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In 1888, Charles Colcock Jones Jr. published the first collection of folk narratives from the Gullah-speaking people of the South Atlantic coast, tales he heard black servants exchange on his family's rice and cotton plantation. It has been out of print and largely unavailable until now. Jones saw the stories as a coastal variation of Joel Chandler Harris's inland dialect tales and sought to preserve their unique language and character. Through Jones' rendering of the sound and syntax of nineteenth-century Gullah, the lively stories describe the adventures and mishaps of such characters as "Buh Rabbit," "Buh Ban-Yad Rooster," and other animals. The tales range from the humorous to the instructional and include stories of the "sperits," Daddy Jupiter's "vision," a dying bullfrog's last wish, and others about how "buh rabbit gained sense" and "why the turkey buzzard won't eat crabs."
"What Nature Suffers to Groe" explores the mutually transforming relationship between environment and human culture on the Georgia coastal plain between 1680 and 1920. Each of the successive communities on the coast--the philanthropic and imperialistic experiment of the Georgia Trustees, the plantation culture of rice and sea island cotton planters and their slaves, and the postbellum society of wage-earning freedmen, lumbermen, vacationing industrialists, truck farmers, river engineers, and New South promoters--developed unique relationships with the environment, which in turn created unique landscapes. The core landscape of this long history was the plantation landscape, which persisted long after its economic foundation had begun to erode. The heart of this study examines the connection between power relations and different perceptions and uses of the environment by masters and slaves on lowcountry plantations--and how these differing habits of land use created different but interlocking landscapes. Nature also has agency in this story; some landscapes worked and some did not. Mart A. Stewart argues that the creation of both individual and collective livelihoods was the consequence not only of economic and social interactions but also of changing environmental ones, and that even the best adaptations required constant negotiation between culture and nature. In response to a question of perennial interest to historians of the South, Stewart also argues that a "sense of place" grew out of these negotiations and that, at least on the coastal plain, the "South" as a place changed in meaning several times.
Like many black school principals, Ulysses Byas, who served the Gainesville, Georgia, school system in the 1950s and 1960s, was reverently addressed by community members as "Professor." He kept copious notes and records throughout his career, documenting efforts to improve the education of blacks. Through conversations with Byas and access to his extensive archives on his principalship, Vanessa Siddle Walker finds that black principals were well positioned in the community to serve as conduits of ideas, knowledge, and tools to support black resistance to officially sanctioned regressive educational systems in the Jim Crow South. Walker explains that principals participated in local, regional, and national associations, comprising a black educational network through which power structures were formed and ideas were spread to schools across the South. The professor enabled local school empowerment and applied the collective wisdom of the network to pursue common school projects such as pressuring school superintendents for funding, structuring professional development for teachers, and generating local action that was informed by research in academic practice. The professor was uniquely positioned to learn about and deploy resources made available through these networks. Walker's record of the transfer of ideology from black organizations into a local setting illuminates the remembered activities of black schools throughout the South and recalls for a new generation the role of the professor in uplifting black communities.
Winner • NAACP Image Award for Outstanding Literary Work (Fiction) Winner • Anne Izard Storytellers’ Choice Award Holiday Gift Guide Selection • Indiewire, San Francisco Chronicle, and Minneapolis Star-Tribune These nearly 150 African American folktales animate our past and reclaim a lost cultural legacy to redefine American literature. Drawing from the great folklorists of the past while expanding African American lore with dozens of tales rarely seen before, The Annotated African American Folktales revolutionizes the canon like no other volume. Following in the tradition of such classics as Arthur Huff Fauset’s “Negro Folk Tales from the South” (1927), Zora Neale Hurston’s Mules and Men (1935), and Virginia Hamilton’s The People Could Fly (1985), acclaimed scholars Henry Louis Gates Jr. and Maria Tatar assemble a groundbreaking collection of folktales, myths, and legends that revitalizes a vibrant African American past to produce the most comprehensive and ambitious collection of African American folktales ever published in American literary history. Arguing for the value of these deceptively simple stories as part of a sophisticated, complex, and heterogeneous cultural heritage, Gates and Tatar show how these remarkable stories deserve a place alongside the classic works of African American literature, and American literature more broadly. Opening with two introductory essays and twenty seminal African tales as historical background, Gates and Tatar present nearly 150 African American stories, among them familiar Brer Rabbit classics, but also stories like “The Talking Skull” and “Witches Who Ride,” as well as out-of-print tales from the 1890s’ Southern Workman. Beginning with the figure of Anansi, the African trickster, master of improvisation—a spider who plots and weaves in scandalous ways—The Annotated African American Folktales then goes on to draw Caribbean and Creole tales into the orbit of the folkloric canon. It retrieves stories not seen since the Harlem Renaissance and brings back archival tales of “Negro folklore” that Booker T. Washington proclaimed had emanated from a “grapevine” that existed even before the American Revolution, stories brought over by slaves who had survived the Middle Passage. Furthermore, Gates and Tatar’s volume not only defines a new canon but reveals how these folktales were hijacked and misappropriated in previous incarnations, egregiously by Joel Chandler Harris, a Southern newspaperman, as well as by Walt Disney, who cannibalized and capitalized on Harris’s volumes by creating cartoon characters drawn from this African American lore. Presenting these tales with illuminating annotations and hundreds of revelatory illustrations, The Annotated African American Folktales reminds us that stories not only move, entertain, and instruct but, more fundamentally, inspire and keep hope alive. The Annotated African American Folktales includes: Introductory essays, nearly 150 African American stories, and 20 seminal African tales as historical background The familiar Brer Rabbit classics, as well as news-making vernacular tales from the 1890s’ Southern Workman An entire section of Caribbean and Latin American folktales that finally become incorporated into the canon Approximately 200 full-color, museum-quality images
W. C. Handy waking up to the blues on a train platform, Buddy Bolden eavesdropping on the drums at Congo Square, John Lomax taking his phonograph recorder into a southern penitentiary - in Disturbing the Peace, Bryan Wagner revises the history of the black vernacular tradition and gives a new account of black culture by reading these myths in the context of the tradition's ongoing engagement with the law.
Black Magic looks at the origins, meaning, and uses of Conjure—the African American tradition of healing and harming that evolved from African, European, and American elements—from the slavery period to well into the twentieth century. Illuminating a world that is dimly understood by both scholars and the general public, Yvonne P. Chireau describes Conjure and other related traditions, such as Hoodoo and Rootworking, in a beautifully written, richly detailed history that presents the voices and experiences of African Americans and shows how magic has informed their culture. Focusing on the relationship between Conjure and Christianity, Chireau shows how these seemingly contradictory traditions have worked together in a complex and complementary fashion to provide spiritual empowerment for African Americans, both slave and free, living in white America. As she explores the role of Conjure for African Americans and looks at the transformations of Conjure over time, Chireau also rewrites the dichotomy between magic and religion. With its groundbreaking analysis of an often misunderstood tradition, this book adds an important perspective to our understanding of the myriad dimensions of human spirituality.