Spirituals In 19th Century America

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)

Spirituals were not only “sung to keep spirits up” (Thompson 9), but were used as coded messages to give directions for where to go or how to proceed to freedom in the North. The slave owners believed that the slaves were happy because they sang church songs and they praised God but little did they know, that the slaves were secretly communicating. For instance, during the Underground Railroad, songs like “Follow the Drinkin’ Gourd,’ ‘Wade in the Water,’ and ‘Swing Low, Sweet Chariot,’ all directly refer to secret code about using the Underground Railroad.” As many as 100,000 slaves escaped by means of this method (Thompson 9).

Slave songs, therefore, do not pardon the institution of slavery; in fact, they do just the opposite. They are indisputable affirmations of injustice, accentuating the oppressive cage that is slavery. They are the mode of communication of a living dead who yearn for the blessings of a life unfettered: for liberty, and the pursuit of happiness. Slaves sing of ideals that are not theirs to possess—ideals that their country and fellow men have denied them. The caged bird does not sing because it is happy; it sings because it is dreaming of happiness.

This excerpt rejects Black culture by quoting an abolitionist Southern hymn, in which prostitutes are whipped and slaves are robbed. Unable to physically free himself from the nature of slavery, Douglass liberates his mind in religious duality. A slave is one who consents to be a slave, who participates in the dynamic of the relationship.

As Douglass began to acquire a greater understanding of his condition through reading, he felt as if “the silver trump of freedom had roused [his] soul to eternal wakefulness.”20 Douglass’s use of the word silver helps express the precious nature of freedom, as well as the idea that it’s beckoning the enslaved with its gleam. Through the contrast between the purity of freedom and the corruption of slavery, Douglass’s choice of words humanizes himself because it demonstrates his attention to detail as he constructed this narrative. Likewise, he expresses that “[the slaves selected to go to the Great House Farm] would make [woods] reverberate with their wild songs, revealing at once the highest joys and the deepest sadness.”21 Douglass's usage of juxtaposition to draw attention to the vastness of emotion expressed by these songs demonstrates his own humanity, for this selection highlights Douglass's talent to capture the emotional peaks and troughs that are endured by

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.

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

The line in the first verse “When the sun comes back and the first quail calls, follow the drinking gourd” tells them to begin the journey around the winter. Quails are birds who migrate to the south. Most escaping slaves had to cross the Ohio River. It was a wide River, with strong currents, which would have made swimming very difficult. If it was frozen that would be easier for people to walk across. Slaves started from Mobile, Alabama. It often took the slaves a year to reach Ohio from the

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

     The power of song helped slaves through their dehumanized lives. They created unity in songs of religion and denounced the power their masters held over them. They were going to rebel in all facets of life. Slaves knew “that a happy slave is an extinct man” (p.33). The meanings of these songs can not be overstated. One who knew the importance of song was Frederick Douglass. “They told a tale of woe...they breathed the prayer and complaint of souls boiling over with the

The song “Swing Low, Sweet Chariot,” is a spiritual protest song written in the past to bring awareness to slavery and how the slave feels. This songs audience can be for either slaves or owners of slaves. This is because the author of “Swing Low, Sweet Chariot,” could be trying to find people that feel the way he does or he could be trying to get the slave owners to understand the perspective of slaves in general, os they can stop keeping them as slaves and instead, let them be free.

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.