For musicians of any genre, most would
agree that environment shapes production. The physical and social
factors surrounding daily life are undoubtedly the principle forces
that shape cultural expression. The same can be said in regards to
San Juan Hill and its lasting impression on the musical innovation of
Thelonious Monk, one of jazz's most prominent names in the modern
age. Despite racial tension fueled by high levels of diversity,
blacks at San Juan Hill were able to come together through music.
Thanks in large part to its religious prevalence and the economic
opportunities it presented, music facilitated unity. The blending of
cultural traditions made possible by this unity in turn, exerted
their own influence on the artistic expression of musicians like
Monk. In this environment, the relationship between art and community
becomes clear: artistic expression is empowered by a sense of
community, and conversely, community is strengthened by artistic
expression.
Initially, San Juan Hill embodied the
racial tension prevalent in the United States during the period.
Economic division between races was clear, living conditions for
blacks were predominately poor, and race-fueled violence was intense
and ongoing (Kelley 16-17). Racism however, extended beyond
interactions between white and black to encompass relationships among
blacks from different backgrounds. Specifically, a significant
portion of the black population, “about twenty percent” hailed
from the British West Indies (Kelley 18). This form of racial tension
sheds light on the potentially negative effects that diversity can
have on the well-being of a community.
Despite racial tensions, the black
community found common strength in music and religion, two forces
that facilitated increasing solidarity. Boasting the largest number
of black musicians in New York, jazz music flourished in San Juan
Hill. Largely a result of the economic opportunities it presented,
one resident of the Phipps tenements recalled “hearing music
constantly in the hallways and in the streets” (Kelley 19). In this
sense, common artistic expression contributed to solidarity.
Similarly, many members of the black community found that
Christianity and gospel music helped foster solidarity, ultimately
contributing to a “strong sense of community” (Kelley 20). For
Thelonious, this idea rings true when, in his twenties, he “became
stooped in the sacred music of the black Baptist tradition” (Kelley
27). In this sense, music and religion inspired artistic innovation
while bringing the community together at the same time. At any rate,
these two examples prove that art and community can be mutually
facilitating.
As time went on, cultural blending of
West Indians and Southerners became the norm. In this environment,
“virtually every kid became a kind of cultural hybrid” (Kelley
23). Thelonious was no exception; in this more communal setting, he
“absorbed Caribbean music” (Kelley 23). As the positive aspects
of diversity became clear, block parties offered another means of
cultural exchange, one that Monk became very familiar with (Kelley).
After some exposure, Thelonious came to the realization that jazz
music was the genre for him. Anything he could not pick up by way of
formal lessons, he learned from the jazz musicians in his
neighborhood (Kelley 26). The urban environment of San Juan Hill
ultimately lent his music the quality of “a pure Negro sound”
(Kelley 232). In this sense, Monk's work drew significant influence
from the environment of San Juan Hill and the musicians present
there. As a representation of the blending of different cultural
traditions and preferences, the relationship between Monk and his
environment exemplifies the idea that “Jazz is New York.”
Ultimately, the relationship between
jazz and San Juan Hill is analogous to the relationship between jazz
and Leimert Park. In the same way that music brought people together
in San Juan Hill, it brought them together in Leimert Park.
Similarly, in the same way that community fostered artistic
expression in Leimert Park, it helped foster it at San Juan Hill. In
other words, artistic expression in each case, is strengthened by a
sense of community, and in turn, the community is strengthened by
artistic expression. Finally, I believe the mutually facilitating
nature of this relationship can be extended to describe the one
between individual musicians and their environments as their music
influences and is influenced by their respective environments.
commented on: Katherine Whitlock
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