This itemset features artworks from the University Museum at Texas Southern's collections that include music scenes.
Curated By
Ben Schachter
Contributing Institution
Texas Southern University
Identifier
HCAC.TSU.IS.016
Rights
All rights held by the University Museum at Texas Southern. For permission to publish, distribute, or use this image for any other purpose, please contact University Museum, Texas Southern University umuseum@gmail.com Attn: Museum Director. Materials not created by Texas Southern University may still be under copyright. Additional materials may be presented for educational and research purposes in accordance with fair use under United States copyright law.
About This Record
The HCAC public history focused digital archive cataloging is an ongoing process, and we may update this record as we conduct additional research and review. We welcome your comments and feedback if you have more information to share about an item featured on the site, please contact us at: HCAC-DigiTeam@si.edu
Goffney's intricate mural suggests themes of scientific discovery, fluid energy, and mid-century lifestyles. Scenes of nightlife and a rural church are featured on the right. Goffney signed his last name as Goeenet, perhaps his artist name.
Moe's work displays a joyous religious gathering, featuring a preacher, dancers, musicians, and others. The group appears to be performing a ring shout, or praise break, a characteristic tradition of some Black churches in the Southern US involving dancing, stomping, and singing.
The mural captures the emotion and creative environment of a mid-20th century jazz club. Heliton chose a corner spot for his mural, which lends a sense of depth to the piece. The overlapping of patterns, portraits, and instruments suggests the intimacy of a small club interior.
Oliver's painting depicts a group of men marching and playing drums and flutes, seemingly as part of a military expedition. The scene is believed to be drawn from the Battle of San Jacinto, the culminating battle of Texas's war against Mexico. The Black man may be Dick the Drummer, a free Black man who was part of the Texas army band.
A native of New Orleans, Green transferred to TSU’s art program following Hurricane Katrina. His mural ties different aspects of New Orleans history and culture together through floodwaters. Enslaved ancestors stand at auction, and the city skyline, including the Superdome, is featured prominently.
Vital’s drawing may be a mural pre-study. The scene depicts a spirit of revelry, with musicians entertaining a large crowd gathered to enjoy the music and dance. The instruments vary from those of a typical blues and jazz ensemble, like the drum set, trumpet, and guitar, to the tambourine, often associated with southern gospel. The figures' fluidity suggests movement and freedom.
A full church choir sings passionately. Hatter chose this location to make use of the rectangular shape of the doorway, suggesting the arrangement of a choir standing on risers. The exit sign, which was previously embedded on the wall, cast rays of light across the choir members’ faces.
