Delta Blues Museum Interview: National Endowment for the Arts
One of the galleries in the Delta Blues Museum.
Photo courtesy of the Delta Blues Museum
The Delta Blues Museum:
Bringing the Blues to the Next Generation
By Josephine Reed
The Delta Blues Museum is in the heart of the Mississippi Delta
- one of the few museums in a rural farming area in the South.
Yet, it has become a cultural center, welcoming visitors from
abroad and providing area residents with music and programming.
With some help from the National Endowment for the Arts, the
Delta Blues Museum created an award-winning arts and education
program that serves the young people in the community. And like
the blues itself, it happened organically. Listen
Transcript of Interview
Jo Reed: Youíre listening to the great blues musician Robert Johnson. This is NEA Arts online. Iím Josephine Reed. The City of Clarksdale, located at the intersection of Highways 61 and 49 (ďthe crossroadsĒ), and the surrounding Delta region are known as Ēthe land where the blues beganĒ. Itís rural Mississippi--farming country--that gave birth to this rich musical heritage. And while the area is still rural, it remains a hotbed for the blues, with nightly music, great music festivals throughout the year, and the worldís first museum devoted exclusively to the blues: the Delta Blues Museum. With funding from the city of Clarksdale, the Mississippi Arts Commission and the National Endowment for the Arts, the Delta Blues Museum has grown into a cultural center, with visitors from around the world. But like the blues itself--it began organically by filling a need.
The executive director of the Delta Blues Museum Shelley Ritter explains
Shelley Ritter: The Delta Blues Museum was founded in 1979 in a branch of the library called the Myrtle Hall Branch largely because tourists from all over the world were coming to Clarksdale because they knew about our blues history. We have lots of Mississippi Blues Trail markers throughout downtown as well as around the county that honor Ike Turner, Muddy Waters, Son House, Robert Johnson, Robert Nighthawk, Sam Carr, and they were searching for these sites and these people. and they would go by the library asking for information.
Jo Reed: So while the Delta Blues Museum is in the countryside, it is programming for two very different audience: foreign visitors and local residents.
Shelley Ritter: Every day we have people from all over the world coming to Clarksdale, so we have to kind of explain to people from Europe and other countries even though things have changed in the Mississippi Delta, agriculture is still a real part of our history and heritage, and itís these blues men and women that had these agricultural jobs so long ago that created this art form.
Jo Reed: But the local audience is always at the center of
the museumís planning - particularly the young people in the
Shelley Ritter: We have an afterschool music program called the Arts and Education Program. It teaches students of all ages how to sing and play the blues, and it is led by four local musicians here in town, and they teach students how to sing and play the blues by actually doing it. The museum provides instruments, guitars, keyboards, bass, and drums and mics and vocals so you donít have to have an instrument to be a part of our program. And so thatís part of our local audience as well as school groups that come through the blues museum. We get city funding to help us operate, and because we get that city funding we are free to residents of Coahoma County and that really helps with our school districts. You know, they can bring a class at no cost or Coahoma Opportunities can bring in their Head Start children, or just locals can come. Even if they have a guest they pay admission for the guest but they can come in free, and so it keeps it vibrant within the community.
Jo Reed: The Delta Blues Museumís arts and education program
also began organically - with a boost from the National Endowment
for the Arts.
Shelley Ritter: Our Arts and Education Program is actually a result of an initiative started by Mr. Johnnie Billington, and he had a garage repair shop, and if he didnít have any business he would sit around and pick his guitar. And youth who werenít doing anything kind of showed an interest and started kind of hanging around, and he began offering them lessons. And at some point, probably in the late í80s the Delta Blues Museum found out about it and got a grant from the Mississippi Arts Commission and the NEA to employ Mr. Johnnie Billington to come over and offer music lessons to a greater group of students, and it became a part of the museum. Mr. Billington unfortunately has passed on, but thatís really how our Arts and Education Program started, and itís really amazing. Currently we have two students who learned under Mr. Johnnie as instructors in our program, so thatís really neat to see it come full circle.
Jo Reed: As the museum grew and the arts and education program flourished, it was time to move from the local library to a building of its own
Shelley Ritter: We were kind of a little bit too loud to be housed in a library, and so in 1999 the City of Clarksdale rehabbed the historic Passenger Freight Depot built around the turn of the 20th century, and the museum moved in there. And it really is a great location to have a museum because itís just a big, nice, open depot space with iron tresses and beautiful old wood.
Jo Reed: Not only was the building historic, its location is part of blues lore.
Shelley Ritter: We are at a very famous crossroads, the intersection of Highways 61 and 49. That is allegedly where Robert Johnson sold his soul to the devil, that those of us who are blues scholars know that that didnít exactly happen according to Robertís family, but Tommy Johnson and Peetie Wheatstraw, the Devilís Son-in-Law, also laid claim to having done that, so any of them couldíve done that here at night long ago.
Jo Reed: The Delta Blues Museumís assembled collection to give a sense of the social history of the blues and its cultural importance today with musical instruments, recordings, sheet music, posters, photographs, costumes, folk art, paintings, and other memorabilia. Among its highlights are guitars from B.B.King, Big Joe Williams, Jimmy Burns and John Lee Hooker. Thereís a display devoted to Big Mama Thornton. But one exhibit stands out.
Shelley Ritter: ...the Muddy Waters Cabin from Stovall Plantation, and so we have that as a focal point in our we call it the Muddy Waters Wing.
Jo Reed: The arts and education program makes sure that the students understand the history of the music theyíre playing.
Shelley Ritter:We get the students to come early and walk through the galleries so that they see when they learn a song by John Lee Hooker or Muddy Waters, for instance, they can go through the gallery and learn their story, and then they begin to understand the references in some of the songs to places in Clarksdale or even in Mississippi, so it kind of grows that way.
