Essay about James H. Cone's The Spirituals and the Blues

Dubois, W.E.B. The Souls of Black Folk. UMDrive. The University of Memphis. N.d. Web. 22 Feb. 2014.

In the first chapter he talks about the enslavement process. He discusses in depth that the process was extremely painful and humiliating, yet their culture and heritage was not left in Africa. The slaves remained true to their heritage by taking with them their native dances, language, religion, songs or spitituals, and folk tales. The second chapter discusses the changes that took place because of the presence of a different culture. Blessingame points out that acculturation, meaning the the process of adopting the cultural traits or social patterns of another group, was inevitable. It is stated that the influence of the slaves upon the American culture was very prominent as well as the American culture effecting the African culture. Blessingame points out, however, that their was a distinct African slave culture that emerged from the African culture, the American culture, and the culture of the slaves that was distinct among them all. The third chapter discusses the distinct cultures of the slaves and their self preservation. It seems, that the most outstanding tradition that was mentioned was the spirituals. These songs gave them a sense of hope and belonging that brought them joy and a commonality between them all. Through these songs they expressed their hopes, dreams, love, courage,religion, and oppression. In chapter four, Blessingame discusses the slave family. He points out the importance of the family unit in order to provide a safety net from

The Spirituals are spiritual. Conscious artistry and popular conception alike should never rob them of this heritage, untrue to their tradition and to the folk genius to give them another tone. That they are vulnerable of both crude and refined secularization is no excuse. Even though their own makers worked them up from the "shout" and the rhythmic elements of the sensuous dance, in their finished form and basic emotional effect all of these elements were completely sublimated in the sincere intensities of religious seriousness. To call them Spirituals and treat them otherwise is a travesty. Emotionally, African slave songs were far from simple. They are not only spread over the whole length of human moods, with the traditional religious overtone skillfully insinuated in each

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)

During a most dark and dismal time in our nations history, we find that the Africans who endured horrible circumstances during slavery, found ways of peace and hope in their religious beliefs. During slavery, African's where able to survive unbearable conditions by focusing on their spirituality.

For almost eight decades, enslaved African-Americans living in the Antebellum South, achieved their freedom in various ways—one being religion—before the demise of the institution of slavery. It was “freedom, rather than slavery, [that] proved the greatest force for conversion among African Americans in the South” (94). Starting with the Great Awakening and continuing long after the abolition of slavery, after decades of debate, scholars conceptualized the importance of religion for enslaved African-Americans as a means of escaping the brutalities of daily life. Overall, Christianity helped enslaved African American resist the degradation

The Harlem Renaissance was a time of revival and awakening in which the African American community produced a new form of cultural identity. After years of oppression and slavery, African Americans struggled to discover their own distinctive culture. It was through the literature and artistry of the Harlem Renaissance that the African American community began to express the suffering and resentment they truly experienced. In addition, the movement allowed them to find a way to escape their hardships. James Baldwin’s “Sonny’s Blues” and Langston Hughes’ “The Weary Blues” address the addiction, poverty, and violence that surrounded African Americans and the triumph of life that was captured in their attempt to escape the suffering.

One of the first things that attracted the African American slaves to Christianity was a way of obtaining the salvation of theirs souls based on the Christian’s idea of a future reward in heaven or punishment in hell, which did not exist in their primary religion. The religious principles inherited from Africa sought purely physical salvation and excluded the salvation of the soul. However, they did believe in one supreme God, which made it easier for them to assimilate Christianity.

African American religious music is the foundation of all contemporary forms of so called “black music.” African American religious music has been a fundamental part of the black experience in this country. This common staple of the African American experience can be traced back to the cruel system of slavery. It then evolved into what we refer to today as gospel music. The goal of this paper is to answer three main questions. What are the origins of African American religious music? How did this musical expression develop into a secular form of music? What is the future of African American religious music? These questions will be answered through factual research of African American traditions, artists, and various other sources.

