Wednesday, July 8, 2015

Allotment: How the 1887 Dawes Act disrupted Native American cultures




Henry Laurens Dawes


Presented to the Club by Martin C. Langeveld on Tuesday evening, May 26, 2015 (that Monday being a holiday)





One of the founding members of this club in 1869 was Henry Laurens Dawes, born in Cummington in 1816. He graduated from Yale University in 1839 and became a teacher in Greenfield, where he also edited the Greenfield Recorder.





In 1842 he was admitted to the bar and opened a law practice in North Adams, maintaining his interest in journalism by editing the North Adams Transcript.





From journalism he moved into politics, being elected to the Massachusetts House of Representatives in 1848, 1849 and 1852, to the state Senate in 1850, and to the Massachusetts Constitutional convention in 1853.





He then served as U.S. district attorney for Western Massachusetts from 1853 to 1857, when he was elected to the U. S. House of Representatives and served there for 23 years until 1875.





That year, Dawes was elected by the Massachusetts General Court as United States Senator from Massachusetts, to succeed Charles Sumner, who died in office. He served in the Senate until 1893, and died in Pittsfield in 1903 at the age of 86.





A friend of Abraham Lincoln, he served as a pall bearer at Lincoln’s funeral.





In the House, Dawes figured prominently in the passage of anti-slavery and Reconstruction measures during and after the Civil War, as well as in tariff legislation, the establishment of a fish commission, and the establishment of a system of daily weather reports, which was a forerunner to the United States Weather Service.




He took a great interest in the development of the American West, supporting the creation of Yellowstone National Park and funding for geological surveys of that area. His son Chester Dawes served on the survey team, and the first boat to appear on Yellowstone Lake was named the Annie, purportedly after Dawes’s daughter Anna.





He was also an ardent supporter of the Transcontinental Railroad, influenced, perhaps, by a gift from Congressman Oakes Ames of 2,000 shares of stocks in the Credit Mobilier of America railroad construction company. Ames was subsequently censured for his vote-buying largesse.





Among the two Monday Evening Club papers that have survived among the Dawes papers housed in the Library of Congress, one reflects his interest in Western and frontier matters — it is about the fur seals of Alaska. The other, an 1889 presentation entitled “The Winter Before the War” covers the period immediately before the Civil War, including Dawes’s personal recollections of Charles Sumner, Abraham Lincoln, Charles Francis Adams, General Winfield Scott and others.





But if Dawes were here presenting his own biography, he would write at the top his list of accomplishments and interests that he was a friend of the Indian. In the Senate he served as chairman of the Committee on Indian Affairs, and his signature achievement was the passage, in 1887, of the General Allotment Act of 1887, generally known as the Dawes Act.





While Dawes, until his death, believed that the Allotment Act was the right course for U.S. Indian policy, it is clear today that the allotment had disastrous consequences, still being felt today, for the economic, social and cultural well-being of the Indians.





To understand the environment that brought about the Dawes Act, we need to look at the roots of American Indian policy in the early years of the American republic. A long series of Indian Wars that began in colonial days and continued until 1890 was instrumental in pushing Indian populations westward to the Great Plains, confined to reservations. The presence of this aboriginal population remained a thorny problem, especially as mining resources were discovered in the West, railroad companies began plotting routes through Indian reservations, and white settlers began eyeing Indian territory as potentially valuable agricultural land. At the same time, social reformers and missionaries sought to come up with a solution for “civilizing” the Indians — improving their educational attainment and motivating them to become productive citizens. The goal was assimilation. And collective ownership of reservation lands by the tribes was seen as an obstacle to that goal. Individual land ownership would motivate the Indians to better their situation, it was thought.





As early as 1792, George Washington’s secretary of war, Henry Knox, suggested that individual, rather than collective ownership of land would benefit the Indians. The United States, he said in a speech sent to an Indian group, “would be greatly gratified with the opportunity of imparting to you all the blessings of civilized life, of teaching you to cultivate the earth, to raise corn; to raise oxen, sheep and other domestic animals; to build comfortable houses, and to educate your children, so as ever to dwell upon the land.”





Thomas Jefferson, as president, told a delegation of Indian chiefs in 1808: “Let me entreat you . . . on the land now given you, to begin to give every man a farm; let him enclose it, cultivate it, build a warm house on it, and when he dies, let it belong to his wife and children after him.”





Throughout the first half of the century, the adoption of severalty, or individual land holdings, was discussed as the goal. The Commissioner of Indian Affairs wrote in 1838: “Unless some system is marked out by which there shall be a separate allotment of land to each individual . . . you will look in vain for any general casting off of savagism. Common property and civilization cannot co-exist.”





Treaties made with some of the Indian tribes during this period did provide for individual allotments of land on a small scale, and in 1875, Congress extended homesteading privileges to Indians.





The movement toward allotment was accelerated by a group known as the Friends of Indians, which counted Senator Dawes as a member and leader. From 1883 to 1913, they met annually at the Mohonk Mountain House in New Paltz, New York, as guests of the proprietor, Albert K. Smiley, a member of the Board of Indian Commissioners. These gatherings became known as the Lake Mohonk Conferences, and they included wealthy and influential men and women who had access to Congress and to the President. They were driven by philanthropy and by strong desires to spread the blessings of Christianity to underdeveloped peoples.





In pursuing this goal, we can now see, they were relentlessly ethnocentric. Most aspects of the Indian cultures, they believed — languages, religious beliefs, common ownership of land, and aboriginal lifestyles — were incompatible with modern civilization and had to be changed.





