Black History Month is on the horizon, and with it many music lessons and performances aimed and celebrating and honoring the occasion. Integral to our mission at DTMR is centering voices within marginalized cultures as we make choices about our classroom practices. As a Black woman, I often see missteps in how Black History Month lessons and programs are executed- from a narrow focus on slavery and the Civil Rights movement year after year to a preference for music from white artists written about Black people or in the style of Black music, rather music created by actual Black people. This month I took some time to speak about Black History Month with five peers whose lived experiences inform their approach, and asked them to share tips for observance of the celebration from a position of both culture bearer and music educator.

Kelley Glover
Round Rock, TX

Elementary general music teacher; CEO and creator of U BETTER Sing! Cartoon and game app. Music Clinician and Consultant for school districts, professional speaker

www.ubettersing.com

Franklin J. Willis
Nashville, TN

Elementary Music Coach with Metro Nashville Public Schools, Artistic Director for The Voices of Vision Children’s Choir, Curriculum Writer, Professional Development Presenter

www.fwillismusic.com

Colton Blake
Fort Worth, TX 

Founder and president of We Speak Life, Inc., Secondary Choral Consultant and Content Developer

coltonblake08@gmail.com 

Geno Young
Dallas, Texas

Choral Music Educator, Consultant, Composer, Recording Artist, Musical Director

Coty Raven Morris
East Lansing, Michigan

Michigan State University Community Music School - Outreach Choir Director, Choral Consultant and Content Developer, Professional Development Presenter 
www.cotyravenmorris.com 
www.beinghumantogether.net

1) Do you think Black History Month programs and instruction are important in music education? Why or why not? 

Kelley: I believe Black History Month programs are important in music education because most forms of American music were created from the African American experience. When done well, Black History Month programs educate everyone about Black History, and therefore American and African/Afro-Latino history.

Franklin: Yes, I believe that Black History Month programs are important in music education. African Americans have and continue to make important contributions to America and even the world, specifically with the roots of American music coming from African American music tradition. Black history should be celebrated and studied in music classes throughout the country. In some music education circles, there is a tendency to dismiss, neglect, and ignore the impact of African American musical contributions. All students should have the opportunity to learn about Black history in music class.

Colton: I absolutely believe that Black History Month programs are important in music education. A vast majority of the rhythms, sounds, and dances of today’s contemporary culture are rooted in African and African American heritage and tradition. As music educators, we have the unique opportunity to explore, honor, and rightfully credit these roots in a way that not only celebrates, but educates our classrooms, campuses, and communities about these often underspoken and overlooked contributions.  

Geno: Indeed the continued study of Black History including Black History programs are important in music education. American culture (past and present) owes a debt to African, Afro-Caribbean and African American music for its artistic influence and contributions to American culture. 

Coty: I think they are not only necessary, but essential to any school. BHM programs highlight the the ugly and beautiful backbone of our nation. I hope for a day where BHM programs are a common practice throughout the “Western” world and beyond.  

2) What are the most problematic things you see in the execution of Black History Month programs and instruction?

Kelley: The most problematic thing I see is that most programs are just about North American slavery and the Civil Rights Movement. I have rarely seen anything that addresses Black history before the West African slave trade. I think it’s important for people to know about great African kingdoms and to know that Ancient Egyptians were Black and contributed to the cultures (and artistic cultures) of Greece and later Spain with the Moors. 

Franklin: The most problematic things in the execution of Black History Month programs is the lack of research on Black History and the pretentious attitudes toward producing a program. Every February we hear in the news cycles of teachers having students reenact slave trade auctions. A simple google search of “students reenacted slavery” landed several news articles and videos of this assignment from teachers. (See this link for an example https://www.cnn.com/2019/05/30/us/ny-school-mock-slave-auction-trnd/index.html)   African American slave history is not the only Black history. Black history is wide, rich and deep. Music teachers, don’t feel that you have to create the program by yourself. Don’t fall into the trap of doing what you have always done, simply because that’s what you always have done. Use your resources to plan an engaging and educational Black History Month Program. Resources can be colleagues, parents, curricula, Facebook groups, libraries, etc.. However, think before you ask. Be intentional.

Colton: One of the most problematic things I see in the execution of Black History Month programs and instruction is the emphasis on music that highlights the African/African American experience solely during slavery. There’s such a rich history and continuation of music that captures the royalty, deeply-rooted heritage, and ever-inspiring brilliance of the African/African American experience that often goes ignored because we’re not willing to take the extra step to go beyond what’s currently being (and always has been) done, to research and discover all that is beneath the surface. There are so many resources that are readily and easily accessible that dissolve the excuse for not programming music beyond what we know. Go for it!

Another problematic thing that I’d like to highlight is the lack of fine detail and commitment to excellence in preparing for and performing Black History Month programs versus other concerts and programs that are hosted throughout the year. Black History programs have to be more than a “checkbox” program. The history and culture of the music requires, demands, and deserves to be prepared, performed, and presented in a way that authentically honors and celebrates its legacy and relevance. 

