Women's Military Bands in a Segregated Army: The 400th and 404th Wac Bands (2006)

Abstract This study investigated two all-women's military bands during World War II, 400th and 404th Women's Army Corps (WAC) Bands. Focus was on inception and activities of two separate ensembles as they worked cooperatively to serve their post and communities throughout United States. Each band holds a unique place in military history: 400th was longest activated all-women's band lasting 34 years; 404th was only all-women's African-American band. Primary sources used were U.S. Army documents, WAC documents, personal letters, a diary, personal written histories, oral history transcripts, musical recordings, programs, photographs, newspaper articles, and personal artifacts. This research fills gaps in band, women's, and general American histories by documenting women's roles as instrumental musicians during war. Early contributions by women musicians to military instrumental music have not been researched and reported by music education community. Jones (2002), in his dissertation on history of Armed Forces School of Music, also recognized deficiency in literature. stories of Females and African-American musicians in American military bands have not been highlighted in previously published literature/'i Carpenter (1970), in his dissertation on history of United States Marine Band, failed to mention all-women's Marine Corps band that existed during World War II.2 The women's band, trained by male band members and director Captain William F. Santelmann, was considered a sister organization to men's band.3 Researchers in music education and outside field recognize that there are gaps in history of music and music education. George Heller and Bruce Wilson (1992), in their Historical chapter in Handbook of Research on Music Teaching and Learning wrote, Gaps remain in present story of people, places, and ideas associated with music teaching and learning. New interpretations of old subjects are needed, especially to discover roles of ethnic and racial populations and women.4 Ten years later, a similar conclusion was drawn by Lamb, Dolloff, and Howe (2002) in their chapter review of Feminism, Feminist Research, and Gender Research in Music Education in The New Handbook of Research on Music Teaching and Learning. They wrote that much research still desperately needs to be done in order to add all of facts that could be discovered about women in music and music education.5 Howe (1998), quoted in same chapter said, It is time to use a broader definition of history of music education, telling story of education of students of all age groups, in music of all types, and in diverse community settings. . . . Various methodologies should be used including oral history. 6 Outside field of music, historiographer, Sherrie Tucker, in her book, Swing Shift: All-Girl Bands of 1940s, researched the sadly neglected history of all-women bands.7 Through her study of this decade she revealed there were hundreds of women's bands, such as Ina Ray Hutton's and Phil Spitalny's dance bands-to name a few of well known ensembles. She reports that women's bands are not included in history publications because they lacked an intangible, yet crucial, 'authenticity' possessed by men's bands.8 She points out that attitude toward women's bands as inauthentic was due to societal and political reasons.9 During World War II, United States military had several all-women instrumental music, ensembles. Seven full-time bands, one recreational concert band, and several volunteer drum and bugle corps existed from 1942-1946.1O The Women's Army Corps (WAC), formerly Women's Army Auxiliary Corps (WAAC), had five full-time women's military bands, Coast Guard SPARS, a name derived from Coast Guard motto, Semper Paratus (Always Ready), had one full-time women's band, Marine Corps Women's Reserve (WR) had a full-time band at Camp Lejeune, North Carolina, and Navy WAVES (Women Accepted for Volunteer Emergency Service) had a recreational concert band in Washington, D. …