Our New Playlist

Music slips past words— a pulse between thought and dream. Each note unlocks hidden doors, each rhythm threads soul to sound. In this class, I’ve discovered how music reaches deeper than just hearing; it asks us to feel, reflect, and connect. Exploring traditions from across continents— from the Gullah Geechee to Jamaica, the Māori of New Zealand, and even the icy soundscapes of Antarctica—has opened my ears and my mind. I’ve been challenged, inspired, and moved, and through this journey, the world of music has become not just something I listen to, but something I live.

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1. Gullah Geechee People – North America (United States)

Type: Traditional
Song/Video Example: The McIntosh County Shouters – “Move, Daniel”
Notes: The McIntosh County Shouters are a Gullah Geechee group from Georgia, and this song is a “ring shout”—a lively, spiritual ritual that used to be performed by enslaved people along the Georgia and South Carolina coast. I wanted to explore it because, as I mentioned, my dad is Gullah Geechee, and every time you visit Charleston, you’re surrounded by that culture. The ring shout itself is so simple and powerful—people moving in a circle, shuffling or stomping their feet, clapping their hands, or even using whatever they had around them, kind of like the way postal workers in South Africa turn their work into rhythm and movement. What I love about this song is how it feels like pure spiritual freedom—a mix of action, resilience, and overcoming.

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2. Jamaican Reggae Culture – North America (Jamaica)

Type: Modern
Song/Video Example: Koffee – “Toast”
Notes: About three years ago, I traveled outside of the United States for the first time, and my first stop was Jamaica. From the moment I arrived, I fell in love with everything about it and have been wishing to go back ever since. While I was there, I met someone named Romeo, and one of his favorite songs was this one. I love the lyric, “Blessings all pon mi life and mi thank God for di journey,” because it takes me right back to that trip. At the time, I wasn’t in the best place mentally, but looking back, I just feel this sense of gratitude—like, “God, thank you for the journey. For my life in general, I am grateful for everything you do.”

Much like the McIntosh County Shouters, this song is about spiritual liberation, but it’s also about gratitude in everyday life. So whenever I’m feeling down, I just “buss a toast”—I raise a glass and remember the joy: the joy of another day lived, another mental battle overcome, another moment of life fully felt.

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3. Māori People – Oceania (New Zealand)

Type: Traditional
Song/Video Example: Ngāti Toa – “Ka Mate” Haka
Notes: This one is a bit random, but I’ve always wanted to go to New Zealand. I love the idea of traveling, and I suppose this class has given me a little taste of that, even if it’s “expense-free.” One piece that really stands out to me is Ka Mate, a renowned Māori haka. A haka is a traditional Māori performance that combines chant, movement, and rhythm to convey emotion, tell stories, or mark important events. As the YouTube description explains, Ka Mate was composed by Te Rauparaha, the chief of the Ngāti Toa tribe, as a celebration of life over death after narrowly escaping his enemies.

The song repeats the lines, “I die! I die! I live! I live!”—a powerful proclamation of survival, victory, and emergence into light. It’s a moment of claiming life after facing danger, of asserting strength and resilience. Listening to it reminds me of the energy and intent behind Native American chants like Wey Ya Ho Ya Hey, where the rhythm, repetition, and spiritual declaration create a sense of communal empowerment. 

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4. Mongolian Throat Singing – Asia (Mongolia)

Type: Traditional
Song/Video Example: Huun-Huur-Tu – “Orphan’s Lament”
Notes: Lastly, Asia—since we’re ending here, I wanted to explore it a little more. I don’t have much to say about this song other than that it was absolutely magical, in a beautifully broken kind of way. The song speaks about orphanhood and the way suffering can attach itself to a lack of family. Later on, he reflects on his departed mother and expresses a kind of quiet acceptance of that loss. (Please bear with me, as this is from a translation.) There’s a sense in the song that grief is final, and yet it’s met with a tender acknowledgment rather than resistance. It’s a deeply vulnerable, moving piece.

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This class has invited me to listen differently, to notice the textures, the stories, and the histories embedded in every beat and voice. It’s taught me that music is a bridge—between people, places, and time itself. From traditional chants to modern rhythms and experimental soundscapes, each selection has expanded my perspective and deepened my appreciation. What started as a “new playlist” for class has grown into my new playlist—a personal collection of voices, stories, and sounds that now move with me beyond these walls. Through the exploration and journey in this class, my new playlist has become my own.