By Tashi McQueen
AFRO Staff Writer
tmcqueen@afro.com
Gospel music and faith have long been a part of Black culture in the U.S. From hymns that would be sung on slavery fields to anthems of the civil rights movement, gospel has been there.
As Black Music Month begins, it is important to highlight the key role of gospel music in shaping Black identity and how it continues to influence culture today.
“Gospel lyrics and melodies hold the stories of our ancestors, passing them down through generations to keep cultural memory alive,” said Adeerya Johnson, a curator at the Museum of Pop Culture in Seattle. “It has preserved the language of hope, liberation and community pride.”
Johnson recently curated “Never Turn Back: Echoes of African American Music,” a new exhibition at the Museum of Pop that traces the legacy of gospel, blues, jazz and soul. It explores how these genres have long served as tools of resistance, cultural identity and communal storytelling in the lives of Black Americans.
“It was important for me to begin the story of ‘Never Turn Back’ by tracing the roots of gospel through Black vernacular and Negro spirituals…highlighting how these early sounds carried messages of survival and hope during slavery, but also a timeline of the evolution of gospel,” said Johnson. “These spirituals laid the groundwork for gospel as a sound of upliftment, a source of power and collective healing in the face of oppression.”
The exhibit includes how gospel music has always been dynamic, evolving to meet the changing tastes of each generation.
“In ‘Never Turn Back,’ I show how gospel has evolved and infused itself into hip-hop through Christian Rap, R&B and even trap music,” said Johnson. “It’s cool to see how gospel artists continue to blend the traditional sounds and homiletics of the genre to connect to younger audiences.”
Johnson said she sees gospel music as a foundational and encouraging space for younger Black artists to build strong skills as musicians and singers.
“Even in secular music, you can hear the influence of gospel,” said Michelby Whitehead, a public relations strategist.
Whitehead said Fantasia Barrino, Patti LaBelle and Raphael Sadiq of “Tony! Toni! Toné!” are artists that have a background with gospel and intertwine aspects of it into their work.
Looking forward, Johnson said seeing more young artists draw from those musical structures and build those skills through gospel music will be exciting.
“Perhaps the music can give them a sense of passion and connection to a rich history of Black lineage and cultural authenticity, helping them navigate their Black identities and push the boundaries of their musicianship,” said Johnson.
As for the future of gospel music, Whitehead hopes that artists stay true to the spirit of the genre.
“Gospel music has been becoming more mainstream–you can’t tell if it’s a gospel song or if it’s a pop radio hit about a love interest,” said Whitehead, who grew up singing in church herself. “The purpose of gospel music is to bring people to the gospel of Christ so that they actually want to hear the word and come to God and form a relationship with him. If we remember what the whole point is in the first place, then we can get that mission accomplished.”
Johnson believes that gospel music will always have a home in Black culture.
“Gospel music is deeply rooted in the Black church, where it’s not just music but an important space for Black community, strength and resistance,” said Johnson. “The Black church has always been a gathering place for Black voices, so gospel music’s role as a rallying cry for justice and a way to uplift and connect through faith and culture will always be central to its history.”
“As we continue to reckon with systemic injustices and celebrate our triumphs, gospel’s messages of faith, perseverance and Black joy remain essential,” added Johnson. “I see its future as expansive…where it continues to cross genres, inspiring social movements and serving as a testament to our collective resilience.”