WEBVTT 00:00:10.050 --> 00:00:16.122 - Good evening, my friends. Good evening, good evening, and welcome. I'm Dr. Raymond Wise, Executive Director 00:00:16.122 --> 00:00:21.856 - of the African American Arts Institute, and it's truly my honor to greet you tonight as we gather for 00:00:21.856 --> 00:00:27.591 - this special installment of our spring concert series featuring the African American Choral Ensemble, 00:00:27.591 --> 00:00:33.438 - affectionately known as ACE. Now tonight, we celebrate more than just a concert. We celebrate a legacy. 00:00:33.698 --> 00:00:38.802 - 50 years of excellence in African-American and choral music, for over five decades, ACE has lifted its 00:00:38.802 --> 00:00:43.807 - voice in song, preserved sacred and cultural traditions, and created a space of belonging, learning, 00:00:43.807 --> 00:00:48.812 - and artistic excellence for students at Indiana University. As one of the first collegiate ensembles 00:00:48.812 --> 00:00:53.321 - in the nation to offer credit-bearing courses dedicated to the performance of choral music 00:00:53.321 --> 00:00:58.722 - by African-American composers, this moment stands as a testament to vision, to legacy, and to love expressed 00:00:58.722 --> 00:00:59.614 - through the arts. 00:00:59.778 --> 00:01:04.795 - We're deeply grateful for the many individuals and partners who've made this work possible. So we acknowledge 00:01:04.795 --> 00:01:09.448 - our home, the Neal Marshall Black Culture Center, and our academic partner, the Department of African 00:01:09.448 --> 00:01:14.009 - American and African Diaspora Studies, under which our ensembles are housed as courses. And we also 00:01:14.009 --> 00:01:18.661 - extend our sincere thanks to the College of Arts and Sciences for their support during this important 00:01:18.661 --> 00:01:21.854 - transitional year. We're also grateful to the Jacobs School of Music, 00:01:22.018 --> 00:01:27.315 - the IU Alumni Association to the many members of our community who believe in and still support the 00:01:27.315 --> 00:01:32.718 - arts. We thank theater, drama, and contemporary dance staff for welcoming us into this space tonight. 00:01:32.718 --> 00:01:38.334 - And of course, our dedicated African American Arts Institute staff, including especially Jerrica Stocker, 00:01:38.334 --> 00:01:41.406 - Johnny Campbell, and their teams for their tireless work. 00:01:42.146 --> 00:01:48.400 - We also want to recognize our production staff tonight, Lori, Garrity, Mike Schwant, Jeremy Hogan, Zai 00:01:48.400 --> 00:01:54.471 - Robertson, Jalea Wiggins, Darren Collins, Peyton Womack, and all those who've been helping to bring 00:01:54.471 --> 00:01:58.782 - this effort to life. As we celebrate 50 years, we say to our students, 00:01:59.138 --> 00:02:04.136 - who represent many majors, backgrounds, and identities, we say thank you to the students. And though 00:02:04.136 --> 00:02:09.183 - these are students, they perform at a level of passion and professionalism that inspires us all. Then 00:02:09.183 --> 00:02:14.378 - to our alumni, we thank you for carrying the legacy forward. To our founders and our directors, we thank 00:02:14.378 --> 00:02:19.475 - you for your vision. To our families and our friends, we thank you for your love and your support. And 00:02:19.475 --> 00:02:24.670 - to all of you, our community, we thank you for showing up, because you didn't have to come, but you did. 00:02:24.930 --> 00:02:30.352 - and your presence matters. Now, as we gather tonight, we do so with the understanding that the arts, 00:02:30.352 --> 00:02:35.882 - particularly the black arts, must continue to be supported, protected, and sustained. Music has always 00:02:35.882 --> 00:02:41.519 - been a vital pathway through which African Americans have told their stories, expressing joy and sorrow, 00:02:41.519 --> 00:02:46.941 - building community, and affirming identity. And that is what we've come to do tonight, to celebrate, 00:02:46.941 --> 00:02:50.270 - to remember, and to continue a legacy. Now, if you feel moved 00:02:50.434 --> 00:02:55.656 - to support this work beyond tonight, we invite you to engage with us through our ongoing initiatives, 00:02:55.656 --> 00:03:00.980 - including our Just One campaign. And by exploring our merchandise and commemorative items, you can look 00:03:00.980 --> 00:03:06.406 - at page 10 and 11 in your program book and know that every contribution will help in some way to continue 00:03:06.406 --> 00:03:11.730 - this legacy for future generations. Now, at this time, we ask again that you please silence any devices 00:03:11.730 --> 00:03:16.849 - that may emit sound or light so that we can all fully share in this experience together. And now we 00:03:16.849 --> 00:03:17.822 - begin our journey. 00:03:18.722 --> 00:03:25.327 - Tonight's program opens on the continent of Africa, specifically in South Africa, where music has been 00:03:25.327 --> 00:03:31.869 - a source of strength, unity, and resilience. The opening selection, Shosholosa, is a traditional folk 00:03:31.869 --> 00:03:38.474 - song made famous by laborers who sang as they worked in the mines. It's drawn from a blend of Zulu and 00:03:38.474 --> 00:03:44.887 - Ndebele. Its message is both simple and profound. Keep moving forward. It's a song of perseverance, 00:03:44.887 --> 00:03:48.350 - of pressing through hardship, of hope on the horizon. 00:03:48.578 --> 00:03:55.029 - And in its rhythms, you can hear not only the sound of a train, but the steady heartbeat of a people 00:03:55.029 --> 00:04:01.607 - moving forward together. So now we invite you to experience the spirit, the rhythm, and the joy of the 00:04:01.607 --> 00:04:06.014 - African American Choral Ensemble. Welcome and enjoy the celebration. 00:06:59.362 --> 00:07:06.378 - I'm a doctoral student in the Jacobs School of Music, and I'm from South Africa. For the past year, 00:07:06.378 --> 00:07:13.534 - I've had the opportunity to serve as the vocal coach for the African American Choral Ensemble. During 00:07:13.534 --> 00:07:20.830 - this time, I've had the opportunity to work on vocal technique with the ensemble. In addition, I taught 00:07:20.830 --> 00:07:28.126 - Ace a song from my home country that is very meaningful to me. Tonight, we are going to share that song 00:07:28.706 --> 00:07:37.947 - It is titled, Go Sisipe'a Amandla, which means, God give us strength. Ogu pumelela, to succeed. 00:07:37.947 --> 00:07:47.767 - Enjele nietu, in our journey. Siso pumelela, umawenukona, we will succeed if you are present with us. 00:07:47.767 --> 00:07:50.462 - Enjoy. Go Sisipe'a Amandla. 00:11:01.762 --> 00:11:07.192 - Thank you, Lange. Good evening again. Greetings. I'm Dr. Raymond Wise, director of the African American 00:11:07.192 --> 00:11:12.466 - Choral Ensemble. And we're honored to welcome you to this celebration of song tonight. And as usual, 00:11:12.466 --> 00:11:17.791 - you know that African American music is a collective art. So we invite you to join in the celebration 00:11:17.791 --> 00:11:23.430 - if you're so moved. Feel free to sing along, clap along, rock along, dance along, and even shout hallelujah 00:11:23.430 --> 00:11:27.294 - or sing choir. We just want you to know that there is hope. And together, 00:11:27.458 --> 00:11:32.899 - We will strive for freedom, for liberty and justice, and we can emerge from this place encouraged and 00:11:32.899 --> 00:11:37.754 - determined to make it one song at a time. This evening's program reflects a broad spectrum 00:11:37.754 --> 00:11:42.661 - of African-American choral traditions, and we continue celebrating our 50th anniversary. We 00:11:42.661 --> 00:11:48.103 - have intentionally curated selections that represent both the historic repertoire of the ensemble and 00:11:48.103 --> 00:11:53.544 - the standard works that have shaped the choral tradition more broadly. The majority of these students 00:11:53.544 --> 00:11:57.118 - you see before you are not music majors. They simply love to sing. 00:11:57.506 --> 00:12:03.180 - They are enrolled in a credit-bearing course that allows them to come together from across all different 00:12:03.180 --> 00:12:08.747 - disciplines, and they're bringing together their voices, their passion, and their commitment to create 00:12:08.747 --> 00:12:14.205 - something meaningful and shared. And as we now move from the African continent into African-American 00:12:14.205 --> 00:12:19.717 - experiences, we now encounter the spiritual. A genre born out of struggle, yet deeply rooted in hope, 00:12:19.717 --> 00:12:25.337 - and these songs are far more than music. They were expressions of faith, resistance, and survival. They 00:12:25.337 --> 00:12:26.526 - carry coded messages, 00:12:26.626 --> 00:12:32.810 - profound theology, and an unshakable belief that freedom in some form would eventually come. 00:12:32.810 --> 00:12:39.525 - So even today, they remind us of where we have been and challenge us to consider where we are going. 