Введение
Сноуденская семейная группа – афроамериканский музыкальный коллектив XIX века. Ансамбль состоял из детей семьи Сноуден из Клинтона, округа Нокс, штат Огайо. Их музыкальная карьера охватывала период от времени, предшествовавшего Гражданской войне в США, до современности; ни один другой афроамериканский коллектив подобного рода не существовал так долго. Сноудены зарабатывали на жизнь фермерством. Однако благодаря своей музыке они интегрировались в преимущественно белое общество, развлекали, переписывались и даже обучали своих белых соседей. Согласно давней традиции округа Нокс, им приписывают авторство (или соавторство) песни "Dixie".
The Snowden Family Band was a 19th century African American musical group. The children of the Snowden family of Clinton, Knox County, Ohio, comprised the ensemble. The band's career stretched from before the American Civil War into living memory; no other African American band of their type lasted as long. The Snowdens earned their living by farming. However, through their music, they integrated themselves into their predominantly white community and entertained, corresponded with, and even taught their white neighbors. A long Knox County tradition credits them with composing (or helping to compose) the song "Dixie".
Выступления
Дети Сноуденов начали гастролировать примерно в 1850 году. Друзья и знакомые в других городах часто приглашали их выступать, а их реклама ограничивалась несколькими листовками и сарафанным радио. Это приглашение от Артура Кирби типично:
The Snowden children began touring sometime around 1850. Friends and contacts in other towns often invited them to perform, and their advertising consisted of nothing more than a few handbills and word of mouth. This invitation from Arthur Kirby is typical:
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
"Поскольку мы собираемся устроить вечеринку 12 августа в субботу, соседи попросили меня написать вам несколько строк, чтобы сообщить, что они хотят, чтобы вы приехали и дали нам концерт в тот же вечер. Очень просим вас постараться приехать, если это возможно, и, если сможете, пришлите мне три-четыре листовки, и я их развешу.
The Snowden children began touring sometime around 1850. Friends and contacts in other towns often invited them to perform, and their advertising consisted of nothing more than a few handbills and word of mouth. This invitation from Arthur Kirby is typical:
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
Уверен, соберется большая толпа, если вы приедете. Если сможете, пришлите листовки к следующей субботе, а если их нет, то просто напишите, что приедете, и я сам объявлю об этом остальным ребятам."
The Snowden children began touring sometime around 1850. Friends and contacts in other towns often invited them to perform, and their advertising consisted of nothing more than a few handbills and word of mouth. This invitation from Arthur Kirby is typical:
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
Их концертные туры длились несколько дней и приводили их в поселения по всей сельской местности Огайо. Они путешествовали в транспортном средстве, которое один современник описал как "нечто вроде дилижанса", и обычно останавливались в деревне или городе на одну ночь. Иногда поступали предложения выступить на более прибыльных площадках вдали от дома. Друзья из Миссури писали: "Бен, если вы с Лю приедете сюда, вы сможете заработать целое состояние, давая концерты". Тем не менее, группа редко отъезжала дальше чем на 75 миль (121 км) от Клинтона. В состав группы входило пять постоянных участников из семи детей Сноуденов: София, Бен, Фиба, Марта, Лью (или Лу), Элси и Энни. Их инструменты были распространены в середине XIX века, и большинство из них были куплены в магазине. София и Энни играли на скрипке, возможно, единственные женщины того времени, о которых сегодня известно, что они владели этим инструментом. Этот факт рекламировался на их листовках; одна из листовки 1860-х годов гласила: "У НИХ ДВЕ СКРИПАЧКИ-ЖЕНЩИНЫ… ПРИХОДИТЕ ПОСМОТРЕТЬ, КАК ЖЕНЩИНЫ ВЛАДЕЮТ СКРИПКОЙ". Младшая дочь, Энни, анонсировалась как "скрипачка-младенец". Их