral tradition and therefore are rarely found in written form as original source documents. I will continue to read more of the thesis. This chapter went into great detail describing the history and development of Spanish musical genres, which I chose not to write about until I have a better grasp of them. I do not yet know if my project will incorporate the history of Spanish music from the centures before the war.
Wednesday, October 7, 2009
Malofsky Letters 3
"There are too many beautiful landscapes, too many orange trees, too many rich, red, earthy fields of clay, cultivated by hands of hardworking peasants for centuries...too many to fall into and be squashed by the muddy, traitorous hands of a dictator, a banker, and a fat priest"
Malofsky works the machine gun with his cousin Bernie
After extolling virtues of Spanish people: "That's why it's absolutely essential to get rid of the bastard Trotskyites who tried to disrupt the unity, and therefore consciously knew that they were playing Franco's game."
-similar to quote in last blog describing Franco's Fifth Column. Malofsky seems to be worried about internal betrayal.
his friend Julius Blackstein married a year before the war. If he had married a year later, he might have already chosen to leave for Spain.
"You know pal, sometimes I wish all this had happened a year ago, when you didn't have all those responsibilities. I know damn well where you'd be- right here with me."
"crush and continue to crush those vile fascist fiends"
hateful, searing language for an otherwise good-natured man
He's part of the George Washington Battalion, which he describes as separate from the Lincoln Batallion. I don't really understand the military structure.
"The other day they sent us a sound truck with phonograph records. Across the hill the machine guns were ratt-tat-ing, and here we were listening to beautiful symphony and snappy jazz records."
One letter is written in another language that has a different alphabet. It looks Russian maybe. What is Malofsky's heritage?
Remember to look up Langston Hughes' The Song of Spain poem
In IWO Magazine article by Sam Pevzner:
"Fine as it is to have cronies, pals and comrades there is no friend that can do what your organization can do for you when it is based on the principle of friendship, of brotherhood."
Malofsky works the machine gun with his cousin Bernie
After extolling virtues of Spanish people: "That's why it's absolutely essential to get rid of the bastard Trotskyites who tried to disrupt the unity, and therefore consciously knew that they were playing Franco's game."
-similar to quote in last blog describing Franco's Fifth Column. Malofsky seems to be worried about internal betrayal.
his friend Julius Blackstein married a year before the war. If he had married a year later, he might have already chosen to leave for Spain.
"You know pal, sometimes I wish all this had happened a year ago, when you didn't have all those responsibilities. I know damn well where you'd be- right here with me."
"crush and continue to crush those vile fascist fiends"
hateful, searing language for an otherwise good-natured man
He's part of the George Washington Battalion, which he describes as separate from the Lincoln Batallion. I don't really understand the military structure.
"The other day they sent us a sound truck with phonograph records. Across the hill the machine guns were ratt-tat-ing, and here we were listening to beautiful symphony and snappy jazz records."
One letter is written in another language that has a different alphabet. It looks Russian maybe. What is Malofsky's heritage?
Remember to look up Langston Hughes' The Song of Spain poem
In IWO Magazine article by Sam Pevzner:
"Fine as it is to have cronies, pals and comrades there is no friend that can do what your organization can do for you when it is based on the principle of friendship, of brotherhood."
Malofsky continued
Malofsky puts English lyrics to an Italian song. In another instance, a song was also slightly altered to apply it to the war: The Jarama Valley song uses the melody of the folk song the Red River Valley.
Malofsky was the Battalion singing master, lead the glee club, and directed the dramatics - all in his free time. It seems that distracting himself from the war was more important that being too busy. He worked with the men to rehearse and put on a show every 2 weeks.
Before the war, Malofsky, Ernest Arion (Ernie) and Bernie were part of a singing group called the Convulsionaries.
This quote of Malofsky's struck me: "Anybody who tries to break the wonderful unity of the Popular Front here is a member of Franco's Fifth Column."
The women he is writing to, Miriam Sigel, contributed strongly to the Youth Theatre back in the States. She was part of a dance group, and the production of Bury the Dead.
Malofsky was the Battalion singing master, lead the glee club, and directed the dramatics - all in his free time. It seems that distracting himself from the war was more important that being too busy. He worked with the men to rehearse and put on a show every 2 weeks.
Before the war, Malofsky, Ernest Arion (Ernie) and Bernie were part of a singing group called the Convulsionaries.
This quote of Malofsky's struck me: "Anybody who tries to break the wonderful unity of the Popular Front here is a member of Franco's Fifth Column."
The women he is writing to, Miriam Sigel, contributed strongly to the Youth Theatre back in the States. She was part of a dance group, and the production of Bury the Dead.
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