African American spirituals played a key part in the development of a uniquely American 'Black' culture. Drawing together influences from European Christianity and from their African homelands, enslaved Americans created a musical form which continues to play its part in music across the globe. Songs like 'Michael, Roe the Boat Ashore' have become standards in many countries other than the USA.
The continent of Africa is obviously where much of the basis of the art form which came to be known as spirituals. Many hundreds of thousands of enslaved Africans were dragged to America during the 18th and 19th centuries, and were systematically dehumanised by their captors, who tried to oppress their native culture. Religious beliefs were suppressed and Africans prevented from speaking their own tongues.
Traditions were kept alive, albeit often in improvised ways, at the informal and clandestine religious meetings held in out of the way places. These 'bush meetings' allowed people of African origins to continue to express religious feelings in traditional ways. Activities such as ring shouts, communal chanting and speaking in tongues were examples of the kind of traditional modes of expression which took place.
But at the same time as they were trying to retain cultural links with Africa, enslaved Americans were also becoming Christianised. This altered many aspects of their worship, as in European style churches the worshippers were expected to sit in neat rows, while vocalisations and musical instruments were also prohibited. There was also no dancing, all of which altered the way in which enslaved Americans expressed spirituality.
The Bible began to shape the kind of material with which the songs of the enslaved people dealt with, with Bible stories and hymns being re-worked into new forms. But these were not simply updated versions of old songs, they were a new musical form, the spiritual. Lyrically, many of the new songs made overt reference to Bible stories of oppression and liberation from bondage, such as Exodus and the Flight of Moses.
This usage of this kind of Biblical material was, of course, a direct reaction to being enslaved. Many enslaved Americans could see direct and figurative parallels with their situation in the New World and the Jews of the Old Testament in Egypt. While the new music was spiritual and an expression of religiosity, it was also about the hope of one day being freed from oppression.
Many traditions from Africa are still evident in the way that many descendants of enslaved Americans worship to this day. Call and response preaching is commonly used in many churches, as one example. This style is also still used in Gaelic speaking communities in Scotland, perhaps suggesting a side influence in America from Scottish preachers and missionaries.
The communal and emotional way of worshipping embodied in African American spirituals also continues to this day. Tied up with stories of liberation and emancipation, these songs are known throughout the world as beautiful expressions of cultural heritage and defiance. They are a great gift to the world, and now sung across the globe by people who have little conception or idea of the dramatic story of their origins as both religious and protest songs.
The continent of Africa is obviously where much of the basis of the art form which came to be known as spirituals. Many hundreds of thousands of enslaved Africans were dragged to America during the 18th and 19th centuries, and were systematically dehumanised by their captors, who tried to oppress their native culture. Religious beliefs were suppressed and Africans prevented from speaking their own tongues.
Traditions were kept alive, albeit often in improvised ways, at the informal and clandestine religious meetings held in out of the way places. These 'bush meetings' allowed people of African origins to continue to express religious feelings in traditional ways. Activities such as ring shouts, communal chanting and speaking in tongues were examples of the kind of traditional modes of expression which took place.
But at the same time as they were trying to retain cultural links with Africa, enslaved Americans were also becoming Christianised. This altered many aspects of their worship, as in European style churches the worshippers were expected to sit in neat rows, while vocalisations and musical instruments were also prohibited. There was also no dancing, all of which altered the way in which enslaved Americans expressed spirituality.
The Bible began to shape the kind of material with which the songs of the enslaved people dealt with, with Bible stories and hymns being re-worked into new forms. But these were not simply updated versions of old songs, they were a new musical form, the spiritual. Lyrically, many of the new songs made overt reference to Bible stories of oppression and liberation from bondage, such as Exodus and the Flight of Moses.
This usage of this kind of Biblical material was, of course, a direct reaction to being enslaved. Many enslaved Americans could see direct and figurative parallels with their situation in the New World and the Jews of the Old Testament in Egypt. While the new music was spiritual and an expression of religiosity, it was also about the hope of one day being freed from oppression.
Many traditions from Africa are still evident in the way that many descendants of enslaved Americans worship to this day. Call and response preaching is commonly used in many churches, as one example. This style is also still used in Gaelic speaking communities in Scotland, perhaps suggesting a side influence in America from Scottish preachers and missionaries.
The communal and emotional way of worshipping embodied in African American spirituals also continues to this day. Tied up with stories of liberation and emancipation, these songs are known throughout the world as beautiful expressions of cultural heritage and defiance. They are a great gift to the world, and now sung across the globe by people who have little conception or idea of the dramatic story of their origins as both religious and protest songs.
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