A Diverse Kuumba Debates Identity

During the past decade, the Harvard-Radcliffe Kuumba Singers has swelled in membership--from about 60 participants in 1990 to nearly 120 today.

With this growth has come an increase in the group's non-black membership, and this change has raised larger questions about the meaning of a cultural organization.

In a discussion over the group's open e-mail list last week--and a closed forum held this weekend--some members questioned if this demographic shift had compromised the group's ability to fulfill its constitutionally-stated mission to "share and explore the full wealth of the musical culture of Black people."

These issues, said several members of the group interviewed by The Crimson last week, have been the source of underlying tensions, as some feel torn between their love of their fellow choir members and their perceptions of Kuumba's mission.

In an e-mail titled "KUUMBACIDE??," posted last Wednesday, one Kuumba participant asked the choir's members to reexamine their commitment to gospel's history and power and questioned the effects of the changing demographics of the choir.

"Understand that when we stand before Christians and sing to Christ with an air of apathy, we could be interpreted as not taking Christianity seriously," read the e-mail, which was provided to The Crimson by a member of the group. "Understand that when we go before a black church or a black elementary school and say we're about to sing gospel with nearly half our members white, we immediately bear the burden of proof."

The e-mail concluded by requesting that members "take seriously the challenge to represent the black musical tradition AS SUCH at the concert on Saturday. Make it your priority to show that you have rhythm, that you have soul, that you have spirit, that you love one another, that Kuumba is your family."

Last week, while quick to say that all shouldfeel welcome in Kuumba, some members echoed theconcerns raised in "Kuumbacide" and said that theyfelt that Kuumba is not the haven for blackstudents that it was intended to be.

"We are sharing a Christian tradition togetherand that is a beautiful thing," a different Kuumbamember wrote Thursday in an e-mail the writer saidwas intended to explain the perspective of the"Kuumbacide" author. "Can we all honestly saywe're sharing a Black tradition together?"

"The pain comes not just from white people notswaying right, it comes from the fact that we aresharing a multicultural experience, not a Blackone like we're supposed to," read the Thursdaye-mail, which was also provided to The Crimson bya member of the group.

The Evolution of a Mission

The Kuumba Singers, formed in 1970 as theHarvard-Radcliffe Gospel Choir, "was a product ofthe times, of the turbulent sixties and seventies,of the search and struggle for a collectiveAfrican American self," wrote Kenneth S. Ingraham'74 in the choir's 25-year anniversary booklet.

"Alienation was pervasive," said ensembledirector Robert Winfrey in a February interview."[Members] gathered in a small dormitory room, andthey addressed that hurt through musicalexpression."

Winfrey, who has worked with the group for thepast 25 years, said non-black students began tojoin Kuumba in the early '80s.

Since then, "the doors have swung open withwelcome hinges--where everyone can share theKuumba experience," he said.

The group now includes many non-blacks amongits performers, although the majority of the choiris still black.

Winfrey said he loves the fact that students ofdifferent backgrounds come together "spreading amessage of love and peace" through Kuumba, and isproud that his choir "represents the best ofHarvard."

But some Kuumba members have voiced views thatdiffer from Winfrey's all-inclusive stance,although no student has explicitly suggestedlimiting the number of non-blacks in the group.

"I don't mean to make ANYONE feel unwelcome,"read "Kuumbacide."

The Current Debate

Most of last week's two-dozen-messageinterchange over the open e-mail list--which has242 subscribers--expressed disagreement, surpriseand concern with the "Kuumbacide" e-mail.

The original author offered a revision later inthe week, apologizing for what the author calledan unwittingly critical tone, but still callingfor a reexamination of the "`changing face' ofKuumba."

Another group member who posted to the list,Megan K. Whyte '01, said in an interview Fridaythat she believes the group's performance cantranscend audience's prejudgments about amulticultural gospel choir and its investment tothe music and its history.

