Freedom songs[1][2] were songs which were sung by participants in the civil rights movement. They are also called "civil rights anthems" or, in the case of songs which are more hymn-like, they are called "civil rights hymns."
Freedom songs were an important feature of the way of life which existed during the civil rights movement. The songs contained many meanings for all of the participants in the civil rights movement. Songs could embody sadness, happiness, joy, or determination among many other feelings. Freedom songs served as mechanisms for unity in the black community during the movement. The songs also served as a means of communication among the movement's participants when words were not enough. The song "We Shall Overcome" quickly became the unofficial anthem of the movement. Guy Carawan taught the popular freedom song during the spring of 1960 in a workshop held at Highlander Folk School, making the song extremely popular within the community.
Music of the civil rights era was crucial to the productivity of the movement. Music communicated unspeakable feelings and the desire for radical change across the nation. Music strengthened the movement, adding variety to different freedom progression strategies. Music was highly successful in that the songs were direct and repetitive, clearly and efficiently getting the message across. The melodies were simple with repetitious choruses, which allowed easy involvement within both black and white communities, furthering the spread of their message. There was often more singing than talking during protests and demonstrations, showing how powerful the songs really were. Nurturing those who came to participate in the movement was vital, and it would be done with songs. Participants in the movement felt a sense of connectedness with one another and through the songs, they also felt a sense of connectedness with the movement . Politically, freedom songs were often sung in order to grab the attention of the nation and force it to address the severity of racial segregation in the United States.
Frequently, the songs had a Christian background, they were usually based on hymns. The words of hymns were slightly altered so their wording could be incorporated into civil rights protests, and reflect current situations as they were sung outside churches, particularly in the streets. Although most freedom songs were derived from hymns, some freedom songs were also derived from other genres. In order to accommodate people who were not very religious, rock and roll songs were altered and turned into freedom songs, this allowed a large number of activists to partake in the singing.
Activist Fannie Lou Hamer is known for singing songs at marches or other types of protests, particularly "This Little Light of Mine." Zilphia Horton also played a role in the conversion of spirituals to civil rights songs.
Additional freedom songs
Some 100 or so songs were commonly sung during the Civil Rights Movement protests which occurred during the 1960s. Some of the best-known or the most-influential songs are:
"I Love Everybody", the most important song in the civil rights movement according to SCLC's James Bevel and Andrew Young, sometimes sung for an hour at a time.
"If You Miss Me at the Back of the Bus": Adapted from a composition by Chico Neblett
Everybody Says Freedom, by Pete Seeger & Bob Reiser. Norton, 1989
When the Spirit Says Sing! The Role of Freedom Songs in the Civil Rights Movement, by Kerran Sanger. Taylor & Francis Inc, 1995
Sing for Freedom: the Story of the Civil Rights Movement Through its Songs, by Guy and Candie Carawan, Sing Out Corporation 1990
Goertzen, Chris. "Freedom Songs." Folklore: An Encyclopedia of Beliefs, Customs, Tales, Music, and Art. Ed. Charlie T. McCormick and Kim Kennedy White. 2nd ed. Vol. 2. Santa Barbara, CA: ABC-CLIO, 2011. 586–588. Gale Virtual Reference Library. Web. 13 May 2014.
Bernice Johnson Reagon is a song leader, composer, scholar, and social activist, who in the early 1960s was a founding member of the Student Non-violent Coordinating Committee's (SNCC) Freedom Singers in the Albany Movement in Georgia. In 1973, she founded the all-black female a cappella ensemble Sweet Honey in the Rock, based in Washington, D.C. Reagon, along with other members of the SNCC Freedom Singers, realized the power of collective singing to unify the disparate groups who began to work together in the 1964 Freedom Summer protests in the South.
"After a song", Reagon recalled, "the differences between us were not so great. Somehow, making a song required an expression of that which was common to us all.... This music was like an instrument, like holding a tool in your hand."
