"Go Down Moses" is an African American spiritual that describes the Hebrew exodus, specifically drawing from the Book of Exodus 5:1: "And the LORD spoke unto Moses, Go unto Pharaoh, and say unto him, Thus saith the LORD, Let my people go, that they may serve me", where God commands Moses to demand the release of the Israelites from bondage in Egypt. As is common in spirituals, the song discusses freedom, referring both to the freedom of the Israelites, and that of runaway enslaved people. As a result of these messages, this song was outlawed by many enslavers.
Polyphony is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice (monophony) or a texture with one dominant melodic voice accompanied by chords (homophony).
Spirituals is a genre of Christian music that is associated with African Americans, which merged varied African cultural influences with the experiences of being held in bondage in slavery, at first during the transatlantic slave trade and for centuries afterwards, through the domestic slave trade. Spirituals encompass the "sing songs", work songs, and plantation songs that evolved into the blues and gospel songs in church. In the nineteenth century, the word "spirituals" referred to all these subcategories of folk songs. While they were often rooted in biblical stories, they also described the extreme hardships endured by African Americans who were enslaved from the 17th century until the 1860s, the emancipation altering mainly the nature of slavery for many. Many new derivative music genres such as the blues emerged from the spirituals songcraft.
Hoodoo is a set of spiritual practices, traditions, and beliefs that were created by enslaved African Americans in the Southern United States from various traditional African spiritualities and elements of indigenous botanical knowledge. Practitioners of Hoodoo are called rootworkers, conjure doctors, conjure men or conjure women, and root doctors. Regional synonyms for Hoodoo include rootwork and conjure. As a syncretic spiritual system, it also incorporates beliefs from Islam brought over by enslaved West African Muslims, and Spiritualism. Scholars define Hoodoo as a folk religion. It is a syncretic religion between two or more cultural religions, in this case being African indigenous spirituality and Abrahamic religion.
Call and response is a form of interaction between a speaker and an audience in which the speaker's statements ("calls") are punctuated by responses from the listeners. This form is also used in music, where it falls under the general category of antiphony.
In music, call and response is a compositional technique, often a succession of two distinct phrases that works like a conversation in music. One musician offers a phrase, and a second player answers with a direct commentary or response. The phrases can be vocal, instrumental, or both. Additionally, they can take form as commentary to a statement, an answer to a question or repetition of a phrase following or slightly overlapping the initial speaker(s). It corresponds to the call and response pattern in human communication and is found as a basic element of musical form, such as the verse-chorus form, in many traditions.
A work song is a piece of music closely connected to a form of work, either one sung while conducting a task or one linked to a task that may be a connected narrative, description, or protest song. An example is "I've Been Working on the Railroad".
Outside France the island of Corsica is perhaps best known musically for its polyphonic choral tradition. The rebirth of this genre was linked with the rise of Corsican nationalism in the 1970s. The anthem of Corsica is "Dio vi Salvi Regina".
Gandy dancer is a slang term used for early railroad workers in the United States, more formally referred to as section hands, who laid and maintained railroad tracks in the years before the work was done by machines. The British equivalents of the term gandy dancer are navvy, originally builders of canals, or inland navigations, for builders of railway lines, and platelayer for workers employed to inspect and maintain the track. In the Southwestern United States and Mexico, Mexican and Mexican-American track workers were colloquially traqueros.
John the Conqueror, also known as High John de Conqueror, John, Jack, and many other folk variants, is a folk hero from African-American folklore. He is associated with the roots of Ipomoea purga, the John the Conqueror root or John the Conqueroo, to which magical powers are ascribed in African-American folklore, especially among the Hoodoo tradition of folk magic. Muddy Waters mentions him as Johnny Cocheroo in the songs "Mannish Boy" and "I'm Your Hoochie Coochie Man". In "Mannish Boy", the line is "I think I'll go down/To old Kansas too/I'm gonna bring back my second cousin/That little Johnny Conqueroo". This line is borrowed from the Bo Diddley song "I'm a Man", to which "Mannish Boy" is an answer song. In "I'm Your Hoochie Coochie Man", it is called "John De Conquer Blue".
