Margaret Bonds’s Credo sets the nine articles of W. E. B. Du Bois’s iconic manifesto for global equality – first penned in 1904, revised in 1920, and modeled on the sacred symbol of the arch – as a symmetrical set of seven movements for soloists, chorus, and piano (1965) or orchestra (1965–67). This chapter offers a close reading of Du Bois’s anti-racist, anti-sexist, anti-colonialist, anti-imperialist, pacifist text and examines the means by which Bonds translated it into a musical structure all her own that reflects diverse influences ranging from gospel song through the cantatas of J. S. Bach (whom she called “the father of all good music”), also emphasizing womanist themes that are at best minimally present in Du Bois’s text.