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Throughout the history of slavery, enslaved people organized resistance, escape, and rebellion. Sustaining them in this struggle was their music, some examples of which are sung to this day. While the existence of slave songs, especially spirituals, is well known, their character is often misunderstood. Slave songs were not only lamentations of suffering or distractions from a life of misery. Some songs openly called for liberty and revolution, celebrating such heroes as Gabriel Prosser and Nat Turner, and, especially, celebrating the Haitian Revolution. The fight for freedom also included fugitive slaves, free Black people, and their white allies who brought forth a set of songs that were once widely disseminated but are now largely forgotten, the songs of the abolitionists. Often composed by fugitive slaves and free Black people, and first appearing in the eighteenth century, these songs continued to be written and sung until the Civil War. As the movement expanded, abolitionists even published song books used at public meetings. Mat Callahan presents recently discovered songs composed by enslaved people explicitly calling for resistance to slavery, some originating as early as 1784 and others as late as the Civil War. He also presents long-lost songs of the abolitionist movement, some written by fugitive slaves and free Black people, challenging common misconceptions of abolitionism. Songs of Slavery and Emancipation features the lyrics of fifteen slave songs and fifteen abolitionist songs, placing them in proper historical context and making them available again to the general public. These songs not only express outrage at slavery but call for militant resistance and destruction of the slave system. There can be no doubt as to their purpose: the abolition of slavery, the emancipation of African American people, and a clear and undeniable demand for equality and justice for all humanity.
In an extraordinary book and CD package, the talented, charismatic author of Lest We Forget chronicles the harsh realities of slavery and brilliantly brings to life the spirit of a people determined to be free. A vibrant legacy of the past and an expression of hope for the future, African-American songs and spirituals formed an oral history during the perilous era of slavery. Illustrated with photographs, drawings, and reproductions of original documents, No Man Can Hinder Me traces the spiritual from its arrival in America to its importance as a mode of secret communication, to its role after Emancipation. Celebrated author and lecturer Velma Maia Thomas not only tells the story of these songs, she presents more than a dozen glorious examples-many of them never-before-recorded arrangements-on a CD specially created for this book. With performances by Thomas and other well-known vocalists, including members of the Morehouse College Glee Club as well some of Atlanta's foremost gospel singers, the CD evokes a sense of community and the dream of earthly and spiritual freedom that sustained African-Americans through the ordeal of slavery.
Throughout the history of slavery, enslaved people organized resistance, escape, and rebellion. Sustaining them in this struggle was their music, some examples of which are sung to this day. While the existence of slave songs, especially spirituals, is well known, their character is often misunderstood. Slave songs were not only lamentations of suffering or distractions from a life of misery. Some songs openly called for liberty and revolution, celebrating such heroes as Gabriel Prosser and Nat Turner, and, especially, celebrating the Haitian Revolution. The fight for freedom also included fugitive slaves, free Black people, and their white allies who brought forth a set of songs that were once widely disseminated but are now largely forgotten, the songs of the abolitionists. Often composed by fugitive slaves and free Black people, and first appearing in the eighteenth century, these songs continued to be written and sung until the Civil War. As the movement expanded, abolitionists even published song books used at public meetings. Mat Callahan presents recently discovered songs composed by enslaved people explicitly calling for resistance to slavery, some originating as early as 1784 and others as late as the Civil War. He also presents long-lost songs of the abolitionist movement, some written by fugitive slaves and free Black people, challenging common misconceptions of abolitionism. Songs of Slavery and Emancipation features the lyrics of fifteen slave songs and fifteen abolitionist songs, placing them in proper historical context and making them available again to the general public. These songs not only express outrage at slavery but call for militant resistance and destruction of the slave system. There can be no doubt as to their purpose: the abolition of slavery, the emancipation of African American people, and a clear and undeniable demand for equality and justice for all humanity.
Originally published in 1867, this book is a collection of songs of African-American slaves. A few of the songs were written after the emancipation, but all were inspired by slavery. The wild, sad strains tell, as the sufferers themselves could, of crushed hopes, keen sorrow, and a dull, daily misery, which covered them as hopelessly as the fog from the rice swamps. On the other hand, the words breathe a trusting faith in the life after, to which their eyes seem constantly turned.
Describes the experiences of African Americans in the South, from the Emancipation in 1863 to the 1954 Supreme Court decision that declared school segregation illegal.
Combines first-person historical accounts, traditional black spirituals, and passages about the daily lives of slaves to provide a chronicle of slavery in America.
136 songs of African-American slaves, collected and compiled a few years after the Emancipation Proclamation, are presented here complete with their musical notation in this superb edition. In the introduction, the chief compiler of this music, William Francis Allen, expresses his admiration for the musical talents of black Americans. He mentions that even prior to the end of slavery, public appreciation existed. Yet Allen realized that much of this music, emblematic of the hardships and life of black slaves, was in danger of being forgotten in time. He and his assistants found and interviewed former slaves who would sing their tunes. In this way, a total of 136 songs, their notes, verse and chorus lyrics, were successfully put to paper. The author observes how much of the music is religious, with allusions to the Bible, Jesus and Lord frequent. Yet narratives of slave life, and the emotions of the singers, also feature strongly. Many of the songs were sung repeatedly as the slaves worked the fields, their choruses and melodies being intended to enliven a day of hard labor in the heat of the sun. The music in this collection is divided by region; differences in vocalizing and phrases can be observed, reflecting the various localities in which slaves were raised and labored in.
The stories within its pages will attract not only social and political historians, but feminists, jazz fans, academics interested in African American cultural interchange, and general readers fascinated by the cast of characters who played and danced to the music, despite warnings from the pulpit that degenerate youth were destined for hell and damnation. Freedom Music will enable readers to learn of an innovative side of Wales previously hidden from history. The music appealed to Wales’ vibrant youth, and those not part of the mainstream culture of chapels, choirs and male voice choirs. This study highlights gender, misogyny and discrimination within jazz music in Wales. This studies focuses on the history of African American music in Wales, Welsh women’s contribution to jazz in Wales. Cultural innovation by women entrepreneurs during and from the First World War.
The groundbreaking, bestselling history of slavery, with a new foreword by Pulitzer Prize–winning historian Annette Gordon-Reed With the publication of the 1619 Project and the national reckoning over racial inequality, the story of slavery has gripped America’s imagination—and conscience—once again. No group of people better understood the power of slavery’s legacies than the last generation of American people who had lived as slaves. Little-known before the first publication of Remembering Slavery over two decades ago, their memories were recorded on paper, and in some cases on primitive recording devices, by WPA workers in the 1930s. A major publishing event, Remembering Slavery captured these extraordinary voices in a single volume for the first time, presenting them as an unprecedented, first-person history of slavery in America. Remembering Slavery received the kind of commercial attention seldom accorded projects of this nature—nationwide reviews as well as extensive coverage on prime-time television, including Good Morning America, Nightline, CBS Sunday Morning, and CNN. Reviewers called the book “chilling . . . [and] riveting” (Publishers Weekly) and “something, truly, truly new” (The Village Voice). With a new foreword by Pulitzer Prize–winning scholar Annette Gordon-Reed, this new edition of Remembering Slavery is an essential text for anyone seeking to understand one of the most basic and essential chapters in our collective history.