банджо, вероятно, были настроены ниже, чем инструменты белых исполнителей. Бен играл на скрипке и костяшках, а Лью – на банджо; банджо Сноуденов были без ладов, а один из них был шестиструнным. Фиба танцевала. Кроме того, по крайней мере один из детей Сноуденов играл на гитаре, а другой – на флейте. Иногда в их выступлениях использовались дульцимер, тамбурин и треугольник, а дети также пели. Концерт Сноуденов начинался, как только семья оказывалась в пределах слышимости от поселения. Дети начинали играть мелодию, чтобы привлечь внимание, направляясь к месту концерта, обычно к общественному месту, такому как школа, ратуша, поле или кладбище. Цена билета была символической, обычно 25 центов для взрослых и 15 центов для детей, а оплата могла быть неформальной, например, бросить что-нибудь в шляпу. В среднем, выступление приносило группе от 11 до 12 долларов. Зрители были преимущественно белыми, и группа выступала так, чтобы соответствовать их вкусам, но при этом сохраняла связь со своей афроамериканской культурой и наследием. Их шоу не отличались особым размахом, за исключением энергичных танцев. Они собирали репертуар из нот, по почте, из библиотечных сборников песен и играли с другими музыкантами. Сноудены не умели читать ноты, поэтому все учились на слух. Большинство песен были популярными мелодиями из представлений менестрелей и цирковых номеров, хотя группа избегала материалов, которые чрезмерно унижали афроамериканскую культуру или были написаны на расистском диалекте. Духовные гимны составляли еще один важный аспект их программы. Импровизация была обычным делом. Несмотря на местную известность, Сноудены сталкивались с тем же подозрением, что и другие гастролирующие артисты, и с расизмом, направленным против афроамериканцев в целом. Белые жители города могли отказываться им в еде или ночлеге, и Сноудены должны были быть готовы к встрече с представителями закона, которые могли принять их за беглых рабов. Они полагались на свою репутацию, чтобы защитить себя, и их листовки старались произвести впечатление на тех, кто о них не слышал:
The Snowden children began touring sometime around 1850. Friends and contacts in other towns often invited them to perform, and their advertising consisted of nothing more than a few handbills and word of mouth. This invitation from Arthur Kirby is typical:
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
"Жители Маунт-Вернона рекомендуют вам семью Сноуденов. Мы знаем их с юности, и они достойны всяческой поддержки. Они пользуются большим уважением у жителей этого места и везде, где выступали. Их отец был членом Методистской епископальной церкви до своей смерти, а мать – верным членом той же церкви. При необходимости будут предоставлены рекомендации."
The Snowden children began touring sometime around 1850. Friends and contacts in other towns often invited them to perform, and their advertising consisted of nothing more than a few handbills and word of mouth. This invitation from Arthur Kirby is typical:
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
Тем не менее, даже белые знакомые Сноуденов знали об опасностях путешествий. Э. Д. Рут написал Софии Сноуден:
The Snowden children began touring sometime around 1850. Friends and contacts in other towns often invited them to perform, and their advertising consisted of nothing more than a few handbills and word of mouth. This invitation from Arthur Kirby is typical:
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
"Мы все рады получить от вас весточку и рады узнать, что вы все здоровы и благополучно вернулись домой. Надеюсь, вы хорошо заработали во время путешествия. Я несколько дней назад задумался, что с вами случилось, и мы боялись, что вы все погибли."
The Snowden children began touring sometime around 1850. Friends and contacts in other towns often invited them to perform, and their advertising consisted of nothing more than a few handbills and word of mouth. This invitation from Arthur Kirby is typical:
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
Там, где они были хорошо известны, они часто останавливались на ночь у уважаемого жителя.
