Breaking Down The Legacy Of Race In Traditional Music In America The symbols of America's racist past have been under intense scrutiny since the protests against police brutality erupted nationwide. Now, the traditional music community is having its own reckoning.

Breaking Down The Legacy Of Race In Traditional Music In America

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LEILA FADEL, HOST:

The Confederate flag and other symbols and monuments from this country's racist past have been disappearing from public spaces both by force and legislation. But what about the stereotypes and racist imagery in America's musical legacy? The traditional music community is reckoning with those songs, many of which are kept alive today through festivals and concerts. NPR's Sophia Alvarez Boyd brings us the story of a musician who is leading the effort to confront our musical heritage.

SOPHIA ALVAREZ BOYD, BYLINE: Jake Blount's love for traditional music started with the banjo.

(SOUNDBITE OF MUSIC)

JAKE BLOUNT: The banjo is descended from a number of different African instruments. But when it came to the United States, the first place it found a real home was amongst the slaves in the Chesapeake Bay region, who were my ancestors.

BOYD: And his link between his past and music just kept unfolding, along with the events he saw happening in real time.

BLOUNT: Right after Trayvon Martin was killed, I remember going upstairs into the attic of my grandparents house in Maine and reading through these books of old spirituals and songs, kind of trying to figure out what my ancestors were thinking and feeling and how they would have coped with this sort of violence.

(SOUNDBITE OF SONG, "THE ANGELS DONE BOWED DOWN")

BLOUNT: (Singing) The angels done bowed down. The angels done bowed down.

BOYD: Spirituals like "The Angels Done Bowed Down" became his outlet. Blount is 24 years old, a full-time musician. And he's skilled in playing the banjo and the fiddle. He released his first full-length album this year called "Spider Tales" and The Guardian gave it a five-star review, and the album included the same spiritual that comforted him back in 2012.

(SOUNDBITE OF SONG, "THE ANGELS DONE BOWED DOWN")

BLOUNT: (Singing) His soul went up on a pillar of cloud. And when he moved on, the heavens did bow.

You know, I've been involved in Black Lives Matter and in that work for as long as I've been involved in traditional music, and often have felt that my friends who are also working on that and I were sort of outliers.

BOYD: Traditional music is a broad term for songs that were passed down. The most popular ones, like sea shanties and folk songs, date back to the 19th century. And festivals have been a way to keep them alive. But some of the songs made a Blount feel uncomfortable, like "Turkey In The Straw". White fiddlers in blackface used to play the tune in minstrel shows. And it's been recorded with racist lyrics.

BLOUNT: I know what it makes me feel when I'm at a fiddle festival and I hear someone play "Turkey In The Straw". And when I hear that, I will go up to the person and say, you should stop. But I didn't feel empowered to do that for a very long time.

BOYD: Other songs contain racial slurs or demeaning stereotypes. Some musicians have argued to revise these songs. Others want to stop singing them all together. And that has been an emerging debate over the last couple of years.

UNIDENTIFIED PERSON #1: Hello. Welcome. Hey. Your name, please.

BOYD: I met Jake Blount at the Youth Traditional Song Weekend back in January. It's an event that started seven years ago as a space for younger fans of traditional music. This was Blount's first year, and he was leading three workshops focused on music from the Black community. But he told me when he was first asked to do this, he was hesitant.

BLOUNT: I've always been leery of being, like, the tour guide to Black culture. There are two Black people here, I think. And that, to me, has just always been a difficult thing to think about.

BOYD: Blount is right. Out of almost 200 attendees, there were only two Black people at the festival, and only about five people of color total. But there is a clear commitment to be inclusive. Signs are posted in the dining hall of the festival grounds stating, quote, "consider modifying lyrics. Be aware of sensitive and offensive content." But there are still slip-ups.

UNIDENTIFIED CROWD #1: (Singing) We're homeward bound from the artic ground. Rolling down to old Maui.

