Rhiannon Giddens Quotes

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Getting into the banjo and discovering that it was an African-American instrument, it totally turned on its head my idea of American music - and then, through that, American history.

When I first heard the minstrel banjo - I played a gourd first - I almost lost my mind. I was like, Oh, my god. And then I went to Africa, to the Gambia, and studied the akonting, which is...

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Well, you know, the original banjos were all handmade instruments. Gourd - it would be made with gourds and whatever, you know, materials would have been around. And, you know, first hundred years of its existence, the banjo's known as...

So my mom's folks are from one side of Greensboro - and, you know, outside of Greensboro. And my dad's folks, the white side, is from another very small town outside of Greensboro. So both sides are coming from the...

I decided to study music my last year in high school.

History is my biggest teacher.

Black women have historically had the most to lose and have therefore been the fiercest fighters for justice.

I had this dream like years ago. I had this dream - I wanted to be in an all-black string band.

I think that we definitely want to experiment, and if there's a hip-hop song that we like, we'll cover it. We don't want to be one of those bands that's like, you know, you know - Carolina Chocolate Drops does...

There is a black folk music audience. They're just very small.

We're not here as a black band playing white string band music. You know, we play stuff in the Appalachians, we play stuff in the white community, but we really highlight the black community's music.

I really got into Gaelic music and the whole sound of it, and I got to go to Scotland.

I mean, my training at Oberlin has been absolutely valuable.

When I do Gaelic music, I've learned about Gaelic culture; I've tried to learn the language. Whenever I do mouth music and there's Gaelic speakers in the audience, and they come up and go, 'Good job,' I'm always like, 'Phew.'

You know, I really feel a responsibility to the music, and I teach workshops in music sometimes. And folks do come to me and they go, 'How do I make this blues song my own? How do I feel like...

You have to find the balance of figuring out how can I be effective? How can I use my platform for good, you know, without jeopardizing everything so that I don't have that platform anymore.

At some point you have to take responsibility for who you are and where you are and being able to listen to other points of view, whichever side of the tracks you're on.

I'm a North Carolina native. Grew up in North Carolina.

Each song has its own way that it likes to be done, but it can be more than one way. If you tap into it, you can feel it.

I think songs can have different lives.

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