The Snowden children began touring sometime around 1850. Friends and contacts in other towns often invited them to perform, and their advertising consisted of nothing more than a few handbills and word of mouth. This invitation from Arthur Kirby is typical:
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
As we are going to have a Suinging party the 12th off August on Saturday The neighborhood requested me to drop you a few Line to inform you that They want you to come and give us a Concert on that Same evening. The Suinging part is in The grove is rite by the School House now i want you to be sure and come if you possibly can and if you can come Send me three or four bill if you have got them and i will put Them up for you
I am Shure off a Big crowd if you will Come if you can come Send me the Bills by next Saturday if you can if you have no bills Struck wright any how if you will come on that Evening and i will put The word out my Self and the rest of the boys. Their concert tours lasted for several days and brought them to settlements across rural Ohio. They traveled in a vehicle that one contemporary described as a "sort of stage coach carriage", and they typically stopped in a village or town for a one night engagement. Sometimes, offers came to play in more lucrative markets farther afield. Friends wrote from Missouri that "Ben if you and Lue would come Out here you could make A fortune holding concerts." Nevertheless, the band rarely strayed from within a 75 mile (121 km) radius of Clinton. The band consisted of five regular members from among the seven Snowden children: Sophia, Ben, Phebe, Martha, Lew (or Lou), Elsie, and Annie. Their instruments were common for the mid 19th century, and most were store bought. Sophia and Annie played fiddle, possibly the only females at the time known today to have done so. The band's handbills advertised this curiosity; one from the 1860s reads, "THEY HAVE TWO FEMALE VIOLINISTS . . COME AND SEE THE VIOLIN MASTERED BY FEMALES." The youngest child, Annie, was billed as "the infant violinist". Their banjos likely played at a lower pitch than that used by white performers. Ben played fiddle and bones, and Lew played banjo; the Snowdens' banjos were fretless, and one was a six stringer. Phebe danced. In addition, at least one of the Snowden children played guitar and another the flute. The dulcimer, tambourine, and triangle featured in their act on occasion, and the children also sang. A Snowden concert began the instant the family came within earshot of a settlement. The children struck up a tune to gather attention as they headed to the concert site, usually a public location such as a schoolhouse, town hall, field, or graveyard. The price of admission was nominal, typically 25¢ for adults and 15¢ for children, and payment could be as informal as dropping something into a passed hat. An average engagement earned the band $11 to $12. Audiences were primarily white, and the band performed in a manner that was pleasing to such tastes, yet which sustained their connection to their black culture and heritage. Their shows had no great spectacle aside from some animated dancing. They gathered their repertoire from sheet music, mail order, library songsters, and by playing with other musicians. The Snowdens could not read music, so they learned everything by ear. Most of these songs were popular tunes drawn from minstrel shows and circus acts, though the band avoided material that was overly demeaning of black culture or that was written in over the top, racist black dialect. Spirituals and hymns comprised another important aspect of their act. Improvisation was common. Despite their local celebrity, the Snowdens faced the same suspicion as other traveling performers and the racism directed toward blacks in general. White townspeople likely denied them food or lodging at times, and the Snowdens had to be ready to deal with any lawmen who might mistake them for runaway slaves. They relied on their reputation to protect them, and their handbills tried to project this to any who had not heard of them:
<blockquote>The citizens of Mt. Vernon, recommend to you the Snowden Family. We have known them from their youth up, and they are worthy of all the patronage that can be afforded them. They are highly respected by the citizens of this place and wherever they have performed. Their father was a member of the M. E. Church until his death the mother is a faithful member of the same church. . Good references given if required. Still, the dangers of travel were known even to the Snowdens' white acquaintances. E. D. Root wrote to Sophia Snowden:
We are all glad to hear from you and we are glad to hear you are all well and have got back home safe and well i hope you have done well by travelling on your account and situation i was wondering what had become of you all a few days a go and we did not know but you ware all dead. Where they were well known, they often stayed with some distinguished resident for the night.
