Piano Guidance
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Why does Wilson title his play The Piano Lesson?

This symbolizes that Boy Charles would have done anything to get back the “family's legacy” and was even willing to face death for it. Moreover, it clarifies the importance of the piano for the family members.

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Table of contents

1. Introduction

2. Trapped in the past: different approaches to reclaim identity and pride in generations after the abolition of slavery 3. The Piano Lesson as a symbol of the importance of progressing in life and facing the painful past

4. Conclusion

5. Bibliography

1. Introduction

In his books, August Wilson thematizes the African American experience as he is one himself grown up in Pittsburgh. Starting with Jitney in 1982, he published the Pittsburgh Cycle, ten plays with each set in another decade between 1900 and 1990 in which he depicts the black experience in each time period. As most ofhis pieces, The Piano Lesson takes place in Pittsburgh, where many African Americans emigrated to after leaving the South of the USA during the Great Migration. In Understanding August Wilson, Mary L. Bogumil analyzes this movement as an “escape of racial oppression to the South” and “attempt to reach their final destination” (77). The Piano Lesson tells the story about an African American family during the 1930s that is haunted by the past and shows the bitter fate of the unchangeability of the enslavement of their ancestors. Wilson wrote The Piano Lesson as a way of investigation on how African Americans should confront the painful past of slavery and discrimination.

This paper shall investigate the different ways of approaching history for descendants of formerly enslaved families. This research addresses multiple issues: How does one deal with the burdens of the past? How can one use the past to make the best for the future and reconstruct cultural identity?

In an interview for the New York Times, Wilson explains why he came up with the idea of writing the piece and why he uses the piano as the main symbol for the history of the Charles family: “It provided a link to the past, to Africa, to who these people are. And then the question became, what do you do with your legacy? How do you best put it to use?” (qtd. in Morales 105). In order to answer this question, I am going to interpret the different symbolic devices in the play and put them in context with the historical background. I will take a closer look at how the characters deal with the past, how they try to break away from the old chains of their ancestors and how they live their lives with the burdens of history. I will analyze and interpret the behavior of the characters in more detail. I will further argue that August Wilsons uses his characters and the play itself to show that moving forward and accepting the past is necessary in order to reconstruct cultural identity. 2. Trapped in the past: different approaches to reclaim identity and pride in generations after the abolition of slavery In The Piano Lesson, August Wilson uses different symbols to illustrate the main conflict of the play: “Both Bemiece and Boy Willie struggle either to embrace their cultural legacy or to move forward without its support” (Maley 63-64). The main symbol of the play is the piano; it represents the family’s history since members of the Charles family were traded for the piano by Robert Sutter, the former slave owner, as an anniversary present for his wife Miss Ophelia. After having enough of the piano, Miss Ophelia started missing her slaves “[...] the way she would cook and clean the house” (Wilson 43). They called Willie Boy, Bemiece’s and Boy Willie’s grandfather, to carve their likenesses on the piano. “He got all kinds of things what happened with our family [...] when Miss Ophelia seen it...she got excited. Now she had her piano and her niggers too” (44). Miss Ophelia's satisfaction with the carvings on the piano as a replacement for her slaves shows that she equalizes both, her “niggers” and the carvings on the piano. For her it is only important that both are remaining her property. It also represents how African Americans were treated during the slavery era. The fact that she starts missing them for the good housekeeping they have done also points out the human distance between black and white Americans since their value was measured by how well they do the housekeeping. It also shows the different viewpoints between white and black Americans. While for the Charles family the piano carries historical and sentimental meaning and represents the pain and struggle of the past, Miss Ophelia is completely satisfied with both. The carvings and the slaves are equally seen- seen as an object. The piano is not solely a symbolization of the family’s history, it also functions as the main object of the play. Nevertheless, it does not only represent the history of slavery and the struggle to overcome the past: Pianos are European in origin and long associated with a wealth of European music literature. With black hands on the keyboard, the instrument produced a whole new world of musical material. (Hardison Londré 116)

