Kuumba Voices Fall 2006Z9

NewsletterV of othe Kuumba i Singers c of Harvarde Colleges Established 1970 Fall 2006

DIRECTOR President’s Letter TABLE OF CONTENTS Sheldon K.X. Reid '96 Naabia Ofosu-Amaah '07 President’s Letter...... 1-2 EXECUTIVE BOARD When I think of Kuumba, the Alum Profile...... 3-4 President words “family” and “community” Kuumbabe Reflections...... 5-11 Naabia Ofosu-Amaah '07 immediately come to mind. I Announcements...... 12 came to Harvard hoping to find a Director’s Song...... 13 Vice President place that I could call home, and Neesha Rao '08 I feel incredibly blessed to have found Kuumba. Because of this Treasurer organization I have formed many memories and traditions, but also Ayo Buraimoh '08 meaningful relationships and by engaging in mutual encourage- learned much more about myself ment and eaching. We accept ev- Recording Secretary over the past three and a half eryone into the choir and try to Christina Elmore '09 years. I have been able to do so establish a safe community where much, from singing to people can truly be themselves. Corresponding Secretary fundraising to archiving; my As a result, we all can find ways Dadjie Saintus '08 college experience has been so to channel our individual talents, well-rounded because of this whether through writing and dra- Librarian incredible group of people. matic reading, or by organizing Emily Owens '09 Through my involvement in the and motivating others. No mat- choir I have been able to discern ter what the contribution, each Director of Publicity its strengths as well as gain some person helps to make the choir as Jackie Robinson '09 insight into what can be successful as it is. This collective improved. I have come to love action is what separates the spirit Director of Development this organization and its members of Kuumba from many other Fofie Mgbako '08 unconditionally, as one does a organizations at Harvard. family, and I can’t help but give (continued on page 2) Business Manager back to Kuumba, a group that has Ariel Sloan '09 given me so much. I am honored to be the President this year.. Black Alumni Weekend Musician’s Representative What impresses me the most Dana Hill '09 about this group is the spirit of Kuumba. It is a spirit of creation Tour Manager through collective learning, Khary Francis '08 support, and action. We are able to “do what we can with what we BAF Chairs have to leave a place better than Julie Ann Crommett '08 we found it” by not only creating Jessie Washington '09

Harvard can often become a very competitive and individualistic place. In my experience, you don’t often see students here going out of their way to teach a fellow student something. Yet that sort of experience is ever-present in Kuumba. We understand that we are all different, whether we have the same skin color or not, and we appreciate that we can each bring something different to the table. A small group of individuals alone could not replicate what Kuumba does. What makes our events so special is the collective feeling of accomplishment and appreciation for the effort that each person has put in. That is why people leave our concerts with such happiness; because they have witnessed this spirit - the spirit of a true community. One experience that occurred this semester that illustrates the spirit of Kuumba to me was Kuumba’s performance at the final brunch during Black Alumni Weekend. After we sang “Hold On,” we invited our alumni to sing “The Lord Bless You and Keep You” with us. As we began to sing, Mr. James M. Harkless ’52, the first black President of the Harvard Glee Club, approached Sheldon and asked if he could sing another version of “Hold On.” Although Kuumba did not exist while he was here, Mr. Harkless is a man who paved the way for Kuumba to come into existence. By sharing his talents at Harvard and by succeeding here, he made it that much easier for the next black person to be accepted here. During his beautiful rendition,the members of Kuumba began to sing along – creating harmonies, stomping, clapping, and doing what they could to create even more beautiful music. Even though most of us had not heard the song before, we have learned to support each other and use our own unique talents to add to the richness of the songs we sing. Mr. Harkless went on to sing “There Is A Balm In Gilead,” and the improptu trio that formed around him was a beautiful scene to witness. After this experience of standing and singing with those who came before me, my understanding of Kuumba’s mission was reinvigorated. Kuumba is about celebration; but it is also about learning from and sharing with one another. It was amazing to learn from and share with the people who had laid down the foundation for what Kuumba has become. This experience gave me hope for the future and allowed me as a senior to think both about how I will try to give back when I graduate and about what I can do with the rest of my time here to make Kuumba a better organization. I hope that over the rest of the year, I can deepen the sense of community that we have come to find in Kuumba and that we can extend that community to those who have moved on from Harvard. [This year, we are hoping to profile alumni to our choir members, so if you are interested, please contact me or our Corresponding Secretary, Dadjie.] I also hope to create stronger institutional and financial security for the group so that those who come after us don’t have to face the same challenges that we currently face. Kuumba changes so much from year to year, with new faces, new leaders, new songs, but my experiences in the choir thus far have shown me that some things remain the same. We learn, we share, and we are a part of something that is larger than ourselves. We are a part of the celebration of the culture of a people that is deep and rich, and ever changing. I am honored to be able to lead this organization into a new year. If you are at all interested in establishing connections with current members or if you have any questions about the endowment fund or any other matters, please don’t hesitate to contact me at any time. All my best, Naabia Ofosu-Amaah Voices Page 3 Rev. Dennis Wiley’72, Kuumba Co-Founder

