Creative resistance is as American as apple pie — especially in Philadelphia

Art matters. And because it does, artists and art institutions have been targets of authoritarian regimes from Red Square to Tiananmen Square. Black Lives Matter Plaza, located near the White House, was removed in March. That same month, President Donald Trump issued an executive order targeting the Smithsonian Institution and interpretive signs at National Park Service sites, including the President’s House.

Paul Robeson, athlete, singer, actor, and human rights activist, lived his final years in West Philadelphia. At a protest rally in London in 1937, Robeson said: “The artist must elect to fight for freedom or for slavery. I have made my choice. I had no alternative.”

With democracy now under assault, “Fall of Freedom,” a national artist-led protest, has issued a call for creative resistance, of actions against authoritarian control and censorship, to take place in venues nationwide beginning Friday.

“Fall of Freedom is an urgent reminder that our stories and our art are not luxuries, but essential tools of resistance,” Pulitzer Prize-winning playwright Lynn Nottage wrote in a statement. “When we gather in theaters and public spaces, we are affirming our humanity and our right to imagine a more just future.”

Creative resistance is as American as apple pie, and this city is, after all, the birthplace of our democracy.

The political cartoon “Join, or Die,” published in 1754 in the Pennsylvania Gazette, became a symbol of the American Revolution and stoked public opinion against Britain.

During his tenure as president of the Pennsylvania Abolition Society, Benjamin Franklin helped distribute Josiah Wedgwood’s anti-slavery medallion “Am I Not a Man and a Brother.” In a letter to Wedgwood, Franklin wrote, “I am persuaded [the medallion] may have an Effect equal to that of the best written Pamphlet in procuring favour to those oppressed people.”

And indeed it did. Wedgwood’s engraving became the iconic image of the anti-slavery movement. It was printed on broadsides, snuffboxes, decorative objects, and household items. Abolitionist art was part of domestic life in Philadelphia.

The American Anti-Slavery Society, whose founding members included Philadelphians James Forten, Lucretia Mott, and Robert Purvis, commissioned a copper token featuring a related “Am I Not a Woman and a Sister” design. Proceeds from the sale of the token were used to fund the abolition movement.

Abolitionists used art to create a visual language of freedom. Artists created illustrations and paintings that showed “how bad slavery was.” There were theatrical performances and public readings of Harriet Beecher Stowe’s Uncle Tom’s Cabin, the best-selling novel of the 19th century.

Robert Douglass Jr. studied at the Pennsylvania Academy of the Fine Arts. He is considered Philadelphia’s first African American photographer. Active with the National Colored Conventions movement, Douglass created a counternarrative to derogatory racial stereotypes. His daguerreotype of Francis “Frank” Johnson, a forefather of jazz, is in the collection of the Historical Society of Pennsylvania.

On the heels of the Jazz Age, a group of religious activists formed the Young People’s Interracial Fellowship in North Philadelphia in 1931. The fellowship brought together Black and white congregations for dialogue, cultural exchange, and joint activism.

In 1941, the organization evolved into Fellowship House, whose mission was to resist racial discrimination through education, cultural programs, and community organizing.

Notable cultural figures who spoke at Fellowship House include Marian Anderson, Dave Brubeck, and Robeson. In April 1945, seven months before the release of the short film The House I Live In, Frank Sinatra, the film’s star, stopped by Fellowship House to speak about the importance of racial tolerance. He told the young people that “disunity only helps the enemy.”

The film’s title song, an anti-racism patriotic anthem, became one of Sinatra’s signature songs.

Abel Meeropol, an educator, poet, and songwriter, composed both the film’s title song, “The House I Live In,” and the anti-lynching poem and song, “Strange Fruit,” which would become inextricably associated with one of Philadelphia’s jazz greats.

Born on April 7, 1915, at Philadelphia General Hospital in West Philly, Billie Holiday, née Eleanora Fagan, is one of the greatest jazz singers of all time.

No artist has met the moment with more courage than Lady Day, whose 1939 recording of “Strange Fruit” was named song of the century by Time magazine in 1999, and was added to the National Recording Registry in 2002.

“Strange Fruit” is a timeless and empowering act of creative resistance.

While Holiday is sui generis, jazz musicians were the vanguard of the civil rights movement.

At so-called black and tan clubs like the Down Beat and the Blue Note, Black and white people intermingled on an equal basis for the first time.

Jazz clubs were constantly harassed by Philadelphia police led by vice squad Capt. Clarence Ferguson and his protégé, Inspector Frank Rizzo. The nightspots became battlegrounds in the struggle for racial justice. Jazz musicians’ unbowed demeanor fashioned a new racial identity.

In remarks to the 1964 Berlin Jazz Festival, the Rev. Dr. Martin Luther King Jr. riffed on the importance of jazz and the jazz culture. He observed: “It is no wonder that so much of the search for identity among American Negroes was championed by jazz musicians. Long before the modern essayists and scholars wrote of racial identity as a problem for a multiracial world, musicians were returning to their roots to affirm that which was stirring within their souls.”

“Much of the power of our Freedom Movement in the United States has come from this music,” he added. “It has strengthened us with its sweet rhythms when courage began to fail. It has calmed us with its rich harmonies when spirits were down.”

At a time when our constitutional rights are being trampled and American history is being whitewashed, I am answering “Fall of Freedom’s” call — as a cultural worker and as a Philadelphian.

Under the “Fall of Freedom” banner, and in collaboration with Scribe Video Center, I will lead a walking tour of Holiday’s Philadelphia.

We will trace her footsteps through Center City and South Philly. We will visit the clubs where she sang, the hotels where she stayed, and the site of the jazz club immortalized in the Tony Award–winning play Lady Day at Emerson’s Bar and Grill. Along the way, we will also highlight places connected to Robeson.

Courage is contagious. When we gather on South Broad, we are the resistance.

Faye Anderson is the founder and director of All That Philly Jazz, a place-based public history project. She can be contacted at phillyjazzapp@gmail.com.