Community Spirit: The Gospel TraditionA Folk Art Series on Gospel Music in Harlem

Program Guide, Spring 2011

Demonstrations | Presentations | Live Performances | Conversations

A PARTNERSHIP OF COMMUNITY WORKS AND INTERNATIONAL COMMUNICATIONS ASSOCIATION

About the Folk Arts ProgramOur Folk Art programming is an organic extension of our mission to celebrate the cultures and traditions of Harlem. It is an outgrowth of Community Works’ signature harlem is… citywide exhibition and public program series exploring various facets of Harlem life. Each year the Folk Art Program accentuates the harlem is… exhibitions on view at the Dwyer Cultural Center.

Community Spirit: the GOSPEL Tradition is the inaugural program of the folk art series. It features demonstrations and performances by three of Harlem’s premiere Gospel artists that demonstrate the breadth, richness and diversity of the gospel folk tradition: Shout Gospel performed by Ed Babb and the McCollough Sons of Thunder, Ghanaian Gospel performed by Kwame Afrifa and the Presbyterian Church of Ghana in New York, and Ethiopian Gospel demonstrated by Gabreyesus Tesfaye and the Ethiopian Orthodox Tewahedo Medhanialem Church. This folk art series compliments our harlem is… the GOSPEL Tradition exhibit, which examines the role of faith-based institutions in the social and cultural development of Harlem.

The Folk Arts Program is part of Community Works’ groundbreaking Making a Difference arts, literacy and leadership curriculum, which teaches young people to honor neighborhood heroes and celebrate local communities through the arts. Through the Making a Difference program, supported by the Emily Davie and Joseph S. Kornfeld Foundation, Dwyer Youth Docents learn how to share the legacies of the churches in Harlem and the traditions of the Gospel folk artists with the community. See Page 10 for more information on Making a Difference.

Our Folk Arts Program, as with all our programs, extends the benefits of the arts to all people. This

program guide is designed to enhance your experience of the Community Spirit: the GOSPEL Tradition Folk Art Series. It can be used to inform individual understanding, develop learning materials for classes and community organizations, and assist with research. We hope that you will find the guide particularly informative and engaging as you explore the Gospel tradition’s historic and current role in Harlem.

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What is Folk Arts? Folk Arts are traditional cultural expression through which a group maintains and passes on its shared way of life. It expresses a group's sense of beauty, identity, and values. Folk Arts are usually learned informally through performance, by example, or in oral traditions among families, friends, neighbors and co-workers rather than through formal education. Never static, folk arts change as they are adapted to new circumstances while they maintain their traditional qualities. Traditional folk arts are practiced within and among ethnic, regional, occupational, and religious groups as well as other kinds of communities with a common identity. They include performing traditions in music, dance, and drama; traditional storytelling and other verbal arts; festivals; traditional crafts, visual arts, architecture, the adornment and transformation of the built environment, and other kinds of material folk culture. - New York State Council on the Arts

Schedule of Folk Art Series on Gospel Music in Harlem Saturday, April 16, 2011 | 1pm

Shout Gospel Experience the jubilant sounds of Shout Gospel in a demonstration with Ed Babb, Director of McCollough Sons of Thunder at United House of Prayer. Q&A facilitated by Dwyer Youth Docents.

Thursday, May 19, 2011 | 4pm

Ethiopian Gospel Learn about the tenets of Ethiopian gospel – a.k.a. mezmur, demonstrated in the Amharic language, from Gabreyesus Tesfaye, Archdeacon of Ethiopian Orthodox Tewahedo Medhanialem Church. Q&A facilitated by Dwyer Youth Docents.

Thursday, June 16, 2011 | 4pm

Ghanaian Gospel Experience West African musical gospel traditions with Kwame Afrifa, Choir Director of Presbyterian Church of Ghana. Q&A facilitated by Dwyer Youth Docents.