00:12:39.525 --> 00:12:45.842 - So we began this portion of our program with concert spirituals. Each selection tells a story, 00:12:45.842 --> 00:12:52.757 - some familiar, others not so familiar, but all speak to the ending and enduring journey from a hardship 00:12:52.757 --> 00:12:56.414 - to hope, from earth to glory, from bondage to freedom, 00:12:56.706 --> 00:13:03.038 - So we invite you to listen, to reflect, and to experience these powerful narratives with us. Enjoy. 00:13:23.362 --> 00:13:29.935 - Spirituals have long been understood as layered expressions of faith, resistance, and communal memory, 00:13:29.935 --> 00:13:36.636 - songs that openly conveyed biblical narratives while simultaneously encoding messages of survival, hope, 00:13:36.636 --> 00:13:43.337 - and defiance for enslaved African Americans. These works were not only declarations of belief and divine 00:13:43.337 --> 00:13:47.294 - liberation, whether in heaven or through escape to the north, 00:13:47.394 --> 00:13:53.941 - but also subtle forms of protest that gave voice to the oppressed and affirmed a deep expectation of 00:13:53.941 --> 00:14:00.487 - eventual justice. Within this tradition, poor man Lazarus stands as a particularly powerful example. 00:14:00.487 --> 00:14:06.969 - Drawing from the parable in the Gospel of Luke, this song recounts the story of the rich man Diabes 00:14:06.969 --> 00:14:13.710 - and the impoverished Lazarus who lay at his gate and survived on crumbs from the table. In death, their 00:14:13.710 --> 00:14:14.942 - fortunes reversed. 00:14:15.682 --> 00:14:22.400 - Lazarus is carried into eternal rest while the rich man finds himself in torment, pleading for even 00:14:22.400 --> 00:14:29.253 - a drop of water to ease his suffering. For those who first sang this spiritual, the narrative was far 00:14:29.253 --> 00:14:35.971 - more than allegory. It was a profound assertion that inequities of this world are neither permanent 00:14:35.971 --> 00:14:43.227 - nor unseen. Poor man Lazarus ultimately reminds us that the overlooked may yet be honored and that justice, 00:14:43.227 --> 00:14:45.310 - though delayed, is not denied. 00:14:45.986 --> 00:14:53.517 - In a world where questions of fairness and human dignity persist, its message remains strikingly relevant. 00:14:53.517 --> 00:15:00.414 - Every life carries inherent value, and how we treat one another matters. Enjoy, poor man Lazarus. 00:16:54.850 --> 00:17:00.537 - Innocent Lamb, a Negro spiritual arranged by Marshall Bartholomew, emerges from a rich tradition in 00:17:00.537 --> 00:17:06.508 - which spirituals functioned as both sacred expression and subtle resistance. These songs carried layered 00:17:06.508 --> 00:17:12.422 - meanings, proclaiming devotion to God while also offering enslaved African Americans a voice of agency, 00:17:12.422 --> 00:17:18.450 - endurance, and hope that their faith and labor would not be in vain. At its core, this spiritual presents 00:17:18.450 --> 00:17:22.942 - the image of the lamb as a symbol of purity, humility, and steadfast devotion. 00:17:23.202 --> 00:17:29.619 - The innocent lamb represents the true believer, one who commits to serving faithfully until death, standing 00:17:29.619 --> 00:17:35.680 - in sharp contrast to the hypocrite or false servant, whose outward declarations are betrayed by their 00:17:35.680 --> 00:17:41.741 - actions. Despite adversity, opposition, or the presence of evil, the lamb continues along the path of 00:17:41.741 --> 00:17:47.802 - righteousness, sustained by the promise of a heavenly home. Crucially, the spiritual affirms that the 00:17:47.802 --> 00:17:52.318 - lamb's faithfulness is not without reward. The believer will inherit heaven 00:17:52.706 --> 00:17:59.148 - a place where there is no more dying and where joy is everlasting. This assurance of divine vindication 00:17:59.148 --> 00:18:05.652 - offered profound comfort and resolve for those who earthly lives were marked by suffering and injustice. 00:18:05.652 --> 00:18:12.033 - For those who first sang it, this was not merely a song, but a moment of reflection and moral inquiry. 00:18:12.033 --> 00:18:15.006 - Which path am I walking? In its quiet strength, 00:18:15.458 --> 00:18:25.132 - Little Innocent Lamb invites us to consider integrity, perseverance, and compassion in our own lives, 00:18:25.132 --> 00:18:34.712 - even amid a world that often feels unyielding. Enjoy Little Innocent Lamb. Little lamb, little lamb, 00:18:34.712 --> 00:18:44.766 - little innocent lamb, I'm not gonna serve God till I die. Little lamb, little lamb, little innocent lamb, 00:18:45.474 --> 00:18:54.401 - I'm not gonna serve God till I die. I'm not gonna serve God till I die. I'm not gonna serve God till 00:18:54.401 --> 00:19:03.504 - I die. I'm not gonna serve God till I die. I'm not gonna serve God till I die. I'm not gonna serve God 00:19:03.504 --> 00:19:12.696 - till I die. I'm not gonna serve God till I die. I'm not gonna serve God till I die. I'm not gonna serve 00:19:12.696 --> 00:19:14.110 - God till I die. 00:20:39.618 --> 00:20:45.680 - selection is in bright mansions above arranged by Roland Carter. This beloved African-American spiritual 00:20:45.680 --> 00:20:51.627 - expresses a deep longing for heaven as a place of freedom, abundance, and comfort, a striking contrast 00:20:51.627 --> 00:20:57.515 - to the harsh realities of enslavement. Rooted in John 14-2, I go to prepare a place for you. The song 00:20:57.515 --> 00:21:03.462 - proclaims the purpose of a dignified and eternal home prepared by Christ for those who love and follow 00:21:03.462 --> 00:21:08.254 - him. As we celebrate the 50th anniversary of the African-American choral ensemble, 00:21:08.514 --> 00:21:14.214 - so many have passed on, including several of our esteemed directors, Dr. Michael Gordon, John Williams, 00:21:14.214 --> 00:21:19.914 - and Dr. James Mumford. Even more former members of ACE have gone on. Based on the legacy of spirituals, 00:21:19.914 --> 00:21:25.833 - one can imagine that they've found an eternal home in heaven about which they sung for many years. Tonight, 00:21:25.833 --> 00:21:31.368 - we can imagine that those who have gone before us are resting in that eternal home, living in bright 00:21:31.368 --> 00:21:36.958 - mansions above, where they received their promised reward of a mansion in the sky, a robe, and crown. 00:21:37.826 --> 00:21:43.218 - As we sing, we invite those who are able to hold up your phone lights in honor of the ones who have 00:21:43.218 --> 00:21:48.665 - paved the way, who sang before us, led before us and now rest from their labor. May this offering be 00:21:48.665 --> 00:21:52.062 - both our tribute and our promise to carry their light forward. 00:25:16.066 --> 00:25:27.159 - In my father's house. In my father's house. There are many mansions. There are many mansions. There 00:25:27.159 --> 00:25:38.253 - are many mansions. There are many mansions. There are many mansions. There are many mansions. There 00:25:38.253 --> 00:25:43.134 - are many mansions. There are many mansions. 00:26:22.914 --> 00:26:31.171 - In my father's house. In my father's house. In my father's house. In my father's house. In my father's 00:26:31.171 --> 00:26:39.267 - house. In my father's house. In my father's house. In my father's house. In my father's house. In my 00:26:39.267 --> 00:26:47.363 - father's house. There are many mansions. There are many mansions. There are many mansions. There are 00:26:47.363 --> 00:26:52.574 - many mansions. There are many mansions. There are many mansions. 