As I reflect on the revered legacy of the incomparable Ms. Ella Jenkins, affectionately known as “The First Lady of Children’s Music,” my thoughts are transported back to the vibrant record store where I once worked, located on the historical, predominantly African American South Side of Chicago where Ms. Jenkins grew up and developed her musical talent. 1 Because this record store (“wrecka stow”) is located on the South Side, it exists as a unique sonic haven that serves not only as a retail establishment but also as an important center for African American archives to be purchased and sold.
The store features dusty vinyl records, CDs, and cassettes, as well as rare and coveted first-edition books and historical publications written by prominent and obscure Black authors and writers. The walls are adorned with exotic artwork and posters of iconic entertainers, athletes, and influential figures from Black American history. I spent countless hours behind the counter not just assisting customers but studying, researching, and absorbing all the rich cultural heritage and decadent histories of neighborhoods that proudly reign as “America’s Black Metropolis.” 2
This vast and extremely valuable repository of Black ephemera has been gathered from authentic and varied sources, including Granny’s basement, abandoned storage facilities, local churches, flea markets, and the weathered attics of Chicago’s illustrious South Side—clearly demonstrating that Black Americans have always been incredible archivists, preservationists, librarians, and protectors of important cultural knowledge and artifacts.
Video - Ella performs on WTTW’s “Totem Club”
In the mid-1950s, Ms. Ella Jenkins was invited to appear as a musical performer on “The Totem Club,” a children’s program broadcast by WTTW-Channel 11 in Chicago. 3 She soon became the host of her own show, “This Is Rhythm," on WTTW. In this iconic performance, Ms. Jenkins brings her signature warmth and authority to a hauntingly beautiful rendition of the folk song “Cotton Eye Joe.” With her commanding voice, infectious energy, and rhythmic tenacity, Ms. Ella Jenkins challenged the norms of racial inequality as a pioneering Black woman on TV. She broke barriers by being in a position of authority as an educator, and not a stereotype. 4
Chicago’s historical segregation had inadvertently created a safe haven for important Black archives on the South Side to exist and thrive in Black Family homes. Like the ancient libraries of Timbuktu and tombs of Kemet, these educational centers could flourish independently, free from western influences and protected from the prying eyes of the “white gaze” 5 and culture vultures who in the name of preservation often co-opt, fetishize, and objectify Black publications, 6 Black libraries, 7 and Black records. 8 By keeping these cultural treasures within the Black community, their significance can be properly respected, cared for, and appreciated.
In this unfortunately still too segregated and racist world, it is a lamentable reality that extremely rare and important archives of Black culture are often locked away in the vaults of racist 9 universities, museums, and institutions, which perpetuate racism through a lack of regard for making them accessible and by situating them physically in neighborhoods where they can be easily utilized as a source of empowerment, education, and community building.
These valuable and rare cultural entities are often sold to those who lack the true understanding, respect, and expertise to properly care for and preserve these vulnerable legacies (e.g., the white-owned record store I worked at) without veering endlessly into the realm of cultural appropriation and an avaricious obsession with ownership.
This ongoing and frustrating loop perpetuates a cycle of erasure, a viciously wicked conundrum of disrespect that deems Black people’s archives to be commodities subservient to a society that centers “whiteness” 10 as the only viewpoint of importance (white supremacy).
Audio - Black Children Was Born
“Black Children Was Born” is a powerful call-and-response chant celebrating the beauty and dignity of African American children. As a renowned musician, Ms. Ella Jenkins also used her gifts as a civil rights activist, and was a key figure in the movement. She was a member of C.O.R.E. (Congress of Racial Equality) and performed at Dr. Martin Luther King Jr.’s 1964 Illinois Rally for Civil Rights at Soldier Field Stadium. 11 This song is a testament to her enduring legacy as a champion of empowering and uplifting Black children.
Despite these unpleasant realities, working at a record store was an exciting and intoxicating anthropological adventure that immersed me in the deep, wonderous waters of what Black people value, collect, and preserve.
As a buyer, I vividly recall the excitement of Black sellers arriving with bulging bags, boxes, crates, and chests overflowing with cultural treasures, hoping to cash in on forgotten legacies and strike gold by discovering rare and valuable items in their collections. However, most of the time we would only browse through the stacks, purchasing a few records that were known to sell well and had high market value. 12 Surprisingly, these often weren’t the popular records that most people would think were valuable. It was during this time that I discovered the remarkable Ms. Ella Jenkins’ Folkways records.