Tuesday, June 28, 2011 | 6pm

Folk Art Series Symposium: Oral Tradition of Gospel Music in HarlemEd Babb, Gabreyesus Tesfaye, and Kwame Afrifa present and demonstrate their unique traditions of gospel music in Harlem. Q& A moderated by Special Guest Scholar.

Mother A.M.E. Zion Church, 1930s. Courtesy of the Schomburg Collection

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Harlem has always been a community of migration. Since its beginnings as a Dutch colonial village in the 1600s, waves of migration have shaped Harlem into the diverse village it is today. The people that have come to call Harlem home brought with them their own cultures, traditions, and

faith practices that have been integrally woven into the fabric of Harlem’s heritage. Since the 20th century, one of the prominent features of Harlem’s culture has been the Gospel tradition, in its many musical, religious, and social forms. While the early 20th century saw the institutionalization of the Harlem Renaissance in Harlem’s faith communities through social gospel (a socially-oriented movement in which faith institutions promoted social development),1 the musical traditions of the communities served as a reminder of cultural heritage and an ecstatic form of prayer, worship and transmission of the “Good News.” In modern Harlem, this can be clearly seen in the prevalence of three Gospel folk musical traditions: the Gospel music of the Ethiopian Orthodox Tewahedo Medhanialem Church, Ghanaian Gospel by the Presbyterian Church of Ghana in New York, and the Shout Gospel tradition, housed at the United House of Prayer for All People (UHOP).

The Ethiopian Orthodox Church is one of the oldest Christian traditions in Africa, which has it

historical roots in the 4th century C.E. within the Abyssinian lands that would become modern-day Ethiopia.2 Following the introduction of Islam to Africa, Ethiopian Christianity became isolated as the only Christian empire within the region, which allowed their religious practices

and culture to indigenize and become a central point of Ethiopian cultural identity.3 Similarly, the spiritual music, which ultimately led to the current Ethiopian Orthodox gospel tradition, reflects this unique form of culture and practice.

Following the major Ethiopian migrations of the 1970s to the United States in particular, this tradition found a home in Harlem, a place with historical ties to Ethiopia. The Abyssinian Baptist Church, for example, was founded by Ethiopian fishermen and African Americans who would not accept segregation in the pews.

The links between Ethiopia and Harlem extend to the Harlem Renaissance and the Civil Rights era where Ethiopia was held up as a powerful symbol of black history and culture. Additionally, ties were strengthened in 1954 when Rev. Adam Clayton Powell, Jr. welcomed the Ethiopian Emperor Haile Selassie to the Abyssinian Baptist Church (pictured below), which he was then pastoring. During that trip, Selassie honored the people of Harlem with a golden coptic cross as a symbol of love and friendship.

Today, the Ethiopian community continues to be a vibrant and integral part of Harlem’s cultural landscape. They attempt to convey their traditional practices to a broader audience by translating many of the traditional Amharic religious songs, known as mezmur, to English. The musical practice, however, still utilizes Ethiopian language, drumming and traditionally associated movements, which gives the Gospel its “special spiritual feeling,”4 according to Archdeacon Gabreyseus Tesfaye of the Ethiopian Orthodox Tewahedo Medhanialem Church in Harlem.

One of the fastest growing and most prominent forms of music in Ghana since the late 1980s has been Gospel music. Its roots, however, can be connected to Ghanaian spirituals that continually emerged throughout the history of Christianity in Ghana.5 Most of these spirituals were spontaneously composed and sung to Ghanaian and Ghanaian/Western hybrid melodies.6 These musical folk expressions of Ghanaian culture served as the basis for the revival of musical compositions by

Since the 20th century, one of the prominent features of Harlem’s culture has been the Gospel tradition, in its many musical, religious, and social forms.

Drums, Praise, and Brass: Three Folk Art Gospel Traditions of HarlemBy David W. Kanter, Ph.D. Candidate, Ethnomusicology, Queen's University Belfast

Emperor Haile Selassie ofEthiopia with Adam Clayton

Powell, Jr. Photographers:Morgan and Marvin Smith.Schomburg Collection.

