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The ring shout is the oldest known African American performance tradition surviving on the North American continent. Performed for the purpose of religious worship, this fusion of dance, song, and percussion survives today in the Bolton Community of McIntosh County, Georgia. Incorporating oral history, first-person accounts, musical transcriptions, photographs, and drawings, Shout Because You're Free documents a group of performers known as the McIntosh County Shouters. Derived from African practices, the ring shout combines call-and-response singing, the percussion of a stick or broom on a wood floor, and hand-clapping and foot-tapping. First described in depth by outside observers on the sea islands of South Carolina and Georgia during the Civil War, the ring shout was presumed to have died out in active practice until 1980, when the shouters in the Bolton community first came to the public's attention. Shout Because You're Free is the result of sixteen years of research and fieldwork by Art and Margo Rosenbaum, authors of Folk Visions and Voices. The book includes descriptions of present-day community shouts, a chapter on the history of the shout's African origins, the recollections of early outside observers, and later folklorists' comments. In addition, the tunes and texts of twenty-five shout songs performed by the McIntosh County Shouters are transcribed by ethnomusicologist Johann S. Buis.Shout Because You're Free is a fascinating look at a unique living tradition that demonstrates ties to Africa, slavery, and Emancipation while interweaving these influences with worship and oneness with the spirit.
In this book, contributors argue that the Black Church must begin to address the significance of sexuality if it is to actually present liberation as a mode of existence that fully appreciates the body. The contributors argue that we not only have to look at the Black Church in this discussion, but also explore black Christianity in general.
Fire Under My Feet seeks to expose the diverse, significant, and often under-researched historical and developmental phenomena revealed by studies in the dance systems of the African Diaspora. In the book, written documentation and diverse methodologies are buttressed by the experiences of those whose lives are built around the practice of African diaspora dance. Replete with original perspectives, this book makes a significant contribution to dance and African diaspora scholarship simultaneously. Most important, it highlights the work of researchers from Ecuador, India, Puerto Rico, the United States, and the United Kingdom, and it exposes under-researched and omitted voices of the African diaspora dance world of the aforesaid locations and Puerto Rico, Columbia, and Trinidad as well. This study showcases a blend of scholars, dance practitioners, and interdisciplinarity, and engages the relationship between African diaspora dance and the fields of history, performance studies, critical race theory, religion, identity, and black agency.
A Will to Choose traces the history of African-American Methodism beginning with their emergence in the fledgling American Methodist movement in the 1760s. Responding to Methodism's anti-slavery stance, African-Americans joined the new movement in large numbers and by the end of the eighteenth century, had made up the largest minority in the Methodist church, filling positions of authority as class leaders, exhorters, and preachers. Through the first half of the nineteenth century, African Americans used the resources of the church in their struggle for liberation from slavery and racism in the secular culture. --From publisher description.
In Gullah Spirituals musicologist Eric Crawford traces Gullah Geechee songs from their beginnings in West Africa to their height as songs for social change and Black identity in the twentieth century American South. While much has been done to study, preserve, and interpret Gullah culture in the lowcountry and sea islands of South Carolina and Georgia, some traditions like the shouting and rowing songs have been all but forgotten. This work, which focuses primarily on South Carolina's St. Helena Island, illuminates the remarkable history, survival, and influence of spirituals since the earliest recordings in the 1860s. Grounded in an oral tradition with a dynamic and evolving character, spirituals proved equally adaptable for use during social and political unrest and in unlikely circumstances. Most notably, the island's songs were used at the turn of the century to help rally support for the United States' involvement in World War I and to calm racial tensions between black and white soldiers. In the 1960s, civil rights activists adopted spirituals as freedom songs, though many were unaware of their connection to the island. Gullah Spirituals uses fieldwork, personal recordings, and oral interviews to build upon earlier studies and includes an appendix with more than fifty transcriptions of St. Helena spirituals, many no longer performed and more than half derived from Crawford's own transcriptions. Through this work, Crawford hopes to restore the cultural memory lost to time while tracing the long arc and historical significance of the St. Helena spirituals.
"A ... synthesis of African and African-American history that shows how slavery differed in different regions of the country, and how the Africans and their descendants influenced the culture, commerce, and laws of the early United States"--
A valuable collection of folk music and lore from the Gullah culture, Slave Songs of the Georgia Sea Islands preserves the rich traditions of slave descendants on the barrier islands of Georgia by interweaving their music with descriptions of their language, religious and social customs, and material culture. Collected over a period of nearly twenty-five years by Lydia Parrish, the sixty folk songs and attendant lore included in this book are evidence of antebellum traditions kept alive in the relatively isolated coastal regions of Georgia. Over the years, Parrish won the confidence of many of the African-American singers, not only collecting their songs but also discovering other elements of traditional culture that formed the context of those songs. When it was first published in 1942, Slave Songs of the Georgia Sea Islands contained much material that had not previously appeared in print. The songs are grouped in categories, including African survival songs; shout songs; ring-play, dance, and fiddle songs; and religious and work songs. In additions to the lyrics and melodies, Slave Songs includes Lydia Parrish's explanatory notes, character sketches of her informants, anecdotes, and a striking portfolio of photographs. Reproduced in its original oversized format, Slave Songs of the Georgia Sea Islands will inform and delight students and scholars of African-American culture and folklore as well as folk music enthusiasts.