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Regarding it is not only a white European instrument let assume that it also functions as a new approach to African American music besides jazz. The piano also “serves as a site of direct mystical connections with the ancestors, functioning similarly to sacred ancestral shrines or altars in many traditional African cultures” (Morales 108). It serves as a connection between the world of the living to that of the dead since the carvings on the piano preserve “a narrative-generating, visual memory that connects the family to their own ancestors” (109). It “provides the key links to the past” and “functions as a mnemonic device for the transmission of oral history” (106) since the carvings on the piano can be used to read and tell the family’s history. Given the fact that Boy Charles, Doaker and Wining Boy went to Sutter’s house on the Fourth of July 1911 to take that piano out of there evokes that Wilson chose the Independence Day to show that the ancestors of former slaves wanted revenge and take what belonged to them. “Say it was the story of our whole family and as long as Sutter had it...he had us. Say we was still in slavery” (Wilson 45). Doaker reveals that the piano was stolen from the Sutter house and it shows the struggle of the Charles family over the ownership of the piano and defines Sutter’s possession of the piano as a form of captivity. When Sutter finds out about the stolen piano, Boy Charles and four other hobos are killed and set on fire in the boxcar by The Yellow Dog station. This symbolizes that Boy Charles would have done anything to get back the “family’s legacy” and was even willing to face death for it. Moreover, it clarifies the importance of the piano for the family members. August Wilson uses Sutter’s ghost as an image of the past. He haunts the house of Doaker as he is obsessed with the idea of retrieving the piano, which was actually in the possession of his family since he is a descendant of Robert Sutter, who formerly bought it in exchange for Boy Willie’s and Bemiece’s ancestors. It is not the first time that Wilson uses ghosts and other mystic elements in his plays. In an interview with Kim Powers about his earlier play Joe Turner’s Come and Gone, he points out the importance of using those elements: I set the play in 1911 to take advantage of some of the African retentions of the characters. The mysticism is a very large part of their world. My idea is that somewhere, sometime in the course of the play, the audience will discover these are African people. They’re black Americans, they speak English, but their world view is African. The mystical elements- the Binder, the ghosts- are a very real part, particularly in the early twentieth century, of the black American experience. There was an attempt to capture the “African-ness” of the characters. (Powers 6-7) With using those elements, he links the story and experience of African American people to the original heritage of their ancestors and therefore to his own roots: “Wilson uses his ‘ancestral legacy’ to differentiate his own historical tradition as well as to emphasize the cultural retentions ofhis characters” (Morales 112). Boy Willie and Bemiece seem to have different ideas about the use of the piano; while Boy Willie wants to sell it, Bemiece refuses to sell or to play the piano: Bemiece, we could say, wants to hide from history and Boy Willie wants to get rid of it. Wilson, however, wants to rewrite it, even if he has to use traditionally white instruments, even if he has to resurrect some ugly ghosts. (Nadel 3) Bemiece rejects selling the piano. For her it symbolizes the family's legacy. When Avery tries to convince her to play the piano, she reacts annoyed: I done told you I don’t play on that piano [...] When my mama died I shut the top on that piano and I ain’t never opened it since. I was only playing it for her. She used to have me playing on it [...] say when I played it she could hear my daddy talking to her. I used to think them pictures came alive and walked through the house [...] I don’t play that piano cause I don’t want to wake them spirits. They never be walking around in this house. (Wilson 70) She does not want to wake the spirits of her ancestors which shows that she trusts in the mystical power of the piano and recognizes it as the site of connection to her ancestral spirits. At the same time, she does not want those spirits to have access to her life (cf. Morales 108). Besides refusing to sell neither to play the piano, she does not want to tell her daughter Maretha about the meaning of the piano. Her attitude towards life is also pointed out when she talks with Boy Willie about their position in society. Due to her heritage and the social standing of African Americans, she thinks that she reached the lowest level in life:

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Boy Willie: If you teach that girl that she living at the bottom of life, she’s gonna grow up and hate you. Bemiece: I’m gonna teach her the truth. That’sjust where she living. Only she ain’t got to stay here. (Wilson 92) The last sentence of the quotation above shows that Bemiece is willing to enable Maretha to a better life, however, she hides the family's history from Maretha and wants to protect her from it. Although Bemiece refuses to play the piano and she does not want to sell it due to its symbolic meaning, her brother Boy Willie wants to sell the piano and buy land from the money, he argues: If my daddy had seen where he could have traded that piano in for some land ofhis own, it wouldn’t be sitting up her now. He spent his whole life farming on somebody else’s land. I ain’t gonna do that. (46) Obviously, Boy Willie still sees value in the piano, he wants to do better and buy land and freedom. He does not want to be haunted by the past and instead build himself a new life. “I ain’t gonna let it sit up here and rot without trying to do something with it” (ibid.). His plan is to go back to the South and live his life the way he wants to live it (cf. ibid.). He wants to get rid of history and start over: “This time I get to keep all the cotton. Hire me some men to work it for me. Gin my cotton. Get my seed.” (11). He wants to turn the fate of his ancestors and gain self­esteem by buying land of the family who once enslaved his forebears. Mary L. Bogumil clarifies this action as following: On a grander scale, through his sale of the piano Boy Willie may redefine, or in part negate, the terrain and history of enslavement and racial oppression that still blocks him from realizing his version of the American Dream. (78) Even though Boy Willie is branded by the past ofhis family ancestors, he wants to acquire independence and live as a free black man in the South. In August Wilson and the African-American Odyssey, Kim Pereira identifies his wish to go back to the South as unusual as “it marks a potential turning point in the fortunes of black people” (86). Until then authors focused more on the migration to the North where African Americans hoped for better living conditions. Based on the fact that Boy Willie wants to return, reveals that he understands that it does not matter where he lives, it is only important how he lives his life. This becomes evident in his conversation with Lymon who thinks that he is treated better in the North. “Boy Willie says that Lymon’s faith in the North is misdirected, for whites ‘treat you like you let them treat you’, no matter where it occurs” (Bogumil 80-81). Boy Willie is aware ofhis situation as an African American, but he wants to make the best of it. Even though Wilson describes the life circumstances of the black American in such a way that even after slavery they were treated badly, he shows Boy Willie as a person who wants to turn the fate of the past into a good future despite all circumstances. No matter where Lymon goes, the oppression or inequality between black and white Americans will not change and is the same everywhere, his happiness only depends on he deals with it. Boy Willie shows a form of optimism for the future. “Ain’t no difference in me and the white man” (Wilson 38). He wants to get away from the old viewpoints and build a new life. Later in the play, Boy Willie points out his attitude towards life:

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