Slave songs – understood here as songs, dances, movements, and genres developed by the enslaved – profoundly marked the history of conflict and cultural dialogue in slave and post-slavery societies across the Americas. This chapter investigates belle époque slave song performance by focusing on two Black musicians, Eduardo das Neves (1874–1919) and Bert Williams (1874–1922). Their stories demonstrate that the musical field occupied a fundamental space within the politics of Afro-descendant representation, exclusion, and incorporation (real or imagined). Representations of Black people and the meanings attributed to their music could shore up the racial inequalities that reproduced themselves after the end of slavery, but they could also subversively amplify Black struggles for equality and cultural recognition.

Slave songs – understood here as songs, dances, movements, and genres developed by the enslaved – profoundly marked the history of conflict and cultural dialogue in slave and post-slavery societies across the Americas. This chapter investigates belle époque slave song performance by focusing on two Black musicians, Eduardo das Neves (1874–1919) and Bert Williams (1874–1922). Their stories demonstrate that the musical field occupied a fundamental space within the politics of Afro-descendant representation, exclusion, and incorporation (real or imagined). Representations of Black people and the meanings attributed to their music could shore up the racial inequalities that reproduced themselves after the end of slavery, but they could also subversively amplify Black struggles for equality and cultural recognition.