In a recent concert in an African-Americanchurch, "we proved ourselves through the music--wesing it the way it's supposed to be sung," Whytesaid. "The [audience's skeptical] attitude isprobably there, but we can prove them wrong.Still, some people don't want to have to provethem wrong--which is fair."

Some members, in posted e-mail messages, saidthey were hurt to hear that others believednon-black membership in Kuumba might compromisethe group's image to audiences and potential blackmembers.

In a message to the list, Whyte said she felt"no longer appreciated and wanted."

Since her e-mail posting, however, Whyte saidshe has received warm support from members of thegroup.

Rehearsals continue for Kuumba'sconcert--scheduled for this Saturday in SandersTheatre--and, according to Kuumba PresidentPhillip A. Goff '99, the group is praying togetherfor healing and unity.

Larger Issues of Identity

And the debate continues, raising questions ofracial authenticity: Who can participate in aritual to create an "authentic" black experience?

"When we roll up in a church we should not beconcerned with whether or not we look `Black'enough," wrote Sheldon K. X. Reid '96, who is aKuumba member and a student at the Graduate Schoolof Education. "If we are true to the meaning andthe spirit of the music then we ARE Blackenough...Yes, as the racial and culturalcomposition of a group changes, the focus of itsexpression may shift. But let us remember that weare all 'students of life,' and that skin-colorneither inherently implies an understanding ofhistory or culture, nor a lack thereof."

The notion of cultural identity is more complexthan just black and white, he wrote.

"Our problem is not one of race, it is one ofculture. The concept of race is deceptive in thatit encourages people to form and rely upon falseidentities," Reid wrote. "In many ways AmericanBlacks have more in common with American whites,than with Africans or Afro-Caribbeans. Racialconstructs have real effects, and so must be givenconsideration; but we should not allow them tocloud our perception of `reality.' And the realityis that we are all in the midst of personalbattles with `identity."

A serious commitment to learning about blackmusic and culture, Reid believes, ought to be themost important attribute of a Kuumba member.

"Kuumba should focus on the expression of theBlack musical and spiritual tradition upon whichit was founded, and each and every Kuumbabe shouldtake it upon themselves to learn about andcultivate a respect for this tradition," Reidwrote. "Being Black is not enough. Being Christianis not enough. Being interested andcommitted--that is enough."

While the group extended the e-mail discussionin a members-only forum Saturday, some in thechoir said they are still confused by the opinionsof their peers.

"I would assume that we would have to continuethe debate because nothing was resolved and itdefeats the purpose if it isn't," said Anna B.Benvenutti '00 in an interview yesterday.

Considering themselves "a family," many Kuumbamembers did not wish to comment on the debate toThe Crimson, and said they did not want the publicto perceive the discussion as a fight--because itisn't, they said.

"Kuumba is an incredible organization, withpeople who really do care about each other,"Benvenutti said

Last week, while quick to say that all shouldfeel welcome in Kuumba, some members echoed theconcerns raised in "Kuumbacide" and said that theyfelt that Kuumba is not the haven for blackstudents that it was intended to be.

"We are sharing a Christian tradition togetherand that is a beautiful thing," a different Kuumbamember wrote Thursday in an e-mail the writer saidwas intended to explain the perspective of the"Kuumbacide" author. "Can we all honestly saywe're sharing a Black tradition together?"

"The pain comes not just from white people notswaying right, it comes from the fact that we aresharing a multicultural experience, not a Blackone like we're supposed to," read the Thursdaye-mail, which was also provided to The Crimson bya member of the group.

The Evolution of a Mission

The Kuumba Singers, formed in 1970 as theHarvard-Radcliffe Gospel Choir, "was a product ofthe times, of the turbulent sixties and seventies,of the search and struggle for a collectiveAfrican American self," wrote Kenneth S. Ingraham'74 in the choir's 25-year anniversary booklet.

"Alienation was pervasive," said ensembledirector Robert Winfrey in a February interview."[Members] gathered in a small dormitory room, andthey addressed that hurt through musicalexpression."

Winfrey, who has worked with the group for thepast 25 years, said non-black students began tojoin Kuumba in the early '80s.