Guy Hughes Carawan Jr. was an American folk musician and musicologist. He served as music director and song leader for the Highlander Research and Education Center in New Market, Tennessee.
"We Shall Overcome" is a gospel song that is associated heavily with the U.S. civil rights movement. The origins of the song are unclear; it was thought to have descended from "I'll Overcome Some Day," a hymn by Charles Albert Tindley, while the modern version of the song was first said to have been sung by tobacco workers led by Lucille Simmons during the 1945–1946 Charleston Cigar Factory strike in Charleston, South Carolina.
"Kum ba yah" is an African American spiritual song of disputed origin, but known to be sung in the Gullah culture of the islands off South Carolina and Georgia, with ties to enslaved Central Africans. The song is thought to have spread from the islands to other Southern states and the North, as well as other places in the world. The first known recording, of someone known only as H. Wylie, who sang in the Gullah dialect, was recorded by folklorist Robert Winslow Gordon in 1926. It later became a standard campfire song in Scouting and summer camps and enjoyed broader popularity during the folk revival of the 1950s and 1960s.
African-American music is a broad term covering a diverse range of musical genres largely developed by African Americans and their culture. Its origins are in musical forms that developed as a result of the enslavement of African Americans prior to the American Civil War. It has been said that "every genre that is born from America has black roots."
"Sinner Man" or "Sinnerman" is an African American traditional spiritual song that has been recorded by a number of performers and has been incorporated in many other media and arts. The lyrics describe a sinner attempting to hide from divine justice on Judgment Day. It was recorded in the 1950s by Les Baxter, the Swan Silvertones, the Weavers and others, before Nina Simone recorded an extended version in 1965.
"Michael, Row the Boat Ashore" is a traditional African-American spiritual first noted during the American Civil War at St. Helena Island, one of the Sea Islands of South Carolina. The best-known recording was released in 1960 by the U.S. folk band The Highwaymen; that version briefly reached number-one hit status as a single.
"Wade in the Water" is an African American jubilee song, a spiritual—in reference to a genre of music "created and first sung by African Americans in slavery." The lyrics to "Wade in the Water" were first co-published in 1901 in New Jubilee Songs as Sung by the Fisk Jubilee Singers by Frederick J. Work and his brother, John Wesley Work Jr., an educator at the historically black college in Nashville, Tennessee, Fisk University. Work Jr. (1871–1925)—who is also known as John Work II—spent thirty years collecting, promoting, and reviving the songcraft of the original Fisk Jubilee Singers, which included being a member and director of the Fisk Jubilee Quartet. The Sunset Four Jubilee Singers made the first commercial recording of "Wade in the Water" in 1925—released by Paramount Records. W. E. B. Du Bois called this genre of songs the Sorrow Songs. "Wade in the Water" is associated with songs of the Underground Railroad.
Zilphia Horton was an American musician, community organizer, educator, Civil Rights activist, and folklorist. She is best known for her work with her husband Myles Horton at the Highlander Folk School where she is generally credited with turning such songs as "We Shall Overcome", "We Shall Not Be Moved," and "This Little Light of Mine" from hymns into protest songs of the Civil Rights Movement.
"Keep Your Eyes on the Prize" is a folk song that became influential during the American Civil Rights Movement of the 1950s and 1960s. It is based on the traditional song, "Gospel Plow," also known as "Hold On," "Keep Your Hand on the Plow," and various permutations thereof.
We Are Climbing Jacob's Ladder is an African American slave spiritual based in part on the Biblical story of Jacob's Ladder. It was developed some time before 1825, and became one of the first slave spirituals to be widely sung by white Christians. A number of artists have recorded notable versions of it, and it was used as one of the main themes in the critically praised documentary The Civil War.