The 1884 Lake Mohonk Conference called for providing Indians with an education that would be in English, to the exclusion of native tongues, that would teach them industrial skills, and that, above all, would be a Christian education.





By 1886, the conference was advocating strongly for a system to permit individual ownership of land. One speaker, Prof. C. C. Painter, put it this way: 


I would at once break down the reservation walls and let civilization go in; I would secure the Indians for the present inalienable possession of sufficient land, by personal title, for the use of each one; I would sell the remainder for their benefit, and in place of the agent's irresponsible will make them subject to the laws and give them their protection; I would give them without delay citizenship with all its privileges and duties.


Dawes himself gave the 1886 conference a legislative update, in which he expressed the realistic expectation that granting private ownership of tracts of land would not solve the problem by itself, and that the government should also invest in education for the Indians. But he seems to have been driven by the idea that without allotment, the Indians would soon have nothing at all, saying: 


Our work must be done now and without delay, for the greed for the Indian's land is growing every day, and it is as impossible to resist it under the forms of our Government as to stop the flow of the river. We may guide and direct it, but we cannot stop it. We are blind, we are deaf, we are insane if we do not take cognizance of the fact that there are forces in this land driving on these people with a determination to possess every acre of their land, and they will lose it unless we work on and declare that the original owner of this land shall, before every acre disappears from under him forever, have 160 acres of it where he shall be fitted to become a citizen of the United States and prepared to bear the burdens as well as share the rights of our Government. 


Not everyone agreed with the civilizing aims espoused by the conference and built into the Dawes Act. Many pointed to the Five Civilized Tribes (the Cherokee, Chickasaw, Choctaw, Creek and Seminole) who lived in what was then called the Indian Territory, which later became Oklahoma. The Act exempted those tribes from allotment because they had already established a variety of the elements of civilization, including centralized governments, a rule of law, commerce, and education. But they worked their lands in common, and hunted in groups for buffalo. The exemption for the Five Tribes may also have been influenced by white cattlemen who had secured extensive grazing privileges from those tribes.





The most realistic criticism within Washington came from the minority report of the House Committee on Indian Affairs, which stated:


However much we may differ with the humanitarians who are riding this hobby, we are certain that they will agree with us in the proposition that it does not make a farmer out of an Indian to give him a quarter-section of land. There are hundreds of thousands of white men, rich with the experience of centuries of Anglo-Saxon civilization, who cannot be transformed into cultivators of the land by any such gift.


Colorado Senator Henry M. Teller vigorously opposed allotment, calling an earlier allotment effort “a bill to despoil the Indians of their lands and to make them vagabonds on the face of the earth.” Teller and other critics also pointed out that in reservations where small-scale allotments that had taken place under treaties since 1845, the land had gradually been dissipated, removed from Indian ownership, in all but a few cases. Opponents in the minority of the House Committee in 1880 also pointed out that the passage of legislation and the issuance of deeds was not likely to change the fact that: 


. . . from the time of the discovery of America, and for centuries probably before that, the North American Indian has been a communist. Not in the offensive sense of modern communism, but in the sense of holding property in common. . . . This communistic idea has grown into their very being, and is an integral part of the Indian character. From our point of view, this is all wrong; but it is folly to think of uprooting it . . . through the agency of a mere act of Congress or by the establishment of a theoretical policy. 


What about the Indians themselves? Some favored allotment, and petitioned for it. Federal Indian agents working among the tribes typically reported that their charges favored allotment as a way to prevent their removal from their lands. But the notion that after allotment they were expected to settle down into an agricultural lifestyle was not well understood. Some tribes were explicit in their opposition, sending memorials to Congress outlining their concerns. The Creeks, Choctaws and Cherokees wrote that “the change to individual title would throw the whole of our domain into the hands of a few persons.” The Senecas, in a resolution, pointed out that under their communal system, “No Indian, however improvident and thriftless, can be deprived of a resort to the soil for his support and that of his family. There is always land for him to cultivate free of tax, rent or purchase price.”





But Dawes and his supporters believed that allotment was precisely the solution that would prevent the Indians from losing their all their land, and to prevent abuses, Dawes proposed a 25-year restriction during which the recipients of allotments would not be permitted to sell or encumber their land.





The options were stark, Dawes told the Mohonk Conference.


That he will pass away as an Indian I don't doubt, and that very rapidly. It will be into citizenship, and into a place among the citizens of this land, or it will be into a vagabond and a tramp. He is to disappear as an Indian of the past; there is no longer any room for such an Indian in this country; he cannot find a place. The Indian of the past has no place to live in this country. . . . Something stronger than the Mohonk Conference has dissolved the reservation system. The greed of these people for the land has made it utterly impossible to preserve it for the Indian. He must take his place where you have undertaken to put him, or he must go a vagabond throughout this country, and it is for you and me to say which it shall be. He cannot choose for himself, and he does not know where the ways are.


Even ethnologists, who today would be the first to defend tribal rights and autonomy, largely toed the allotment line. John Wesley Powell, director of the Bureau of American Ethnology, wrote: “No measure could be devised more efficient for the ultimate civilization of the Indians than one by which they could successfully and rapidly obtain lands in severalty.”





And so, in what became essentially an act of faith by the “friends of the Indian,” land and citizenship were the tenets that became embodied in the Dawes Act the following year. As signed by President Cleveland, the act provided:




  1. A grant of 160 acres to each family head, 80 acres to each single person over 18 and to each orphan under 18, and 40 acres to each other person under 18.

  2. The deeds to these properties were to be held in trust by the government for 25 years, during which time the owners could not sell or encumber their property.

