Lift Every Voice

I think too many folks learn lessons about artistic expression either online, from television, or in other media. Maybe they aren’t even aware of their learned biases toward perfectionism and materialism. I am a singer. As a concert soprano soloist, studio vocalist for film and television, and professional ensemble singer, I have sung throughout the United States, and in parts of Europe, Australia, and New Zealand. I’ve sung background vocals for various artists including the Rolling Stones, Andrea Bocelli, Barry Manilow, and have also worked as a singer and pianist on the hit Fox Television series Glee.

But my most important singing is the singing I do at home when I have a jam session with my kids – I’m teaching them how to be expressive without being judged. Or perhaps my most important singing happens in church – I use my voice as channel for healing and wholeness with the spiritual power within and around us.

Either way, my voice has worth not because I get paid to use it, not because it is beautiful or skillful, but because it is unique and has the power to touch hearts and minds. The truth is that everyone has this power, even folks who claim they can’t sing. What if we broadened our definition of “singing?” Can all of our words and sounds be melodic, rhythmic, dynamic? Can our words harmonize and create counterpoint with the words of our neighbors?

What if we learned to acknowledge and use the power of our own ordinary every-day voices, our statements and questions imbued with the energy of singing? How amazing it would be if we used this power in other disciplines and environments so our unique song may be sung boldly for the good of the community. Can we do a better job of recognizing and cultivating the relevance and power of everyday singers? What if our communities acknowledged and harnessed the transformative power of collective artistic expression; what if everyday folks starting “singing” their song?

I recall that the Civil Rights Movement of the 50’s and 60’s was strengthened by some of the most gravitational and inspirational songs ever sung, becoming a galvanizing force behind change. In my work as a musical artist, I am dedicated to uplifting individuals, organizations, and programs that inspire and facilitate the spiritual, cultural, intellectual, and artistic enrichment of our community. With this enrichment, can we figure out how to lift every voice and find ways to change things for the better? I think we can.

Featured image by Alexander Wallnöfer / FreeImages.com

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Identity Stream of Consciousness

I identify myself as American, African-American, Black;

a musician, minister, singer, conductor, composer, teacher, coach;

a wife, mother, sister, auntie, cousin, friend, colleague;

a choir nerd, a Gemini, social activist, feminist, liberal who loves tradition.

I am both vulnerable and strong.

I’m a woman, human, heterosexual with many well-beloved homosexual friends and colleagues;

an Episcopalian, Unitarian, Baptist. I identify myself as a Christian.

I am a resonant witness to the healing, unifying power of music.

I am a high-energy instructor with a methodical approach to music teaching that incorporates improvisation and critical thinking.

I am a professional – both leader and servant.

I have become what I have wanted to be since I was seven years old: a Doctor of Musical Arts.

I am courageous.

But in saying I am courageous, I am admitting I am also fearful. I am OK with that because my courage keeps me from being hateful, sarcastic, and
apathetic.

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Samuel Coleridge-Taylor

African British composer, conductor, and teacher Samuel Coleridge-Taylor (1875-1912) was affectionately referred to in his time as the African “Mahler.” His most popular work, Hiawatha’s Wedding Feast for soli, chorus and orchestra (listen below), is a shining example of his command of musical form, texture, harmony, and orchestration, which resulted in overnight fame and respect among colleagues that few men of color could have hoped to enjoy in the early twentieth century.

After his “Hiawatha,” Coleridge-Taylor’s most well known works are his 24 Negro Melodies; his Ballade in A minor; his Symphony in A major; African Dances for violin and orchestra; and a host of chamber music — his compositional output is substantial and varied. A review of the comprehensive works list compiled by famed scholar Dominique-René de Lerma reveals that Coleridge-Taylor also wrote at least 95 songs for solo voice and piano.

Because of his incredible success in a field dominated by white males at a time when racism in America was peaking, Coleridge-Taylor’s influence on African-American artists and intellectuals was powerful and far-reaching. For this reason, many consider Coleridge-Taylor to be the father of African-American art song. His legacy still leads and inspires the American musical community, just as he did a century ago.

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First Street Symphony Performance

I had an opportunity to sing for a very special audience on October
10, 2015. I had never been inside a prison facility before, and I
figured this a fitting Street Symphony experience, which could aid me
in my personal preparation for the Messiah Project. We, the Street
Symphony Chamber Singers, sang Durufle, Palestrina, Moses Hogan. But
the magic truly began when the inmates sang to US. First, I taught
them a little canon I wrote called “Umoja,” the first principle of
Kwanzaa meaning “unity.” We all sang it together, joining our voices
to voices of the incarcerated women. And when we had finish and they
had heartily thanked us, the women then asked if they could sing a
song for us. They harmonized and swayed in rhythm and sang fervently,
freely. In that moment, they gave us a most precious gift: their own
hearts through music. In sharing their music with us, they showed us
were all the same and that we all have the same power to use music as
a vehicle for building relationships. And I was humbled.

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On Kwanzaa

As an African American who went to CSULB, taking Black Studies classes while Dr. Maulana Karenga was still chair of the department, I have an ocean depth of respect for Dr. Karenga, creator of Kwanzaa. I have such respect for the precious principles that Kwanzaa embodies.

Some say you should not mix the Kwanzaa holiday or its symbols, values and practice with any other culture, as this would violate the principle of Kujichagulia (Self-Determination) and thus violate the integrity of the holiday. But I believe the integrity of this complex and sacred holiday is in perpetual jeopardy so long as individuals seek to prevent it from ever taking on the extraordinarily meaningful existence it could have if it were integrated into “the world.” I love Kwanzaa. On several occasions, I have performed two choral works I composed called “Umoja” and Kujichagulia” based on the principles of Kwanzaa (I’m planning to finish the set one day). I’ve loved these pieces, and so have the singers that sang them. Through these works, I believe singers and audience feel more personally connected to the spirit of the holiday, and therefore the holiday is more sincerely admired and cherished – this is important to me. Also, Kwanzaa principles are valuable to remember year-round, which makes Kwanzaa music potentially viable for year-round performances at concerts, festivals, sacred services, conferences, etc.

Through music, Kwanzaa could teach so much to our children and to our audiences in general. But Kwanzaa seems so stuck in an intellectual wasteland, guarded by a small number of folk who refuse to let it have a life of it’s own. Let it be integrated into the real world where Christmas and Hanukkah and other winter celebrations enrich many lives as they exist simultaneously. These holidays bring us closer together and make us appreciate each other more – who wouldn’t want that? Without cultural expressions of Kwanzaa through music and art, in conjunction with other winter celebrations, through performances and media that can reach into schools and churches and concert halls and homes, in my opinion this precious holiday remains impotent with its principles unappreciated and unknown.

This post was originally published on ChoralNet, the online bulletin board system for the American Choral Directors Association. Thanks to ACDA for their help in retrieving the post for this blog.

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