By Coleen Cote
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.
Africa is obviously the place to where much of the influence on this form of expression comes from. Enslaved Africans in America in the 18th and 19th centuries were brutally dehumanised, and a part of this process was to try and remove traces of native cultures. Slaves were prevented from speaking their own native languages, and religious ritual was suppressed.
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.
At the same time, the enslaved Africans were also coming under the influence of Christianity. In Christian, European style places of worship, the worshippers were compelled to sit in rows rather then stand freely, to dance or otherwise express themselves. Slaves were also prohibited from using musical instruments as part of their worship, as was common in Africa.
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.
Many spirituals used these reference points in the Bible to make points about being enslaved in America. The parallels between the plight of the Jews of the Old Testament, and a new duality was born, which combined social commentary with spiritual expression. While the new music was strong in religious faith, there was also a political point about the degradation and sheer hatefulness of being a slave.
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.
Africa is obviously the place to where much of the influence on this form of expression comes from. Enslaved Africans in America in the 18th and 19th centuries were brutally dehumanised, and a part of this process was to try and remove traces of native cultures. Slaves were prevented from speaking their own native languages, and religious ritual was suppressed.
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.
At the same time, the enslaved Africans were also coming under the influence of Christianity. In Christian, European style places of worship, the worshippers were compelled to sit in rows rather then stand freely, to dance or otherwise express themselves. Slaves were also prohibited from using musical instruments as part of their worship, as was common in Africa.
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.
Many spirituals used these reference points in the Bible to make points about being enslaved in America. The parallels between the plight of the Jews of the Old Testament, and a new duality was born, which combined social commentary with spiritual expression. While the new music was strong in religious faith, there was also a political point about the degradation and sheer hatefulness of being a slave.
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.
About the Author:
Read more about How Did African American Spirituals Develop Into A Cultural Phenomenon visiting our website.