African American Folktales Analysis

While work songs dealt only with their daily life, spirituals were inspired by the message of Jesus Christ and his Good News (Gospel) of the Bible, “You can be saved”. They are different from hymns and psalms, because they were a way of sharing the hard condition of being a slave. Many slaves in town and in plantations tried to run to a “free country”, that they called “my home” or “Sweet Canaan, the Promised Land”. This country was on the Northern side of Ohio River, that they called “Jordan”. Some negro spirituals refer to the Underground Railroad, an organization for helping slaves to run away.

The spirituals are a testament not only to the perpetuation of significant elements of an older world view among the slaves but also the continuation of a strong sense of community. Just as the process by which the spiritual were created allowed for simultaneous individual and communal creativity, so their very structure provided simultaneous outlets for individual and communal expression. (33)

Both free and enslaved Africans were discriminated against in this time period but responded differently towards their challenges. African Americans found ways to cope with their situation one being religious gatherings (Doc D). They sang old traditional African songs and danced. By doing so, they can forget about life troubles for a moment and give themselves a sense of hope that someday they would by free. Some slaves where more violent than other and began rebellions against their white owners. The use of rebellion was inspired to them by the Bible and that God was pleading for their cause with earnestness and zeal (Doc G). Slaves who caused mischief was relocated deeper south where the treatment and condition was even worse. The Fugitive Slave Law forced the North to send back any slaves who escaped to the North in return for a reward. Slaves who tried to escape to the North were also relocated. By relocating them, the chances of escape decreased for them. Even

With rhetorical tact, Douglass uses his narrative to underscore the overwhelming desperation inherent to slave songs. Says Douglass, “The singing of a man cast away upon a desert island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion.” Driven by an all-consuming

Noted abolitionist Frederick Douglass, in his self titled slave narrative addresses the indescribable sadness that the slaves were experiencing, which they portrayed through song. He intensely describes the emotions that he hears within the songs of the slaves. In the passage Douglass shows how the slaves believe that they feel, versus how they really feel, and he does this this by changing the tone throughout the passage. He uses these tones to make the reader fully feel the helplessness that the slaves feel and recognize the effects that slavery had on people.

Native Americans had their own way of passing down wisdom of their culture. They passed their stories orally, that today is read in history books. Even after the written word had spread across the globe, Native Americans still primarily used storytelling to pass down their spiritual, mythological, and historical beliefs. Many people have heard one of these passed down stories, also known as myths or folktales.

(1) The use of natural dialect can be seen throughout the slave narrative interviews through words and phrases used that were common during the period of slavery, but are not used today. One example can be seen in the dialect used by former slave Mama Duck, “Battlin stick, like dis. You doan know what a battling stick is? Well, dis here is one.” Through incomplete sentences and unknown words the natural dialect of the time can be seen. Unfamiliar words such as shin-plasters, meaning a piece of paper currency or a promissory note regarded as having little or no value. Also, geechees, used to describe a class of Negroes who spoke Gullah. Many examples can be seen throughout the “Slave Narratives”

The author starts out by describing the harsh situation slaves were put in and how the black experience in America is a history of servitude and resistance, of survival in the land of death. The spirituals are the historical songs which tell us what the slaves did to hold themselves together and to fight back against their oppressors. In both Africa and America, music was directly related to daily life and was an expression of the community’s view of the world and its existence in it. The central theological concept, which is the prime religious factor, in the black spirituals is the divine liberation of the oppressed from slavery. Further, the theological assumption of black slave religion as expressed in the spirituals was that slavery contradicts God, and therefore, God will liberate black people. This factor came from the fact that many blacks believed in Jesus, and therefore, believed that He could save them from the oppression of slavery because of his death and resurrection. The fact that the theme of divine liberation was present in the slave songs is supported by three main assertions: the biblical literalism of the blacks forced them to accept the white viewpoints that implied God’s approval of slavery, the black songs were derived from white meeting songs and reflected the "white" meaning of divine liberation as freeing one from sin (not slavery), and that the spirituals do not contain "clear references to the desire for freedom". The extent of

A spiritual journey dominates these songs, but the concern for physical freedom is there as well. The most pervasive image in the spirituals is that of the chosen people for the slaves believed that they had been chosen by God just as the Israelites had. They also believed that they understood better than anyone what freedom truly meant in both a spiritual and physical sense. The Old Testament characters that the slaves referred to in their songs experienced deliverance by God. The slaves believed that the same God that had granted them spiritual freedom would someday loose the chains of slavery. The wonderful flexibility of the spirituals allowed for that double meaning of freedom. For example, Frederick Douglass claimed that the line” I am bound for Canaan” in one of the songs he frequently sang meant that he was going North, not just that he would experience the freedom of the promised land in a spiritual sense. The flexibility and multiplicity of meanings also allowed for slaves to use these sacred songs as secret communication. Some songs, such as “Steal Away to Jesus,” were used to call a secret meeting where the people could worship without the supervision of the whites. Other songs, such as “Wade in the Water” served as coded directions for runaway slaves. With the eventual emancipation of the slaves, religious music of African Americans became prominently

As a result of slavery in a whole a distinct slave culture emerges. In this culture privileges are few, but the few privileges are greatly valued. For example, in the slave culture singing was a very popular and important part of their lives, it was one of the few ways they were allowed express themselves. They would sing of their sorrows and of their joys. In the words of Frederick,

Douglass corrects white reader’s misconceptions about the slave’s assumed happiness by illustrating the song’s true meaning through his personal experience “within the circle.” Douglass is astounded that northerners believed they were singing songs out of happiness; he says, “I have often been astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake” (26). Douglass explains that the songs create a common experience among all slaves. Therefore, those outside the circle are ignorant to believe that their songs are out of happiness or contempt. In actuality, “slaves sing most when they are the most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears” (26). Douglass makes it clear that slaves are actually evident on a sub-conscious level of deep unhappiness. The singing is a coping mechanism, per say, to the aching hearts. The songs are not a pastime

This folktale is about the slaves being taken from Africa and loosing their wings, or freedom because they left their homeland. The message or theme of this excerpt is, never disrespect the human rights of other beings.

Folktales have the power to take us back to the beginnings of peoples’ lives, from their hopes to their defeats. African American folktales originated from people, most of who were long ago were brought to America from Africa to this country against their will. This group of enslaved people was torn from their individual cultures when they were forced to their past, families and their languages and customs behind him with their native land. The black people coming to America entered as slaves, and they were suppressed by white slave holders. They were not permitted to speak their own native tongues. The slave owners enforced that they speak American English but it was forbidden for them to read or write. They were forced to do hard labor

African American vernacular traditions have been around for many centuries and still cease to exist in their culture. The vernacular traditions of the African Americans started when slaves were existent in the eighteenth and nineteenth century. It is believed that the slaves spoke a mix of Creole and partial English, in which they had to create in order to communicate between them discreetly. The vernacular traditions originated from the way the slaves lived their lives and their creativity. The relationship between the slaves and their masters, were very weak because the master’s believed that the slaves were inferior to them. It is believed that African American

One of the most prominent forms of music that was incorporated by slaves in their daily lives was religious music. Another one of the most influential forms of musical expression among the slaves were slave songs, and these were songs of sorrow and misery. Some slave songs were joyful and cheerful, but others were sorrowful but were all deeply expressive. These songs were used by slaves as a means of communicating their true feelings and emotions, due to the brutal and repressive society that they resided in.