Diamonds in the Shadow: Hidden Treasures from the 1930s-1970s-African American Female Guitarists in the Blues

Culturally, African American females are recognized as vocalists in American music but are routinely overlooked as guitarists. Writers and scholars of the blues generally ignore African American female guitarists’ creative and innovative contributions to this genre of music. This thesis documents the exploration of African American females playing guitar to define their musical roles in American society. Racial and gender identity, as well as the limitations imposed by the larger society, will be explored through this instrument as an essential element of creative expression. Racism and sexism are two sides of the same coin, rendering their musicianship identities nearly invisible. These musicians must and will use the guitar as a model of self-expression while acknowledging their need to defend their physical and emotional well-being in American society. The guitar is viewed as a culturally white male instrument, and the political ramifications of its use are hyper-visible in this country. This study will examine the issues African American female Blues guitarists faced during the 20th century. The significant Lizzie “Memphis Minnie” Douglas will be spotlighted for her feminist sentiments in her music. Other Blues guitarists will be discussed by their impact on the genre. The fact that Memphis Minnie pioneered being a singer-songwriter and electric guitarist during the early 20th century highlights her relevance to the genre, yet she has rarely been acknowledged. African American female guitarists must provide a glimpse into their musical experiences and how they each approach the traditional confinement to gender stereotypes. Minnie’s songs cement her empowerment as a feminist. Her songs were themes by way of guitar-wielding power. For example, Minnie was a Blues electric guitarist for this genre’s feminism, history and scholarship.