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In the 1930’s, as part of this revival,  Dr. Otto Boateng  started a singing band in  the  Presbyterian Church in eastern Ghana, which quickly spread throughout Ghana’s other Presbyterian churches. This paved the way for the formation of indigenous forms of the Ghanaian Gospel, which spread as native Ghanaians migrated throughout the world.7

Within Harlem, Ghanaian immigrant Kwame Afrifa has served as the music director at the Presbyterian Church of Ghana in New York, where he has carried forth Ghanaian Gospel music traditions and served as a cultural translator. Described as “a rich depository of the authentic historical spirituality of Ghanaians” by Ghanaian scholar Abamfo Atiemo, (2006:158), Ghanaian Gospel music serves as a primary medium through which the gospel is transmitted. As Afrifa notes, “You are serving the gospel through music. You are preaching through music. You are giving a sermon through music. So the music alone becomes a whole sermon, advising you as to how you should live your life.”8 Like the Ethiopian Orthodox Gospel in Harlem, the Ghanaian tradition uses traditional instruments and percussion as integral to the tradition. 9

Shout Gospel can trace its development back to the formation of the United House of Prayer for All People by African-Portuguese immigrant Marcelino Manoel deGraca in the early 1900s.10 Throughout its history, UHOP has been known as a place where ecstatic “shouting” in spirit has been a core part of religious experience. 11

Shout band music, ultimately derived from West African praise-

singing, continues to serve as an ecstatic musical practice within UHOP with its unique brass-band-style ensemble music. In Harlem, the leader of the UHOP ensemble, the McCollough Sons of Thunder, is Edward Babb. The National

Heritage Fellow has led the ensemble since the early 1960s. It has further been noted by the church that his band make-up (a trombone choir with low brass and percussion accompaniment) has served as the model for many UHOP Shout bands. 12

Although a Gospel musical form spontaneously-generated within the U.S. cultural context, this form of Gospel continues to carry forward elements of West African and North American-derived practices to current generations of church and band members. Shout Gospel music, at its core, provides “music that gets people to move, dance, shout and be moved in the spirit,” says Babb.13

These three traditions, steeped in strong historical and cultural practices, represent the rich and dynamic legacies contained within the Harlem Gospel tradition.

While serving as a symbol of cultural and religious identity, Harlem’s Gospel traditions continue to bring people together, honor heritages, and exist as a soundtrack to the historic and present efforts of faith-based institutions towards social justice and community building.

Harlem’s Gospel traditions continue to bring people together, honor heritages, and exist as a soundtrack to the historic and present efforts of faith-based institutions towards social justice and community building.

NOTES1 Spencer, Jon Michael. “The Black Church and the Harlem Renaissance.” African American Review 30(3), 1996: 453-460.2 Tamene, Getnet. “Features of the Ethiopian Orthodox Church and the Clergy.” Asian and African Studies 7(1), 1998: 87-90.3 ibid.:904 Primary source material from interview recorded Nov 11th 2010.5 Atiemo, Abamfo Ofori. “Singing with Understanding: the Story of Gospel Music in Ghana.” Studies in World Christianity 12(2), 2006: 142-44.6 ibid.: 1437 ibid.:148-1498 Primary source material from interview recorded Dec 11th 20109 Primary source material from interview recorded Dec 11th 2010.10 Spitzer, Nick. 1999. Liner Notes. Saints Parade: Trombone Shout Bands from the United House of Prayer. New York: Smithsonian Folkways Recordings.11 ibid:612 Primary source material from interview recorded Nov 25th 2010.13 Primary source material from interview recorded Nov 25th 2010.

ADDITIONAL RESOURCES

Anderson, Paul Allen. Deep River: Music and Memory in Harlem Renaissance Thought, Duke University Press Books, 2001.