00:26:56.354 --> 00:27:03.422 - There are many measures if it were not so. 00:28:32.610 --> 00:28:38.781 - This next election, hold on just a little while longer, is a contemporary arrangement by Brian Black 00:28:38.781 --> 00:28:44.890 - II. Yet it stands firmly within the enduring tradition of the spiritual, carrying forward a message 00:28:44.890 --> 00:28:51.488 - that has sustained generations, that despite trials, persecution, and uncertainty, victory, peace, healing, 00:28:51.488 --> 00:28:57.781 - and wholeness will come, whether in this life or in the life to come. The imperative to hold on is not 00:28:57.781 --> 00:29:00.286 - merely poetic. It is deeply theological. 00:29:00.706 --> 00:29:06.898 - Scholars such as Nicholas Cooper Letter and Henry H. Mitchell in their work, Soul Theology, describe 00:29:06.898 --> 00:29:13.151 - how African Americans cultivated a liberating faith rooted in what they call soul affirmations. These 00:29:13.151 --> 00:29:19.711 - affirmations proclaimed the equality of all persons, the uniqueness and giftedness within each individual, 00:29:19.711 --> 00:29:26.087 - the unity of the human family under God, and the perseverance of the human spirit. At the heart of this 00:29:26.087 --> 00:29:29.214 - theology is a powerful conviction. If you hold on, 00:29:29.506 --> 00:29:36.003 - You can make it through anything. And so they sang through everything. Through suffering and uncertainty, 00:29:36.003 --> 00:29:42.256 - song became both refuge and resistance, a way to affirm dignity, sustain hope, and declare that their 00:29:42.256 --> 00:29:48.692 - lives had meaning and worth. That message remains urgent even now. In a world that often feels fractured 00:29:48.692 --> 00:29:55.066 - and weary, we are reminded of the necessity of reclaiming songs that restore hope and affirm our shared 00:29:55.066 --> 00:29:57.886 - humanity. Hold on just a little while longer. 00:29:58.114 --> 00:30:04.877 - calls us to keep walking, to remain steadfast, and to trust in due season, all will be made right. This 00:30:04.877 --> 00:30:11.574 - evening, we are honored to feature Tshai Bean as soloist and to welcome Dr. Black himself to lead this 00:30:11.574 --> 00:30:16.126 - performance. May this music encourage you. Hold on and do not let go. 00:36:02.498 --> 00:36:09.604 - We're so proud of this young man here. We've been seeing and watching him grow and grow and do great 00:36:09.604 --> 00:36:16.709 - things. He's now Director of Coral Activities right up the road at DePaul University. So we're glad, 00:36:16.709 --> 00:36:23.956 - thankful that you came down tonight to share with us, and we look forward to many more collaborations. 00:36:23.956 --> 00:36:27.614 - Thank you, my brother. Let's give him another hand. 00:36:33.922 --> 00:36:38.164 - How many of you, or for whom, this is the first time at an ACE concert? Experience, we have any first 00:36:38.164 --> 00:36:42.364 - timers here? All right, I see we got some first timers here. Now, how many of you have never been to 00:36:42.364 --> 00:36:44.318 - a concert where they sing gospel music before? 00:36:45.282 --> 00:36:49.827 - All right, I see a couple hands out there. All right, good. Well, you know, most African-American music, 00:36:49.827 --> 00:36:54.330 - especially gospel music, is what we call a collective art. So that means you get to participate, right? 00:36:54.330 --> 00:36:58.745 - So you need to know you have permission to participate. So as we sing through, you're going to see us 00:36:58.745 --> 00:37:03.118 - moving and rocking and clapping and doing all these things in special ways. But everybody is invited 00:37:03.118 --> 00:37:07.577 - to be a part of the celebration. And we want you to rock with us. We want you to clap with us. We want 00:37:07.577 --> 00:37:09.438 - you to pat your feet. We want you to sing. 00:37:09.538 --> 00:37:14.899 - all those things you're invited to do. So what we're going to do is we're going to give you a few tools 00:37:14.899 --> 00:37:20.105 - to fully enjoy the experience. So everybody who can stand up in body or in spirit, stand up wherever 00:37:20.105 --> 00:37:25.259 - you are. All right. So what you notice, you notice when we're rocking, of course we rock, but there 00:37:25.259 --> 00:37:30.465 - was a method to the madness. You're just not kind of moving. It's not magic how you get there. There 00:37:30.465 --> 00:37:35.671 - was a method. So if we're in four-four timing and you have four beats, one, two, three, four, you go 00:37:35.671 --> 00:37:38.558 - to the right on beat one and to the left on beat three. 00:37:38.690 --> 00:37:44.919 - All right, so let's see if we can try the rock and see if the drummer can help us out. One, two, three, 00:37:44.919 --> 00:37:50.969 - give me a beat, and one. All right, so remember, we're gonna go to the, hey, good to see you, Dante. 00:37:50.969 --> 00:37:57.258 - We're gonna go to the right on one and to the left on three, ready? And here we go, and one, two, three, 00:37:57.258 --> 00:38:03.427 - four, one, two, three, four. So step together, step together, step together, step together. All right, 00:38:03.427 --> 00:38:06.302 - looks like you got the rocking going right now. 00:38:06.594 --> 00:38:12.657 - The next thing you're gonna need to do is you're gonna need to clap. But before you start clapping, 00:38:12.657 --> 00:38:19.023 - now note that in the gospel tradition, we use what's called syncopation. So you don't clap on the strong 00:38:19.023 --> 00:38:25.268 - beats. You don't go one, three. You don't do that. You clap on the weak beats, which are two and four. 00:38:25.268 --> 00:38:31.452 - So we're gonna clap on two and four. Can you do that with me? Ready, here we go. And one, two, three, 00:38:31.452 --> 00:38:35.454 - four. One, two, three, four. One, two, three, four. A little bit. 00:38:35.650 --> 00:38:43.253 - Faster and a one, two, three, four. One, two, three, four. One, two, three, four. A little bit faster 00:38:43.253 --> 00:38:50.782 - and a one, two, three, four. One, two, three, four. One, two, three, four. A little bit faster and a 00:38:50.782 --> 00:38:58.310 - one, two, three, four. One, two, three, four. One, two, three, four. One, two, three, four. A little 00:38:58.310 --> 00:39:03.006 - bit faster and a one, two, three, four. One, two, three, four. 00:39:03.106 --> 00:39:08.454 - Three, four, slow it down. And one, two, three. All right, you got rockin' and you got clappin'. Now 00:39:08.454 --> 00:39:13.961 - the next thing you gotta do is you gotta have some singin'. You know you can't come to a gospel concert 00:39:13.961 --> 00:39:19.362 - and not sing. So, I'm gonna make up something, right? We're gonna do what's called call and response. 00:39:19.362 --> 00:39:24.816 - I'm gonna sing something and you sing it back, okay? That's called lead repeat, but I'm gonna need the 00:39:24.816 --> 00:39:30.217 - musicians to help me out. Can you give me some music here? Can I have a little bit more of that sound 00:39:30.217 --> 00:39:31.806 - of the piano, Brother Johnny? 00:39:36.258 --> 00:39:39.006 - Here we go. Are you ready? 00:40:42.114 --> 00:40:57.853 - Ready? We're going to go. Hold on. Hold on. Keep on holding on. Hold on. Hold on. Keep on holding on. 00:40:57.853 --> 00:41:06.494 - Watch and try it. Hold on. Hold on. Keep on holding on. 00:41:14.882 --> 00:41:29.246 - Hold on, keep on holding. Hold on, hold on. Hold on, keep on holding on. 00:41:46.018 --> 00:41:46.654 - Let me hear you. 00:42:35.714 --> 00:42:42.853 - Hold on, you got to hold on. Hold it on. Hold on, you got to hold on. Hold on, you got to hold on. 00:42:42.853 --> 00:42:49.703 - Hold on, you got to hold on. Hold it on. Let me hear you base it. Hold on, you got to hold on. 00:42:49.703 --> 00:42:56.553 - Hold on, you got to hold on. Hold on, you got to hold on. Hold it on. Let me hear you base it. 00:42:56.553 --> 00:43:04.052 - Hold on, you got to hold on. Hold on, you got to hold on. Hold on, you got to hold on. All right. Let's 00:43:04.052 --> 00:43:05.566 - put it all together. 00:43:05.826 --> 00:43:16.603 - The pranos are going to start. We'll add the alto. We'll add the tenors. We'll add the bass. And I hope 00:43:16.603 --> 00:43:27.172 - you remember what we made up, because I don't remember. Pranos, ready? Here we go. Here's the pranos. 00:43:27.172 --> 00:43:31.006 - Keep going. Keep the pranos singing. 