I was born in Winston-Salem, N.C. in 1950 could not find contentment majoring in anything and lived there until my father, a Baptist else. minister, was “called” to pastor a church in As one of the co-founders of the Kuumba Washington, D.C. in 1964. Throughout my Singers (along with my roommate, Fred Lucas), childhood, I loved music, played in the school you can probably imagine the profound impact band, and sang in church choirs, but the that Kuumba had on my Harvard experience. Kuumba Singers was the first choir I ever To my knowledge, it was the first Harvard directed. My mother enrolled me in piano organization designed solely to reflect the lessons when I was 8 years old and I continued unique culture and spirituality of African studying piano at the Howard University American people. The fellowship, the Junior Preparatory School of Music when we camaraderie, the affirmation, the unity, and the moved to Washington. I also learned to play pride that we felt through our involvement in the piano “by ear” at an early age and, in this organization is beyond description. A lesser addition to playing a selection with my junior/ known fact is that around the same time that senior high school jazz band in the eighth Fred and I founded Kuumba, we also founded grade, I later formed my own instrumental trio The Dennis Wiley Black Ensemble, a smaller that was featured each year in my annual high singing, instrumental, and multimedia group school talent show. that also reflected Black culture. The Ensemble, What struck me most about Harvard when which specialized in original message songs I first came here was (1) the intense political pertaining to the struggle for Black Liberation, atmosphere and activism among Black, White, often performed in conjunction with the and other students during this turbulent period Kuumba Singers. in history (1968-1972), (2) the small but close- Perhaps my fondest memory of Kuumba is knit group of Black students on campus, and when we presented our first annual concert at (3) the lack of educational, cultural, spiritual, Sanders Theater on Sunday, May 16, 1971. I and social organizations, activities, events, and conceived the title, “An Evening of Black resources designed specifically to meet the Spirituality,” and am delighted that not only has needs and interests of African American the title survived these many years, but also that students. As I recall, when I arrived at Harvard the annual concert has become a Harvard in the fall of 1968, the only two entities tradition. As members of the choir processed designed to meet our needs were (1) Social into the theater in African dresses and dashikis, Sciences 5, a new introductory course in Afro- singing the songs of our ancestors, how beautiful American History, and (2) the Association of it was to see this venerable Harvard venue African and Afro-American Students. I first transformed from the cool rigidity of academic majored in Social Studies. However, I soon formality into the warm fluidity of spiritual switched to Afro-American Studies. I was creativity and expression. It was an evening I excited about this new department that many shall never forget. Since graduating from of us had fought to create, and ultimately, I Harvard, the work I have devoted myself to is, (continued on page 4) Voices Page 4 Rev. Dennis Wiley ’72, Kuumba Co-Founder

