An exhibition exploring the history and cultural impact of ragtime music opened on November 13 at the Morgan Library & Museum in New York City, offering a comprehensive look at a genre that played a significant role in shaping American popular music. Running through June 13, 2027, the exhibit, titled "Ragtime: Cakewalk in Pianoland," aims to highlight both the musical innovation of ragtime and the complex social and racial contexts surrounding its rise to popularity.
Ragtime emerged in the early 20th century as a distinctive genre characterized by syncopated rhythms, earning its name from what many described as a "ragged" musical style. Drawing on West African and European musical traditions, ragtime became a foundational influence for later genres, including jazz. It also became closely associated with the development of Black popular music and American leisure culture.
The show is organized into seven sections that delve into ragtime’s origins, its performers, and its broader cultural implications. Curators Jesse Erickson, Robinson McClellan, and guest curator John Davis sought to balance the celebration of ragtime’s artistic achievements with a candid examination of the racial and political issues tied to its history. This includes addressing how early ragtime performers navigated a segregated society and how the genre’s popularity among predominantly white audiences led to commercialization often divorced from its Black creators' intentions.
Central figures in the exhibition include composer Scott Joplin and performer Ernest Hogan, whose careers reflect contrasting experiences within ragtime’s history. Joplin, known for compositions like "Maple Leaf Rag" and "The Entertainer," was a classically trained musician deeply engaged with Black political thought and the quest for social justice in the late 19th and early 20th centuries. In contrast, Hogan, born Reuben Crowdus, found success through minstrel performances, frequently donning blackface, which reinforced harmful racial stereotypes.
Curators emphasized that the exhibition seeks to reclaim ragtime’s history by centering the contributions of Black artists while acknowledging the difficult compromises they faced. Photographs and personal artifacts underscore these performers’ humanity beyond their public personas, portraying moments of camaraderie and dignity amidst an era marked by racial discrimination.
The exhibition draws heavily on the personal collection of Davis, supplemented by items from graphic novelist Chris Ware’s archive, alongside rare pieces from the Morgan’s holdings. Efforts to locate original ragtime manuscripts led curators to connect with Joplin’s descendants in Texarkana, Texas, adding a living dimension to the historical narrative.
As ragtime moved from Black communities into mainstream white audiences, it became commercialized, largely through sheet music sales. This shift raises ongoing questions about artistic authorship, cultural consumption, and the legacy of Black creators in American music history.
“Ragtime is atmospheric,” McClellan remarked. “It’s all around us, but we don’t know, we don’t see it.” The exhibition invites visitors to confront the complexities of ragtime’s past, while illuminating its enduring influence on the fabric of American culture.