"You're in the Right Place at the Right Time": Double Consciousness, Cultural Memory, and Cultural Representation in College Gospel Choirs

Gospel music exists within a rich cultural and historical space—at one level, it is part of an important Black musical tradition and at another, it is part of mainstream American history. College gospel choirs, then, mediate the divide of being part of the Black diasporic, religious music aesthetic while co-existing in the academic setting within a largely White-European western art music arena. Moreover, they provide space for students to commune socially, express faith, and gain cultural knowledge. I argue that through the theoretical lenses of double consciousness, cultural memory, and cultural representation, one can clearly understand the position of gospel choirs on university and college campuses in how they facilitate community, express and define “Blackness,” and interact with the greater academic community. Furthermore, such investigation provides opportunity to understand the perpetuation of gospel choirs in the academic setting today.

This ethnographic survey and fieldwork-based research project was undertaken during the academic years of 2010-2012. Outlining my project, I first introduce the concept of African American sacred traditions by visiting the existent scholastic work on gospel music. I then summarize the history of college gospel choirs and explore the provided frameworks, thereby accessing the role of college gospel choirs in academia. Employing my own fieldwork experiences, I apply the theoretical ideas of double consciousness, cultural memory, and cultural representation to my observations. I share my findings about how gospel music on college and university campuses provides opportunity to understand diversity and foster community. This thesis concludes with suggestions for continued study in African diasporic music and gospel music, as well as a reminder that African American musics must be experienced to be fully understood.