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SPEAKER_01: Hello, from Wonder Media Network, I'm Jenny Kaplan, and this is Womanica.This month, we're talking about women of sound.These women dominated the airwaves, innovating, documenting, and creating the audio landscape we live in today.Today, we're talking about a musicologist and activist credited with curating one of the earliest collections of African and American music.Please welcome Maude Cuny-Hare. Maud was born in 1874 in Galveston, Texas.She grew up in the South during the early Jim Crow era with mixed-race parents inheriting a difficult legacy.Her paternal grandfather had been one of the biggest enslavers in Texas.Eventually, he freed his mixed children, including Maud's father, and sent them to study.From the earliest days of Maud's life, there was a keen emphasis on education and culture in the CUNY home.
Maud's father recited Shakespeare and played violin. Maude's mother played piano.Both of Maude's parents were accomplished singers.After graduating high school, Maude moved to Boston to study piano at the New England Conservatory of Music.At the conservatory, Maude and another mixed-race student became the target of pro-segregation protests.Under high pressure from their white patrons, the conservatory administration wrote to Maude's father and suggested she move off campus. But Maud resisted.She said, Maud's revolution at the conservatory attracted the attention of a civil rights activist and sociologist living just a few miles away at Harvard, W.E.B.Du Bois.He and other students showed up in support of Maud.
Eventually, their friendship led to a brief engagement, which fizzled out. Du Bois later called Maud the bravest woman he'd ever known.After Maud graduated from the conservatory, she went on to attend Harvard's Lowell Institute for Literary Students while taking private piano lessons.By 1987, Maud returned to Galveston, Texas, where she held the musical director title at a school for Black children with disabilities.Maud continued to stand up for her beliefs while working as a professional musician. According to one story, Maud was scheduled to perform at the Austin Opera House, where Black audience members were only allowed to sit in the balconies.When the theater declined to desegregate her show, Maud and a fellow pianist decided to cancel the concert date entirely.Instead, they took the show to the Black school where Maud taught.In 1898, Maud married her first husband, J. Frank McKinley. He persuaded her to move to Chicago together and try passing as Spanish-Americans to escape racism.
But her time there didn't last long.Soon after having their first child, Vera, the couple parted ways.Maude no longer wanted to pass.In response, McKinley filed for divorce and won custody of Vera.Maude wouldn't see her daughter again until, tragically, Vera died at eight years old. By 1904, Maud had returned to Boston and met her second husband, William Parker Hare.During this time, she became more heavily involved with other Black intellectuals and political activists.In 1907, Maud joined the Niagara Movement, an organization founded by W.E.B.Du Bois and the forerunner to the NAACP.Maud was one of the Niagara Movement's first female members.
Over the next decades, Maud continued fighting against racial discrimination, while also growing her musical and arts career.She performed and toured alongside baritone William Howard Richardson, and she founded and managed the Allied Artist Center, a nonprofit, community-based organization to support performers of color.Maud contributed to various journals and magazines, including the NAACP's publication, The Crisis.She was its musical editor. She also wrote a biography of her father and a play titled Untar of Araby in 1929.The play intermixed Arabian folk music with poetry and revolved around the warrior poet Untar.At some point, Maude traveled to Mexico, Cuba, Puerto Rico, and the Virgin Islands.It's unclear the exact dates, but her most renowned project derived from these voyages.While traveling, she conducted primary research on the music of these locations. she pulled from more than just instruments and songbooks.
She studied rituals, dances, mysticism, and entertainment as important factors in the creation of music.She created a compilation of Black folk music and dance history, one of the first of its kind.This book defined her role as an authority in Black musicology.Unfortunately, Maud struggled to find a publisher. She died of cancer in 1936 before her collection was published that same year.The book wasn't a commercial success.But today, Maud is remembered as a musician, musicologist, and activist who celebrated and commemorated Black music.All month, we're talking about women of sound.For more information, find us on Facebook and Instagram at Womanica Podcast.Special thanks to Liz Kaplan, my favorite sister and co-creator.
Talk to you tomorrow.
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