Inscribed On base: "Augusta Savage" and "Worlds Fair 1939" Printed paper label on bottom designating publication by Augusta Savage Studios, Inc., at 143 West 125th Street. Incised signature and “Worlds Fair 1939” at the base. As part of a celebration of Abraham Lincolns birthday on February 12, 1900, Lift Every Voice and Sing was first publicly performed by 500 school children. It survives only through small-scale replicas like this one.ĭescription Sculpture (white metal cast with black patina) depicting 12 singers in the form of a harp. It was demolished after the event-smashed by bulldozers as part of the fair’s cleanup. The Howard Gospel Choir of Howard University sings 'Lift Every Voice and Sing' (The Black National Anthem) at Jerusalemskirken (Church of Jerusalem) in Copenhagen, Denmark Europe as a part of our. Savage lacked the funds to cast the original work in bronze and to pay for a facility to store it. One of the most popular works of art at the fair, it was seen by over 5 million visitors and received high praise in the press. The sculpture stood prominently near one of the entrances to the fair in the court of the Contemporary Arts Building. It was the only commission at the 1939 World’s Fair from a black woman artist. Savage’s original 16-foot sculpture was an extraordinary accomplishment that defied systemic period sexism and the institutionalized racism of Jim Crow. “Lift Every Voice and Sing” was written as a poem by Savage’s friend James Weldon Johnson in 1900, set to music by his brother John Rosamond Johnson in 1905, and declared the “Negro National Anthem” by the NAACP in 1919. The composition casts the singers as instruments of God and in so doing highlights the religiosity of its source material. President Barack Obama and his family sing 'Lift Every Voice and Sing' with musicians for the finale at 'In Performance at the White House: A. And the hand and arm of God stand in for the sounding board. Browse 146 lift every voice and sing stock photos and images available, or start a new search to explore more stock photos and images. The folds of choir robes worn by twelve stylized young black singers in graduated heights form the strings of the harp. A kneeling man holding a rectangular plate represents the foot pedal. But it's the Elvin Jones/ John Coltrane-esque interplay between Roach and Harper on "Joshua" that makes this album unforgettable - every time the choir comes in, the emotion is enough to crumble the Wall of Jericho.Lift Every Voice and Sing is the signature work by Harlem Renaissance artist, activist, and educator Augusta Savage.
Cecil Bridgewater turns in an inspired solo on "Let Thy People Go," an especially grooving tune propelled by Roach and pianist George Cables and lent an ominous heft from the J.C. The album's highlights, such as the dirge "Motherless Child," are accented, not dominated, by the gospel motif. Listeners who aren't fans of gospel might not enjoy songs such as "Garden of Prayer" and "Troubled Waters," but make no mistake, this is a jazz album. With all due respect to Roach - who at the time of this recording was a legend and perhaps jazz's most impactful drummer to date - Harper and the choir are the stars of this show. White Singers to accompany him along with tenor saxophonist Billy Harper's heart-wrenched solos. Few albums exhibit the church's lasting effect on his musical direction than Lift Every Voice and Sing.
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