Africanisms refers to characteristics of African culture that can be traced through societal practices and institutions of the African diaspora. Throughout history, the dispersed descendants of Africans have retained many forms of their ancestral African culture. Also, common throughout history is the misunderstanding of these remittances and their meanings. The term usually refers to the cultural and linguistic practices of West and Central Africans who were transported to the Americas during the trans-Atlantic slave trade. Africanisms have influenced the cultures of diverse countries in North and South America and the Caribbean through language, music, dance, food, animal husbandry, medicine, and folklore.
The field holler or field call is mostly a historical type of vocal work song sung by field slaves in the United States to accompany their tasked work, to communicate usefully, or to vent feelings. It differs from the collective work song in that it was sung solo, though early observers noted that a holler, or ‘cry’, might be echoed by other workers. Though commonly associated with cotton cultivation, the field holler was also sung by levee workers, and field hands in rice and sugar plantations. Field hollers are also known as corn-field hollers, water calls, and whoops. An early description is from 1853 and the first recordings are from the 1930s. The holler is closely related to the call and response of work songs and arhoolies. The Afro-American music form ultimately influenced strands of African American music, such as the blues and thereby rhythm and blues, as well as negro spirituals.
The institution of slavery in North America existed from the earliest years of the colonial history of the United States until 1865 when the Thirteenth Amendment abolished slavery throughout the United States except as punishment for a crime. It was also abolished among the sovereign Indian tribes in Indian Territory by new peace treaties which the US required after the Civil War.
Shoo Fly, Don't Bother Me or Shew! fly, don't bother me is a minstrel show song from the 1860s that has remained popular since that time. It was sung by soldiers during the Spanish–American War of 1898, when flies and the yellow fever mosquito were a serious enemy. Bing Crosby included the song in a medley on his album Join Bing and Sing Along (1959). Today, it is commonly sung by children, and has been recorded on many children's records, including Disney Children's Favorite Songs 3, performed by Larry Groce and the Disneyland Children's Sing-Along Chorus.
Invisible churches among enslaved African Americans in the United States were informal Christian groups where enslaved people listened to preachers that they chose without their slaveholder's knowledge. The Invisible churches taught a different message from white-controlled churches and did not emphasize obedience to slave masters. Some slaves could not contact invisible churches and others did not agree with an invisible church's message but many slaves were comforted by the invisible churches.
Slave breeding was the practice in slave states of the United States of white enslavers to systematically force the reproduction of enslaved people to increase their wealth. It included coerced sexual relations between enslaved men and women or girls, forced pregnancies of enslaved women and girls, and favoring enslaved females who could produce a relatively large number of children. The objective was for enslavers to increase the number of people they enslaved without incurring the cost of purchase, and to fill labor shortages caused by the abolition of the Atlantic slave trade.
Slavery in Virginia began with the capture and enslavement of Native Americans during the early days of the English Colony of Virginia and through the late eighteenth century. They primarily worked in tobacco fields. Africans were first brought to colonial Virginia in 1619, when 20 Africans from present-day Angola arrived in Virginia aboard the ship The White Lion.
Slavery played the central role during the American Civil War. The primary catalyst for secession was slavery, especially Southern political leaders' resistance to attempts by Northern antislavery political forces to block the expansion of slavery into the western territories. Slave life went through great changes, as the South saw Union Armies take control of broad areas of land. During and before the war, enslaved people played an active role in their own emancipation, and thousands of enslaved people escaped from bondage during the war.
The role of African Americans in the agricultural history of the United States includes roles as the main work force when they were enslaved on cotton and tobacco plantations in the Antebellum South. After the Emancipation Proclamation in 1863-1865 most stayed in farming as very poor sharecroppers, who rarely owned land. They began the Great Migration to cities in the mid-20th century. About 40,000 are farmers today.
Janie Hunter was an American singer and storyteller who worked to preserve Gullah culture and folkways in her home of Johns Island, South Carolina. She received a 1984 National Endowment for the Arts National Heritage Fellowship in recognition of her contributions to folk art and traditions.