Since then, "the doors have swung open withwelcome hinges--where everyone can share theKuumba experience," he said.

The group now includes many non-blacks amongits performers, although the majority of the choiris still black.

Winfrey said he loves the fact that students ofdifferent backgrounds come together "spreading amessage of love and peace" through Kuumba, and isproud that his choir "represents the best ofHarvard."

But some Kuumba members have voiced views thatdiffer from Winfrey's all-inclusive stance,although no student has explicitly suggestedlimiting the number of non-blacks in the group.

"I don't mean to make ANYONE feel unwelcome,"read "Kuumbacide."

The Current Debate

Most of last week's two-dozen-messageinterchange over the open e-mail list--which has242 subscribers--expressed disagreement, surpriseand concern with the "Kuumbacide" e-mail.

The original author offered a revision later inthe week, apologizing for what the author calledan unwittingly critical tone, but still callingfor a reexamination of the "`changing face' ofKuumba."

Another group member who posted to the list,Megan K. Whyte '01, said in an interview Fridaythat she believes the group's performance cantranscend audience's prejudgments about amulticultural gospel choir and its investment tothe music and its history.

In a recent concert in an African-Americanchurch, "we proved ourselves through the music--wesing it the way it's supposed to be sung," Whytesaid. "The [audience's skeptical] attitude isprobably there, but we can prove them wrong.Still, some people don't want to have to provethem wrong--which is fair."

Some members, in posted e-mail messages, saidthey were hurt to hear that others believednon-black membership in Kuumba might compromisethe group's image to audiences and potential blackmembers.

In a message to the list, Whyte said she felt"no longer appreciated and wanted."

Since her e-mail posting, however, Whyte saidshe has received warm support from members of thegroup.

Rehearsals continue for Kuumba'sconcert--scheduled for this Saturday in SandersTheatre--and, according to Kuumba PresidentPhillip A. Goff '99, the group is praying togetherfor healing and unity.

Larger Issues of Identity

And the debate continues, raising questions ofracial authenticity: Who can participate in aritual to create an "authentic" black experience?

"When we roll up in a church we should not beconcerned with whether or not we look `Black'enough," wrote Sheldon K. X. Reid '96, who is aKuumba member and a student at the Graduate Schoolof Education. "If we are true to the meaning andthe spirit of the music then we ARE Blackenough...Yes, as the racial and culturalcomposition of a group changes, the focus of itsexpression may shift. But let us remember that weare all 'students of life,' and that skin-colorneither inherently implies an understanding ofhistory or culture, nor a lack thereof."

The notion of cultural identity is more complexthan just black and white, he wrote.

"Our problem is not one of race, it is one ofculture. The concept of race is deceptive in thatit encourages people to form and rely upon falseidentities," Reid wrote. "In many ways AmericanBlacks have more in common with American whites,than with Africans or Afro-Caribbeans. Racialconstructs have real effects, and so must be givenconsideration; but we should not allow them tocloud our perception of `reality.' And the realityis that we are all in the midst of personalbattles with `identity."

A serious commitment to learning about blackmusic and culture, Reid believes, ought to be themost important attribute of a Kuumba member.

"Kuumba should focus on the expression of theBlack musical and spiritual tradition upon whichit was founded, and each and every Kuumbabe shouldtake it upon themselves to learn about andcultivate a respect for this tradition," Reidwrote. "Being Black is not enough. Being Christianis not enough. Being interested andcommitted--that is enough."

While the group extended the e-mail discussionin a members-only forum Saturday, some in thechoir said they are still confused by the opinionsof their peers.

"I would assume that we would have to continuethe debate because nothing was resolved and itdefeats the purpose if it isn't," said Anna B.Benvenutti '00 in an interview yesterday.

Considering themselves "a family," many Kuumbamembers did not wish to comment on the debate toThe Crimson, and said they did not want the publicto perceive the discussion as a fight--because itisn't, they said.

"Kuumba is an incredible organization, withpeople who really do care about each other,"Benvenutti said