Columbia University Dept. of Religion. Religions of Harlem, Religions of Harlem. Electronic Document, accessed 01 April 2011. www.religionsofharlem.com

Community Works and Jamal Joseph. Harlem is…GOSPEL. Jamal Joseph, dir. 30 min. New York. Community Works (2011)

Community Works. Harlem is… the GOSPEL tradition Exhibit. New York: Community Works(2007)

Lincoln, Charles Eric and Lawrence H. Mamiya.The Black Church in the African AmericanExperience, Duke University Press Books, 1990

Spencer, Jon Michael. “The Black Church and theHarlem Renaissance,” African American Review,Vol. 30, No. 3. (1996), pp. 453-460.

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After hand-selecting an intimate cohort of twelve students from the High School of Math, Science and Engineering in Harlem, we began a series of in-depth training and mentoring sessions on our signature harlem is…the Gospel Tradition exhibition. Within a few weeks, our Dwyer Docents were sharing with our public the tenets of this exhibition and its accompanying documentary film: the role of religious institutions and leaders in Harlem and the importance of gospel music to the social and political landscape of this community. Simultaneously, they were also playing an integral role in our Folk Art Series on Gospel Music in Harlem, entitled, Community Spirit: The Gospel Tradition. They researched the biographies and careers of three folk artists

rooted in the musical tradition of Harlem’s unique brand of gospel music: Ed Babb, Director of McCollough Sons of Thunder at United House of Prayer, Gabreyesus Tesfaye, Archdeacon of Ethiopian Orthodox Tewahedo Medhanialem Church, and Kwame Afrifa, Choir Director of Presbyterian Church of Ghana. Later, they donned their caps as analytical thinkers, serious journalists, and emerging folklorists to conduct in-depth interviews that would bring to light the enormous, often undervalued, contributions of these traditions in Harlem. The intuitive questioning and organic curiosity the Docents showed unearthed many of the gospel traditions rooted in community churches that are not familiar to the general public and are not seen ordinarily on concert stages.

We at the Dwyer, along with the hundreds of Dwyer visitors that have participated in programs where our Docents have conducted interviews, facilitated discussions on serious intellectual and social issues, assisted in community service initiatives, and engaged with other youth in the community, have witnessed how this program is inspiring, fostering, and mentoring the next generation of leaders in our community. We have seen them transform into articulate young men and women who carry with them an enormous sense of commitment for and pride in Harlem. We have no doubt that they will continue to make a difference. It is our hope that this program serves as a model for other youth to become respected and credible voices in telling their community’s history.

Grace Aneiza Ali, Associate Director of Programs, Dwyer Cultural Center Dwyer Docents: Robert Boyd, Veronica DeJesus, Craig Hernandez, Gregory Hernandez, Camille James, Kennedy Jimenez, Earl Johnson, Michael Marti, Keith McConn, Adam Mlodozeniec, and Ali Nagi.

Key sponsors of the Dwyer Youth Docent Program include the New York State Council on the Arts, Emily Davie and Joseph S. Kornfeld Foundation, and New York City Council Member Robert Jackson.

Dwyer Youth Docent Program In Fall 2010, we launched the Dwyer Youth Docent Program—a long-time dream of the Dwyer’s Co-Director Barbara Horowitz. Her vision for the program was rooted in the belief that every community has its own unique and powerful stories and legacies that can inspire and connect us all. What becomes even more poignant is when the youth within these communities share a sense of responsibility and expertise in telling those stories, a wonderful accomplishment that we continue to witness as we nurture our Docent program.

The Dwyer Docents donned their caps as analytical thinkers, serious journalists, and emerging folklorists to conduct in-depth interviews that would bring to light

the enormous, often undervalued, contributions of these traditions in Harlem.

