- About the Project
- Resistance & Compliance
- The Title IX Controversy at UR
- "Dark Side of College Life"
- Chinese Student Experience
- Student Life and White Supremacy
- George Modlin's Segregated University of Richmond
- Students of Color at UR (1946-1971)
- Performance & Policy
- Silence in the Archives
- Black Student Experience at UR (1970-1992)
- Faculty Response to Institutional and National Change (1968-1973)
- Digital Stories
- Projects That Inspire Us
- Browse Items
- Subjects List
Performance & Policy: Construction of Race Through A Musical Lens
This exhibit examines the ways that music can help us to understand the attitudes surrounding race and racism held not only by students but also faculty members at the University of Richmond between 1932 and 1938. To begin, this exhibit discusses choral teacher Charles Troxell and his influence on the Richmond College Glee Club over many years in service as director. The next section of our exhibit zeroes in on the performances of the University’s all-white, male Richmond College Glee Club by pinpointing the problematic inclusion of minstrelsy and Negro spirituals in their various performances. Lastly, we further our research by examining campus policy surrounding what genres of music students were permitted and prohibited to play. By looking at performances showcased by white students as well as the restrictive policy of musical genres put in place by white faculty members, this exhibit endeavors to add a new narrative to the larger Race & Racism initiative. Through an examination of select primary source documents, we find white dominance asserted through the types of music that the students were allowed to engage in versus the genres of music that the University restricted through policy, thus constructing students’ views and experiences with African Americans.
This exhibit draws on articles from the University of Richmond's school newspaper, The Collegian, and the school literary magazine, The Messenger, to provide insight into what students believed was important to write about during this period. This exhibit also utilizes online, non-University sources to provide more historical context regarding how minstrel shows, Negro spirituals, and policy generally existed in society and popular culture during this time. By looking at University sources as well as outside sources, this exhibit can shed light on, and expand upon, the relationship between race and music, and the way that attitudes around race and racism were constructed through permission of problematic musical performances and restriction of certain music genres.
Destiny Riley, Cassidy Lowther, Aisling Gorman