  3. Indians were to choose their land within 4 years, or thereafter the government would select it for them.

  4. Every Indian accepting an allotment would be granted citizenship, along with any Indian who had left their tribes and adopted “the habits of civilized life.”



The Lake Mohonk conferees applauded the bill, but urged greater attention to the educational goals they espoused. Later in 1887, their report urged: “The work of education, which has been heretofore desultory, individual, fragmentary, denominational, must be made systematic, harmonious, organic, Christian."





It urged the various educational and missionary entities working among the Indians to “act as one body representing one great constituency, and combining their various energies to one great end, the Americanizing, civilizing and Christianizing of the aborigines of the soil.”





A federal Indian educational program, funded through the Bureau of Indian affairs, instituted a system of boarding schools, many of them in the East, to which Indian children were brought. Typically, the long hair of the boys was cut, all the students were made to wear uniforms, education was in English and Anglo-centric, and discipline was strict. They also received English names, were forbidden to speak their native languages even among themselves, and were required to attend Christian services and encouraged to convert. Graduation rates were abysmal: during a 24-year period at the Carlisle Indian Industrial School in Pennsylvania beginning in 1879, out of 10,000 students who enrolled, only 158 graduated.





By 1902, there were 6,000 students in about 25 boarding schools in 15 states and territories. In fact, the Indian boarding school system continued to grow until attendance peaked at about 60,000 in the 1970s. Since that time, more enlightened Indian self-determination policies have resulted in decentralization of education back to tribal areas, and the reintroduction of education in aspects of Native culture.





In the grammar schools Indian children attended on reservations before going to boarding schools, Americanization was the goal. In one of his reports the Commissioner of Indian Affairs urged:


Schoolrooms should be supplied with pictures of civilized life, so that all their associations will be agreeable and attractive. The games and sports should be such as white children are engaged in, and the pupils should be rendered familiar with the songs and music that make our home life so dear. . . . If they persist in remaining savages the world will treat them as such, and justly so . . . . The school itself should be an illustration of the superiority of the Christian civilization.


But the system for educating young Indians did not extend to any form of adult education, such as instruction in how to farm their land, which gave Dawes cause to worry, in 1890, that the allotment policy was moving forward too quickly. He asked the Mohonk Conference:


What have we done to prepare these people for their new home and for their new state? Hardly anything can any of you call to mind, —anything that the Government, that the friend of the Indian, that anybody, has done to prepare an allottee for life on his allotment. . . . I sometimes think you had better abandon the allotment altogether and keep him where he is, unless this is done.


By 1897, 60,000 Indians had been allotted land, but there were only 272 farming instructors on the payroll of the Indian Service to teach them how. As a consequence, only about 5 acres per allotment, on average, were actually being cultivated by Indians, and the typically allottee could count on only a few hours of coaching per year.





The Indians were caught between two competing forces: that of the idealist friends of the Indian, who promulgated allotment in the belief that this policy would naturally drive the Indian to adopt the American culture of individualism and competition, and on the other side, the land-seeking settlers and business enterprises who saw allotment as a way to break down the reservation system and take land away from the Indians.





There is no evidence that the railroads or other western land seekers directly sought to influence the passage of the Dawes Act. Presumably those interests were happy enough to let the philanthropic and Christianizing arguments carry the day. But, the railroads did get into the Dawes Act a provision that the Act could not be 


. . . so construed as to affect the right and power of Congress to grant the right-of-way through any lands granted to an Indian, or to a tribe of Indians, for railroads or other highways, or telegraph lines, or the public use, or to condemn such lands to public uses, upon making just compensation.


It did not take long for Congress to begin granting such rights of way through Indian Lands, with multiple railroad grants sailing though Congress annually throughout the rest of the 1880s and 1890s. And railroads were not the only ones interested in western lands.





Generally, the reservations had significantly more land than was necessary to provide allotments to all who qualified for them. So Congress passed enabling legislation to permit agreements with tribes providing for the sale of surplus land. Under these agreements, by 1891, 20 million acres had already been sold out of Indian hands. The Commissioner estimated that of the 116 million acres of Indian land covered by the Dawes Act, only 30 million acres were actually required to provide allotments to all the Indians who qualified for them, and that rest could be sold off for $66 million — the interest on which, he calculated, at 5 percent, would be sufficient to pay for all the costs of Indian education, and the principal could gradually be used to help develop the allotments.





The process of selling “surplus” lands progressed rapidly. Of the 155 million acres of Indian reservation lands in 1881, by 1900 only 78 million acres remained. Of that, 5.4 million acres had been issued in allotments, the rest was still held in common by the tribes. With this rapid shift, some began to anticipate that before long, the government’s oversight over the Indians could end, and the Bureau of Indian Affairs could close up shop.





It was the job of the Indian agents on the reservations to gently persuade and educate Indians into accepting allotments. But in some cases, this was done with considerable pressure, and sometimes there was strong pushback. For example the Osages were reported in 1890 to be nearly unanimously opposed to allotment, on the basis that they were simply not ready for it and that in any case their land was most suitable for use as common grazing land. The common thread among tribes expressing opposition was that allotment would break up their tribal solidarity and destroy their hunter-gatherer lifestyle.





Some of the reformers recognized this problem. For example, Rev. Thomas Riggs, a missionary to the Dakotas, told the 1890 Mohonk Conference:


We have tried to turn hunters into farmers. We have tried this not only in a good country where it would be difficult enough to teach agriculture to an Indian, but on the plains, in regions where out of five years, we may possibly have a good crop one year.