00:45:54.242 --> 00:46:02.936 - induct you to the Gospel Concert Attendee Societies with all rights and privileges to rock, to clap, 00:46:02.936 --> 00:46:12.060 - to sing, to enjoy yourself fully. Celebrate with us and keep on holding on. Enjoy. Now, there are several 00:46:12.060 --> 00:46:20.668 - different African-American sacred genres. In fact, there are seven. There's psalmody, line singing, 00:46:20.668 --> 00:46:23.422 - shape note singing, spirituals, 00:46:23.586 --> 00:46:29.172 - hymnody, gospel songs, and the standard classical art forms in which African Americans compose. Now, 00:46:29.172 --> 00:46:34.925 - while many African American songs are created spontaneously through improvisation, there are some songs 00:46:34.925 --> 00:46:40.732 - that are formally composed and intended to be performed in the European choral style. Dr. Marcus Garrett 00:46:40.732 --> 00:46:46.263 - refers to these pieces as non-idiomatic pieces, but unbeknownst to many African Americans and those 00:46:46.263 --> 00:46:47.646 - of African descent, many 00:46:47.778 --> 00:46:53.742 - people of African descent have studied and composed and performed Western classical art music since 00:46:53.742 --> 00:46:59.706 - the 15th century. So now let's enjoy a few formerly composed works. And the next several pieces are 00:46:59.706 --> 00:47:04.894 - going to be formerly composed works by three African American female composers. Enjoy. 00:47:21.698 --> 00:47:27.555 - Our next election, Wait on the Lord, by distinguished composer, Josefine Pau, draws inspiration from 00:47:27.555 --> 00:47:33.470 - the endearment words of Psalm 2714. Wait for the Lord, be strong, and let your heart take courage, in 00:47:33.470 --> 00:47:39.734 - the prophetic assurance of Isaiah, which reminds us that those who trust in God shall renew their strength. 00:47:39.734 --> 00:47:45.591 - To wait in this context is not passive or idle, rather is an active discipline posture of faith, one 00:47:45.591 --> 00:47:51.390 - that calls for confidence, trust, and hope in God's timing, even when circumstances feel uncertain. 00:47:52.130 --> 00:47:57.649 - And yet, we live in a world that resists waiting. We're conditioned for immediacy. Waiting in lines, 00:47:57.649 --> 00:48:03.440 - at stoplights, or in traffic often tests our patience in even the smallest ways. How much more difficult, 00:48:03.440 --> 00:48:09.287 - then, is the deeper waiting required in life's most challenging seasons? This spiritual reflection invites 00:48:09.287 --> 00:48:14.696 - us to reconsider waiting not as a delay, but as preparation, as a space where strength is renewed, 00:48:14.696 --> 00:48:20.379 - perspective is deepened, and faith is refined. It encourages us to resist fear and anxiety, and instead 00:48:20.379 --> 00:48:21.854 - to trust that in due time, 00:48:22.050 --> 00:48:27.878 - What is needed will be provided. So as you listen, may you be encouraged, hold on, be strong, and trust 00:48:27.878 --> 00:48:28.606 - the process. 00:48:56.226 --> 00:48:56.542 - Go. 00:50:30.370 --> 00:50:36.928 - is an iconic anthem by renowned composer Lena MacLenn entitled Let the People Sing Praise unto the Lord. 00:50:36.928 --> 00:50:42.861 - Rooted in the exuberant language of Psalm 150, this work calls all people to lift their voices 00:50:42.861 --> 00:50:49.418 - and instruments in joyful praise. Praise him with the sound of the trumpet. Praise him with the psaltery 00:50:49.418 --> 00:50:55.788 - and harp. Praise him with everything that has breath. This is not a quiet or reserved moment. This is 00:50:55.788 --> 00:50:57.662 - an invitation to celebration. 00:50:58.210 --> 00:51:04.311 - The psalmist paints a vibrant soundscape where music becomes a vehicle of gratitude and praise becomes 00:51:04.311 --> 00:51:10.234 - a communal act of joy. At the heart of it all is the word hallelujah, a timeless expression meaning 00:51:10.234 --> 00:51:16.216 - praise the Lord, a declaration that transcends circumstance and unites voices across generations. So 00:51:16.216 --> 00:51:22.257 - as you listen, allow yourself to be drawn into the spirit of praise, feel the energy, the rhythm, and 00:51:22.257 --> 00:51:28.062 - call to rejoice. The performance will feature Andrew Downs on piano and Joslyn Swartz on trumpet. 00:51:28.290 --> 00:51:34.551 - adding brilliance and vitality to this already powerful anthem. Let everything that has praised the 00:51:34.551 --> 00:51:35.678 - Lord, hallelujah. 00:54:13.378 --> 00:54:19.274 - selection, Striving After God, was composed by the incomparable Undyne Smith Moore, affectionately known 00:54:19.274 --> 00:54:25.283 - as the Dean of Women Composers, a pioneering voice in American choral music, Dr. Moore shared a meaningful 00:54:25.283 --> 00:54:31.066 - and lasting relationship with the African American Choral Ensemble. She completed a residency with the 00:54:31.066 --> 00:54:36.682 - ensemble under the direction of Melanie Burnham and was featured in the television broadcast, Black 00:54:36.682 --> 00:54:41.118 - Creative Arts Up Close. Through Indiana University and African American Choral 00:54:41.250 --> 00:54:47.416 - Arts Institute in 1979. Her legacy also lives through mentorship. She taught and guided two ace conductors 00:54:47.416 --> 00:54:53.408 - at Virginia State, Michael Gordon and James Munford, shaping generations of choral leadership. Striving 00:54:53.408 --> 00:54:59.516 - After God became one of the signature works and has been performed throughout many eras of the ensemble's 00:54:59.516 --> 00:55:03.838 - history. The text is drawn from the great Renaissance artist Michelangelo, 00:55:03.970 --> 00:55:09.773 - to believe that artistic creation was a sacred act. For Michelangelo to strive for perfection in art 00:55:09.773 --> 00:55:15.633 - was to reach toward God himself. He wrote, for those who feel it, nothing makes the soul so religious 00:55:15.633 --> 00:55:21.493 - and pure as the endeavor to create something perfect. For God is perfection and whoever strives after 00:55:21.493 --> 00:55:27.354 - it is striving after something divine. In that spirit of devotion, excellence, and divine pursuit, we 00:55:27.354 --> 00:55:33.214 - now invite you to experience the African American Choral Ensemble as they present Striving After God. 00:57:30.434 --> 00:57:35.838 - The next selection in the Name of Music by Victor C. Johnson is a radiant celebration of the transformative 00:57:35.838 --> 00:57:41.192 - power of song. At its core, this work reminds us that music is far more than sound. It is a vessel through 00:57:41.192 --> 00:57:46.246 - which we experience wonder, memory, and the full range of human experience. Through its text, we are 00:57:46.246 --> 00:57:51.350 - invited to sing of breathtaking beauty, the quiet glow of moonlight, the brilliance of a sunrise, and 00:57:51.350 --> 00:57:56.403 - the vastness of stars scattered across the night sky. But just as importantly, we are called to lift 00:57:56.403 --> 00:57:59.806 - our voices in celebration of life's most tender and joyful moments. 00:57:59.938 --> 00:58:05.330 - the laughter of children, the innocence of youth, and the melodies that warm the heart and stay with 00:58:05.330 --> 00:58:10.829 - us across a lifetime. Music has a unique ability to connect us, to stir the soul, to inspire hope, and 00:58:10.829 --> 00:58:16.435 - to bring joy into the world, even in the midst of uncertainty. It gives voice to what words alone cannot 00:58:16.435 --> 00:58:21.880 - express and reminds us of our shared humanity. So tonight, we sing not just for ourselves, but in the 00:58:21.880 --> 00:58:27.646 - name of music itself, celebrating its beauty, its power, and its enduring gift. Enjoy in the name of music. 