While black power focuses on the political, social, and economic condition of black people, Black Theology sees black identity from a theological context. Much of black liberation theology’s foundation comes from God's deliverance of Israel from oppression under the Egyptians. According to James Cone, “the consistent theme in Israelite prophecy is Yahweh's concern for "the lack of social, economic, and political justice for those who are poor and unwanted in the society."# The dominate view of Black Liberation theologists is “God in action, delivering the oppressed because of His righteousness. He is to be seen, not in the transcendent way of Greek philosophy, but immanent, among His people." God is "immanent”” because he is present in many historical moments that focus on liberation of the poor. Its derives it beliefs from the fact that in the bible, God often enters human affairs and takes the side of the oppressed, that god is heavily worshipped where human beings experience humiliation and suffering. Because of these beliefs, blacks adopted a gospel relevant to the uplifting of blacks and ending black struggle under white oppression.# Black theology places both our past and present actions toward black liberation in a theological context, eliminating all false Gods and creating value structures according to the God of black freedom.

Through out the entire time period of slavery, religion remained a high priority and a way in which to label different social groups. The lack or complete non-existence of religion among Africans led to them being viewed as somewhat inferior. Later in the second chapter Jordan talks about how during the slave era religion distinguished whites from blacks. Also how classification changed once Africans began to enter the Christian church. He himself viewed this type of labeling somewhat ridiculous, in that many of the Africans were baptized before the came to the New World. Thus they in many circles would be identified as Christians. This important information helps show the reader how the justifications for slavery evolved. Jordan captures the utter and blatant hypocrisy that the colonies exuded with regards to the slave situation. Jordan also sees religious injustice within the treatment of Indians and Africans. The English made attempts to convert the Indians and had little desire or intention to do the same for Africans. This again shows to what lengths early Americans went in creating a subculture for the purpose of slavery.

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

James H. Cone’s God of the Oppressed is his examination of the origin, development, and significance of black theology as it relates to how he and the black Christian community view God. For Cone, in an America seemingly dominated by white theology and the white Christian community’s views of God, it is imperative to acknowledge and attentively listen to the voices of the theologies of other races and what God means to them, especially that of the black community. Cone asserts without hesitation that the God that is referred to in the Bible and black religion is a Deliver of those held captive by the bondage of oppression. Cone not only asserts this viewpoint of God as the Freer of oppressed people, but he validates this assertion through the use of Scripture, the black experience, history, and tradition. Overall, the central theme of this book is that a plethora of factors continually shape and construct a people’s theology and how that theology is significant in regards to how they see God, the world, and themselves.

“God of the Oppressed” is a history of the African American Struggle through the complex account of its author, James H. Cone. Written in 1975, “God of the Oppressed” is the continuation of Cone’s theological position, which was introduced in his earlier writings of, “Black Theology and Black Power,” (1969) and “A Black Theology of Liberation” (1975). This final account was put together and published as a response to the continuous dismissal of Black Theology. This response shows Cone’s use of personal experiences, knowledge, and faith to explain the actual God of the oppressed found in Black Theology. The importance of the chosen title is maintained through all ten of Cone’s chapters

No black person can escape the blues, because the blues are an inherent part of the black existence in America. To be black is to be blue. The blues tell us about black people’s attempt to carve out a significant existence in a very trying situation. The purpose of the blues is to give structure to black existence in a context where color means rejection and humiliation. Suffering and its relation to blackness is inseparable from the meaning of the blues. Without pain and suffering, and what that meant for black people in Mississippi, Tennessee, and Arkansas, there would have been no blues. The blue mood means sorrow, frustration, despair, and black people’s attempt to take these existential realities upon themselves and not lose their sanity. The blues are not art for art’s sake, music for music’s sake. They are a way of life, a life-style of the black community; and the will for survival. Thus to seek to understand the blues apart from the suffering that created them is to misinterpret them and distort the very creativity that defines them (Cone, 1980).