When most people think about gospel music, they think of choirs, great voices, uplifting, inspirational and rousing songs. Even though that's by no means a complete picture, they wouldn't be wrong. So far, so good – nothing scary or off-putting yet. In fact, far from it! Many of us will remember how spine-tinglingly good it felt to listen to The Kingdom Choir sing ‘Stand By Me’ at Harry and Meghan's wedding, or how moved to tears – or dancing! – we've felt when gospel choir members reveal themselves and their voices during Britain's Got Talent auditions to the collective appreciation of judges and audiences, or how arresting and transcendent the music has been when we've experienced it live. Others who are more acquainted with gospel music will also know that most of the mainstream pop artists we and our students listen to are influenced or supported in one way or another by gospel musicians, either as inspiration, or songwriters, backing singers, musicians, producers – the list goes on. (Wizdom Layne, Co-Director of Sound Connections and Head of MOBO Unsung, estimates that between 60–70% of mainstream popular music is directly supported by gospel musicians.)
So, if we can agree that we enjoy the music and the way it makes us feel, can we discuss some features that give rise to hesitation to engage with gospel music as a genre in our schools? There are likely to be a few given reasons, but my educated guess is that they can loosely be bunched into the following questions:
- Isn't it a bit too religious?
- Am I allowed to teach it if I'm not Black?
- What is the value to my students?
Well, these are good questions; so let's get stuck in!
Too religious?
To begin with, it's worth noting that this isn't an issue for many schools across the country that are either faith schools or are comfortable with tying religious education of any kind into the curriculum. But other schools may be concerned that the Christian foundation of gospel music might be tricky to facilitate in a secular environment. It is true and right that the bedrock of gospel music is the Christian faith. However, it is also true that the faith element does not have to be the focus of teaching the music. There is so much substance to the actual music in terms of its history, notations, melodies, harmonies, style, timing and rhythms, sound, feel and groove that can and should be taught in the same way that classical, jazz, rock, opera and pop music are taught: as a respected musical genre. The capital culture to be gained is of immense value when learning the rich history of the development of gospel music both internationally and nationally. It is a form of Black music, the evolution of which has spanned continents and influenced so many contemporary musical styles.
Also, it's just a lot of fun! My gospel music teacher colleagues and I have taught the music in all types of schools for decades, and we have found, time and again, that pupils from all or no faiths, from different backgrounds and all walks of life have thoroughly enjoyed and benefited from learning, singing and playing gospel music. The lyrics, while rooted in the Christian faith, are almost without exception also uplifting, encouraging and inspiring, meaning that everyone can access a positive message from them whether they have faith or not. Where there are particular sensitivities relating to other faiths, we have found that children, parents and carers have been happy for the pupils to engage to the extent that they are comfortable. Advance notice and free-flowing communication are exceptionally helpful in these situations.
But please don't just take my word for it. In partnership with the arts and community charity Liverpool Lighthouse and music hub Resonate, I created and piloted a six-session Gospel Music into Schools (GMiS) programme, which is proving so popular in secondary schools in Liverpool that there is a waiting list for it. Further, Rockschool has entered the frame to make it accessible to schools across the country, and has a waiting list for the core materials too. The demand is speaking for itself.
Am I allowed to teach it if I'm not Black?
I'm not sure many would voice the question in this precise way, but we have found that hesitation can often boil down to this. The answer to this question is an unequivocal, resounding ‘Yes, of course you can.’ To suggest otherwise would genuinely be absurd, as would the notion that Black people can't teach classical music or that any indigenous form of music cannot be taught by any other race.
I truly believe that anyone can teach anything if they do so with one critical component: respect.
The first element of respect is simply that everyone who teaches the subject, whatever their background or race, learns the material well and studies as much of the background to and important facets of the subject as possible. In other words, that one does what any competent teacher would do when teaching anything.
Gospel music as a genre is no different. The material is available to obtain and learn through different means. It's a simple process to start small, by learning at whatever level you are, then passing on the information you have learned. Learn some more, teach some more and so on.
The Gospel Music Industry Alliance (GMIA) has teamed up with Rockshool to make CPD workshops available to teachers to provide learning tools to assist with this process. We anticipate that many music teachers, through experience, will already have a great foundation of musical knowledge upon which to build the additional elements that make gospel music unique. The Gospel Music into Schools programme mentioned earlier, published by Rockshool, is an extendable six-session introduction to gospel music, with lesson plans, music and vocal recordings (of arrangements scored for SAT) which make it easy to enter the foray of the genre and start teaching it confidently.
GMIA, in addition, has access to several gospel music tutors who can assist with the process of learning to teach or facilitate gospel music.
The second element of respect is the antidote to the concern that people often have about appropriating another's culture. As with any other musical genre, if we respect the music – give its creators' and progenitors' background and history due credit and weight – the teaching of the genre celebrates and extends it. This is as far away from appropriation as you can get.
Value to students and schools
Anecdotal evidence and testimonials from pupils, teachers and schools about the value of teaching gospel music is probably one of the major driving forces behind the work those of us in the business do. It's our oxygen. You can't unsee the impact it has on children from all walks of life. Every single school in which I have taught the genre has requested more, without exception.
As a recent example, Rachel Coyle, music teacher at Broughton Hall secondary school in Liverpool, said in an unsolicited remark, ‘I also wanted to mention how this project has impacted our school in so many positive ways. It has created excitement with the students involved, and others who didn't choose to take part in the beginning are now asking if there are any spaces. It has given our older students the opportunity to enjoy singing again, and so many of our staff have walked past and complimented the sound and said how wonderful it is to have this in our school and how it has lifted their spirits.’
We've seen firsthand and heard reports of children engaging where they normally wouldn't, coming out of their shells, engaging more socially and cohesively with other children and cultures. We've heard about the positive impact it has had on children's wider studies and behaviour.
For the schools, gospel music diversifies their music curriculum, caters for a protected characteristic – race – and includes much cultural capital, as mentioned earlier. Many children will never get the experience of hearing or learning this kind of music and culture without this teaching. As such, it enables a rich, broad and wide curriculum beyond the pupils' classrooms. The music can also be targeted to end of term/year productions, after-school clubs, or choirs and the like, for wider audiences to enjoy.
Is it starting to sound like something you can do? We hope so! And while music teachers might be the obvious choices to pick this up, I'd argue that any teacher who has singing in their classes can give it a go. All you need is a great song to start. ‘Shackles’ (by Mary Mary), anyone?