01:02:06.466 --> 01:02:12.771 - question, what keeps people singing for 50 years? What sustains an ensemble across generations? What 01:02:12.771 --> 01:02:19.014 - has kept ACE lifting its voice through every season? It's the song. The song is a gift to the human 01:02:19.014 --> 01:02:25.382 - spirit. For enslaved Africans in America, song was survival. They believed that if you kept a song in 01:02:25.382 --> 01:02:31.813 - your heart, you can make it through anything. So they sang through sorrow, they sang through struggle, 01:02:31.813 --> 01:02:34.622 - and they sang through hope. Song was central 01:02:34.754 --> 01:02:41.914 - in Africa, and it remains central here in America. There is something about singing that moves the heart, 01:02:41.914 --> 01:02:49.209 - steadies the soul, and lifts the spirit beyond circumstance. This next selection, the gift of song composed 01:02:49.209 --> 01:02:56.031 - by Dr. Raymond Wise, celebrates that very power. Blending multiple musical styles, it reminds us why 01:02:56.031 --> 01:03:02.921 - we sing and what singing gives back to us. The words declare, I find peace, I get joy. When I lift my 01:03:02.921 --> 01:03:03.934 - voice in song, 01:03:04.706 --> 01:03:13.367 - When the words and melodies fill my heart, I'm encouraged to go on. Songs can heal what is broken, songs 01:03:13.367 --> 01:03:21.862 - can write what seems so wrong. That is why I'm grateful every day to be blessed with the gift of song. 01:03:21.862 --> 01:03:30.440 - And the chorus continues. When I'm down, a song will cheer me. When I'm all alone, it comforts me. When 01:03:30.440 --> 01:03:33.822 - I'm filled with joy, it lifts me higher. 01:03:34.018 --> 01:03:42.759 - to soar above the world. Despite my situation, despite my limitations, I have a gift that brings peace, 01:03:42.759 --> 01:03:51.584 - a gift that brings joy, a gift that brings hope and life. I have the gift of song. Tonight, we are happy 01:03:51.584 --> 01:03:59.988 - to share our gift, the gift of song, with you. This presentation will feature soloist Gloria Adiani 01:03:59.988 --> 01:04:02.846 - and Dr. Raymond Wise. Now please, 01:04:02.946 --> 01:04:25.918 - Enjoy our gift of this song to you. 01:17:59.618 --> 01:18:05.035 - you all for coming. I actually wrote this over the past summer for my senior composition recital. So 01:18:05.035 --> 01:18:10.398 - for the process of making such a song, I actually had to give credit to my mom for kind of being my 01:18:10.398 --> 01:18:15.762 - mentor in this because she was like my mock audience member for me to workshop this song to. And so 01:18:15.762 --> 01:18:21.554 - even though I didn't really have ACE in mind for this song, I did, however, have the pleasure of performing 01:18:21.554 --> 01:18:23.646 - this with these wonderful individuals. 01:18:23.778 --> 01:18:31.467 - many of whom I've become fast friends with and I cherish that very much. And I want to give thanks to 01:18:31.467 --> 01:18:39.005 - them and also my soloist and good friend Faith Henderson. And I hope that you enjoyed this song and 01:18:39.005 --> 01:18:46.543 - thank you for listening. Let's give Brother Malcolm a hand. We're grateful this evening to hear the 01:18:46.543 --> 01:18:48.126 - pieces you heard was 01:18:48.258 --> 01:18:53.003 - and written by Brother Malcolm. Over the past several years, I have been very deliberate at trying to 01:18:53.003 --> 01:18:57.701 - mentor and encourage members of ACE to actually write material and to develop and compose works that 01:18:57.701 --> 01:19:02.446 - the ensemble can perform. And this selection represents one of those pieces. One of two that you will 01:19:02.446 --> 01:19:07.191 - hear, you'll hear another one in just a little bit by our own Brother Bobby. But over the past years, 01:19:07.191 --> 01:19:09.982 - we've had a lot of our ACE students who have written songs, 01:19:10.082 --> 01:19:14.274 - And we're so proud and excited of them. So we've got Brother Malcolm here. We've got Brother Bobby here. 01:19:14.274 --> 01:19:18.267 - We've had Reggie Bowens in the past. We've had Wayne Austin in the past. We've got Alonza Lawrence. 01:19:18.267 --> 01:19:22.419 - So many of our students are now becoming writers and composing. And hopefully, in days to come, they're 01:19:22.419 --> 01:19:25.374 - going to be carrying on this legacy. So let's give them all another hand. 01:19:44.706 --> 01:19:51.839 - transition to the next section of tonight's program, gospel music, we warmly invite you to fully participate 01:19:51.839 --> 01:19:58.580 - in this shared experience. Feel free to sing along, clap along, sway, dance, and even offer a spirited 01:19:58.580 --> 01:20:05.190 - sing choir. Gospel music is at its core participatory. It lives and breathes through the engagement, 01:20:05.190 --> 01:20:10.622 - energy, and presence those who experience it. Gospel music has emerged in the late 01:20:10.946 --> 01:20:16.973 - 1920s and 1930s when African-American jazz and blues musicians began returning to the black church, 01:20:16.973 --> 01:20:23.121 - blending the expressive language of blues and jazz with the hymns and spirituals of sacred tradition. 01:20:23.121 --> 01:20:29.571 - From these roots, gospel music has continued to evolve into a dynamic and expansive art form, encompassing 01:20:29.571 --> 01:20:36.020 - a wide range of styles, eras, and musical expressions. Tonight, we offer a glimpse into the rich diversity 01:20:36.020 --> 01:20:39.998 - through several selections that reflect the breadth of the genre. 01:20:40.578 --> 01:20:46.661 - Among the composers we honor this evening is gospel legend, Richard Smallwood. Smallwood was widely 01:20:46.661 --> 01:20:53.291 - recognized for his innovative fusion of gospel and classical music, creating a refined and deeply expressive 01:20:53.291 --> 01:20:59.373 - sound that reshaped contemporary gospel and expanded its artistic possibilities. His work stands as 01:20:59.373 --> 01:21:05.456 - a powerful testament to both musical excellence and spiritual devotion. It is with profound sadness 01:21:05.456 --> 01:21:08.862 - that we acknowledge his passing on December 30th, 2025, 01:21:09.442 --> 01:21:15.791 - For many of us, including Dr. Wise, he was not only a musical influence, but also a mentor whose artistry 01:21:15.791 --> 01:21:22.200 - profoundly shaped his understanding of gospel music's potential. He was personally inspired by his example 01:21:22.200 --> 01:21:28.369 - as a classically trained musician committed to the gospel tradition. And it was through the music that 01:21:28.369 --> 01:21:32.382 - Dr. Wise was inspired to start his own journey in classical music. 01:21:45.282 --> 01:21:50.855 - This next selection, composed by Richard Smallwood, is based on the timeless words of Psalm 8. Oh Lord, 01:21:50.855 --> 01:21:56.481 - our Lord, how excellent is thy name in all the earth. At its heart, this psalm invites us into a posture 01:21:56.481 --> 01:22:02.108 - of awe, lifting our eyes beyond ourselves to recognize the majesty, order, and beauty of God's creation. 01:22:02.108 --> 01:22:07.466 - The psalmist wonders at the vastness of the heavens, yet is equally struck by the dignity and worth 01:22:07.466 --> 01:22:12.878 - of humanity. What is man, that thou art mindful of him? In that tension between divine greatness and 01:22:12.878 --> 01:22:13.950 - human significance, 01:22:14.306 --> 01:22:20.278 - we find both humility and hope. In this musical setting, we are invited not only to sing these words, 01:22:20.278 --> 01:22:26.250 - but to embody them, to declare through voice and gesture, the excellence of the God of the gospel. It 01:22:26.250 --> 01:22:32.222 - is a declaration that reaches beyond sound, becoming a testimony of reverence, gratitude, and praise. 01:22:32.222 --> 01:22:38.195 - Tonight, we will sing and sign this text as an act of worship, affirming that God's name is excellent 01:22:38.195 --> 01:22:43.230 - in all the earth. We are especially pleased to feature Chloe Williams as our soloist. 01:22:43.394 --> 01:22:49.022 - Let us enter into this moment of praise together. Enjoy Psalm 8. 01:28:34.370 --> 01:28:40.606 - There is actually a difference between the spiritual and the gospel tradition. In spirituals, enslaved 01:28:40.606 --> 01:28:46.903 - African-Americans spoke of freedom and the life to come. But in gospel music, African-Americans declare 01:28:46.903 --> 01:28:52.715 - freedom right here and now. They celebrate abundant life that God gives us in this very moment. 01:28:52.715 --> 01:28:59.133 - And too often, we put off living. We make our bucket lists and our dreams of some day, but life is short. 01:28:59.133 --> 01:29:01.918 - We used to say, here today and gone tomorrow, 01:29:02.562 --> 01:29:08.997 - However, now we say here today, gone today. But this song encourages us to live your best life right 01:29:08.997 --> 01:29:15.431 - now. So ask yourself, what are your dreams? What are your gifts? What are you waiting for? You don't 01:29:15.431 --> 01:29:22.057 - need anyone to give you permission to walk in your purpose. So live boldly, live joyfully, start living 01:29:22.057 --> 01:29:24.414 - now because tomorrow's not promised. 