Besides the lack of coaching in agricultural skills, the government allocated virtually no funds to assist allottees in the purchase of seed and farming implements. The appropriation for this purpose in 1888 was $30,000 to cover 3,568 allotments. This was cut in half after a few years and between 1893 and 1900 no funds were provided at all for this purpose. Private philanthropy was applied, but was wholly insufficient to meet the need.





Defects in the Dawes Act itself become apparent, as well. The twenty-five year period restricting allotments from being sold or encumbered became problematic, because it meant that no state could levy taxes on allotments. Consequently, states refused to provide funding for roads and education in the Indian lands.





To address these various problems, by 1889 Congress was at work to amend the Act to permit Indians to lease out their allotments, for example to white ranchers. Dawes himself was of two minds about this. He wanted to see the allotment experiment through, and told the conference that a leasing provision 


. . . would speedily overthrow the whole allotment system. The Indian would at once seek to let his land, and relieve himself from work; and there would be whites so ready to take possession that all barriers would soon be broken down … The Indian would abandon his own work, his own land, and his own home, which we have talked about as the central pivot in our attempting to civilize the Indian.


But before expressing those concerns to the Conference, Dawes had already introduced leasing legislation, which was endorsed by both the Mohonk Conference and the Indian Rights Association. As passed, the new law permitted leases of allotted lands for periods of up to five years for farming and grazing, and up to ten years for mining. The bill also increased the size of allotments for Indians who were not heads of households, with the idea that a family of five Indians, receiving five allotments, could live and farm on one and lease out the other four.





The leasing of allotment proceeded slowly, at first, but gradually picked up. By the year 1900, out of 58,594 allotments granted, 7,574 had been leased, and the pace was accelerating. Only 10,835 families were actually living on, and cultivating their allotments. By 1916, 2.3 million out of the 6.4 million acres granted in allotments were in the hands of lessees.





There was rampant abuse in the leasing system. For example, one shrewd operator rented 47,000 acres from the Winnebagoes for eight to 25 cents per acre, and then sublet them to farmers for up to two dollars per acre. Among some tribes, nearly all of the allotted land went into leasing: for example, the Pawnees in 1898 were cultivating 1,443 acres and leasing 36,784; the Tonkawas were cultivating 75 and leasing 11,200. While there were opposite, more positive results elsewhere, clearly this outcome is not what Dawes and all the reformers had in mind when the general allotment policy was originally conceived just a dozen years earlier.





Indian agents who were on the ground in reservations began to understand the Indian cultural pressures that were at odds with the allotment concept, although they continued to advocate for the policy. A report by the agent to the Cheyennes and Arapahoes in 1895 illustrates the cultural clash inherent in the efforts to change the culture of the Indians: 


The most common and pernicious custom among them is the habit of visiting their relatives and friends and eating their substance . . . . Their lavish hospitality militates against the accumulation of wealth by individuals. Tribal visiting keeps alive old customs and should be abolished.


 Another agent to the Shoshones wrote, “Like all barbarians, they are communists, and are loath to take up individually any untried pursuit.”





Another unforeseen consequence of the allotment policy is referred to as fractionation. As the original 25-year holding period expired, Congress passed a variety of measures extending the period in instances where the government deemed the holders incapable of managing their holdings, and passed special Indian probate laws that divided ownership collectively among the heirs of the original allottee, with the title held in trust by the federal government. So if the holder of a 160-acre allotment died with four heirs, each heir would receive a one-fourth interest in the full property, rather than 40 acres apiece. This served to protect the integrity of whatever farm enterprises might have been on the land, but ultimately got very complex, with instances of parcels that had hundreds of fractional owners, each receiving a pittance from the leasing income. In 1986, one tract bringing in $1,080 in annual lease income and valued at $8,000 had 439 owners receiving a variety of tiny shares of the income. The cost of handling the accounting for this tract by the Bureau of Indian Affairs was about $17,000 per year. By 2003, the ownership of this tract had grown to 550 persons, and the cost of accounting was $42,000.





Currently [2015] there are still about 250,000 individual owners of some 3 million fractionated interests in allotted lands. The Bureau of Indian Affairs maintains an Indian Lands Consolidation program that is gradually unraveling the ownership of fractionated parcels by buying them and turning them over to tribal ownership.





The allotment policy itself officially ended in 1934 with the passage of the Indian Reorganization Act (although it continued in Alaska until 1993). This law, sometimes referred to as the Indian New Deal, sought to reverse the goal of assimilation, and to permit tribes to continue their traditions and culture. It also provided for self-governance of reservations, including the right to manage land and mineral assets.





It is beyond the scope of this history of the allotment policy to go into the further consequences of American Indian policies, but it should be noted that the general economic situation of Native Americans living both on and off reservations still lags significantly behind the rest of the country. Unemployment rates and alcoholism on reservations are high. In 2012, the median income of Native American households was $35,310, compared to a median $51,371 for the entire nation. The Native American poverty rate is 29.1 percent, versus 15.1 percent for the country as a whole. At 82 percent, the Native American high school graduation rate lags behind the national average which is 90 percent. On the other hand, today cultural traditions are being rebuilt, with a significant percentage of Native American students learning their tribal languages, history and culture.





Dawes himself is memorialized in Pittsfield in the name of Dawes Avenue, and the former Dawes School. Dawes, the Dawes Act and the influence of the friends of the Indians are not well-regarded by historians. No biography of Dawes has every been published, but the Dawes papers at the Library of Congress amount to 64 boxes of correspondence, speeches and other records, including an unfinished biography by his daughter — potentially a trove that could shed much new light on the origins of the allotment policy.





In any case, had our esteemed member, Senator Dawes, espoused a more enlightened approach to solving “the Indian problem,” how might things be different today?