My boss, a French-born white man, would instruct me to stock up on Ms. Ella Jenkins’ Folkways recordings whenever people brought them in, assuring me that they would always be in demand. And he was right. As I delved deeper into my own record-buying addiction, I realized that educational and library records held immense cultural importance to my community. These records became the heart of my personal collection, as they provided a unique window into the past and offered a glimpse into what knowledge and information is important to archive, collect, and preserve in the lives and experiences of Black Americans for future generations.
Video - Ella Interview with the National Visionary Leadership Project
In this intimate conversation with the National Visionary Leadership Project 13 Ms. Jenkins shares a story of her friendship with legendary folk singer Odetta Holmes. Ms. Ella recounts how Odetta imparted words of wisdom to her, emphasizing the importance of securing her royalties and navigating the music industry. The conversation also explores Ms. Ella’s experience recording with Folkways Records. From using call-and-response pedagogical techniques to creating records for educators, Ms. Ella Jenkins reflects on the impact of her work with Folkways Records and the lasting legacy of her music.
Ms. Ella Jenkins’ music is a masterclass in storytelling, defying conventional western music education that presents music in a rigid and disturbingly unapproachable manner that often deters many people from learning, performing, and participating in musical endeavors. Her approach is refreshingly patient and accessible, stripping away the mystique and making music feel like the joyful, life-affirming gift from God to humanity that it is. By doing so, she embodies the transformative power of music to educate, uplift, and unite people, particularly children.
Video - Ella live at Smithsonian Folklife Festival 2009
Watch Ms. Ella Jenkins lead a lively performance of “Stop and Go” at the Smithsonian Folklife Festival in 2009, featuring a large group of children and parents. Known for her remarkable approach to teaching music, Ms. Jenkins brings people of all ages and backgrounds together to create a sense of community and shared enjoyment.
As we mark Ms. Ella Jenkins’ 100th birthday, this playlist honors her remarkable impact on education, cultural preservation, and music as a force for social change. Recognized for her dedication to enriching children’s lives worldwide, this tribute features and celebrates 100 songs, chants, and music lessons from Ms. Ella Jenkins’ Folkways, Smithsonian Folkways, and Educational Activities recordings that showcase her enduring influence and inspiring legacy of bridging generational and cultural divides through music and education.
Angel Bat Dawid is a composer, pianist, clarinetist, DJ, and educator who has released several critically-acclaimed albums that blend free-jazz, classical Afrofuturism, and traditional jazz. As an educator, she is dedicated to teaching and mentoring young musicians, particularly through her “Great Black Music” class, which draws inspiration from the teachings of great music educators like Ella Jenkins. With a focus on community engagement and social justice, Angel Bat Dawid desires to use her music as educational initiatives that aim to promote diversity, representation, and empowerment to Black communities.
Notes
1. Ella Jenkins was born on August 6, 1924, in St. Louis, Missouri, and grew up on Chicago’s South Side. Her family often moved during her childhood, exposing Ella to Chicago’s various neighborhoods and sparking her lifelong curiosity of other cultures. Adela Skowronski, "Ella Jenkins at 99: A Timeline" (August 4, 2023).
2. Chicago is often referred to as “America’s Black Metropolis,” a term coined by St. Clair Drake and Horace R. Cayton in their 1945 study “Black Metropolis: A Study of Negro Life in a Northern City” (University of Chicago Press, 1945), 12.
4. The article “Mammy, Jezebel, and Sapphire: Stereotyping Black Women in Media” on Al Jazeera’s The Listening Post (July 26, 2020) explores the persistent and harmful stereotypes of Black women in media, including the submissive “Mammy,” the sexualized “Jezebel,” and the aggressive “Sapphire.” Contributors include Kovie Biakolo, Francesca Sobande, Naeemah Clark, and Babirye Bukilwa.
