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Before the innovative work of Zora Neale Hurston, folklorists from the Hampton Institute collected, studied, and wrote about African American folklore. Like Hurston, these folklorists worked within but also beyond the bounds of white mainstream institutions. They often called into question the meaning of the very folklore projects in which they were engaged. Shirley Moody-Turner analyzes this output, along with the contributions of a disparate group of African American authors and scholars. She explores how black authors and folklorists were active participants—rather than passive observers—in conversations about the politics of representing black folklore. Examining literary texts, folklore documents, cultural performances, legal discourse, and political rhetoric, Black Folklore and the Politics of Racial Representation demonstrates how folklore studies became a battleground across which issues of racial identity and difference were asserted and debated at the turn of the twentieth century. The study is framed by two questions of historical and continuing import. What role have representations of black folklore played in constructing racial identity? And, how have those ideas impacted the way African Americans think about and creatively engage black traditions? Moody-Turner renders established historical facts in a new light and context, taking figures we thought we knew—such as Charles Chesnutt, Anna Julia Cooper, and Paul Laurence Dunbar—and recasting their place in African American intellectual and cultural history.
In the late 1920s, Reverend A. W. Nix (1880–1949), an African American Baptist minister born in Texas, made fifty-four commercial recordings of his sermons on phonographs in Chicago. On these recordings, Nix presented vocal traditions and styles long associated with the southern, rural Black church as he preached about self-help, racial uplift, thrift, and Christian values. As southerners like Nix fled into cities in the North to escape the rampant racism in the South, they contested whether or not African American vocal styles of singing and preaching that had emerged during the slavery era were appropriate for uplifting the race. Specific vocal characteristics, like those on Nix’s recordings, were linked to the image of the “Old Negro” by many African American leaders who favored adopting Europeanized vocal characteristics and musical repertoires into African American churches in order to uplift the modern “New Negro” citizen. Through interviews with family members, musical analyses of the sounds on Nix’s recordings, and examination of historical documents and relevant scholarship, Terri Brinegar argues that the development of the phonograph in the 1920s afforded preachers like Nix the opportunity to present traditional Black vocal styles of the southern Black church as modern Black voices. These vocal styles also influenced musical styles. The “moaning voice” used by Nix and other ministers was a direct connection to the “blues moan” employed by many blues singers including Blind Willie, Blind Lemon, and Ma Rainey. Both Reverend A. W. Nix and his brother, W. M. Nix, were an influence on the “Father of Gospel Music,” Thomas A. Dorsey. The success of Nix’s recorded sermons demonstrates the enduring values African Americans placed on traditional vocal practices.
"Natchez, Mississippi, once had more millionaires per capita than anywhere else in America, and its wealth was built on slavery and cotton. Today it has the greatest concentration of antebellum mansions in the South, and a culture full of unexpected contradictions. Prominent white families dress up in hoopskirts and Confederate uniforms for ritual celebrations of the Old South, yet Natchez is also progressive enough to elect a gay black man for mayor with 91 percent of the vote"--
Inspired by memories of her beloved grandmother, photographer and author Alysia Burton Steele -- picture editor on a Pulitzer Prize-winning team -- combines heart-wrenching narrative with poignant photographs of more than 50 female church elders in the Mississippi Delta. These ordinary women lived extraordinary lives under the harshest conditions of the Jim Crow era and during the courageous changes of the Civil Rights Movement. With the help of local pastors, Steele recorded these living witnesses to history and folk ways, and shares the significance of being a Black woman -- child, daughter, sister, wife, mother, and grandmother in Mississippi -- a Jewel of the Delta. From the stand Mrs. Tennie Self took for her marriage to be acknowledged in the phone book, to the life-threatening sacrifice required to vote for the first time, these 50 inspiring portraits are the faces of love and triumph that will teach readers faith and courage in difficult times.
Essays from innovative, leading scholars covering the gamut of the civil rights movement
Weaving national narratives from stories of the daily lives and familiar places of local residents, Francoise Hamlin chronicles the slow struggle for black freedom through the history of Clarksdale, Mississippi. Hamlin paints a full picture of the town ov
The 1930s and 1940s saw unprecedented prosperity for the African Americans of Jackson's Church Street. From the first black millionaire in the United States to defenders of civil rights, nearly all of Jackson's black professionals lived on Church Street. It was one of the most popular places to see and be seen, whether that meant spotting Louis Armstrong strolling out of the Crystal Palace Club or Martin Luther King Jr. organizing an NAACP meeting at his field office on nearby Farish Street. Join authors and veterans of Church Street Grace Sweet and Benjamin Bradley as they explore the astounding history and legacy of Church Street.
Set in 1933 Mississippi, this thought-provoking story about a young boy who lives in an environment of racial hatred will challenge young readers to question their own assumptions and confront personal decisions. Full color.