(continued from page 3) in many ways, a awarded me and others W.E.B. DuBois Medals continuation of my experience with Kuumba for our respective pioneering roles in launching and the Dennis Wiley Black Ensemble. My Kuumba and providing strong, creative first job after Harvard was with an arts program leadership during its early stages. in Washington, D.C. that eventually evolved The best advice that I would give to you into what is now the Duke Ellington School current Kuumbabes is to never take the blessing of the Arts. In assisting my father at his church, of Kuumba for granted and to always remember I also founded and directed “The Voices of your roots. There is an old African proverb that Unity,” the church’s first gospel choir. says, “Those who forget their history are Eventually, we recorded an album of original doomed to repeat it.” Kuumba is the result of a songs I wrote entitled, “Something On My great deal of struggle in the midst of adversity. Mind.” During this period of time, I accepted As you march forward into a bright and glorious the “call” to ministry and I now pastor the same future, periodically look back so that you can church that my father, who is our pastor be reminded of the long way over which you emeritus, used to pastor. The spirit behind have come, the rich legacy that is yours, and Kuumba continues to live with me everyday the broad shoulders on which you stand. and in particular guides me to shape worship experiences for my church in an innovative way. I choose to incorporate in our worship services many of the elements that we used to CALLING ALL ALUMNI- incorporate in Kuumba, in the use of our band, Kuumba loves to hear from you! a diversity of music, and creativity in our modes of expression. Drawing from my Please stay in touch! We’re interested in experience with Kuumba and the Dennis Wiley hearing your thoughts, stories, and Black Ensemble, the issues of Black liberation reflections on your Kuumba experience and and empowerment, African American history time at Harvard. We want to know more and culture, diversity, inclusiveness, about you and what you’re up to now. community, creativity, and spirituality are just Has your e-mail address changed? Have as important to me now as they were then. you gotten a new phone number? Do you Since my undergraduate years, Kuumba have a new home address? Let us know! has had little impact on me until recently. After Email Dadjie Saintus,Saintus, Corresponding a period of disconnectedness from Harvard, I Secretary,at [email protected] have tried to reconnect over the past 10 years. with any questions, reflections, or updates! A part of that reconnection has involved my attempts to correct the historical record of And stay connected with other alumni via Kuumba, so that it accurately documents the the Kuumba Alum Yahoo email group, group’s origin. A major boost to this effort formed in spring 2004. Just email occured at the Harvard Black Alumni 2006 [email protected] to join. when Professor Henry Louis Gates Jr. Voices Page 5 KUUMBA AND SPIRITUALITY

FOFIE MGBAKO ’08 Kuumba was founded in 1970 by 5 undergraduates at Harvard who were looking for a safe space to express the creativity and spirituality of black culture. By joining together, they were able to empower themselves and other black students through this spirituality and succeed in creating one of Harvard’s most unique and treasured groups. The mission of Kuumba is engraved in my mind. We say it every time we perform. One of our leaders will take the floor and explain to the audience that our goal is to do what we can, with what we have, to leave a place better than how we found it. Despite the number of times I hear the same thing, this mission of Kuumba never gets old for me. And I attribute its continued vitality to the powerlessness of being in a space where God is present. A specific instance I can remember is at Kuumba’s 35th annual spring concert. It was my first big Kuumba show on campus, with all my friends in the audience and my sister, who’s my best friend. I took the stage excited about performing the songs, doing my best to get all the mechanics and the right lyrics down, all the while smiling for the audience. We sang one of my favorite songs by the choir: “Hold On.” As the soloists sang, and I heard the crescendo of the choir’s unified voice, performing the song took a backseat to what I felt in that moment, which was a powerlessness in the presence of divine inspiration. The history, the suffering, the redemption that comes through in that song engulfed me and for the duration of the piece, I was lost in the music. Thinking back on it, it is that very powerlessness that allowed me to enjoy every second of the song and enabled the audience to do the same. It allowed Kuumba’s mission to take form without me actively exerting myself to make it happen, but rather allowing it to happen to me. That is perhaps the greatest lesson I take from Kuumba. (continued on page 8)

