Author(s): Kaden Vultaggio
Mentor(s): Professor Samaine Lockwood, English Department
https://youtu.be/xs7ZoeSTHBI
Of One Blood.” My name is Kaden Vultaggio, and my mentor is Prof. Samaine Lockwood from George Mason University’s English Department.
SLIDE 2: As a summary of my project, I researched the novel “Of One Blood” and its connection to the life of its author, Pauline Elizabeth Hopkins. Before beginning, I started with two research questions in mind: “What does Pauline Hopkins’ novel, “Of One Blood,” add to the conversation in the post-Civil War United States about cultural values surrounding African American spirituals? How does this affect African American identity and community?” In post-Civil War America, African American musicians had to navigate an established white musical community with systemic racism. This racism could be seen in the popularity of minstrelsy performances, something which Hopkins had to work against in her career in theatre and musical productions. As an African American female soloist, Hopkins represents her reality through the characters of Dianthe Lusk, Aubrey Livingston, and Reuel Briggs.
SLIDE 3: This project is important to understanding the cultural and historical context behind the novel “Of One Blood.” Through this research, students and scholars can gain a better understanding of how this work reflected the life experiences of African American musicians in this time. In media and music, communities can find representation and a voice.
SLIDE 4: To answer my research question, I began by performing research at the Library of Congress, reading scholarly journals related to the novel, and read a biography on Pauline Hopkins’ life. I also attended the Northeastern Modern Language Association Convention to gain professional experience in the scholarly field. When I visited the Library of Congress, I focused on listening to recordings of minstrelsy performances from the time. In my research on Hopkins herself, I found out about her beginnings in the post-Civil War musical industry.
SLIDE 5: What I found is that Hopkins was greatly influenced by her peers but also her experiences with minstrelsy. According to Lois Brown’s biography, Hopkins struggled with a manager by the name of Charles Hicks. Hicks advertised her performances alongside minstrelsy shows, which Hopkins viewed as low brow entertainment. In her performances, such as her work titled “Peculiar Sam, or The Underground Railroad,” Hopkins worked directly against racist stereotypes and narratives present in those minstrelsy performances. “Of One Blood” is a manifestation of Hopkins’ frustration with this established white musical community and audience.
SLIDE 6: In the novel, Dianthe Lusk represents the African American female soloist, an experience that Hopkins could relate to. Dianthe loses her memories and is repeatedly silenced by Aubrey Livingston. From the beginning, Aubrey viewed Dianthe’s music as a “departure” from established music; he establishes himself as the white audience through this perception. Aubrey, a white man who claims to be the friend of the protagonist Reuel, manipulates Dianthe into marrying him and forces Reuel away on an expedition to Meroe, Ethiopia. Reuel is also struggling with his identity as he hides the fact that he is African American from the other students at their college.
SLIDE 7: Throughout the novel, Dianthe’s identity and memory is connected to music. She is unable to sing after losing her memories yet regains the ability after Aubrey informs her of her past. When Reuel returns from Ethiopia, triumphant and reconnected with his identity as secret royalty, he returns with a musical march. As Dianthe lay dying, a condition caused by Aubrey forcing her to drink her own poison for him, her identity and memories are returned to her from Ethiopia. Ai, Reuel’s councilor from Meroe, forces Aubrey to sleep through song and the novel ends in Aubrey’s murder. Through this, Hopkins envisions a musical community without the disparity caused by systemic racism.
SLIDE 8: For future discussions, I would like to explore how these characters or events could be reflective of figures Hopkins knew in her life besides her experiences with Charles Hicks. This could provide an avenue for further research.
SLIDE 9: On this slide, I have listed my resources that I have used for this project. I would like to thank the OSCAR Program for their assistance with the URSP funding. I would also like to thank my mentor, Prof. Samaine Lockwood. Thank you to Barb Gomperts from the GMU English Department. From the Library of Congress, I would also like to thank David Sager and Bryan Cornell for their help finding recordings. Thank you for listening to this presentation. If you have any questions about my research or findings, please feel free to contact me for further discussion. Thank you!