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Saturday, July 4, 2015

In memoriam: Kim Burbank

We are saddened by the death of Kelton Miller Burbank ("Kim"), who was a member of the Club for nearly 50 years, from 1964 until 2013, and an honorary member for the last few years. Our condolences go to his widow, Hedy, and to his extended family. The Club will miss Kim.



The following is Kim's obituary:



Kelton Miller Burbank died peacefully in his home in New Ashford, Mass. on June 29th, 2015.



He is survived by his loving wife, Hedy Harris Lipez Burbank; his three children, Kelton M. Burbank, Jr., (Betsy Burbank), Brooke E. Burbank, (Blake Wood), and Joshua G. Burbank, (Miriam Preus); his brother, John Burbank, (Ouissa Fohrhaltz), his sister, Donna Burbank Eckhardt, (Alan Eckhardt); his two step-children, Sydney J.Lipez and Zachary H.Lipez, (Zohra Atash); and his three grand-daughters, Phoebe Lan Burbank, Katherine Xian Burbank and Samara Preus Burbank.



He was beloved by all and will be deeply missed. Kim, as he was affectionately known, was a lifelong Berkshire County resident, and practiced law in Pittsfield until 2012. He was a graduate of the Hotchkiss School in Lakeville, CT and received his Bachelor of Arts from Williams College in 1956, before graduating summa cum laude from Harvard Law in 1959. He was a law clerk to Justice Harold P. Williams of the Massachusetts Supreme Judicial Court for a year before becoming an associate at the Boston Law firm Choate Hall & Stewart. After a year he left Boston to return to the Berkshires where he lived for the rest of his life. In 1961 he joined the firm of Cain, Lewis and Humphrey, and in 1963 became a partner at Cain, Hibbard and Myers. In 1984 he opened his solo practice where he continued practicing until his retirement at the age of 78.



Kim served on the board of numerous Berkshire County non-profits and arts organizations where he donated countless hours of his legal skills, including the Berkshire Natural Resources Council, the Pittsfield YMCA, the Elizabeth Freeman Center, (which assists and counsels victims of rape and domestic violence), the Audubon Society, the Family and Children Service of Berkshire County, the Berkshire branch of the Massachusetts Society for the Prevention of Cruelty to Children, the Housatonic River Watershed Association, Shakespeare & Co., South Mountain Assoc. and many, many others. He also happily served as a Selectman of the town of New Ashford for nine years.



Kim was an avid skier in his youth and well into middle age. He was captain of the Williams Swim Team. His passion for swimming continued throughout his life and he swam competitively at the master's level where he won several events when he was in his 60s. Kim had a wide variety of interests, including but not limited to, hiking, playing tennis, bird watching, reading poetry, and completing the New York Times crossword puzzle (in ink) before anyone else arose.



He loved the Berkshires not only for their intrinsic beauty, but for the ready access to art museums, lectures, musical and theatrical performances, and he attended as many cultural events as he could. His chief passion was gardening. He spent the majority of his free time digging in the dirt, pulling weeds, and planting vegetables, flowers and shrubs. Kim enjoyed nothing better than to spend the entire day in his garden, coming in at dusk covered from head to toe in the dirt he so loved.



In 1999 the Berkshire Natural Resources Council dedicated a trail on Yokum Ridge in his honor for the then "30 years of mostly anonymous but invaluable service" in ensuring the preservation of vast swatches of land throughout Berkshire County. Kim continued his work for BNRC until his passing. The past president of BRNC noted that the overwhelming portion of Kim's work for BNRC had been without charge, in keeping with his generous nature and dedication to land preservation.



In 2000 he was fortunate enough to reconnect with an old friend, Hedy Lipez, and shortly thereafter the two of them began their life together, traveling the globe and attending peace rallies as necessary. They married in 2003 and their travels brought them to Zambia, Scotland, Costa Rica, Cuba, England, the Galapagos Islands, and Thailand. In May of 2005, they undertook the "great road trip", and drove across the country to see Kim's kids in Seattle. In 2007 they discovered Bisbee, Arizona where they ultimately purchased a cottage that was to bring them much joy together.



Kim's friends and family will always think of his smile, kindness, generosity, vast knowledge of the unexpected, and his invariable modesty. His many merits were hidden under a barrel. Of all the many varied roles in which Kim served, none gave him more pleasure than that of Pop-Pop to his three beautiful grand-daughters. He will be fondly remembered as having one or all of them perched on his lap, with a book open and a smile on his face.
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Jazz for the Journey




Photo by Pedro Ribeiro Simões, used under Creative Commons License

Presented to the club by James Lumsden on Monday evening, March 23, 2015


Introduction


The brilliant American singer-songwriter, Carrie Newcomer, recently wrote that, “some of us come into this world with a note safety pinned to our shirts saying, ‘This one belongs to the song.’ For us music is as necessary as air or water. We live it, breathe it, drink it, dream it and chase it all our lives. For us there are moments when the song feels like the closest thing we'll ever know in this world to true communion.” Such is the case in my life whether the song starts in hardass rock and roll, gentle acoustic folk song, chant, string quartet, gospel or jazz: I was born to make music – and do not feel complete until “I’ve got the music in me.” (Bias Boshell, “I’ve Got the Music in Me,” 1973 performed by Kiki Dee.)



Knowing this, however, people continue to ask me, “Why are you so focused and concerned about jazz?” Specifically, what drives your current emphasis on a spirituality of jazz? The short answer is found in Ted Gioia’s stirring book, A History of Jazz, where he speaks of jazz as “an art music with the emotional pungency of a battle cry.” (p. 209) But such a brilliant quip only communicates with the cognoscenti– those who already know how to read between the lines of culture and spirit and do their own simultaneous translation – and I am not interested in musical Gnosticism.



