In Africa, "music was called on to mark and celebrate virtually every event in tribal life, no matter how significant."
Those traditions and values were brought over to the North American continent on the slave ships, and became the foundations for Negro Spirituals song on the plantations. Yes, Africans from many diverse religious backgrounds were impressed with Christianity, albeit they reluctantly got involved with Christianity, the Spirituals Project reports, because they (rightly) viewed it as "hypocritical" when a slaveholder "espoused love and brotherhood." And yet many slaves were "fascinated with the Biblical stories, which seemed to parallel many of their own experiences."
So, they created songs, and though they sometimes had to sing them in secret, they nonetheless carved out a release from the strain of hard work and punishment. Dr. Albert Raboteau, a religious scholar and professor of religion at Princeton University, writes that Negro Spirituals "are one of the major documents of world culture." Raboteau explains (America, 1992) that the spirituals "illustrate and articulate the resilience of the human spirit, the ability of people to turn suffering into an experience that is not merely or solely brutalizing but deeply humanizing." Dr. Raboteau goes on to point out that the performance of the spiritual was "dynamically oriented toward the expression of experience, and the embracing of that experience, not only by the individual singer or soloist, but by the community that the person is singing in the midst of."
In fact, the Negro Spiritual, for many slaves, presented a creative vision of what freedom must be like. "Free at last, free at last, thanks God Almighty, I'm free at last..."
One of the great leaders of blacks in America Frederick Douglass; he was not only an intellectual, scholar, and orator, but he was a great writer and understood politics. He approached subjects from both a human and a scholarly position. He noted in his Fourth of July speech...
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