Shawn Wallace, professor of jazz saxophone, gives a lecture titled "Authentic Representation and Systemic Exclusion in Black American Music."
This lecture examines the historical and contemporary systemic exclusions impacting the authentic representation of Black American Music (BAM). Focusing on the perspectives of Nicholas Payton, a renowned musician and critic, we explore the problematic connotations of the term "jazz" and Payton's advocacy for "Black American Music" as a more accurate label. Through this lens, we investigate the cultural erasure and appropriation tied to BAM and its implications for representation in academic and social contexts.
We begin by contextualizing the historical evolution of the term "jazz," highlighting its racialized origins and societal perceptions as morally questionable. These associations have contributed to the marginalization and trivialization of Black contributions, obscuring the genre's intellectual and cultural depth. The lecture highlights key figures, including Louis Armstrong, Duke Ellington, Charlie Parker, and John Coltrane, whose innovations shaped the genre yet whose legacies are often diluted in academic narratives.
The discussion then addresses the underrepresentation of Black musicians and educators in academia, emphasizing how curricula often promote a sanitized, Eurocentric version of jazz, termed "academic jazz." This version strips the genre of its improvisational and cultural roots, replacing them with classical frameworks. Such practices perpetuate systemic exclusion and undermine the authenticity of BAM, necessitating efforts to reclaim its cultural and intellectual significance.
The economic role of BAM is also examined, tracing its evolution from jazz to contemporary genres like hip-hop and R&B. These innovations highlight the resilience and adaptability of Black musicians in overcoming socio-economic barriers. Despite this cultural and economic influence, systemic disparities rooted in slavery, segregation, and redlining continue to undermine educational and economic prospects for Black communities, limiting their representation in higher education.
Cancel culture's influence on academic discourse is analyzed, revealing how ideological conformity can hinder open discussions on race, history, and reparations. The lecture advocates for balanced, constructive engagement that fosters critical inquiry while addressing systemic inequities. We propose strategies to integrate BAM authentically into academia, including curriculum reform, hiring diverse faculty, adopting inclusive pedagogies, and building community partnerships.
Ultimately, this lecture argues for a reimagined academic framework that acknowledges and preserves BAM's rich cultural heritage. It calls for addressing systemic exclusions, promoting genuine multiculturalism, and supporting reparations to rectify historical injustices. Through these measures, we can honor the legacy of Black musicians and ensure BAM's rightful place in cultural and academic narratives.
Inaugural lectures celebrate Arts and Humanities faculty who have been promoted to the rank of professor. All lectures are held in the Faculty Club Grand Lounge from 4-6 p.m. and are preceded by a reception and followed by Q&A and discussion. All lectures are free and open to the public.
The Arts and Humanities Inaugural Lecture Series is sponsored by the College of Arts and Sciences.
