Music Artist From Philadelphia – Drexel employee Tanda Francis created the above statue of Anderson, which will stand outside the Academy of Music.
It will stand tall outside the Academy of Music, finished with a patina of polished bronze and supported by a series of bracelets of gold rings that reflect sound waves.
Music Artist From Philadelphia
The Marian Anderson mural in Philadelphia was designed by Tanda Francis, an artist with a public art portfolio whose work focuses on the African diaspora, project organizers said.
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The proposal of Francis was selected among the five winners from the 53 candidates. Now he will start working on the development and refinement of his first proposal that describes the singer and civil rights leader as “Afro-future God” who has a “free, angelic” feeling.
“The moment I had in my heart, in my heart, when I was working on Classical met Afrofuturism,” said Francis. “It’s not like any photo you’ve ever seen of him but it’s a classic. In the back you have rings that come out of the house. So something else happened. “
That’s another thing that helps set his proposal apart from others, said jury member Brittany Webb, one of the seven voting jury members who judged the artist.
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“How does a three-dimensional image help an audience understand sound? It’s a unique and creative choice,” said Webb, curator of 20th-century art and the John Rhoden Collection. of the Pennsylvania Academy of the Fine Arts.
Francis lives and works in Brooklyn, and studied at Drexel University as a design major and at the Art Students League of New York. The painting has a special connection to Philadelphia: He planned to create it in a Philadelphia setting.
The idea of a statue or memorial to Anderson has been raised more than once over the years, perhaps most notably by Blanche Burton-Lyles, a Curtis-trained pianist who founded the Marian Anderson Museum and Historical Society in a South Philadelphia rowhouse that before. once at Anderson’s house. The idea gathered steam after a 2020 paper argued that the time was right.
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An ad hoc group was formed and developed plans and raised funds. No specific date has been set for completion, but the goal is to have the sculpture on Broad Street perch by the fall of 2023, said Theresa Rose, a consultant on the project.
Francis said he wanted to capture some of Anderson’s characteristics: his music, of course, but also his personality and something in the way he carried himself.
“For me it’s a relief that I feel is needed to be an actor then in his day,” said Francis. “He is who he is, but he has to walk the line as a Black man now and especially now, and he’s a man who does that well.”
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Plans are underway to develop the play with an app featuring recordings of Anderson’s contralto voice that tells her story: her beginnings in Philadelphia, her place in history as the first Black singer at the Metropolitan Opera, her victory in Washington, D.C., his work. after the Daughters of the American Revolution erected a statue of him in the National Hall, and his work in the US Department of State and the United Nations. He died in 1993 at the age of 96.
“No one under the age of 50 or 55 knows his story, and he’s from South Philly,” said Fred Stein, one of the organizers of the project.
Stein said funding from private donors will continue; about $380,000 of the $1.2 million needed has been raised so far.
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In the meantime, Francis will improve his design. Anderson is first shown in a dress with a train, then removed. Only recently, though, did he realize just how important Anderson’s part was.
“It’s mostly one of the professional things about it. That train is key to his visual identity, so I thought I’d bring that back. ” Philidelphia’s Black Musical Heritage Celebration Philly has historically been home to generations of forward-thinking, endlessly creative Black artists. This year, the Black Music City program celebrates that legacy with a variety of projects.
Sister Rosetta Tharpe — the inspiration behind singer-songwriter Erin Dillard’s Black Music City project — posed for a photo holding a guitar circa 1940s New York City. Michael Ochs/Getty Images hide caption
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Sister Rosetta Tharpe — the inspiration behind singer-songwriter Erin Dillard’s Black Music City project — posed for a photo holding a guitar circa 1940s New York City.
From John Coltrane to Tierra Whack, Philadelphia has historically been home to generations of forward-thinking, relentlessly creative black artists. This year, Black Music City’s programming celebrates that legacy with a variety of projects from community concerts to unique compositions and more.
A collaboration between public radio stations WRTI and WXPN, as well as marketing/talent development startup REC Philly, the project awarded a total of $48,000 in prizes to 23 musicians, DJs, writers and others from producing new works of art inspired by wealthy Black Philadelphia. music history. Grantees showcased their work this summer at a Juneteenth event; some projects have been fully completed, others are still in the works that are off the ground.
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A full rundown of Black Music City grant winners can be found here; read on for a deeper dive into three of the projects.
In the late 1990s and early 2000s, a small spot on Bank Street called Five Five hosted a legendary mic jam session called Black Lily that provided a launching pad for Philly artists. . like Jill Scott, Kindred The Family Soul, Floetry and others. . Philly writer, photographer and scholar Stanley Collins explores that era through his Black Music City project,
, a documentary podcast that examines the event through the lens of history, media, music industry infrastructure and more.
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“If you look at Philadelphia, the long history of soul music and Black music traditions in general, there’s also a lot of gospel music history,” Collins said. “And everything starts to make sense if we look at the late 90s and the early 2000s. Many singers and artists who made these records, literally from church records to Black Lily. So you look at someone like James Poyser, or Keith Pelzer, or Dre & Vidal. These are all like pastors’ sons, or they all play in church in different choirs. So it’s helps build a bridge between the historical context and the sonic context.”
, publishing music and fashion with bold visuals and imaginative backgrounds. John Morrison / Design by Patrick “Pecue” Quinn hides the title
, as well as a creator, creator and lifelong consumer of music. For his Black Music City project, he teamed up with designer Patrick “Peuce” Quinn and photographer Mike Béon to develop
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, a music and fashion publication with bold visuals and conceptual basics inspired in part by the free spirit of the Beastie Boys
Magazine, which circulated for several years in the mid-90s. The launch is a compilation of Morrison’s interviews and essays from recent years, and he hopes to see the project continue and grow. . “As a kid, I always wanted a magazine and an indie label,” he said. “Love is still in me.”
It can also address disparities in media ownership: “So Black music and black culture are written about, profited from and contextualized by non-black people, especially white, white press writers. . white control. I’m going to do the opposite of Bi, the polar opposite of that… It goes without saying, but I’ll say it anyway: That doesn’t mean I don’t want to work with a white writer, but I’ll absolutely center the Black. voice . I try to do this in everything I do.”
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When singer-songwriter Erin Dillard first heard the music of Philadelphia’s Rosetta Tharpe in 2020, she was completely blown away. “You always hear about the old rock pioneers like Chuck Berry and Elvis Presley, which is interesting,” Dillard said. “But [hearing about Tharpe], I was like, ‘There’s some crazy black girl here strumming the guitar and nobody’s telling me? That’s crazy!’ I should have known this sooner.”
Dillard went on an absolute binge, collecting recordings, journals, reading anything he could track down. For his Black Music City project, Dillard recorded a recording of Tharpe’s “Don’t It Rain” under his stage name emospacebird., and made an accompanying music video. In the clip, Dillard performs in train stations and with abandoned subways in homage to a video he saw of Tharpe playing music in a train station in England; she wore a floral dress and fur coat, the look worn by Tharpe.
“When I studied him, at the time he wasn’t exactly good at being queer. But I read that he went on the road with another woman, and he said they had a romantic relationship,” said Dillard. “So I see a kind of Sapphic hunger in you, and I want to do as I am commanded