"This Little Light of Mine" is an African-American song from the 1920s. It was often reported to be written for children in the 1920s by Harry Dixon Loes, but he never claimed credit for the original version of the song, and researchers at the Moody Bible Institute, where Loes worked, said they have found no evidence that he wrote it. It was later adapted by Zilphia Horton, amongst many other activists, in connection with the civil rights movement.
The Freedom Singers originated as a quartet formed in 1962 at Albany State College in Albany, Georgia. After folk singer Pete Seeger witnessed the power of their congregational-style of singing, which fused black Baptist a cappella church singing with popular music at the time, as well as protest songs and chants. Churches were considered to be safe spaces, acting as a shelter from the racism of the outside world. As a result, churches paved the way for the creation of the freedom song. After witnessing the influence of freedom songs, Seeger suggested The Freedom Singers as a touring group to the SNCC executive secretary James Forman as a way to fuel future campaigns. Intrinsically connected, their performances drew aid and support to the Student Nonviolent Coordinating Committee (SNCC) during the emerging civil rights movement. As a result, communal song became essential to empowering and educating audiences about civil rights issues and a powerful social weapon of influence in the fight against Jim Crow segregation. Rutha Mae Harris, a former freedom singer, speculated that without the music force of broad communal singing, the civil rights movement may not have resonated beyond of the struggles of the Jim Crow South. Their most notable song “We Shall Not Be Moved” translated from the original Freedom Singers to the second generation of Freedom Singers, and finally to the Freedom Voices, made up of field secretaries from SNCC. "We Shall Not Be Moved" is considered by many to be the "face" of the Civil Rights movement. Rutha Mae Harris, a former freedom singer, speculated that without the music force of broad communal singing, the civil rights movement may not have resonated beyond of the struggles of the Jim Crow South. Since the Freedom Singers were so successful, a second group was created called the Freedom Voices.
Matthew Jones was an African-American folk singer/songwriter known for being a field secretary of the Student Nonviolent Coordinating Committee and part of their The Freedom Singers in the 1960s. Jones was from Nashville, Tennessee, but also worked as a school teacher in Macon, Georgia. He was arrested 20 times for this civil rights activism.
"I Shall Not Be Moved", also known as "We Shall Not Be Moved", is an African-American slave spiritual, hymn, and protest song dating to the early 19th century American south. It was likely originally sung at revivalist camp-meetings as a slave jubilee. The song describes being "like a tree planted by the waters" who "shall not be moved" because of faith in God. Secularly, as "We Shall Not Be Moved" it gained popularity as a protest and union song of the Civil Rights Movement.
Protest songs in the United States are a tradition that dates back to the early 18th century and have persisted and evolved as an aspect of American culture through the present day. Many American social movements have inspired protest songs spanning a variety of musical genres including but not limited to rap, folk, rock, and pop music. Though early 18th century songs stemmed from the American colonial period as well as in response to the Revolutionary war, protest songs have and continue to cover a wide variety of subjects. Protest songs typically serve to address some social, political, or economic concern through the means of musical composition. In the 19th century, American protest songs focused heavily on topics including slavery, poverty, and the Civil War while the 20th century saw an increased popularity in songs pertaining to women's rights, economic injustice, and politics/ war. In the 21st century, popular protest songs address police brutality, racism, and more.
We Shall Overcome is a 1963 album by Pete Seeger. It was recorded live at his concert at Carnegie Hall, New York City, on June 8, 1963, and was released by Columbia Records.
Charles "Chuck" Neblett is a civil rights activist best known for helping to found and being a member of The Freedom Singers.
The history of the 1954 to 1968 American civil rights movement has been depicted and documented in film, song, theater, television, and the visual arts. These presentations add to and maintain cultural awareness and understanding of the goals, tactics, and accomplishments of the people who organized and participated in this nonviolent movement.
Carolanne Marie "Candie" Carawan (née Anderson) is an American civil rights activist, singer and author known for popularizing the protest song "We Shall Overcome" to the American Civil Rights Movement with her husband Guy Carawan in the 1960s.
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