Семейная жизнь
Томас Сноуден, освобожденный раб, и Эллен Купер, домашняя служанка, встретились и поженились в округе Нокс. У них было девять детей, из которых семь пережили младенчество. Хотя Томас и Эллен Сноудены были неграмотными, их дети посещали школы для белых и научились читать и писать. Сноудены занимались преимущественно фермерством, их усадьба располагалась в Клинтоне, штат Огайо – небольшой деревушке к северу от Маунт-Вернон. В июле 1856 года 39-летняя Эллен Сноуден стала главой семьи после смерти 53-летнего Томаса Сноудена. Вскоре семья столкнулась с трудностями в выплате ипотеки за ферму, что побудило их к 1859 году добавить в свои объявления строку о том, что они пытаются "найти средства для погашения задолженности по ипотеке на их усадьбу". В 1864 году банк обратил взыскание на две части их фермы, а Эллен Сноуден выплатила остаток ипотеки в следующем году. Музыка позволила Сноуденам интегрироваться в их преимущественно белое сообщество. Музыка и фамилия Сноуден стали синонимами в округе; в переписи населения 1860 года для поселка Моррис в округе Нокс их "профессия, род занятий или торговля" указана как "Snowden Band", а в городском справочнике Маунт-Вернон за 1876 год они числятся как "Snowden Minstrels". Сноудены выступали на местных мероприятиях и получали приглашения, например, такого содержания: "Сноуден и госпожа Сноуден с почтением приглашаются на день рождения их дочери у господина Сэмюэля Альбертса в понедельник вечером. Пожалуйста, принесите с собой музыкальные инструменты". Джордж Рут, белый человек, даже попросил пожить с семьей во время Гражданской войны, чтобы брать уроки пения и игры на скрипке. В социальном плане Сноудены придерживались консервативных взглядов, восхваляя в своих письмах и музыке такие понятия, как женская добродетель, умеренность и набожность. Они посещали Африканскую методистскую епископальную церковь, одну из немногих в то время в Соединенных Штатах, где во время богослужения использовались музыкальные инструменты. Менее консервативно, они поддерживали аболиционизм, хотя и не открыто выражали это. Бен Сноуден умер в 1920 году, а Лью Сноуден – в 1923 году. Они не оставили известных наследников.
Thomas Snowden, a freed slave, and Ellen Cooper, a house servant, met and married in Knox County. They had nine children, of whom seven survived infancy. Although Thomas and Ellen Snowden were both illiterate, the children attended white schools and learned to read and write. The Snowdens were primarily farmers by trade, with their homestead located at Clinton, Ohio, a small village north of Mount Vernon. In July 1856, the 39 year old Ellen Snowden became the head of household upon the death of Thomas Snowden, 53. The family soon had trouble paying the mortgage on their farm, prompting them by 1859 to add a line to their handbills proclaiming that they were trying "to secure means to pay back indebtedness upon their homestead." In 1864, the bank foreclosed on two of their farm's Ellen Snowden paid the rest of the mortgage the following year. Their music allowed the Snowdens to integrate into their mostly white community. Music and the Snowdens were synonymous in the area; the 1860 census for Morris Township in Knox County lists their "Profession, Occupation, or Trade" as "Snowden Band", and an 1876 city directory for Mount Vernon lists them as "Snowden Minstrels". The Snowdens played local events, or received invitations telling them, for example, that "Snowden & Mrs. Snowden Are Respectfully Invited to attend a Birthday Party At Mr. Samuel Alberts of their daughter on Monday Evening. Please bring your music." George Root, a white man, even asked to live with the family during the Civil War so that he could take singing and fiddling lessons. Socially the Snowdens professed conservative values, praising in their letters and music such concepts as women's virtue, temperance, and piety. They attended the African Methodist Episcopal Church, one of the few in the United States at the time that used instruments during the worship service. Less conservatively, they supported abolitionism, though never overtly. Ben Snowden died in 1920, and Lew Snowden in 1923. They left no known heirs.