Growing up in Alabama, Bethany Collins never bought the argument that “Dixie” was an innocent song of Southern nostalgia.
She found the song guilty of celebrating a South that battled to keep slavery intact, then later often used violence to prevent free Black people from owning property, voting or holding elected office.
In the theory that it’s better to shine a flashlight on the monster under the bed than to hide under the covers, Collins pored over 100 different versions of the song, its lyrics changed for different times and causes.
“It is a catchy, horrible song,” Collins said. “I remember who sang it, and who didn’t. It still sets my teeth on edge and having to read those lyrics over and over makes the body cringe.”
That research guided “Dixie’s Land (1859-2001)” which opened Aug. 20 at the Van Every/Smith Art Galleries at Davidson College. It’s part of the galleries’ exhibition called “From Pandemic to Protests: Visualizing Social Isolation and Social Injustices Through the Davidson College Art Collection.” The exhibition will run through Oct. 4.
Because of the COVID-19 pandemic, it will be open only to Davidson students, faculty and staff, who must follow social distancing guidelines. Others may view the exhibit online.
Read the full story by Mary DeAngelis, here.