01:29:25.058 --> 01:29:31.368 - Now this is a song, it's a gospel song, you know that, so we're gonna invite you to use all the tools, 01:29:31.368 --> 01:29:37.862 - the rock and the clap and the pat and all those things and celebrate with us. Now remember again, friends 01:29:37.862 --> 01:29:43.621 - don't let friends clap on one and three. You rock on one and three, you clap on two and four, 01:29:43.621 --> 01:29:50.114 - you got it? All right, so please welcome Will Weir as we celebrate, live your best life. Enjoy, celebrate 01:29:50.114 --> 01:29:51.646 - with us. Yeah! Let's go! 01:37:32.610 --> 01:37:39.741 - we encounter moments that leave us feeling isolated. When challenges arise, support seems distant. And 01:37:39.741 --> 01:37:46.872 - even in the midst of a crowd, we can experience a profound sense of being alone. Yet within the gospel 01:37:46.872 --> 01:37:53.865 - tradition, there remains a steadfast and unwavering declaration. You are never alone. The God of the 01:37:53.865 --> 01:38:00.996 - gospel has promised to never leave nor forsake us, offering a presence that sustains, strengthens, and 01:38:00.996 --> 01:38:01.758 - reassures. 01:38:02.082 --> 01:38:08.673 - It is this promise that allows believers to stand with confidence and proclaim that God is our helper, 01:38:08.673 --> 01:38:15.200 - and we need not fear what may come. This enduring hope has long been at the heart of gospel music. To 01:38:15.200 --> 01:38:21.599 - know that one is loved, affirmed, and accompanied by a presence that walks with us and even carries 01:38:21.599 --> 01:38:28.127 - us when our strength fails is to find the courage to persevere through life's most difficult seasons. 01:38:28.127 --> 01:38:31.902 - If you find yourself feeling alone tonight, listen closely 01:38:32.034 --> 01:38:39.451 - to the message of this song. It is a reminder of a divine promise. You are not alone. Composed by Richard 01:38:39.451 --> 01:38:46.588 - Smallwood, He Won't Leave You will feature Bailey Leiner and Yvette Burton as soloists. Be encouraged 01:38:46.588 --> 01:38:47.358 - and enjoy. 01:39:37.666 --> 01:39:38.238 - God. 01:44:38.818 --> 01:44:50.207 - Small wood songs. Can we get that vamp again? I want y'all to sing that with us. Tens of bassists are 01:44:50.207 --> 01:45:01.149 - singing this part. They sing this. He won't leave you. Can y'all sing that with us? Let's try it. 01:45:01.149 --> 01:45:05.950 - Here we go, Tens. And. He won't leave you. 01:45:15.522 --> 01:45:22.910 - Now the other part is singing this. 01:46:32.802 --> 01:46:37.425 - message you're going to hear in African-American sacred music. Hold on, persevere. You are not alone. 01:46:37.425 --> 01:46:42.047 - It's been great sharing music with you this evening. Before we do our last couple of numbers, we just 01:46:42.047 --> 01:46:46.670 - want to say thank you. We really appreciate all of you who've taken your time to come out and be with 01:46:46.670 --> 01:46:51.247 - us, the IU community, the Bloomington community. We thank you for your continual support. And again, 01:46:51.247 --> 01:46:54.782 - we always say we understand that you did not have to come, but you showed up. 01:46:54.946 --> 01:46:59.791 - and that really makes a difference, and we're grateful. Again, we say thanks to all those sponsors who 01:46:59.791 --> 01:47:04.496 - have been with us throughout this season. We say thanks to Jim and Connie Cook, to Annie Willis, to 01:47:04.496 --> 01:47:08.776 - the Department of Theater, Dance, Contemporary Drama, to the Jacobs School of Music, to IU 01:47:08.776 --> 01:47:13.528 - Student Government, to the IU Alumni Association, to Old National Bank, all of who have been with us 01:47:13.528 --> 01:47:18.373 - all year long, helping us to do what we do. In addition, we want to thank again our academic partners, 01:47:18.373 --> 01:47:23.218 - the African American and African Diaspora Studies Department, through which these students earn credit 01:47:23.218 --> 01:47:24.912 - through their participation in this 01:47:24.912 --> 01:47:29.453 - Again, we also thank the College of Arts and Sciences for assisting us as we've moved through 01:47:29.453 --> 01:47:34.332 - this transitional year, especially Joanna Davis and Mary Grimm, who've helped us as we've negotiated 01:47:34.332 --> 01:47:39.163 - all the changes in that department. Then I also want to say thanks again to our Neal Marshall Black 01:47:39.163 --> 01:47:44.188 - Culture Center family. They are indeed our family, Dr. Glow, Brother Tim, Ms. Nancy, and our new friend 01:47:44.188 --> 01:47:49.019 - Anaya, who is now in the office. We are grateful for you, the Neal Marshall ambassadors, who always 01:47:49.019 --> 01:47:54.188 - show up and help us out as faithful partners. We could not do what we do without your support. We actually 01:47:54.188 --> 01:47:54.864 - are housed in 01:47:54.864 --> 01:48:00.255 - this building and we work together and and we share space and it's wonderful to have that family with 01:48:00.255 --> 01:48:02.686 - us as well but know that you are appreciated. 01:48:03.138 --> 01:48:07.999 - I also want to give thanks to the choral ensemble. And the members, again, as I said, they come from 01:48:07.999 --> 01:48:12.908 - all over the campus, most of which are not music majors. They're just folks who just want to sing. So 01:48:12.908 --> 01:48:17.817 - they come together, they bring their gifts, and they celebrate the diversity on this campus. And they 01:48:17.817 --> 01:48:22.871 - bring everything together to show examples of what we can do in terms of shared value and shared vision. 01:48:22.871 --> 01:48:27.684 - I do want to take a moment, and I want to acknowledge our graduating seniors and our grad students. 01:48:27.684 --> 01:48:31.390 - When I call them, will you all come down and just stand with me to shy beam. 01:48:31.554 --> 01:48:40.675 - Darren Collins, Bobby Davis Jr., Malcolm Dokes, Kim Gabriel, Faith Henderson, Ambril Ivy, Malcolm Massey, 01:48:40.675 --> 01:48:50.398 - Jordan Marie, Jack Reese, and Lauren Silcox. Let's give them all a hand. These are all about graduating seniors. 01:48:58.594 --> 01:49:03.273 - And many of these young people have been with us for four years. Some have been for two. Some have been 01:49:03.273 --> 01:49:07.773 - for three. And some are new. They just came in this last year. But either way, we want them to know 01:49:07.773 --> 01:49:12.362 - that we appreciate them. We are proud of them. And we want you to know that we are excited about what 01:49:12.362 --> 01:49:16.997 - is yet to come forth in your lives and your career. And always know that you always have a family here 01:49:16.997 --> 01:49:21.631 - in ACE. And whenever you are feeling lonely, you need a home. You can always come on back. And you can 01:49:21.631 --> 01:49:26.355 - come on and share and join in with us. But we want you to know we are proud of what you've accomplished, 01:49:26.355 --> 01:49:28.560 - proud of what you've done, and know that we will 01:49:28.560 --> 01:49:35.921 - We miss you, but we know you're going on to greater things. And it's always a challenge when we leave 01:49:35.921 --> 01:49:43.644 - our good folks go on, but we know that's the purpose of coming. You come so you can go. So we are grateful 01:49:43.644 --> 01:49:51.005 - that you've made it through and we're proud of you. Let's give them another hand. I'd also like to do 01:49:51.005 --> 01:49:58.078 - this. Ambriel, did you get your rose? Ambriel is also graduating. She's our AI. Get her rose too. 01:49:59.970 --> 01:50:04.168 - I also want to invite those of you who sing, used to sing in high school choir, church choir, you're 01:50:04.168 --> 01:50:08.449 - not singing here on campus, come singing. Now, when we did that singing a bit ago, I heard some voices 01:50:08.449 --> 01:50:11.774 - out there, I mean some blowing voices. So if you're not in the choral ensemble, 01:50:11.938 --> 01:50:16.840 - Come on and join us. In fact, we have auditions this coming Monday, right down the steps in Grand Hall 01:50:16.840 --> 01:50:21.694 - from 7 to 8.30. We'd love for you to come and join us and be a part of ACE. And again, you don't have 01:50:21.694 --> 01:50:26.501 - to be a professional singer. You don't have to be all of that. But if you have a gift, you can carry 01:50:26.501 --> 01:50:31.260 - a tune. We're going to bring you in. We're going to teach you what you need to know. And we're glad 01:50:31.260 --> 01:50:36.019 - that you're here. I do want to say thanks to our gifted AIs, Brother Lange, who is our vocal coach. 