Cultural Controversy
Much controversy surrounds this opera regarding its portrayal of early African-American culture. According to Pollack some critics and performers have taken issue with Heyward's use of a Gullah dialect in the libretto. Some have also criticized the characters themselves as being outmoded stereotypes of the early African American: poor, immoral, and prone to drug use and violence. Still others criticize Gershwin himself for exploiting the musical heritage of an oft over-looked and degraded culture, viz., the Gullah.
Despite the original all black cast being quite pleased with Gershwin and proud in premiering the work (Pollack, 597), more criticisms arose when the opera was adapted to screen in 1959. Sidney Poitier, in the role of Porgy, "thought the story offensive," as did his co-stars. Yet such sentiments were not held by everyone in the film production, like Sammy Davis Jr., who "actively campaigned for the role of Sportin' Life" (Pollack, 650).
It is possible to draw the conclusion that, as the African-American experience has changed in America, so has the reaction to Porgy and Bess. The opera's premiere occurred at a time when black culture in America was not even at the forefront of the public consciousness. It is perhaps also conceivable that, at the time, the opera brought attention and relevance to a class of Americans that was considered anything but. It is also not hard to see why the film, a diluted version of an opera based on a book, premiering in 1959 as it did, right on the cusp of the civil rights movement in America, could be so vilified by the African-American community at the time. (Perhaps these adaptations had missed the mark entirely.)
The simple truth is that controversy still surrounds this opera, and it may continue to surround it for quite some time. Much discourse extolling the opera's merits criticizing its faults exists, yet their investigation is beyond the scope of this website. I raise the question simply to not only illustrate yet another impact the opera has had on society, but also to offer a simple suggestion: in order for one to truly understand the musical evolution of Porgy and Bess, one must also view it through the lens of cultural evolution.
Despite the original all black cast being quite pleased with Gershwin and proud in premiering the work (Pollack, 597), more criticisms arose when the opera was adapted to screen in 1959. Sidney Poitier, in the role of Porgy, "thought the story offensive," as did his co-stars. Yet such sentiments were not held by everyone in the film production, like Sammy Davis Jr., who "actively campaigned for the role of Sportin' Life" (Pollack, 650).
It is possible to draw the conclusion that, as the African-American experience has changed in America, so has the reaction to Porgy and Bess. The opera's premiere occurred at a time when black culture in America was not even at the forefront of the public consciousness. It is perhaps also conceivable that, at the time, the opera brought attention and relevance to a class of Americans that was considered anything but. It is also not hard to see why the film, a diluted version of an opera based on a book, premiering in 1959 as it did, right on the cusp of the civil rights movement in America, could be so vilified by the African-American community at the time. (Perhaps these adaptations had missed the mark entirely.)
The simple truth is that controversy still surrounds this opera, and it may continue to surround it for quite some time. Much discourse extolling the opera's merits criticizing its faults exists, yet their investigation is beyond the scope of this website. I raise the question simply to not only illustrate yet another impact the opera has had on society, but also to offer a simple suggestion: in order for one to truly understand the musical evolution of Porgy and Bess, one must also view it through the lens of cultural evolution.