The Age of Jazz in Britain marks 100 years of jazz in the UK, exploring the impact that jazz had on Britons from 1918.
Jazz provoked reactions ranging from devotion to abhorrence when the idea, and then the sound, of the music first entered the consciousnessof the British public in the aftermath of the First World War. Visiting American groups such as the Original Dixieland Jazz Band and the Southern Syncopated Orchestra offered Britons their first chance to experience the music live.
Rhythm & Reaction: The Age of Jazz in Britain will highlight how the new jazz sound in post-War nightclubs and dancehalls provided exciting and dynamic material for British artists. Bold depictions of lively dancers by William Roberts and Frank Dobson, will be displayed alongside the Harlem-inspired paintings for which Edward Burra, one of Britain’s foremost Modernist painters, was well-known.
The growing interest in jazz brought black and white musicians, artists and audiences together, and was crucial in influencing changes in British society, moving from stereotypes descended from the minstrel show to a more nuanced understanding of and interest in African American and black British culture.
The exhibition brings together painting, prints, cartoons, textiles and ceramics, moving film, instruments and the all-important jazz sound, to explicitly examine the influence of jazz on British art, design and wider society.
The exhibition is curated by Catherine Tackley, Professor and Head of Music at the University of Liverpool and one of the UK’s leading authorities on jazz.
Because I found these two articles so pertinent, and relevant, I would like to thank this cowboy, who is not posting since 2012, so I assume he might be somewhere else. If he is still alive, he can contact me, and ask me to delete his posts, or leave them, with his courtesy.
During the WWII years Norman Rockwell created a character named Willie
Gillis — an ordinary guy from a small town who joined the army.
Rockwell chronicled his experiences in the war in a series of Saturday Evening Post
covers. After the war, he showed us Gillis returned to civilian
life — above you see him in college, on the G. I. Bill, having
survived and put on a little weight.
It’s a poignant image, for all it doesn’t say. Gillis is preparing himself for a “normal” life in post-war America, with his
pipe and his golf clubs — but the war souvenirs hanging over his head suggest that he will always be haunted by memories out of place in a “normal” world.
One of the virtues of Ken Burns’ newest documentary The War
is that it addresses the sort of post-traumatic stress disorder that returning vets, and the whole civilized world on some level, suffered in the wake of WWII. For the vets it was peculiarly disorienting,
with feelings of triumph, guilt and shame all mixed up together.
It was not something that could be talked about in the world Willie Gillis was
trying to become a part of.
All of this I think reinforces my notion that it was in art, in film noir
particularly, that such disorientation could be engaged in a safe way,
a socially acceptable way. You can read more thoughts on
the subject here.
World War Two was a “good war”. America and its allies pulled together
and destroyed the Axis powers. On balance, and in retrospect, it
has to be considered one of the great achievements of
humane civilization. But human beings don’t live on balance or in
retrospect, particularly where war is concerned. They live inside
the horror of it and it takes a toll on individuals and on societies
which can never be fully measured.
The upbeat spirit of American propaganda during the war, and the
genuine satisfactions of victory, veiled the true experience of the war
for millions — not just for those who fought it on the battlefields of the world, but for those at home who lived in terror that their loved ones at the front might never return . . . and of course, most especially, for those at home whose loved ones didn’t return. On a broader level, anyone who simply witnessed
the spectacle of total war on a global scale, from whatever distance, had
to have experienced a soul-shaking anxiety about the fragility of all
social structures and cultural norms.
After WWII, the whole planet experienced post-traumatic stress disorder
— localized in this case by the fact of the atomic bomb, which ended
the war but left the world with a paradox that wouldn’t go away.
It took an act of colossal horror to finally “win” this good
war. And the prospect of this horror being again visited on the
world was far from unimaginable.
We now know a lot more than we used to about post-traumatic stress disorder and the ways it can be treated. In the immediate post-war era, the phenomenon was more elusive, and often unrecognized. We made
meaningful social restitution to the veterans of the war, with measures like
the G. I. Bill — we reconstructed the devastated nations we
conquered. But that just scratched the surface.
It was in art that the true psychic cost of the war was exposed and explored — nowhere more pointedly than in film noir. The sort of trauma that engenders PTSD is identifiable by several characteristics — a sense of being out of control and confused, a sense of terror, a sense of being outside the normal realm of human experience. Is there a better description of the usual
predicament of the protagonist in a classic film noir?
PTSD on a broad cultural and societal level is what best explains the phenomenon of film noir, which on its surface is so mysterious. Why should a triumphant
nation, after a great collective victory in a good war, have been
gripped by that mood of existential dread which informs so many Hollywood films of the post-war era? Why should the most spectacular achievement of American arms have led to a crisis of manhood, a sense of impotence, a fear of powerful women
incarnated in the morbid fantasy of the femme fatale?
Film noir was a dream landscape where the buried costs of WWII could be recognized, reckoned and mourned, as a prelude to psychic recovery, or at least psychic survival.
Veterans of combat often report the difficulty of dealing with people who have not shared their experience of it — people who can never
really know what it’s like.Film noir, far more than the WWII combat film, was one of the few arenas of American life where the true legacies of war, its lingering moral and
psychological dislocations, could be engaged without apology or shame.