The first job I had with the Smithsonian was as a field researcher among African American communities in Southwest Louisiana and Arkansas for the festival.

I was at the Smithsonian for twenty years, and I'm still at the Smithsonian as a curator emeritus, and I still plan to figure out what that means for me at this point in my life.

I think the Civil Rights Movement changed that trajectory for me. The first thing I did was leave school. I was suspended for my participation in Movement demonstrations in my hometown, December, 1961.

The Smithsonian Festival of American Folklife, actually, was an effort to put something on the mall in Washington so American tourists could walk through America, and in their minds everything on the mall would be American.

Personally I discovered that you could go through the academy as a young scholar, come out, and almost immediately have an impact on the academic environment.

When I started graduate school I was interested in the culture of the Civil Rights Movement.

At the same time all this was happening, there was a folk song revival movement goingon, so the commercial music industry was actually changed by the Civil Rights Movement.

In fact when Sweet Honey was ten years old it was too big for me to run, and I knew it, but I ran it for another thirteen years because I couldn't convince other people to really do it. And this year, I'm not running it.

The voice I have now, I got the first time I sang in a movement meeting, after I got out of jail... and I'd never heard it before in my life.

There is nowhere you can go and only be with people who are like you. Give it up.

Most people come out of their Ph.D. experience trying to prove themselves, trying to get ahead, trying to get published. You're scared everybody else is going to do your research and get your topic.

But I'm a historian. I wasn't interested in just being a producer, I was interested in doing research and presenting that research to a general public.

It makes sense that whatever the topic is, it's more compelling if you can provide the audience with a range of perspectives, and you can cross disciplines. And you don't have to control what people take out of it.

I organized Sweet Honey In The Rock in 1973. The music was sanity and balance.

So one of the things that happened with integration in the South is they found that the black teachers were much more educated than the white teachers.

One of the biggest things I understood in a program like that was that it allowed more young African American scholars to do field research in the Caribbean and in Africa than had ever happened before in the history of the country and since.

If I had been at a University I don't think I would have been able to have the experience I had in my Smithsonian work. I don't think I have been as successful.

Life's challenges are not supposed to paralyze you, they're supposed to help you discover who you are.

And I used to think that proof that I had religion was whether I knew how to sing all of the songs.

I learned that if you bring black people together, you bring them together with a song. To this day, I don't understand how people think they can bring anybody together without a song.

Well, the first time I ran into the term religion, people were asking whether you had any. You know, some people had religion and some people didn't have religion.

I just don't think one person has that much to contribute to any subject.

The first job I had with the Smithsonian was as a field researcher among African American communities in Southwest Louisiana and Arkansas for the festival.

I came out of the Civil Rights Movement, and I had a different kind of focus than most people who have just the academic background as their primary training experience.

I started graduate school in 1971, I started working at the Smithsonian in the festival in 1972. I went full-time at the Smithsonian in 1974. And I got my doctorate in 1975.

I went to a church where you could not sing out loud in the service until you had been saved.

If every moment is sacred, and If you are amazed and in awe most of the time when you find yourself breathing and not crazy, then you are in a state of constant thankfulness, worship and humility.

When the culture is strong, you've got this consistency where black people can grow up in these places with this voice just resonating about our special-ness in the universe. And I always say you're in trouble if you get too far away from that core that grounds you.

Lifes challenges are not supposed to paralyze you theyre supposed to help you discover who you are.

Life’s challenges are not supposed to paralyze you, they’re supposed to help you discover who you are.

To be a slaveholder meant one had to regard the African American as inferior in every way.

There is no way that we know what is going on between the African American and the Asian American. We don't understand what an Indigenous American is. We don't understand what a Latino American is.

Without Social Security, poverty rates for African American seniors would more than double.

It's a pity one can't imagine what one can't compare to anything. Genius is an African who dreams up snow.

It is up to African leaders to show their will and political courage in order to assure that this new pan-African institution becomes an efficient instrument and not a place for endless discussions.

Because I don't play guitar any more, African harmonies and rhythms have been an inspiration to me. I love the raw origin of the sound. It complements my voice and words naturally.

I say that I represent this movement because my intellectual allegiances are clearly European, not African.

I have a very personal interest. I am a Miami-Dade voter. One of the issues is that my vote and so many other votes of women and African Americans in Florida are being discounted or discarded. I want my vote to count.

Historically Black Colleges and Universities, or HBCUs, have played an important role in enriching the lives of not just African Americans, but our entire country.

When I became a director, I wanted to convince a very reluctant Sidney into allowing me to go on the journey of his life. Sidney had gone ahead of every other African American actor.

I think one of the political problems we have in this country is the perspective that all soccer moms think alike, all African-Americans think alike.

The adoring crowds and overwhelming Democratic support in the 2008 election was based largely on joy at jettisoning Bush and the appeal of electing a superbly qualified charismatic African American leader.

My parents shared not only an improbable love, they shared an abiding faith in the possibilities of this nation. They would give me an African name, Barack, or blessed, believing that in a tolerant America your name is no barrier to success.

Since 1957, black people have experienced double-digit unemployment - in good times and bad times. Look at the population of African Americans in prison. They represent more than half the population of prisoners in the country, 55 percent of those on death row.

Eight generations of African-Americans are still waiting to achieve their rights - compensation and restitution for the hundreds of years during which they were bought and sold on the market.

An important aspect of the current situation is the strong social reaction against suggestions that the home language of African American children be used in the first steps of learning to read and write.

A genocide in Africa has not received the same attention that genocide in Europe or genocide in Turkey or genocide in other part of the world. There is still this kind of basic discrimination against the African people and the African problems.

Whether or not all this came to pass in an East African ditch, I wouldn't like to say. Perhaps it happened in North Africa or further west, but Africa was definitely the place.

I don't think people have been able to deal with the fact that African American filmmakers can make movies about life and relationships.