Sankofa: African American Music Education

By Marvelene C. Moore

Sankofa is an intriguing African symbol that has implications for African American music education. It is derived from the Twi and Fante language of the Akan tribe in West Africa. Sa means returning, ko – go and fa – look, seek, take. When adapted, translated, and applied to music education of African Americans, it requires looking back in time to identify and document inequities and advancements in order to create a more equitable music education for African Americans, now and in the future. In this Special Issue of the Journal of Historical Research in Music Education articles focus on music education during the twentieth century, particularly from the years leading up to the Civil Rights Movement (1954–1968) to the end of the century. Authors provide a “look back” at the historical and cultural context of African American music education. They 1) present a historical narrative of African American professional musicians who created methods for teaching music, 2) provide insight on the fallacy of “separate but equal” treatment of African American music education, 3) chronicle the contribution of highly decorated and honored African American music educators, and 4) document the beginnings and growth of an African American music education organization.

In the twentieth century, the doctrine of “Separate but Equal” was the prevailing practice, particularly in the South. In the article, “High School Bands in Jackson, Mississippi Before and After Integration,” Ollie Liddell details the litigation that was enacted to maintain segregation and its effects on the African American high school band programs in Mississippi. Tzefira Jones and Elizabeth Chappell focus on string programs in Texas during segregation in their article, “Fracturing the Black Nucleus: Reflections on School Desegregation in Texas Through the Lens of Black Orchestra Students.” The authors describe how segregation denied African American string students in Texas Schools the opportunity to participate in string ensemble competitions at the state level. The article on Charles Gabriel, “Music Learning as Life in an African American Family: The Story of Charlie Gabriel in New Orleans,” by Jackie Wiggins and Taslimah Bey, describes the early music education of Mr. Gabriel, his mentorship of students, and the creation of his method of music instruction. Shawn Royer, in her article, “David Baker: The Nexus of Jazz Curriculum and the Civil Rights Movement at Indiana University,” documents the development of the jazz curriculum at Indiana University under the leadership of David Baker during the height of the Civil Rights Movement. Claire Milburn examines, “The Development of Marching Band Traditions at Historically Black Colleges and Universities: The Human Jukebox versus the Sonic Boom of the South,” describing in detail the rivalry of two African American university bands as they display their distinct performing styles.

African Americans continued their journey teaching and learning music by establishing festivals and creating national fora that promoted higher quality music teacher education programs and provided opportunities for performances at all levels. Among these was the National Black Music Caucus (1972), currently the National Association for the Study and Performance of African American Music. The National Black Music Caucus had a challenging beginning as described by Loneka Wilkinson Battiste, William T. McDaniel and Rosita M. Sands in their article, “The Radical Origins and Mission of the National Black Music Caucus: The First Twenty-Five-Years-1972-1997,” but evolved into a successful and reputable African American music education organization. Roy Legette chronicles the life and contributions of Mary Frances Early, an outstanding music supervisor and educator in the state of Georgia, in his article, “Here Am I, Send Me: The Life, Career and Legacy of Mary Frances Early.”

All authors agree that in order to accurately record and safeguard the history of African American music education, it is necessary to conduct and document additional research to uncover further advancements in the field and to preserve its rich legacy and place in American music education.

Special issue details

Special Issue: Sankofa: African American Music Education
Guest Editor: Marvelene C. Moore
Volume 43 Issue 2, April 2022
Journal of Historical Research in Music Education

About the Author

Featured

Marvelene C. Moore is Professor Emerita in the School of Music, University of Tennessee, where she held the James A. Cox Endowed Chair. She is a Lowell Mason Fellow of the National Association for Music Education, recipient of the Dr. Martin Luther King Jr., Achievement Award from the Knoxville, Tennessee Martin Luther King, Jr. Commission, University of Michigan Alumni Hall of Fame Award, and the University of Tennessee Educators Hall of Honor Award. She has presented sessions on music teaching and methodology in 44 of the United States and internationally. Her publications include edited books: Critical Essays in Music Education (2012) and Kaleidoscope of Cultures (2010); book chapters in: Traditional Musics in the Modern World (2018); The Oxford Handbook of Children’s Musical Culture (2013); and Pearson music textbook publications of Making Music, K-8 (2008).