Rather, I want to be clear why the music matters – to me – as well as the wider community. So this is one attempt to articulate a context for celebrating jazz: why it matters to me, what is going on with the music as an art form and some of the implications I find in both the sounds and feelings it evokes. The impressionistic jazz pianist, Bill Evans, said, “It bugs me when people try to analyze jazz into an intellectual theorem. It’s not – it’s a feeling.” Then he adds:




My creed for art in general is that it should enrich the soul; it should teach spirituality by showing a person a portion of himself  that he would not discover otherwise… a part of yourself you never knew existed. (http://jazz-quotes.com/artist/bill-evans/)

For me – as a person of faith who is also a musician – jazz is a uniquely American cornucopia of challenging contexts that creatively link the world of art to the hustle of the street. It is simultaneously cerebral and sensual. And it is grounded in a life and death struggle to redeem suffering with beauty, spirit and imagination. It is “an art music with the emotional pungency of a battle cry.” Louis Armstrong said, “You blow who you is.” Art Blakey said, “Jazz washes away the dust of everyday life.” And Dave Brubeck said, “There is a way of playing safe, there’s a way of using tricks and there’s the way I like to play which is dangerously, where you’re going to take a chance on making mistakes in order to create something you haven’t created before.”



Over the years I have discerned three essentials for those who want to appreciate jazz:  syncopation, the rhythm of call and response and improvisation. When players bring their unique gifts, wounds, cultures and discipline to these three commitments, something stunning can take place.  Count Basie said that jazz improvisation is actually classical composition ginned-up to the speed of life. Conversely, traditional composition is improvisation slowed down so that it can be captured and imprinted on a solid page. Jazz guitarist, Bill Frissell, my favorite jazz guitarist, gets it right:  jazz is a place “where anything is possible – a refuge, a magical world where anyone can go, where all kinds of people can come together in safety – and anything can happen. We are only limited by our imaginations.”




Personal Context


In keeping with the importance the musicians of this art form place upon personal expression, let me first note the origins of my own jazz experience before unpacking the essentials of jazz appreciation. I am uncertain about the first jazz song I encountered. It could have been Henry Mancini’s theme song to the 1958 TV show, “Peter Gunn.”

But it might also have been the slightly undercover version of Gershwin’s “I’ve Got Rhythm” that was buried under the magic of America’s first prime time cartoon show, “The Flintstones.” Other early sightings would include “The Stripper “recorded by David Rose in 1958 and released in 1962 by MGM Records; Mancini’s “Theme to the Pink Panther” released in 1964; and Louis Armstrong’s version of “Hello Dolly” in 1964.  These were all pleasant, middle of the road, jazz influenced hits that extended into the 60s the creativity and popularity of jazz that was born in the 40s and 50s.



Clearly my heart was captured by jazz when the British band, Sounds Orchestral, reworked Vince Guaraldi’s 1962 composition, “Cast Your Fate to the Wind” into a 1965 Top Ten recording of the same name.

Guaraldi had first composed this tune to flesh out an album based on the music of Antonio Carlos Jobim: "Jazz Impressions of Black Orpheus."  Jobim, you may know, was one of the 20th century‘s most important jazz composers. As a Brazilian guitarist who helped popularize bossa nova (“new trend” in Portuguese) he left his mark on jazz masters like Oscar Peterson, Stan Getz and Herbie Hancock. With the staggering success of pop-rock’s “British Invasion,” the musical landscape was ripe for a jazz-meets-Beatlemania sound that combined syncopated rhythms with a melancholy melody. At three minutes and 20 seconds, “Cast Your Fate” evoked a sense of longing, a quest for solitude and a toe tapping familiarity that fit the mood of a nation encountering a cultural revolution. Ten months later, Guaraldi was back in my world with the songs he created for the “Peanuts” special on CBS:  “A Charlie Brown Christmas.” That same year, Stan Getz and Astrud Gilberto won a Grammy for their interpretation of Jobim’s “Girl from Ipanema” and Herb Alpert and the Tijuana Brass took the world by storm with “Whipped Cream and Other Delights.”  By 1966, the brilliant Cannonball Adderly – one time side man for Miles Davis and former music teacher from Georgia – had a massively popular hit with Joe Zawinul’s soul jazz masterpiece: “Mercy, Mercy, Mercy.”

Three other early jazz-infused influences shaped my developing tastes including Van Morrison’s early 1970s work on: “Moondance,” “Tupelo Honey” and “St. Dominic’s Preview” – as well as both Herbie Mann and the Modern Jazz Quartet. I loved the soulful, cool sounds of jazz – especially with a groove.  And, truth be told, these early influences still shape my preferences. Over time I’ve matured and ripened, but I have no interest in jazz that aspires to the recital hall or simply strives to recreate the sounds of the 1930s and 40s. Rather, I  agree with journalist Ralph Ellison (author of The Invisible Man, who began his career as a jazz critic for Down Beat magazine) when he insisted that jazz must always keep one foot firmly planted in the world of the dance hall  and the other in the blues:


The blues is an impulse to keep the painful details and episodes of a brutal experience alive in one's aching consciousness, to finger its jagged grain, and to transcend it, not by the consolation of philosophy but by squeezing from it a near-tragic, near-comic lyricism. As a form, the blues is an autobiographical chronicle of personal catastrophe expressed lyrically… In those days it was either live with music or die with noise, and we chose rather desperately to live. (Living with the Music: Jazz Writings)

I need to feel the music I am playing – it needs to be incarnated – not overly abstract or esoteric. My current favorites include the cool geniuses of the 50s – Miles Davis and Thelonious Monk – the playful soul masters of the 60s and 70s – Herbie Hancock, Joni Mitchell and Dave Brubeck – as well as more contemporary artists of the 21st century like Bill Frisell, Joshua Redman, the Cinematic Orchestra and Esperanza Spalding. And let me note that I am still crazy after all these years about both Gil-Scott Heron and Bud Powell, too.



