Rhiannon Giddens, recipient of Grammy, Pulitzer Prize, and MacArthur “genius” grant honors, has been named the first Artist-in-Residence at the University of Michigan.
The residency, initiated by the U-M Arts Initiative in autumn 2024, aims to leverage the transformative essence of the arts to make an impact on society by bringing innovative artists to campus.
Known for her diverse work, Giddens, a versatile folk artist, may be familiar to admirers for numerous achievements. She is a founding member of the Carolina Chocolate Drops, the co-composer of the Pulitzer Prize-winning opera “Omar,” and the banjo soloist featured in the opening notes of Beyonce’s 2024 hit “Texas Hold ‘Em.”
Throughout all her endeavors, her attention is sharply directed towards acknowledging the roles of Black Americans and others who have historically been marginalized or omitted from American musical narratives.
As a proponent for a more precise recognition of the nation’s musical roots through artistic expression, Giddens plans to explore this theme during her residency by collaborating with university librarians, faculty, and students as well as utilizing the rich resources available at the U-M Clements Library, the Bentley Historical Library, and the Labadie Collection to enhance her research.
“I eagerly anticipate my time at the University of Michigan this year, working with their remarkable archives and scholars as I research and compose my next book,” she stated.
Her upcoming work, “When the World’s on Fire: How a Powerless Underclass Made the Powerful Music that Made America,” will present a dual-part inquiry into American music, commencing with the origins of early American musical instruments and tracing the influences of contemporary popular songs—drawing from historical contexts in unexpected manners.
“I wish to guide readers on an exploration of American music, helping them uncover the discoveries I’ve made that introduce fascinating dimensions to the American narrative,” Giddens commented in an interview.
“Ultimately, what these narratives reveal is that when we start to dismantle the superficial layers—contrary to what those in authority wish to convey—we find that we are not truly separate. We are constantly uniting.”
Through workshops, public engagements, master classes, and collaborative, interdisciplinary projects, Giddens will engage in both classroom and out-of-classroom experiences, covering various disciplines from the Department of American Culture and the Institute for Research on Women and Gender at the College of Literature, Science, and the Arts, to musicology and vocal techniques at the School of Music, Theatre & Dance and the Center for Racial Justice at the Ford School of Public Policy.
During her residency, Giddens will disseminate her insights and findings, culminating in a September session of the Penny Stamps Speaker Series, before concluding her residency in October 2025.