Hold On – we are asked to hold on to something – an idea – a people – a history. It is by holding on that we move forward. Our future is firmly in our past. You must understand your own past in order to move forward. Time is of the essence. It is what we make and chart our lives by. Kuumba is the space – a time, a past, and a present – where all the elements of our own history, a people’s history, a choir’s history and their respective futures intersect. Kuumba is community. Sing on… Kuumba and Harvard alumni singing during the Julie Ann Crommet ’08 Black Alumni Weekend brunch. Voices Page 6 PERFECTION

ANNA MCCALLIE ’08 I’m squashed between a giant wooden pulpit on one side and a hundred Kuumbabes on the other. It’s close to midnight and people are cranky. It’s approximately 600 degrees Fahrenheit in Memorial Church and we’ve been here for five hours. Why am I putting myself through so much torture? Good question. I mean, I could be back in my nice, cozy room watching a movie or catching up on some reading. But instead I’m choosing to be in this strange sort of Spanish Inquisition-esque space and I’ve got maybe six centimeters of wiggle room. Welcome to Kuumba. The aforementioned inferno is actually the dress rehearsal for the Christmas Concert. But this is Kuumba. This is Kuumba’s perfection. No, not the kind of perfection exemplified so expertly by your typical Harvard student: “If I don’t set the curve for this test, if I don’t read every single word of my textbook, if I don’t get an A in this class I’ll end up homeless and alone!!!” Nope. Sorry, wrong crowd. That is not our scene. What I mean by Kuumba’s perfection is so much deeper than this sort of madcap, harried existence. Kuumba’s perfection is profound; it is a river, it is a rock. It transcends the mundane, it transforms the morose. Kuumba is rooted, steeped in tradition. It is a living, breathing entity that has this awesome power to express God’s love through song. What else could compel a hundred students to stand (and smell) like sardines for hours on end? What else but this perfect power, this perfect love? What else but Kuumba? We are flawed; there is no doubt about that. After all, nothing is perfect, right? We have our spats; we have our disagreements, just like any other group. We’ve all had that one rehearsal that just dragged on. But despite this—perhaps because of this—we are still striving, still thriving. It is this perfection that drives us. The idea of the word Kuumba is often cited when discussing the choir:“the creativity of leaving a place better than you found it.” I’ll admit, the first time I

heard that, I had only one thought: “Huh?” How could ‘creativity’ improve a place? I thought the only way to “leave a place better” than how I found it would be to throw away my garbage and push in my chair. Oh, how wrong I was. I was wrong because I had never fully experienced Kuumba. Oh sure, I saw the spring concert during pre-frosh weekend. It was jaw- dropping, no doubt. But there’s a big difference between sitting on the cold, hard benches of Sanders Theater and singing among your peers, your friends, your fellow Kuumbabes. And so the dress rehearsal ends, finally. We trudge homethrough cold that would make a polar bear Kuumbabes at the Kuumba retreat! (continued on page 8) Voices Page 7 Kuumbabe Reflections

“The atmosphere of sharing thoughts LISA ROSENFELD ’09 and feelings honestly and admitting to By descent, I’m Russian…or Polish…or maybe it’s our ignorance and curiosity allows this Ukrainian. I’m Jewish: bat mitzvah and all. And probably choir to be a family. Kuumba is so most importantly, I’m white. I think these are the reasons many things to so many people that that my friends at home, and even my friends here at any description ends up being shallow. school, chuckle when they hear that I am in Kuumba, Harvard’s “100-member choir dedicated to the expression But one thing we all feel together is of black creativity and spirituality.” beauty and love.” “Do you want to be black?” they often ask in response. - Rebecca Booth-Fox And to be honest, who doesn’t? But this is not why I am in Kuumba. I understand that for many, Kuumba is first and foremost a tribute to black song and soul. And I readily admit that these are reasons enough for the existence of Kuumba. But for me, Kuumba is more than just black spirituality. It is a feeling. It is the vision of one hundred separate members coming together to form a unified, cohesive group. It is the sound of voices producing harmony, dissonance, or unison. And it is the touch of someone’s hand – someone I don’t know – grabbing for mine when we “circle up” and pour out our hearts. As Sheldon often says, it is nearly impossible to explain Kuumba to someone not in it. It is intangible and inef- fable—an esoteic field at Harvard understood only by Hanging out at the Kuumba retreat! those who devote themselves to it. For this reason, my friends can’t seem to grasp that it doesn’t bother