In this profoundly innovative book, Ashon T. Crawley engages a wide range of critical paradigms from black studies, queer theory, and sound studies to theology, continental philosophy, and performance studies to theorize the ways in which alternative or “otherwise” modes of existence can serve as disruptions against the marginalization of and violence against minoritarian lifeworlds and possibilities for flourishing. Examining the whooping, shouting, noise-making, and speaking in tongues of Black Pentecostalism—a multi-racial, multi-class, multi-national Christian sect with one strand of its modern genesis in 1906 Los Angeles—Blackpentecostal Breath reveals how these aesthetic practices allow for the emergence of alternative modes of social organization. As Crawley deftly reveals, these choreographic, sonic, and visual practices and the sensual experiences they create are not only important for imagining what Crawley identifies as “otherwise worlds of possibility,” they also yield a general hermeneutics, a methodology for reading culture in an era when such expressions are increasingly under siege.
The position taken in this volume is that domestic off-campus study can be just as powerful a transformative learning experience as study overseas, and that domestic programs can equally expand students’ horizons, their knowledge of global issues and processes, their familiarity and experience with cultural diversity, their intercultural skills, and sense of citizenship.This book presents both the rationale for and examples of “study away”, an inclusive concept that embraces study abroad while advocating for a wide variety of domestic study programs, including community-based education programs that employ academic service-learning and internships.With the growing diversification—regionally, demographically, culturally, and socio-economically—of developed economies such as the US, the local is potentially a “doorstep to the planet” and presents opportunities for global learning. Moreover, study away programs can address many of the problematic issues associated with study abroad, such as access, finance, participation, health and safety, and faculty support. Between lower costs, the potential to increase the participation of student cohorts typically under-represented in study abroad, the lowering of language barriers, and the engagement of faculty whose disciplines focus on domestic issues, study at home can greatly expand the reach of global learning.The book is organized in five sections, the first providing a framework and the rationale for domestic study way programs; addressing administrative support for domestic vs. study abroad programs; exploring program goals, organization, structure, assessment and continuous improvement; and considering the distinct pedagogies of experiential and transformative education.The second section focuses on Semester Long Faculty Led Programs, featuring examples of programs located in a wide variety of locations – from investigations into history, immigration, culture, and the environment through localities in the West and the Lowcountry to exploring globalization in L.A and New York. Section three highlights five Short Term Faculty Led Programs. While each includes an intensive immersive study away experience, two illustrate how a 7 – 10 day study away experience can be effectively embedded into a regular course taught on campus. The fourth section, on Consortium Programs, describes programs that are either sponsored by a college that makes its program available to consortium members and non-members, or is offered by an independent non-for-profit to which institutions send their students. The final section on Community Engagement and Domestic Study Away addresses the place of community-based education in global learning and provides examples of academic programs that employ service-learning as a tool for collaborative learning, focusing on issues of pedagogy, faculty development and the building long-term reciprocal relationship with community partners to co-create knowledge.The book is intended for study abroad professionals, multicultural educators, student affairs professionals, alternative spring break directors, and higher education administrators concerned about affordably expanding global education opportunities.
Jerrilyn McGregory explores sacred music and spiritual activism in a little-known region of the South, the Wiregrass Country of Georgia, Alabama, and North Florida. She examines African American sacred music outside of Sunday church-related activities, showing that singing conventions and anniversary programs fortify spiritual as well as social needs. In this region African Americans maintain a social world of their own creation. Their cultural performances embrace some of the most pervasive forms of African American sacred music—spirituals, common meter, Sacred Harp, shape-note, traditional, and contemporary gospel. Moreover, the contexts in which they sing include present-day observations such as the Twentieth of May (Emancipation Day), Burial League Turnouts, and Fifth Sunday. Rather than tracing the evolution of African American sacred music, this ethnographic study focuses on contemporary cultural performances, almost all by women, which embrace all forms. These women promote a female-centered theology to ensure the survival of their communities and personal networks. They function in leadership roles that withstand the test of time. Their spiritual activism presents itself as a way of life. In Wiregrass Country, “You don't have to sing like an angel” is a frequently expressed sentiment. To these women, “good” music is God's music regardless of the manner delivered. Therefore, Downhome Gospel presents gospel music as being more than a transcendent sound. It is local spiritual activism that is writ large. Gospel means joy, hope, expectation, and the good news that makes the soul glad.