Now please note that although my preferences and roots are highly subjective, they are essential to state at the start of this analysis.  For in jazz appreciation as in liberation theology, praxis and context are as important as action and reflection.  Such is the gift of post-modern criticism, too:  we are, as Feuerbach said, what we eat.  Our roots shape and define what we see and trust. So at the outset I want to be clear – especially for the jazz critics among us – that my foundation and perspective on jazz begins with pop and blues.  If you were raised on the sounds of Goodman, Dorsey and Ellington, you might start in a different place – and use different audio examples.  Again, let’s be clear:  I know that my subjective influences will shape all that follows.  C’est la vie, c’est la guerre, c’est la jazz.




Three Jazz Essentials


That said, I believe that there are three essential commitments to understanding and appreciating jazz of any era or style: syncopation, call and response and improvisation. The freedom and discipline of jazz requires a playful approach to each – and each essential must be woven into the fabric of the identity of the band (and community) and the soul of the audience. You see, you can’t really play jazz all by yourself. That is called practice – or wood sheddin’ – because jazz needs partners and allies – players and audience – give and take. Allies help us go from the obvious to the innovative. Partners help us learn how to listen and then respond with compassion and creativity. And give and take keeps it real and immediate. Together players and audience spontaneously create touch stones to help us back on track when we lose our way. The community of sound provides nourishment and refreshment so that everyone involved has strength for the journey.



The first insight about syncopation in jazz is that it is essentially a feeling. Dizzy Gillespie wrote in his book To Bop or Not to Bop that jazz is essentially a rhythmic thing – and if you don’t get the rhythm right – then your music won’t swing. Duke Ellington made it explicit: “It don’t mean a thing, if you ain’t got that swing!  So one way of describing syncopation is playing on the offbeat: it is finding and then emphasizing something in the rhythm of the song that is always real but mostly just below the surface. It cuts beyond the obvious and pushes us towards new ways of moving. Syncopation is what you feel when you move or dance to the groove – it is what helps you experience the music with your senses rather than simply notice it or think about it.  What’s more, playing, feeling and honoring the offbeat is how we move from the abstract to the embodied – the place where the idea becomes real – it is how the song becomes useful and meaningful in our everyday lives because it moves us! It touches us. It awakens our senses.



Syncopation starts with the offbeat - and the more you notice the offbeat in jazz, the more you become open to the offbeat in others things like people, spirituality, politics, food, culture and all the rest. The offbeat in jazz is wedded to the blues – and the dance floor – where it began. And while the way syncopation is used in contemporary jazz is increasingly more sophisticated that in the early days, it always reconnects to the offbeat of the blues lest the music lose touch with real people and the pulse of their lives.  So consider these audio examples:




  • Most of us start to hear a song with the melody – and that’s a fine place to begin – but the melody in only one dimension. After following the melody, try to feel were the drummer and bass player put the beat. And for the really adventurous, try to tap out the beat with your hand on your leg or table.

  • We’ll start with Cannonball Adderly’s “Mercy, Mercy, Mercy” – it feels like the blues or Black gospel – it has a steady back beat. Can you feel it?

  • Now try the wild rhythms of Turkey that Dave Brubeck learned while in the Army in his masterpiece: “Blue Rondo a la Turk.”





Syncopation, for the jazz musician, is a way to bring our personal off beats up to the surface so that we can follow its unique groove in a playful way. This is the first commitment.



The second is the rhythm of a call and response. Because jazz has its roots in New Orleans – a place saturated in the experience of the African American slave church – it is not surprising that a lot of songs take up the structure, rhythm and ebb and flow of a slave preaching event. Here’s the background: on the Sabbath a lay preacher would share a reading from the Scriptures by memory and then offer his or her insights while the gathered congregation encouraged greater truth and passion by offering shouts of joy or sorrow, words of hope and encouragement -- even correction and sometimes songs, too.



Much the same thing happens in a great deal of jazz where first the piano plays a tune and then the trumpet responds to the call. Or a vocalist sings a riff and the band plays back a response. Or the drummer makes a sound and then leaves a silent hole as a response that pushes the song into greater creativity.



This call and response, rhythm and sound structure in jazz is not only grounded in the African American church tradition – even the most secular jazz artists use it – but is also a uniquely American principle in our democracy. Winton Marsalis, director of the Lincoln Center Jazz Orchestra, is explicit on this point: the call is given and the players and community are asked to respond as equals. There is no hierarchy in the call and response groove. There is patience, of course, and timing and beauty; but all who hear the call can respond with encouragement, correction or challenge.



Marsalis likes to say that it is not coincidental that America’s only true musical art form, jazz, should also mirror our democratic aspirations.  At the heart of American democracy, he says, we not only play with syncopation, we honor the call and response rhythm of a balanced life.  First we learn to listen – then we learn to wait rather than react – and then we respond but only if we have something creative or interesting to say.  Jazz call and response is not about filling the space with selfish noise, but honoring what the traditions started by sharing your own unique gift. Like Louis Armstrong and Dizzy Gillespie before him, Marsalis is a profound ambassador for both jazz and democracy: listening, waiting and refusing to merely react are crucial to both.



