{"id":1066,"date":"2022-03-24T15:53:12","date_gmt":"2022-03-24T19:53:12","guid":{"rendered":"https:\/\/www.bridgeport.edu\/news\/?p=1066"},"modified":"2024-12-03T11:56:32","modified_gmt":"2024-12-03T16:56:32","slug":"toward-re-imaginings-of-our-us-national-anthems","status":"publish","type":"post","link":"https:\/\/www.bridgeport.edu\/news\/toward-re-imaginings-of-our-us-national-anthems\/","title":{"rendered":"Toward Re-imaginings of our U.S. National Anthems"},"content":{"rendered":"

by Mya Scarlato<\/strong>, Chair of Music, Assistant Professor of Music & Music Education, 越南直播<\/em><\/p>\n

\u201cWhat song would you like to learn next?\u201d I asked my third-grade piano student during the fall of 2018 as he leafed through songbooks before delivering his choice: \u201cThe Star-Spangled Banner.\u201d I remember feeling conflicted at the time, recalling the bravery of Black football players Colin Kaepernick and Eric Reid, who had recently begun kneeling during performances of the anthem in protest of systemic racism and police brutality. Why this song?<\/em> \u201cWe came to the conclusion that we should kneel rather than sit\u2026 because it\u2019s a respectful gesture,\u201d Reid wrote in the New York Times<\/em>, \u201clike a flag flown at half-mast to mark a tragedy\u201d (Reid, 2017). In the article, Reid acknowledges his admiration for those who died fighting for the United States, emphasizing that the fight for justice and freedom of these American heroes also<\/em> includes the right to protest.<\/p>\n

I had a choice: We could proceed through the piano lesson with a surface-level focus on the notes and rhythms, ignoring the backdrop of public discourse that been ignited by these acts of protest; or we could endeavor to reach deeper \u2014 to grapple with the social context of the anthem in relation to our work at the keyboard. We began to plunk out the melody as I tried to think of ways to connect these sonic fragments to the larger mosaic of U.S. society, eventually recalling a rendition I knew would challenge us: Jimi Hendrix\u2019s 1969 Woodstock performance of the Star-Spangled Banner<\/a>.<\/p>\n

From the moment Hendrix released that first blast of sound, my student\u2019s discomfort was palpable. Out of the corner of my eye, I watched his expressions morph from the narrowing of his eyes \u2014 \u201cwhat?\u201d \u2014 to a face tightly scrunched \u2014 \u201cwhat?!<\/em>\u201d \u2014 to hands clasped over his ears before being cautiously lifted to hear more. The deliriously complex harmonics, the distortion of sounds that denature into stratospheric overtones, the familiar melody that forges through the chaos of rocketing glissandos and explosive chords: it was a lot for a third grader \u2014 and for me \u2014 maybe for anyone \u2014 to take in. \u201cWhy?! Just\u2013WHY<\/em>?!\u201d he burst, halfway through the video. The piano lesson had ended rather abruptly and without closure that day when the student\u2019s mother arrived. And yet, the journey I have been traversing toward better understanding how the lived experiences of individual Americans impact our own relationship with the National Anthem had only just begun.<\/p>\n

An idea that has shaped my thinking over the years comes from educational philosopher Maxine Greene, who viewed art as a medium through which we might endeavor to re-imagine our societies to be more just, equitable, and free \u2014 social imagination<\/em>, as she came to call it. \u201cImagination is not only the power to form mental images,\u201d as we might ordinarily think of it: \u201cIt is also the power to mold experience into something new\u201d (Greene, 1980, p. 30). As I think back to Hendrix\u2019s iconic anthem, I am struck by the realization that social imagination, or rather, social re-imagination<\/em> is exactly what he gives us of the Star-Spangled Banner: Through the sonic images he evokes of war \u2014 bomb-like chords that burst open upon Hendrix\u2019s electric guitar and an ode to the famous Taps bugle melody that signifies the death of a soldier \u2014 we can begin to understand pieces of Hendrix\u2019s lived reality, such as his time in the 101st Airborne Division during the Vietnam War.<\/p>\n

