{"title":"\"Up on Cripple Creek\": Limb Loss, Difference, and Disability Spectacle in Southern Roots Music","authors":"Simon H. Buck","doi":"10.1353/scu.2023.0002","DOIUrl":null,"url":null,"abstract":"Abstract:This essay explores the experiences and representations of several southern roots musicians with limb loss or limb differences. Through an examination of the lives of the one-armed Carolinian banjoist and busker \"Uncle\" Frank Rayborn in the 1950s and 1960s, amputee Confederate veterans who performed at early-twentieth century fiddlers' contests, the one-armed \"barn dance\" radio musician Emory Martin, and the African-American bluesman \"Peg Leg\" Howell, this essay explores wider issues of patronage, voyeurism, agency in the roots music—particularly old-time, country, and blues—in the twentieth-century US South. In the process, this essay draws attention to the juncture where disability, poverty, gender, and race meet in the South, and calls us to reconsider narratives of embodiment, difference, and spectacle not at the \"extremities\" of southern culture and history but at their cores.","PeriodicalId":42657,"journal":{"name":"SOUTHERN CULTURES","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"SOUTHERN CULTURES","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/scu.2023.0002","RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"HISTORY","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract:This essay explores the experiences and representations of several southern roots musicians with limb loss or limb differences. Through an examination of the lives of the one-armed Carolinian banjoist and busker "Uncle" Frank Rayborn in the 1950s and 1960s, amputee Confederate veterans who performed at early-twentieth century fiddlers' contests, the one-armed "barn dance" radio musician Emory Martin, and the African-American bluesman "Peg Leg" Howell, this essay explores wider issues of patronage, voyeurism, agency in the roots music—particularly old-time, country, and blues—in the twentieth-century US South. In the process, this essay draws attention to the juncture where disability, poverty, gender, and race meet in the South, and calls us to reconsider narratives of embodiment, difference, and spectacle not at the "extremities" of southern culture and history but at their cores.
期刊介绍：
In the foreword to the first issue of the The Southern Literary Journal, published in November 1968, founding editors Louis D. Rubin, Jr. and C. Hugh Holman outlined the journal"s objectives: "To study the significant body of southern writing, to try to understand its relationship to the South, to attempt through it to understand an interesting and often vexing region of the American Union, and to do this, as far as possible, with good humor, critical tact, and objectivity--these are the perhaps impossible goals to which The Southern Literary Journal is committed." Since then The Southern Literary Journal has published hundreds of essays by scholars of southern literature examining the works of southern writers and the ongoing development of southern culture.
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