By Celia Hall
The term 'Negro spiritual' is generally used to describe antique gospel music performed by African Americans. The term first appeared in the 1860s, and can refer to music created either during slavery or post-emancipation. The influence of this form, entirely American in the way in which it came together and developed, continues to be felt in popular and other folk music to this day.
The desperate experience of slavery and the exile from the African homelands was a primary factor in the development of spirituals. Many hundreds of thousands of people were forcibly taken across the Atlantic from West Africa while slavery persisted. This experience, coupled with the suppression of African traditions by new masters, led to the development of new ways of cultural expression.
A number of things which had traditionally made up a major part of the African cultural experience were forbidden by the slave masters in the New World. Using musical instruments, for example, or speaking in tongues, were prohibited in Euro-centric religious practise. Dancing too was forbidden, with slaves expected to sit in rows on benches in their new places of worship.
'Bush meetings' were sometimes held by slaves in secret, where they could still practise some of their African culture and religious modes of expression. These meant that African ways continued to exert a strong influence on music and other culture. 'Call and response' singing styles are one example of this influence, as the preacher would call the words, and then the congregation would sing the next line.
An entirely new musical form started as a result, with the composers of spirituals taking their inspiration from the Bible and from older, European hymns. This new form was not simply a new version of older hymns or Bible studies though, with a slightly African twist. They were a new art form, another example of America throwing up genuinely new and different cultural forms.
The Old Testament tales of the Israelites in exile in Egypt seemed to strike a particular chord with the slaves. Exodus and the stories about Moses were of particular inspiration to them, with songs being constructed around these narratives which combined European and African musical strands. Although religion was the prime motivation for the songs, there was always an undertone of social protest and commentary too.
The spirituals dealt with the everyday reality and drudgery of slave life, as well as praising God. They were a way of sharing the emotional burden and hardship with others in a similar situation. They were a cultural expression of togetherness and solidarity, and even protest, at a time when all of these things were forbidden to African Americans, who had not official or sanctioned voice with which to express any of the alienation they were experiencing.
The Negro spiritual (http://www.calvinearl.com) is another example of a truly American art form, springing from Europe and Africa, but creating something entirely new and different. Some spirituals are now considered standards in many countries from all corners of the globe. The continued enjoyment of songs like 'Michael, Row the Boat Ashore' shows just how beautifully universal the message of the spiritual is.
About the Author:
You can visit the website www.calvinearl.com for more helpful information about The Negro Spiritual Leapt From Slavery To Become An American Musical Treasure
The term 'Negro spiritual' is generally used to describe antique gospel music performed by African Americans. The term first appeared in the 1860s, and can refer to music created either during slavery or post-emancipation. The influence of this form, entirely American in the way in which it came together and developed, continues to be felt in popular and other folk music to this day.
The desperate experience of slavery and the exile from the African homelands was a primary factor in the development of spirituals. Many hundreds of thousands of people were forcibly taken across the Atlantic from West Africa while slavery persisted. This experience, coupled with the suppression of African traditions by new masters, led to the development of new ways of cultural expression.
A number of things which had traditionally made up a major part of the African cultural experience were forbidden by the slave masters in the New World. Using musical instruments, for example, or speaking in tongues, were prohibited in Euro-centric religious practise. Dancing too was forbidden, with slaves expected to sit in rows on benches in their new places of worship.
'Bush meetings' were sometimes held by slaves in secret, where they could still practise some of their African culture and religious modes of expression. These meant that African ways continued to exert a strong influence on music and other culture. 'Call and response' singing styles are one example of this influence, as the preacher would call the words, and then the congregation would sing the next line.
An entirely new musical form started as a result, with the composers of spirituals taking their inspiration from the Bible and from older, European hymns. This new form was not simply a new version of older hymns or Bible studies though, with a slightly African twist. They were a new art form, another example of America throwing up genuinely new and different cultural forms.
The Old Testament tales of the Israelites in exile in Egypt seemed to strike a particular chord with the slaves. Exodus and the stories about Moses were of particular inspiration to them, with songs being constructed around these narratives which combined European and African musical strands. Although religion was the prime motivation for the songs, there was always an undertone of social protest and commentary too.
The spirituals dealt with the everyday reality and drudgery of slave life, as well as praising God. They were a way of sharing the emotional burden and hardship with others in a similar situation. They were a cultural expression of togetherness and solidarity, and even protest, at a time when all of these things were forbidden to African Americans, who had not official or sanctioned voice with which to express any of the alienation they were experiencing.
The Negro spiritual (http://www.calvinearl.com) is another example of a truly American art form, springing from Europe and Africa, but creating something entirely new and different. Some spirituals are now considered standards in many countries from all corners of the globe. The continued enjoyment of songs like 'Michael, Row the Boat Ashore' shows just how beautifully universal the message of the spiritual is.
About the Author:
You can visit the website www.calvinearl.com for more helpful information about The Negro Spiritual Leapt From Slavery To Become An American Musical Treasure