6. The Chicago Defender, founded in 1905, is a powerful publication that “gave a voice to the voiceless and left an enduring legacy” for the importance of journalism for Black people in the entire nation. “Remembering the Chicago Defender, Print Edition (1905 – 2019)” (National Museum of African American History and Culture, n.d.). John H. Johnson’s Ebony and Jet magazines, founded in 1942 in Chicago, also drew inspiration from the city’s vibrant African American community and captured iconic photos of Black life in America. Sarah Kuta, “Ebony and Jet Magazines’ Iconic Photos Captured Black Life in America” (Smithsonian Magazine, August 3, 2022). With these publications no longer in circulation, the thousands of copies still stored in immaculate condition within Black households in Chicago are invaluable. The Chicago Rebuild Foundation, led by artist and professor Theaster Gates, has made significant contributions to the preservation and promotion of African American art and culture. In 2013, the foundation purchased the John H. Johnson collection, which includes over 50,000 artifacts and archives related to Ebony and Jet magazines. The collection is now housed in the refurbished Stony Island Bank, which Gates has transformed into an art center on the South Side of Chicago. Art21, “Theaster Gates on collecting” (Smarthistory, January 14, 2021).
7. The Chicago Black Renaissance Literary Movement (1930s–1950s) saw African American writers challenge dominant narratives and create a unique cultural identity. Many Black households in the city still preserve rare and valuable book collections, featuring first-edition books from prominent African American authors. These treasured volumes are often preserved in private libraries within African American schools, households, and churches.
Susan Perry and Terry Tatum, “Chicago Black Renaissance Literary Movement Report” (Chicago.gov, n.d.).
8. The Chicago music scene of the 1950s and 1960s was characterized by a proliferation of independent record labels, many of which were small, local operations that produced a significant number of 45s and LPs. These labels, such as Vee-Jay Records, Chess Records, and many other obscure independent labels, were often family-owned and operated, and were known for their unique sound and style. To this day, many African American households still possess vast collections of these 45s, passed down through relatives, which are now highly sought after by record collectors worldwide and can sell for thousands of dollars. For a comprehensive overview of the history of soul music in Chicago during this period, see O’Keefe Reinhard & Paul, “History of Soul Music in Chicago | 1955-1966 Chicago Black Music History” (312 Soul, 2020).
9. As Adam Markham notes in his blog post for the Union of Concerned Scientists, many museums and universities have problematic founders with histories of racism and discrimination. By acknowledging and addressing these dark histories, the institutions can more effectively promote diversity, equity, and inclusion. “Museums Should Publicly Address Racism in their Histories” (July 28, 2020).
10. Jeff Hitchcock, “Decentering Whiteness," 3rd National Conference on Whiteness (University of Chicago, November 7, 1998).
12. The process of commodifying Black archives can be problematic; it can be disheartening for Black sellers who have invested time and emotional and financial resources in their items, only to have their collections rejected or disrespected, or sold for less money than expected, especially in regards to local pawn shops and record stores. The significance of these artifacts goes beyond their monetary value, as they are often deeply tied to the cultural equity and identity of the community. The DuSable Black History Museum and Education Center, founded in 1961 by poet, artist, and activist Dr. Margaret Taylor-Burroughs in Chicago, is a notable example of an institution dedicated to the study and preservation of African American history, culture, and art. The museum’s origins were humble, with Dr. Burroughs starting the collection in her own basement, until it eventually grew into America’s first independent African American museum. Today, the DuSable Museum is a Smithsonian Institution affiliate, serving as a crucial testament to Dr. Burroughs’ tireless efforts to preserve and showcase these relics not just as commodities, but as powerful symbols of Black culture and history.
13. The National Visionary Leadership Project (NVLP) is the premier resource for oral history interviews with African American elders who shaped the 20th century. Co-founded in 2001 as a nonprofit educational organization by educator and philanthropist Camille O. Cosby, EdD, and Emmy Award–winning journalist Renee Poussaint, NVLP has conducted videotaped interviews with more than 250 pioneers and acclaimed leaders. Some of these elders are nationally recognized and interviewed by NVLP’s co-founders and board members, such as Maya Angelou, Shirley Chisholm, Ossie Davis, Ruby Dee, John Hope Franklin, Dorothy Height, Quincy Jones, and Coretta Scott King. Others, known primarily in their local communities, are selected and interviewed by NVLP college Fellows. All of this invaluable primary source material is accessible worldwide on NVLP’s website and archived at the Library of Congress. Retrieved from NVLP YouTube channel.
You’ll Sing a Song and I’ll Sing a Song
A Long Time
Jambo and Other Call and Response Songs and Chants
Ella Jenkins and a Union of Friends Pulling Together