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There are experiences that are not for everyone. very unique to African American experience, but using
How do you make those decisions and how do one’s faith to persevere over adversity is humanly uni-
you discuss them with your choir? versal. I challenge singers of different backgrounds to
make human connections to those themes in the music
Dilworth: That’s a good point. I think you have to as they begin to develop this code of respect in their
know and begin to do your research to understand approach to the music.
what experiences are appropriate for your choir based
on identity. For example, we know that in Native Amer- Lloyd: From the perspective of a white choir direc-
ican culture there are certain pieces that should not be tor introducing the Spirituals to predominantly white
done outside [the Native American community]. I also singers, it’s important to look closely at the history of
get this question a lot about African American music, slavery out of which the Spirituals emerged. And part
in particular about African American spirituals and of that examination should reveal to us that slavery
gospel music, which of course is rooted in the African was based on the premise that black people and white
American experience. people do not share a common humanity. Black people
And while there are very culturally specific ideas were less than human. The whole premise of Ameri-
espoused in this music, they’re also humanly univer- can chattel slavery was based on that belief. If we later
sal ideas that are respected widely. That’s how I create say that we shouldn’t approach this music to perform
the rationale for choirs of all backgrounds. Slavery is because it doesn’t speak to our experience, aren’t we

2022 ACDA Eastern Conference (L to R): Rollo Dilworth, Diana Saez, J. Donald Dumpson, Nick Page (community sing song leader),
Julia Zavadsky, Soyeon Bin (collaborative pianist), Wendy Moy, Michael Bussewitz-Quarm

CHORAL JOURNAL October 2023 Volume 64 Number 3 59