me – doesn’t even occur to me, actually – that I am an ethnic minority in this very special choir. For me, Kuumba is not about black and white. And it is not about Christian or “other.” In my view, Kuumba is spirituality in and of itself. It is being honest with myself, and with others. It is coming together to share, help, and enlighten. It is support, love, and kindness. But above all, Kuumba – for me – is the swell that rises through my chest announcing the arrival of a smile. Kuumba is happiness I can count on. Already, Kuumba has left me in a better place than when I came. All I can hope is that I do the same for it.

“Kuumba for me offers that release and assurance I need to want to be in this place. Too many times I question why I’m at this school and why I’ve left behind everyone and everything I love in California. But when I’m with Kuumba I forget about my crazy roommates, the papers, and financial issues and I relax. Until I came to Harvard, I never sang in front of anyone, but I’m discovering all the benefits of singing. Kuumba is something I hope to be a part of all the while I’m here.” Camille Mason ’10 Voices Page 8 Kuumbabe Reflections

(continued from page 5) This past summer I was in Ghana sitting inside Cape Coast Castle, which is one of the oldest slave forts still standing, built on the west coast of Africa in the 17th century. I was at this event that was part of the biannual Panafest, a full week of festivities celebrating the history and tradition of Pan-Africanism. After a rousing speech by a Ghanaian leader and a beautiful procession of dancers, I sat in the same place where, a few hours earlier, I had wept. I had wept because of the walls stained with blood, the darkness of the male slave dungeon, and the ghosts around me still searching for answers. At this celebration, I continued feeling devastated about the history surrounding me, until a youth choir filed onto the front stage and began singing “Ndimbone” followed by “Shosholoza,” two of my favorite Kuumba songs. And in that moment the love I have for Kuumba, its music, its mission, and the members of its community, made so much sense to me because I felt that same spirit I feel in every rehearsal and at every performance right there on the dusty grounds of Cape Coast Castle in Ghana. Kuumba goes with me wherever I travel and helps me with whatever obstacle I come across. It’s a love that is kindled in my heart. I sang Kuumba songs all the way back home and I now know I can carry the spirit of the choir with me always.

Fall 2006 Performances (continued from page 6) give up, thinking that per- Opening Exercises • Black Alumni haps we should have stayed in the church... But no Weekend • Harvard College Fund matter how tiring the rehearsals are, we know the • Mass Ave. Baptist Church • In- concert will be beyond belief. That goal is what terfaith Thanksgiving Dinner • buoys us along and keeps our hope afloat. “Body & Soul”: Harvard-Yale And sure enough, the concert is amazing. No, Talent Show • 36th Annual Dr. S. it’s beyond amazing. It is an all-encompassing, all- Allen Counter Christmas Concerts uniting, all-powerful display of what Kuumba is; what Kuumba stands for. It truly is God’s love expressed through song, through movement, SAVE THE DATE!!! through happiness. And after we’ve sung the benediction, after the last hug, after we leave The 37th Annual Archie C. Memorial Church, we know that the echoes of our voices are still ringing in the rafters. The Epps Memorial Spring Concert fingerprints of God’s love are still pressed on the will be Saturday evening, April walls and the pews. The emotion poured out from our souls is still kicking around in that space. We 28th 2007 at Sanders Theater. have indeed left it better than we found it. That is Kuumba’s perfection. More info will be available at kuumbasingers.org Voices Page 9 Kuumbabe Reflections