01:50:36.019 --> 01:50:36.638 - You met him. 01:50:38.338 --> 01:50:43.653 - She does a great job. Also, Ambriel Ivy, our road manager for the year. We're grateful for her. And 01:50:43.653 --> 01:50:49.022 - we don't take that for granted. Having these assistants really help us to do what we do. And we just 01:50:49.022 --> 01:50:54.337 - want you to know that we appreciate all that you do and your labor is not in vain. But we hope that 01:50:54.337 --> 01:50:59.706 - you are grateful and thankful for all to be able to see the fruit of your labor as well. So we thank 01:50:59.706 --> 01:51:04.702 - you for that as well. Want to say thanks for these musicians. These wonderful musicians here. 01:51:06.786 --> 01:51:12.016 - Brother Bobby Davis Jr. here on the keys. Brother Darren Collins over here on the drums. And I'm going 01:51:12.016 --> 01:51:17.144 - to give a special shout out to both of them while I have them. Brother Darren came in as a freshman, 01:51:17.144 --> 01:51:22.425 - and he has volunteered to pray for ACE for the last four years. He has been faithful. He has been here. 01:51:22.425 --> 01:51:27.503 - And we're just so grateful to have you. Thank you, Brother Darren. Proud of you. Looking forward to 01:51:27.503 --> 01:51:29.534 - the greater things you're coming to do. 01:51:30.594 --> 01:51:35.680 - Brother Bobby over here, we're so grateful and thankful for him as well. He has been with ACE for quite 01:51:35.680 --> 01:51:40.667 - a while because he's been at IU going through his undergraduate, his master's, and now his doctorate. 01:51:40.667 --> 01:51:45.557 - And in a couple of days, he's going to be walking across that stage. He'll defend and soon he'll be 01:51:45.557 --> 01:51:50.643 - Dr. Bobby Davis Jr. So we're certainly proud of him and grateful for the work that he is doing as well. 01:51:50.643 --> 01:51:55.582 - We also thank Andrew Downs. Brother Andrew was with us today accompanying for us, and we're grateful 01:51:55.582 --> 01:51:59.934 - to have Brother Andrew with us. I'm not sure where he is, but thank you, Brother Andrew. 01:52:00.674 --> 01:52:01.374 - grateful for you. 01:52:01.602 --> 01:52:06.250 - Then thanks to all of my colleagues, my colleagues in the African American Arts Institute, brother Bob 01:52:06.250 --> 01:52:10.944 - Stafford Berry, brother James Strong, Johnny Campbell, Peyton Womack, Sylvester McCoby, all of you that 01:52:10.944 --> 01:52:15.502 - labor with us, Yuli, the marketing team, all the rest of you guys, Kayla, all of you crew, we do say 01:52:15.502 --> 01:52:20.015 - thank you for your patience today. We had a little snafu in that the administration people who were 01:52:20.015 --> 01:52:24.753 - supposed to take care of everything today just didn't show up as they should have. So we were in a place 01:52:24.753 --> 01:52:29.402 - like, oh my goodness, what we're gonna do? But the folks stepped up and stood up and we made a way and 01:52:29.402 --> 01:52:31.568 - you're here and we're enjoying the celebration. 01:52:31.568 --> 01:52:38.884 - So thank you AAI staff and team for doing what you do. Then I want to give a special shout out to Ms. 01:52:38.884 --> 01:52:42.398 - Jerrica Stocker. Jerrica is our project manager. 01:52:42.498 --> 01:52:47.541 - management specialist, if I can speak. But anyway, over the last year, we have lost several staff members 01:52:47.541 --> 01:52:52.488 - in our division. You know, transition has been going on. And while normally we have four or five people 01:52:52.488 --> 01:52:57.578 - doing the work of the Institute, just this past year and a half, it has just been Miss Jerrica and myself. 01:52:57.578 --> 01:53:02.430 - And she has worked tirelessly, effortlessly, and I'm just working together. And she has really helped 01:53:02.430 --> 01:53:07.187 - us to pull off all of all that we've done. So I just want to let her know that we really appreciate 01:53:07.187 --> 01:53:11.326 - you and just publicly acknowledge how grateful we are to you. Thank you, Miss Jerrica. 01:53:17.346 --> 01:53:22.506 - want to say thanks to our technical staff we also have some some tech crew folks here again you met 01:53:22.506 --> 01:53:23.486 - brother Darren but 01:53:23.586 --> 01:53:28.631 - But Jaleah and Zai Robertson, these young people have been with us since they were freshmen. They came 01:53:28.631 --> 01:53:33.675 - apart, the tech crew, and they're now all about to graduate. And we're so proud of them. We know we're 01:53:33.675 --> 01:53:38.671 - going to miss them. But even behind the scenes, we know that we appreciate all that they do. Then the 01:53:38.671 --> 01:53:43.617 - other members of our tech staff, Mike Schwann, who's doing lighting, Laurie Garrity, who's doing the 01:53:43.617 --> 01:53:48.515 - stage management. But I also want to give a special thank to Johnny Campbell, who's doing sound for 01:53:48.515 --> 01:53:49.886 - us tonight. Brother Johnny. 01:53:53.794 --> 01:53:58.808 - supervisor and he's gonna be leaving us in a little bit and so he's gonna be retiring in a little bit 01:53:58.808 --> 01:54:03.921 - but we're grateful for him and his 30-some years being here at IU and helping at the Institute but know 01:54:03.921 --> 01:54:08.836 - that we appreciate you and we thank you for being here. I also appreciate all of you that have come 01:54:08.836 --> 01:54:13.850 - from near and far. I know my wife has come from Columbus, Ohio to be with us. We're grateful for her. 01:54:13.850 --> 01:54:18.766 - I want to acknowledge any of the ACE members. Are there any ACE members out in the audience? Former 01:54:18.766 --> 01:54:21.470 - ACE members. I see some of you. Grateful for you here. 01:54:23.138 --> 01:54:29.256 - then do we have parents and friends and family who travel from out of town to be with us tonight? We 01:54:29.256 --> 01:54:35.374 - want to say thanks to all of you for coming and we hope you've enjoyed being here with us. Now, know 01:54:35.374 --> 01:54:41.432 - that we do need your support. We are so grateful that you have been here and you've helped, but can 01:54:41.432 --> 01:54:47.550 - you imagine the IU Institute without the AAI, without AADC, without ACE, without the IU Soul Review, 01:54:47.618 --> 01:54:52.352 - What if they went away? What if they were not here? Well, there was a moment a few months ago where 01:54:52.352 --> 01:54:57.181 - that was a possibility. As things were transitioning, we weren't quite sure what would happen. And we 01:54:57.181 --> 01:55:02.151 - are grateful that we are here, but we know that we have to move toward a sense of today's sustainability 01:55:02.151 --> 01:55:07.027 - and getting the kind of resources and help to ensure that we go the next 50 years. So we say thank you 01:55:07.027 --> 01:55:11.998 - for being here. Thank you for your support and your continued support. We have an ongoing project called 01:55:11.998 --> 01:55:16.827 - the Just One Program. I think we have a slide with that, Ms. Laurie, and I think it's in your book on 01:55:16.827 --> 01:55:17.584 - page 10 and 11. 