Geno: One of the most problematic things that I have personally witnessed is relegating the study of Black history and African-American musical culture to the month of February only. The lack of holistic, comprehensive study of Black history in all areas of students' curriculum can lead to an undue burden for skilled music educators and their Black History Month programs to be the sole arbiter of all things Black history, with little or no support or connection to the greater need for the study of Black history. I’m submitting that it is problematic for music educators to be the only educators that feel this study is important.

Coty:  One problematic area is that a BHM concert is often a “checkbox program”. "Here’s some negro spirituals," "Here’s 'Lift Every Voice and Sing,'" and "Here’s some other little ditties," given to you with absolutely no context. If educators are taking the time to create these programs, I challenge them to invest the same amount of time that they would use researching the common practices of polyphony in Palestrina’s works… in the history of Black culture and music. There is also the lack of follow through. Prior to these performances, I’ve noticed that the issues and knowledge that is often acquired during BHM preparation was never addressed and will not be addressed again after the performance.  

3) What can music teachers do to better teach, celebrate, and make music from Black history?

Kelley: Do thoughtful research and trace the roots of American music, Latinx music (Brazilian music and dance forms like, capoeira, Cuban music, etc.) to Africa, and even show pictures of Ancient Black Egyptians playing various instruments that you still see today in different parts of the world. 

Franklin: What can music teachers do? Acknowledge that African American music exists and that it is worthy of study and not just performance. They can create safe spaces in their classrooms where students feel encouraged to ask questions and learn more about Black history. Music teachers can begin to widen their perspective on the multiple possibilities of music education through the impact of African American music. Music for African Americans has always been our refuge. From creating drums and dancing on foreign land after being taken captive from our native land, to birthing slave songs which we now call spirituals out of the most dire, unimaginable, horrific circumstances. Or the fact that African Americans have created some of the most popular music in the world, from our lived experiences. Country, blues, jazz, gospel, and even hip hop were all created through adversity, yet have so much MAGIC. 

Colton: The biggest thing that music teachers can do to better teach, celebrate, and make music from Black history is to teach, celebrate, and make it before and beyond the short 28/29 days of February. There are so many African American composers that have written and are continuing to write music that honors the African/African American experience across a vast array of musical genres. Research them, study them, and program them throughout the year.  

Geno: Continued research, collaboration and study with trusted sources, sites and scholars. I also believe that music teachers can use Black history as a way to engage other (on-campus) colleagues to collaborate and share in the acknowledgement, importance and purpose of Black history and culture, specifically musical and artistic contributions.

Coty: Just as Christmas is a celebration of a belief that people carry all year round, I believe BHM in February should be treated the same way. How can educators facilitate this? Teach the music of Black composers, celebrate the successes of people of color and discuss the cultural climate of the times in class and how they can resonate with that in give repertoire.

4) Is there anything else you think is important for the music education community to know about this subject?

Kelley: I think tying in dance and music is important as well so that children can see how games like Fortnite use African and African American social dances. Black culture is EVERYWHERE! 

Franklin: At the end of the day, don’t do a Black History Month program to just check off a box. Be intentional about your themes, songs, poems, monologues, choreography. Everything works together. The school audience should leave the program educated, not only entertained. For our African American students this may be the only time that they see themselves in the curriculum throughout the entire school year. However, this is an opportune time to teach all students about the significance of Black history. Black history is American history.

Colton: Connect, converse, and collaborate. As you continue to do your own diligence in researching and studying Black history, continue sharing and learning from others as well. We owe it to the students we teach and the communities we serve to make sure we study, educate, honor, and celebrate Black history--music’s history. 

Coty: Starting these conversations with colleagues and students may be difficult if you are not used to doing it. Not every student or peer of color desires to be the spokesperson on these topics. Black history goes beyond the pain of slavery and generational trauma is real. Have conversations that stimulate the mind while being respectful of boundaries. If you feel that the person you are consulting doesn’t wish to continue down that train of thought, perhaps they can assist with finding others or resources. 

In my own lessons and performances I prefer extending beyond the U.S. and adding information about various music throughout the African diaspora to show the connectedness that different Black cultures have in their African roots. This also provides an opportunity to talk to my students about enslavement in the Americas and the legacy that we are still grappling with in 2020- that of stark racial inequity that must be fought, and of the beauty in the Black American cultures that have flowered in spite of the horrors of chattel slavery. 

Specifically affirming African American identity, culture, and influence is still very important, because in the U.S. influences of Black culture have often been separated from Blackness, sometimes through complete co-opting, sometimes through segregation and apartheid conditions that locked Black people out of mainstream musical production of forms they helped create. These influences were made to represent broader American culture, one that is coded white (for examples, look into the history of country and rock and roll).

Educators, take the time to dig deeper and build the necessary connections with Black communities to best honor this month. Step away from the parts of the Black experience we have been repeatedly shown and aim to represent a more holistic view of our history.