NATHAN WHITFIELD ’09

I am by no means one of those people whom God blessed with the innate talent of possessing a melodic, angelic voice. But having grown up in the South, I like to think (or at least tell myself) that I know what it means to really “sing” a song. As I sit during our wonderful and God-sent three hour rehearsals, I cannot help but at times stop singing and simply listen to the nothing short of glorious sound of every section and the amazing talent that Kuumba has within it. It evokes wonderful thoughts of home and holidays and family and every sentiment and emotion one possesses. Then I realize, as I have on many occasions, that, yeah, it sounds lovely, everyone singing and each section blending with and uplifting other sections with their fortissimos and crescendos. However, while I am hearing the music, the sounds, the words, and all the many voices, I am not listening to it. I remember once I had to give a Sunday school review. The lesson for that particular Sunday was appropriately titled, “Make a Joyful Noise.” Normally whoever is doing the review prepares for it the night before, as I did; but I remembered thinking, “No problem; I’ll throw in a few scriptures, get a few ‘Amens’ and make it at least sound like I know what I am talking about.” But it wasn’t until I arrived at church that day that I truly realized the power of singing. That Sunday we opened with Amazing Grace; had we opened with anything else, I’m not sure the same emotion would have been felt. For those four or five minutes that we ran through the chorus, for the first time in my life, I actually stopped and listened to the words. And if one actually thinks about it, there are so many songs, whether it be Amazing Grace, Lift Every Voice and Sing, or just Jesus Loves Me, that we’ve become so accustomed to singing because we “know” it, that we forget to sing. That Sunday I forgot what I wrote the night before, because I felt angry at how the song was being sung. There was no passion, no feeling, there was nothing there while we sang it. Anyone who has ever heard Amazing Grace knows that singing it with no energy or passion truly takes away from why the song was written. My Sunday school address that Sunday was about understanding to whom we are singing (God in that instance) and for what purpose we were singing. So many times, even we in Kuumba become so complacent in singing and letting our wonderful voices be heard that we forget that without that song, your voice would not be ushering forth that melodic sound. Kuumba, in my opinion, is less about singing, but more (continued on page 10)

“I have come to realize that I am a part of a legacy. A legacy of triumph over struggle. A legacy of love, joy and community. I sing for the Lord, I sing for my people, I sing because the music matters.” Christina Elmore’09 Voices Page 10 Kuumbabe Reflections

Kuumba performing in Memorial Church

(continued from page 9) about knowing and understanding. It is really about having an appreciation for what is here and now. So many times life can throw huge wrenches into the things we wish and want to do. The fact that we live in such a world where anything and everything can and does happen only emphasizes the fact that one cannot allow himself to be victimized by the age you live in. Kuumba shows us that we are responsible for how we act and how we are perceived by others. It’s not the times that will bring us down any more than it’s society. When you put the blame on society, then you end up turning to society for the solution. Through these songs we see that at times it was to their own voice and inner passion and desire that people turned. There’s a tendency today to absolve individuals of moral responsibility and treat them as victims of social circumstance. You buy that, you pay with your soul. It’s not men who limit women; it’s not straights who limit gays; it’s not whites who limit blacks. What limits people is lack of character. What limits people is that they don’t have the nerve or imagination to star in their own movie, let alone direct it. This is what Kuumba is about—finding one’s self, understanding who we are; and that if only for three hours a night, twice a week, there are 60, 70, however many individuals who understand you, and come to show that understanding through standing with you in song. I urge you, stop for a moment during one of our songs and just listen and if you don’t understand, you probably never will. Had my friend Tope not introduced me to the joys of Kuumba, I wouldn’t be able to say forget the Life Science test tomorrow or the essay due for my core class. As much as I almost cry at the sound of hearing rehearsal for three hours, walking into the room and seeing my family, a family created through song, is enough to make one cry at the thought of not being there for even one second. Voices Page 11 Christmas Concert Reflection