Jo Reed: The museumís art and education program teaches students
of all ages, abilities, circumstances, and needs.
Shelley Ritter: The students that come to our education classes come to us from various points in their lives. Some of them are at risk and so their parents want a safe place for them to be there. Some of them want to learn how to play a particular instrument. Some are in well-known blues families and so understand the blues, but they all kind of come to us with a different need but all coming as the museum is a safe place and something to do. And because of the way we structure our class, which is really not very structured, we donít tell you that you can't do it. You just sit there with this guitar or the drum or the bass until you can do it. And we switch the students around, so you might not be the greatest bass player. You might be a fantastic drummer, but youíre not gonna beat down on the bass player because heís not getting the licks because you can't do it either, and so they really develop this communal sense within themselves and they learn and grow to play as a band. And also when bands come to town to play youíre not just a bass player or a guitar player. You know, if somebodyís looking for a bass player, ďOh, yeah, I can play bass.Ē ďOh, I can play keyboards.Ē ďOh, I can play drums.Ē And it really makes a more rounded musician. And many of our graduates of the program will come back and say that they are able to have the talent that they have no matter if theyíre still playing blues because they learned blues, and they get that itís a roots music. They come back and say, ďWow, Iím so glad I did this at the Blues Museum. Thank you.Ē
Jo Reed: One outgrowth of the education program is The Delta Blues Museum Band.
The Delta Blues Museum Band is made up of students who are
our advanced students, and if we do a performance somewhere,
especially if we have to travel, itís made up of those students
because we want to showcase our best. If we are playing local
festivals, if we have someone who - we can engage more of the
students, maybe some beginners on a drum song or singing backup
or something like that, we incorporate them, too. But generally
the Delta Blues Museum Band consists of students in our intermediate/advanced
Jo Reed: And Shelley Ritter is quick to point out that the band has recorded and produced not one but two CDs.
Shelley Ritter: From Clarksdale to Kansas City, Volume
One and Volume Two. We created the CD - I was going through
some albums and when I was in the junior high and high school
band we made records. And so I took them in and embarrassed
myself by letting the students see me in the seventh grade and
forward and asked if they wanted to do a CD and they did. So
we engaged them in every process. They created their own album
artwork. They created their own title. We had guest artists
come in to work with them, we had a Hill Country artist come
in and taught them a Hill Country song, and then they performed
with them. We had a local artist, Bill Abel, come in and they
built a cigar box guitar and then they recorded a song on that.
That was really interesting because they got down into how the
guitar actually works and the tunings and back to the roots
of the one-string guitar. And Charlie Musselwhite even guested
on one of the CDs, so we had a lot of fun with that. And we
had an attorney come in and explain copyright and publishing
to the students so they get a bigger sense of what a career
in music could entail besides just being a performer.
Jo Reed: The Delta Blues Museum has received many awards throughout the years but one stands out.
Shelley Ritter: In 2014 the Delta Blues Museum Arts and Education Program received a National Arts and Humanities Youth Program Award, and we were one of two programs selected to perform at the White House in the East Wing for First Lady Michelle Obama.
And so we go to Washington. We stayed in a great hotel not far from the White House, and weíre walking over to rehearse on a Sunday. We set up in the East Wing and crank it up and blow a fuse. Literally, lights off in the White House.
And so then we get that back and then we got to perform and
the First Lady - she was right there on the front row, and itís
just something amazing that I got to share with those kids.
Jo Reed: Clarksdale is a rural community, and museums, generally, tend to be in more metropolitan areas. I wondered how the rural setting might affect the programming of the Delta Blues Museum.
Shelley Ritter: It is unique to be at the Delta Blues Museum
in a rural community because Iíve worked in the museum profession
for several decades, and what Iíve kind of realized being here
in Clarksdale, the museum sort of started organically because
the tourists were coming here and looking for something, so
the library tried to feed that need. And if you can step back
and really listen to your visitors as well as your community
members and build from the inside out instead of from the top
down things seem to work a little more.
We get a group of students to learn how to sing and play because we let them sing and play until they can do it. (laughs) I don't know if that makes a lot of sense. We have to be flexible. For instance, last year out of the blue a high school senior popped into the museum and said, ďIím looking for community service hours. Iíve always wanted to be a tour guide at the Blues Museum. How could I do that?Ē And we were like, ďOkay, you can do that.Ē And he wound up bringing in 26 other high school juniors and seniors, and so we started a high school docent program because they wanted one, not because the mandate for this year was engage high school students or whatever. (laughs) Itís just kind of how you have to roll.
Jo Reed: Thatís the executive director of the Delta Blues Museum in Clarksdale, Mississippi, Shelley Ritter. For NEA Arts online, Iím Josephine Reed. Thanks for listening.
Excerpt of "Cross Road Blues" by Robert Johnson from Robert
Johnson: The Complete Recordings, used courtesy of Sony
Music Entertainment and by permission of The Bicycle Music Company.
Excerpt of "Mannish Boy" by McKingley Morganfield, Ellas McDaniel,
and Melvin London, from Hard Again, used courtesy of
Sony Music Entertainment and by permission of BMG Rights Management
Excerpt of "The Day The Blues Got The Blues" by Richard Crisman,
performed by the Delta Blues Band, from From Clarksdale
to Kansas City, Vol. 1. Used courtesy of the Delta Blues
Museum and by permission of Richard Charles Crisman III /BMI.
Excerpt of "The Blues Is Not Exclusive" by Bill Perry, performed
by the Delta Blues Band, from From Clarksdale to Kansas
City, Vol. 1. Used courtesy of the Delta Blues Museum and
by permission of Billie Perry Music / BMI.