UNIDENTIFIED PERSON #2: And now we've anchored in the bay with the Kanakas all around.

BOYD: In one room, people are singing so loudly it can be heard outside. And when someone introduces the beloved sea shanty, "Rolling Down to Old Maui," the room electrifies even more.

UNIDENTIFIED CROWD #1: (Singing) Awaken in the arms of an island maid with a big fat aching head.

BOYD: When the song is over, 13-year-old Nadia Tell interjects.

UNIDENTIFIED PERSON #2: All right. Next up.

NADIA TELL: Hey. Can I make a note? Kanakas is a racial slur. And if it's possible...

UNIDENTIFIED PERSON #2: Oh, is it really? Whoa.

TELL: Yes it is. And if it's possible...

BOYD: The word falls into a gray area. It does mean person in Hawaiian, but white people have used it in the past to insult and demean Pacific Islanders. And so in this case, it's best not to sing that line.

AMANDA WITMAN: Many of the people who I sing with, I suspect they haven't really thought about this before.

BOYD: That's Amanda Witman of Brattleboro, Vt. She is white, as is the group she leads back home that sings mostly in pubs. Witman tells me that her experience discussing race has been limited but that's why she's here.

WITMAN: Racism comes up in songs that have been sung for years and years. And trying to figure out how to have those conversations is really challenging.

BOYD: Jake Blount's approach to this debate isn't about revising the songs. Instead, he sees a larger need to expand the canon of traditional music and teach people about how deep the roots of this music are.

BLOUNT: So the topic of this workshop is the underlying threads that run through much of the Black folk song from the South and elsewhere that describes pieces of our lives that maybe we were not empowered to share openly in regular discussion. Obviously...

BOYD: Each workshop is full. People are sitting on the ground and filling each corner of the room, and Blount is quiet but commanding. He is, after all, teaching songs about some of the most painful parts of Black history to a room of mostly white people.

(SOUNDBITE OF SONG, "DEAD AND GONE")

UNIDENTIFIED SINGERS: (Singing) Dead and gone. Lord, all the friends I had. Dead and gone.

BOYD: The first song Blount introduces is called "Dead And Gone," others call it "Dear And Gone." It's about the grief and loss of slaves, and other Black people who were killed and never found.

BLOUNT: These songs speak to this thing that happened a long time ago. And I think we need to understand them in the context of slavery, in the context of Jim Crow. We also need to understand that there is a reason they still resonate and why there are still Black people out there sending them today.

BOYD: For each song, Blount explains the context and plays a recorded version, then invites the room to learn how to sing it with him. He also leads a conversation on when it's appropriate to sing these songs and when it's not. And this particular song has a powerful effect.

BLOUNT: You felt that one, huh? Oh, I'm sorry. That's a hell of a song. Let's sing it (laughter).

To be in that room, have the song and have there just be several seconds of no one knowing what to say, I didn't want to say anything.

UNIDENTIFIED CROWD #2: (Singing) Dear and gone. Lord, all the friends I had, dear and gone.

BOYD: Six months after the festival, with the conversation around race intensifying in the United States, I spoke with Blount again. He says people are now giving credit to the contributions of the Black community, and that includes traditional music and instruments like the banjo. But looking back, Blount says he still wouldn't have changed anything about those workshops.

BLOUNT: I think they almost became more relevant in that, you know, I was trying to capture these narratives of the darker sides of the African American musical tradition. And right now it's more important than ever that people recognize this didn't come from out of nowhere. And I know that some of the folks who were at those workshops have told me they've been thinking back really hard on those songs, and were I to write up new course descriptions today, I might write up the same ones.

BOYD: Even though festivals have been put on pause due to the pandemic, Blount says he's hopeful that when they do come back they will look and sound a lot different. Sophia Alvarez Boyd, NPR News.

(SOUNDBITE OF SONG, "I WONDER WHERE MY BROTHER GONE")

BLOUNT: (Singing) I wonder, where has my brother gone?

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