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Ethiopian Gospel Folk Artist: Gabreyesus Tesfaye, Archdeacon

Church: Ethiopian Orthodox Tewahedo Medhanialem ! Church                                          91 Claremont Avenue, Harlem, NY

DOCENT REFLECTIONS“I found Archdeacon Tesfaye enlightening and moving. What I will take away from this experience is a new understanding of a strong faith that can permeate every sense of one's life and one's culture.” Craig Hernandez

“When I saw Gospel being performed like it is at Archdeacon Tesfaye’s church, it really changed my perception of what Gospel is. It was different from what I always picture Gospel to be like.” Ali Nagi

“It was very different and a new experience to experience Ethiopian Gospel. I saw the dancing, and the drumming, and the incense and everybody participating. It seemed like everyone was united, and I was glad to be a part of it.” Keith McConn

“The church is only the first chapter. You must go to Ethiopia to truly experience the culture."

GABREYESUS TESFAYE was born in Ethiopia to Christian Orthodox parents and began his church education at the age of six years old at the Medra-Kebd Monastery. In 1967, he became an ordained Deacon while continuing his education at Debre-libanos Monastery and the Menelik II  High School. Later, after working for seven years at the Catholic Relief Services (CRS), Deacon Tesfaye was sent to the Ethiopian Church Headquarters in Bronx, New York to work as a missionary. Since that time, he has traveled extensively throughout North America and the Caribbean on church missions. Presently, he serves as the Archdeacon at the Ethiopian Orthodox Tewahedo Medhanialem Church that meets at Riverside Church in Harlem.

The Ethiopian Orthodox Tewahedo Medhanialem Church was officially formed in 1984 and was one of the few churches to open its doors to the growing population of Ethiopians in New York City to honor their Ethiopian Orthodox Christian Faith. Through various cultural events, the church aims to celebrate Ethiopian culture and educate both its members and the community at large about the rich history of Ethiopia. As part of their mission, the church also offers lessons in Amharic every Sunday.  

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Ghanian Gospel Folk Artist: Kwame Afrifa, Music Director

Church: Presbyterian Church of Ghana 259-261 West 123rd Street, Harlem, NY

KWAME AFRIFA is the Music Director at the Presbyterian Church of Ghana in New York, located in Central Harlem, where he has served since 2004. The church is historically considered the first Ghanaian community church in the United States. Under his leadership, the church’s choir presents a major performance each Sunday and smaller performances during the weekdays. He translates music from English to Tiwi and other Ghanaian languages as well as teaches traditional cultural drumming and dancing for the Harlem community.

Born in Ghana, Afrifa migrated to the United States in 2003. He has over 20 years of experience as a music director and music educator in traditional Ghanaian music and hymns. Before coming to the United States, Afrifa served as Music Director for the Peyer Memorial Presbyterian Church in Kumasi, Ghana. In 2003, he was appointed the National Music Director for the Presbyterian Church Choirs Union of Ghana. Afrifa received a BA in Music and a BA in Education from the University of Cape Coast, Ghana, with a specialty in Music Education.

“ You are serving the gospel through music. You are preaching through music. You are giving a sermon through music. So the music alone becomes a whole sermon, advising you as to how you should live your life.”

REFLECTIONS“Many of the Docents found the way Mr. Afrifa’s life had been so greatly influenced by music particularly interesting. From an early age, he was brought up in a musical family. It was this strong influence of music on his early life that led him to his role as a musical director and cultural translator.” Grace Aneiza Ali

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Shout Gospel Folk Artist: Edward Babb Director, McCollough Sons of Thunder Church: United House of Prayer                                        2320 Eighth Avenue, Harlem, NY

EDWARD BABB is the Assistant Pastor at the United House of Prayer Church, located in Harlem, and the trombonist/spokesman for the Shout Gospel group the McCollough Sons of Thunder. Born in 1944 in New York City, he joined the United House of Prayer’s adult ensemble at the age of 14 as a self-taught trombonist. At the age of 18, as the youngest member of the ensemble, he became the leader for the McCollough Sons of Thunder, and has directed the band from their home at the United House of Prayer since. Under his leadership, the McCollough Sons of Thunder has become the country’s premiere Shout Gospel band. The brass band-style ensemble features several trombones, tenor tuba, and accompanying percussion and performs a repertoire of Gospel music.