That’s why jazz musicians insist that the key discipline to playing well and creatively with others begins with listening. They understand that because anything is possible in a song, they do not sound off first – they do not rush to fill the silence – nor do they insist on their own way before the call is even offered. And God forbid they walk all over someone else’s playing and improvisation. First, they listen for the call.  Jazz cats call this waiting and listening honoring the tradition. It involves lots of practice in private and then lots of patience on the band stand. Nobody likes a bully or a braggart when you’re blowing tunes – so listening is primary. One writer put it like this:



Contingency – the possibility that things could be other – is not a thing to be minimized, feared, controlled, resisted or eliminated in jazz. Jazz musicians play with it, on it and off it. They embrace it. It is what brings a heightened anticipative tension to every performance – among and between the players – and between the players and the audience. No one is quite sure where things are going to go… (because the call and response) of the unknown is embraced and entered into.


Waiting allows a given call the room to mature; it gives the response the space needed for discernment, too. And then after enough listening – and some authentically sacrificial waiting and discernment – the people want to hear back from you – but not in a reactionary way. What the jazz response requires is for you to share your own unique gift to the song creatively and beautifully. 

Jazz believes that we all have something special to offer even if we don’t yet know what it is. Simultaneously, it insists that nobody wants to hear you simply repeat another’s gift: your response to the call must be unique; it must honor the tradition and then make it new and beautiful. Here are two examples:




  • Listen to how John Coltrane plays with this principal in “Favorite Things” from The Sound of Music. First he states the old way – honors it – and then makes it new.

  • Art Blakey actually captures the tradition’s call and the congregation’s response with his arrangement of Bobby Timmon’s classic: “Moanin’.”




First there is syncopation – the swing – then there is call and response – listening, waiting and creating something unique and new out what is old.



Then there is improvisation which marries these first two commitments into a playful third. Duke Ellington used to say that improvisation is composition in the moment; some cats do it in their studio, others on the bandstand. But all types of composition require a great deal of private practice.  Jazz artists call this “wood-shedding “where you work out the kinks in private.” Wynton Marsalis insists, however, that you never play jazz in the wood shed. Jazz is always played in a group for an audience.  And in that group you listen and respect one another, give and take and respond to what’s happening in each moment and then try to help everyone involved make the best music possible – including the audience.



Bill Frissell put it like this: more than any other type of music, jazz is a place “where anything is possible – a refuge, a magical world where anyone can go, where all kinds of people can come together in safety – and try anything they want and nobody gets hurt.  It’s a place where anything can happen together and we are only limited by our imaginations.”



That is what keeps the music fresh and fun and always real. Jazz theologian Robert Gelinas writes that:


Improvisation is what allows jazz to exist in a continual state of renewal.  In jazz, the same old song seems like a new song every time it is performed because it is a music of traditions and freedom. Much of the fun comes from hearing how new artists will take old standards and make them fresh as they add their own voices… (for) in jazz improvisation is expected… when you take the stage, you are there, in part, to take the risk of composing in the moment – and that is one truth about improvisation. (Finding a Groove, p.33) 

Let me unpack this last essential before sharing a musical example:


  • First, improvisation is not standing up and playing whatever you want to however you want whenever you want – that is chaos – and it is selfish.  In jazz, what you compose on the spot has to fit and move with the flow.  The jazz artists of the 50s hated the Beat Poets like Ginsberg and Kerouac mostly because these poets didn’t practice. They didn’t work out their kinks in private. They thought improvisation was license to say and do whatever they felt like, but improvisation is never selfish or chaotic.

  • Second, improvisation is not unbridled freedom without awareness of the consequences; rather, it is “the desire to make something new out of something old” coming from two Latin words – im and provius – meaning “not provided or not foreseen.” (Gelinas, p. 33)

  • And third, improvisation plays with form treating it with respect but never becoming trapped by its limitations.  Think of what the masters of Be-Bop did to the Great American Song book of the 40s and 50s.  First they mastered the old form – that’s the respect.  Then they changed the tempo - or extended the bridge ad infinitum – or inverted the harmonies in non-traditional experiments – there’s the freedom. Chord substitutions and structural transformations can shift the feel and sound of a song dramatically. 


One scholar put it like this:


Improvisation requires creativity for jazz is not about copying but about creating – and creating not just one time but every time.  Improvisation is about playfulness and curiosity, experimentation and adventure… all within the boundaries of tradition and freedom.  (It is reputed that the great Louis Armstrong – one of the art form’s true geniuses – said, “Look we ALL do ‘do re me’ but YOU have to find the other notes for yourself.”  

You have to improvise. So here’s an example by the vocalist Measha Bruggergoman:


  • She takes a tune from the new American song book, Joni Mitchell’s “Both Sides Now” and plays with it.

  • Notice how she changes both honors the original but adds her own unique chord substitutions and melody alterations to make it a folks song into a sophisticated work of art.



Conclusion


These three distinct but inter-related commitments – syncopation, the rhythm of call and response and the playful in the moment composition of improvisation – each try to make something new from out of an older tradition:



Jazz presses forward into a new future, offering an intercultural horizon of hope.  The racial and cultural difference and blending typical of jazz culture also points to the possibility of a racially and ethnically reconciled community.  The musical “creolization” does not fit the black-white binary that served the interest of the status quo and in that jazz is subversive.  (Hetzel, p. 17) Jazz points us towards the possibilities of life – personally, artistically, spiritually and politically – and that is an exciting way to live. As the Hebrew prophets made clear: without a vision, the people perish.  Jazz helps me discern the possibilities for vision in real time in a way that is respectful, beautiful and democratic. And that’s why I love it.
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