01:55:17.584 --> 01:55:22.374 - we have decided that everybody cannot give a million dollar donation. Everybody can't give a hundred 01:55:22.374 --> 01:55:27.116 - thousand dollars, everybody can't give a thousand dollars, but somebody can give five. Somebody can 01:55:27.116 --> 01:55:32.285 - give ten. Somebody can give twenty. And when we put those together, those small amounts come up to something 01:55:32.285 --> 01:55:37.122 - and they make a difference. What it is, as we begin to perform, we travel all over the city, all over 01:55:37.122 --> 01:55:41.342 - the state, and sometimes our goal is to continue traveling across the nation and abroad, 01:55:41.826 --> 01:55:47.190 - But the money that you provide allows us to do outreach. It allows us to go to schools, allows to go 01:55:47.190 --> 01:55:53.032 - to community centers and do all of those things without which we're unable to move this this arts institution 01:55:53.032 --> 01:55:55.422 - around. So we encourage you if you are able. 01:55:55.554 --> 01:56:00.721 - Feel free to donate, to just go in your book, get the QR code, go right there and do that. Also, we 01:56:00.721 --> 01:56:05.991 - had two wonderful 50th anniversary exhibits that were put in place. Brianna Lander, one of our former 01:56:05.991 --> 01:56:11.262 - ACE students, curated those exhibits, and they were excellent. And we just want to say publicly thank 01:56:11.262 --> 01:56:16.222 - you, Brianna, for your curation of those wonderful exhibits. So let's give her a hand for that. 01:56:20.034 --> 01:56:25.268 - slide when you came in you saw we've got some merch all right so we've got some t-shirts and some mugs 01:56:25.268 --> 01:56:30.654 - and some lapel pins and we got a beautiful pictorial history book of the african-american choral ensemble 01:56:30.654 --> 01:56:35.939 - that goes from its beginnings all the way through to today lovely wonderful a pictorial book you'd love 01:56:35.939 --> 01:56:40.766 - to have on your your coffee table and then of course we recorded a recording called inspire me 01:56:40.866 --> 01:56:46.341 - And we were so excited about that. We're hoping to do another one soon. And we're working on that project 01:56:46.341 --> 01:56:51.661 - as well. But we also were blessed to do a PBS documentary called Amen, Music of the Black Church. That 01:56:51.661 --> 01:56:56.930 - particular documentary, we were blessed to win an Emmy Award for that. We won a Telly Award for that. 01:56:56.930 --> 01:57:01.630 - And we won a first place professional, Society of Professional Journalists Award for that. 01:57:01.858 --> 01:57:07.316 - Then it was picked up by American Public Television, and it's playing for the next eight years all across 01:57:07.316 --> 01:57:12.568 - the nation. So you can support us in many, many ways, but we just want you to know that we appreciate 01:57:12.568 --> 01:57:17.769 - you. Thank you for coming tonight. Now, let me share this with you. A couple things. ACE and what we 01:57:17.769 --> 01:57:20.446 - do is going out in many ways. Let me show you this. 01:57:27.074 --> 01:57:32.545 - composers and how things are going forth. Many times when we're writing music, we get a new group in, 01:57:32.545 --> 01:57:37.909 - we write and arrange things specifically for ACE. Well, some years ago, we had a young lady who was 01:57:37.909 --> 01:57:42.951 - in the choral ensemble. Her name was Nana Amoa, now Nana Amoa Ramey, now Dr. Nana Amoa Ramey. 01:57:42.951 --> 01:57:48.584 - But any rate, she was from Ghana and she taught us this song called Donna Say. And as the students heard 01:57:48.584 --> 01:57:54.108 - it, they were excited about it. So we partnered together and we did a choral arrangement of it. It was 01:57:54.108 --> 01:57:56.254 - actually published and it was published 01:57:56.418 --> 01:58:01.763 - and it's released now. So it is sheet music and is released all over the world. People are singing. 01:58:01.763 --> 01:58:07.323 - So that was several years ago, but now we just did a whole festival in Canada and they wanted a version 01:58:07.323 --> 01:58:12.775 - for sopranos alto, tenor and bass. So they just released yesterday a new version of Donna Say and SSA 01:58:12.775 --> 01:58:18.334 - and Miss Nana. This is your copy for your records. A dedication for you in the score. So that is there. 01:58:21.762 --> 01:58:27.466 - This song you just heard a few minutes ago called The Gift of Song. I just got this today. That is now 01:58:27.466 --> 01:58:33.170 - published. We have been blessed to have a new publishing series with a national company called Hinshaw 01:58:33.170 --> 01:58:36.382 - Music Publishers, and they just released this song today. 01:58:36.482 --> 01:58:41.298 - Black has a song in our series, the song you heard tonight, hold on a little while longer. So we are 01:58:41.298 --> 01:58:46.353 - grateful that we now have an opportunity to be able to provide an outlet for our students and our friends 01:58:46.353 --> 01:58:51.217 - to be able to get their music, not only here on stage, but literally all around the world. So we just 01:58:51.217 --> 01:58:56.319 - wanted to announce that and say thank you, Dr. Nana. Thank you, Brother Brian. Thank you, Brother Malcolm. 01:58:56.319 --> 01:59:01.374 - Thank you, Bobby. All of you that are writing, we know that greater things are yet to come. Then in June, 01:59:01.474 --> 01:59:06.651 - We have a Camp Soul where we bring in high school students and they do a whole week of intensive training 01:59:06.651 --> 01:59:11.634 - around soul music and do a performance. This year we're gonna be working with the city of Bloomington 01:59:11.634 --> 01:59:16.518 - to do a combined performance and their ending show at this point is going to be at Switchyard Park. 01:59:16.518 --> 01:59:21.500 - So we're gonna move it off campus, we're gonna have a huge audience and we're gonna combine with them 01:59:21.500 --> 01:59:26.238 - for Juneteenth and that'll be a great celebration on June the 19th. So we're excited about that. 01:59:28.674 --> 01:59:34.445 - And then one of the former directors of ACE was Dr. James Earl Mumford. He was an icon. He was a great 01:59:34.445 --> 01:59:35.454 - force here at IU. 01:59:35.522 --> 01:59:40.610 - Dr. Charles Sykes, who is our historian, who's not with us today. He's out of town. At any rate, he 01:59:40.610 --> 01:59:45.748 - will be doing a lecture called Hanging with Dr. Mumford. It's a wonderful lecture where you can hear 01:59:45.748 --> 01:59:50.937 - more about Dr. Mumford and all those other unique stories that will also be exciting for you. So many 01:59:50.937 --> 01:59:56.178 - ways you can support us. We want you to know we're on the move. We're doing great things. We're trying 01:59:56.178 --> 02:00:01.418 - to still continue to do the outreach and promote and preserve African-American music and dance through 02:00:01.418 --> 02:00:05.488 - scholarship, through creative activity, through performance, through education, 02:00:05.488 --> 02:00:09.638 - and through outreach and we can do that with your help. So thank you again for being here tonight and 02:00:09.638 --> 02:00:13.707 - we hope you've been blessed. We've got a couple more songs and then we're out of here. Thank you so 02:00:13.707 --> 02:00:15.294 - much. Thank you, thank you, thank you. 02:00:35.426 --> 02:00:40.952 - When we look at the world today, we might ask, what happened to love, faith, hope, and truth? Where 02:00:40.952 --> 02:00:46.588 - is compassion, empathy, and understanding? It often feels like hearts have grown cold. But what if we 02:00:46.588 --> 02:00:52.390 - return to the golden rule? Do unto others as you would have them do unto you. What if we led with grace, 02:00:52.390 --> 02:00:57.971 - kindness, and forgiveness, even when it's hard? Every day, Dr. Wise asks all of us, are you going to 02:00:57.971 --> 02:01:01.950 - make it? Some days we say yes. Other days it might be, I'm not so sure. 02:01:02.114 --> 02:01:07.354 - Those are the moments when we all need a little more love, faith, hope, and truth to carry us through. 02:01:07.354 --> 02:01:12.543 - And we always make it because as the saying goes, trouble don't last always. So as you listen to this 02:01:12.543 --> 02:01:17.783 - song composed by Dr. Wise, reflect on these words and remember, if we lead with love, keep faith, hold 02:01:17.783 --> 02:01:23.022 - on to hope, and stand on truth, we can make it through anything. Reflect as we sing love, faith, hope, 02:01:23.022 --> 02:01:23.582 - and truth. 02:05:56.866 --> 02:06:03.308 - Bobby Davis Jr., and it carries a timeless message, lead with love. Every day we face choices, 02:06:03.308 --> 02:06:10.292 - how we speak, how we act, how we respond. This song reminds us that our words and actions matter. When 02:06:10.292 --> 02:06:17.480 - we lead with love, we invite peace instead of conflict. Love calms storms. Love heals wounds. Love brings 02:06:17.480 --> 02:06:22.430 - light into darkness. As Dr. Martin Luther King Jr. said, darkness cannot 02:06:22.562 --> 02:06:29.066 - Hate cannot drive out darkness. Only light can do that. Hate cannot drive out hate. Only love can do 02:06:29.066 --> 02:06:35.956 - that. So as you return to your own lives and communities, remember this message. Whatever you do, wherever 02:06:35.956 --> 02:06:37.502 - you go, lead with love.