Babb was awarded the National Endowment for the Arts National Heritage Fellowship at the White House in 1997, the highest national honor for master folk and traditional artists, and he is considered one of the foremost leaders in the Shout Gospel tradition.

“ I wanted to play the trombone in the House of Prayer. I just wanted to play that instrument and I never knew it would mushroom to what it is today.”

DOCENT REFLECTIONS “Our interview with Ed Babb was very inspiring. I am intrigued that he took on such as huge role in the church as a youngster and is still going strong at it today. Mr. Babb, much like his music, was jovial as he spoke to us, and his life stories were very entertaining. One thing I will always remember about him is the power to make people feel the spirit of his music. As I recall his anecdote about how a distressed woman felt better after hearing his music, it makes me eager to go into his church and feel it for myself.” Ali Nagi

“Mr. Babb was very interesting. He spoke a lot about his personal experience. He gave us his view. He's proud of what he is doing and he should be, as he encourages people to get off their feet, shout, and give praise.” Camille James

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Making a

Difference

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This program is made possible, in part, by public funds from New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York State's 62 counties. Additional support is provided by Upper Manhattan Empowerment Zone Development Corporation, Con Edison, The Emily Davie and Joseph S. Kornfeld Foundation, Joseph S. & Diane H. Steinberg 1992 Charitable Trust, and by public funds from: National Endowment for the Arts; New York City Council Manhattan Delegation; New York City Council Members Inez E. Dickens and Robert Jackson; and New York City Department of Cultural Affairs in partnership with the City Council.

Folk Art Program @ the Dwyer

Creative DirectorBarbara Horowitz, Co-Director, Dwyer Cultural Center Founder and President, Community Works

Project ManagerGrace Aneiza AliAssociate Director of Programs, Dwyer Cultural Center

Project AdvisorsVoza Rivers, Co-Director, Dwyer Cultural CenterDeirdre Hollman, Director of Education, Schomburg Center for Research in Black Culture

Dwyer Youth Docent Program Daniel Carlton Teacher-in-Residence, Dwyer Cultural Center Joanes Prosper, Videographer

Editor Grace Aneiza Ali Associate Director of Programs, Dwyer Cultural Center

Contributing WriterDavid W. Kanter

Special Thanks: Wiley Burgan, Assistant Principal, High School of Math, Science, and Engineering; Dwyer Youth Docents; and Community Works and Dwyer Cultural Center staff: Linda Muller, Tim Hsu, and Jasmin Heatley.

Community Works Board of Directors

Paula Mayo, Acting ChairBarbara Horowitz, PresidentMichael Flanigan, TreasurerKathleen Benson, SecretaryAlan CohenLee DanielsCesar NaranjoVoza RiversPaul TaborWillie WalkerKaren Mackey Witherspoon

Michael Davidson, Senior Consultant

Community Spirit: The Gospel Tradition

The Dwyer Cultural Center is a partnership between Community Works and International Communications Association. Under the leadership of Co-Directors Barbara Horowitz and Voza Rivers, the Dwyer Cultural Center opened its doors in June of 2009 and is the only multimedia cultural center in the world exclusively devoted to the history, traditions, culture and contemporary artists of Harlem.

258 St. Nicholas Avenue | New York, NY 10027 | 212.222.3060 | www.dwyercc.org

Community Works is an award-winning nonprofit arts organization founded in 1990, by Barbara Horowitz. Its citywide programs celebrate community, diversity and creative spirit. A pioneer in arts education and community learning, its signature program model, Making a Difference, was the impetus for the groundbreaking harlem is... public exhibition series, which has come full circle to find a permanent home at Dwyer Cultural Center.

55 West End Avenue | New York, NY 10023 | 212.459.1854 | www.communityworksnyc.org

For more information on acquiring additional copies of the Folk Art Series Program Guide, Spring 2011 contact Community Works at 212.459.1854.