Jon Batiste is another musician whose modern, re-imagined anthem has inspired me to think more deeply about patriotic music. Batiste\u2019s anthem<\/a> aired on public television during the summer of 2020 \u2014 amid the surge of worldwide protests against racial injustice in the wake of George Floyd\u2019s murder \u2014 at the first NBA game played after months of COVID-19 quarantining. The performance is significant in that it pays homage to two<\/em> anthems: The Star-Spangled Banner and Lift Ev\u2019ry Voice and Sing<\/a> \u2014 a melody claimed by many Americans as The Black National Anthem<\/em> since 1921. For the duration of Batiste\u2019s rendition, both melodies are present: the Star-Spangled Banner begins in the tinkling register of Batiste\u2019s piano in tandem with Lift Ev\u2019ry Voice and Sing, which sits in the rich, woody bass notes of a cello. The arrangement also nods to Jimi Hendrix when Batiste leaves the piano to pick up an electric guitar in time to play \u201cAnd the rocket\u2019s red glare,\u201d accompanied by a New Orleans bounce music backbeat \u2014 part of Batiste\u2019s own heritage as a Louisiana native.<\/p>\n

In contrast to the NFL\u2019s reception of Kaepernick\u2019s and Reid\u2019s engagement with the Star-Spangled Banner in 2017, Batiste\u2019s re-imagined anthem garnered noteworthy support from the athletic community: on March 11, 2020, NBA players and coaches of the Utah Jazz and New Orleans Pelicans<\/a> are assembled for their first game: as the anthem is introduced, a wave of athletes swiftly dropping to one knee sweeps across the camera; the players\u2019 heads are bowed with arms around one another. As the camera pans across close-up footage of the players, we see that each athlete is wearing a Black Lives Matter t-shirt; several coaches bear name tags that read \u201cracial justice\u201d; one athlete holds a Black Power fist in the air. In a Facebook post attached to the sharing of his anthem, Batiste wrote, \u201cMy rendition of \u2018our national anthem\u2019 speaks to the moment and is a representation of what this country is grappling with in real-time\u201d (Batiste, 2020).<\/p>\n

Both Batiste\u2019s and Hendrix\u2019s performance of the Star-Spangled Banner opens our senses to the idea that a singular, performative ideal for an anthem \u2014 one<\/em> interpretation, one<\/em> perspective \u2014 cannot possibly account for the plurality of experiences and voices in our diverse society. Although my own journey is unfinished, the act of bearing witness to the patriotic, musical offerings of each of these musicians has helped me learn to better address and grapple with such topics alongside my students at 越南直播<\/a>. As a member of the diverse body of students, faculty, and staff at UB, I look forward to working alongside my community to re-define, re-create, and re-imagine renditions of the U.S. National Anthem that represent who we are at UB.<\/p>\n

UB\u2019s Music program provides students with the preparation they need to build a career in today\u2019s music world through an experienced and dedicated faculty of artist-teachers, the kind of personal attention and advising usually found at small colleges, and the sort of spacious and well-designed facilities typically found at large universities. Learn more about UB\u2019s Music program<\/a>.<\/p>\n

References
\nBatiste, J. (2020, July 31). (Untitled Facebook Post). Jon Batiste (Facebook Page: @JonBatisteMusic.<\/em> https:\/\/www.facebook.com\/JonBatisteMusic\/?rf=109498325736220
\nGreene, M. (1980). Notes on Aesthetic Education. In Variations on a Blue Guitar: The Lincoln Center Lectures on Aesthetic Education<\/em> (pp. 7\u201343). Teachers College Press: New York.<\/p>\n

Reid, E. (2017, September 25). Eric Reid: Why Colin Kaepernick and I Decided to Take a Knee. The New York Times.<\/em> https:\/\/www.nytimes.com\/2017\/09\/25\/opinion\/colin-kaepernick-football-protests.html<\/p>\n

Mya Scarlato<\/strong> joined the 越南直播 as Assistant Professor of Music Education and Chair of Music in 2021. Prior to her appointment at UB, Dr. Scarlato served as Visiting Assistant Professor of Music Education at the Crane School of Music, State University of New York Potsdam for three semesters; she also taught K-12 music in a variety of schools (public, private, and international) including general music and beginning band at an international school in Seoul, South Korea, as well as general music and studio lessons in public and private schools in New York City.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

UB\u2019s Chair of Music reflects on the powerful re-imaginings of our U.S. National Anthem and how they\u2019ve aided her teaching journey along the way. Learn more. 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