Almost everyone in the world will have heard at least one of the many African American spirituals which have become so embedded as part of American culture over the last two centuries or so. Spirituals are an early form of gospel song, which arose from a blending of European Christianity with African cultural traditions. The form developed to become known all over the world.
The harsh backdrop of slavery was the main factor in the development of the spiritual as a song form. Many thousands of people from West Africa were enslaved and taken to the United States in the 18th and 19th centuries. Their cultural traditions, religion and language were violently suppressed in their new environment.
The slaves were forced to adopt Christianity and forsake traditional methods of worship too. When practicing their spirituality at this stage, they had to listen to sermons in English and sing hymns. The natural exuberance and personal nature of African worship was considerably constrained.
So the slaves began to adapt their old cultural traditions to their situation and religion. Many cultural practices from Africa survived, but in slightly different forms. Secret 'bush meetings' were held where this new form developed, as Africans found ways of expression which were truer to their traditional culture and roots.
Features such as speaking in tongues, dancing, and running through the meeting when full of the spirit, were common at these meetings. Songs and music were adapted from European hymns and prayers. Preachers often used call and response as a way of teaching their congregations hymns.
As most slaves were illiterate, it was up to the preacher to sing the lyrics and await for the congregation to respond. This influenced both the style of the music being performed and the words which were being sung. This helped to shape the style of many spirituals, and also occurs, interestingly, in Gaelic speaking parts of Scotland.
As the style of the music developed, so did the lyrical content of the songs being sung. Many of the songs were a direct response to the oppression of slavery, offering some temporary escape as well as the hope of better days to come. As in many situations of extreme trauma, art came from seemingly infertile circumstances.
Slaves, obviously, were prevented from taking any political action, with violence an integral part of their oppression. It was in this kind of repressed environment that the spiritual emerged as a musical and lyrical expression of hope in hard times. The English language of the Bible was combined with African melodies and the realities of their American situation to create a new art form, offering hope through music.
Themes from the Bible were used time and time again in African American spirituals, with the exile of the Israelites in Egypt and the story of Moses and Exodus being especially frequently utilized as thematic material for the songs. Their combination of hope and spirit meant that the songs continue to resonate down through the ages, evocative of a struggle for freedom. A testament to their enduring quality is the fact that so many are still sung and performed across the world, having taken on the mantle of standards.
The harsh backdrop of slavery was the main factor in the development of the spiritual as a song form. Many thousands of people from West Africa were enslaved and taken to the United States in the 18th and 19th centuries. Their cultural traditions, religion and language were violently suppressed in their new environment.
The slaves were forced to adopt Christianity and forsake traditional methods of worship too. When practicing their spirituality at this stage, they had to listen to sermons in English and sing hymns. The natural exuberance and personal nature of African worship was considerably constrained.
So the slaves began to adapt their old cultural traditions to their situation and religion. Many cultural practices from Africa survived, but in slightly different forms. Secret 'bush meetings' were held where this new form developed, as Africans found ways of expression which were truer to their traditional culture and roots.
Features such as speaking in tongues, dancing, and running through the meeting when full of the spirit, were common at these meetings. Songs and music were adapted from European hymns and prayers. Preachers often used call and response as a way of teaching their congregations hymns.
As most slaves were illiterate, it was up to the preacher to sing the lyrics and await for the congregation to respond. This influenced both the style of the music being performed and the words which were being sung. This helped to shape the style of many spirituals, and also occurs, interestingly, in Gaelic speaking parts of Scotland.
As the style of the music developed, so did the lyrical content of the songs being sung. Many of the songs were a direct response to the oppression of slavery, offering some temporary escape as well as the hope of better days to come. As in many situations of extreme trauma, art came from seemingly infertile circumstances.
Slaves, obviously, were prevented from taking any political action, with violence an integral part of their oppression. It was in this kind of repressed environment that the spiritual emerged as a musical and lyrical expression of hope in hard times. The English language of the Bible was combined with African melodies and the realities of their American situation to create a new art form, offering hope through music.
Themes from the Bible were used time and time again in African American spirituals, with the exile of the Israelites in Egypt and the story of Moses and Exodus being especially frequently utilized as thematic material for the songs. Their combination of hope and spirit meant that the songs continue to resonate down through the ages, evocative of a struggle for freedom. A testament to their enduring quality is the fact that so many are still sung and performed across the world, having taken on the mantle of standards.
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