JOSHUA ST. LOUIS ’09 Chorus, and our choir director (who had specialized in African musical expression in I remember leaving Friday night’s concert college) often found herself constrained by the being quite moved and full of adrenaline, but the greater community to pick choral pieces that feeling I had leaving the Saturday night concert were conservatively white and “politically and the post-concert social was ridiculous. There correct.” Then, in my senior year, she was was something so special and rare about chosen to conduct the regional music festival Saturday’s concert that I feel truly privileged to that our select choir attended every year. As a have been a part of it. I think one of the reasons theme, she decided to pick songs that were either why the concert was so special is that the crowd of direct African origin or from the slavery was able to see and feel what it is that we see and period. However, the community became feel when we think of Kuumba. I certainly know outraged at this. What’s more, there was not a Memorial Church will never be the same again. single person of African descent in the entire Saturday’s concert reminded me of an 100-person choir. It was during this concert that experience from my past that for me represents I feel that my connection to Kuumba actually something integral to the meaning of Kuumba. began. At the time I realized that, although I Despite having grown up in a liberal suburb in could never understand the music the same way Massachusetts, I went to high school in northern that a black person might, I could understand New Hampshire in a very rural area near the very well how important it was for us to be Canadian border. Apart from my close friends, singing that music at that moment. It made me most of the people there were extremely close- realize how much is still wrong with the world minded and racist, and from the moment that I and how much I wanted to fight to change that. moved there, I was disgusted. The concept of And that is why I sang. We were doing what hating people for no reason other than the color we could, with what we had, to leave that of their skin was completely alien and horrific to community better than when we found it, regardless of how futile the people might have me. thought our efforts were. At my high school, I was in Chorus and Select So you can imagine why Kuumba was such a powerful experience for me when I went to the introductory meeting the spring semester of my freshman year. It brought me back to that music festival, and made me realize how much more I could learn and understand from this group, combining the experience with my love for singing. I thank Kuumba for being that community, that creativity, and that change.

Kuumba singing during the 36th Annual Christmas Concert. Picture courtesy of Kosei. Voices Page 12 Announcements

SUPPORT KUUMBA! The deadline for the 2007 Kuumba Singers’ Annual Fund is May 2007. To donate, please detach and fill out the adjacent form and send it with your cash or check to Kuumba Singers, P.O. Box 380-344 Cambridge, MA 02238. Thank you to the many alums who have already replied with donations and well wishes! With questions, contact Fofie Mgbako’08, Director of Development, at [email protected]. Kuumba Singers of Harvard College P.O. Box 380-344 Cambridge, MA 02138

Director’s Song: From the Newsletter Archives Spring 2004

The body is a remarkable thing. We go to the similar trials will have to be encountered again, weight room because we have learned that to and time must be wasted relearning what was struggle and strain against burdens so heavy just already known. makes us stronger. When the body is attacked by There is a joy that is found in seeing those you sickness, it is weakened, but it learns how to fight love do well. There is a joy in seeing them grow off that particular attack, making it hard to be and learn and understand. Kuumba has always weakened in that way again. It is the journey brought me that joy. I myself daily seek to discover through the experience that gives strength. more of the multifaceted gem called black culture Community growth parallels the body’s growth. We and how it has always been expressed through learn through trial, hardship, and experience. As music, inextricably linked to the people’s spirituality. we learn, we try to pass on our knowledge to those As I learn, I share with those around me, who in around us so they don’t have to make the same turn share with those around them. We all grow mistakes we did. The community learns from each together in this fashion. As the year continues, I other’s mistakes and successes. In this way each ask you to share in this joy. If Kuumba was/is experience enriches the whole and the community something special to you, I ask you not to leave us grows, not in numbers, but in knowledge, and with weakened by removing your experiential resources. this knowledge—purpose and identity. Our alums are our strength, our memory, and our Unlike in the body, members of the community experience. You are the reason “we are not the can choose to leave, taking all their experiential competition, we are the standard.” We want to resources with them. When this happens, the hear your voices, see your faces, learn from you community is lessened in two ways. The first is the and grow together. If you have questions, loss of experience and history, which weakens the concerns, advice, or memories to share, no matter community’s sense of identity and self-knowledge. how general or specific, feel free to email me at You must know and understand where you come [email protected]. One purpose. One body. One from in order to know and understand where you family. Kuumba. are going. The second is found in the fact ~Sheldon K.X. Reid,’96, Director