Introduction to Lesson 2
Culture is a recursive, rather than a linear process of endlessly devising solutions to both old and new problems of how we live under ever-changing social, political, and economic conditions. Culture is dynamic and creative as it adapts to social needs and goals, and enduring as it changes by building upon previous manifestations of itself.
(Roberts 2009, 115)
The people of Central and West Africa have a rich history of religious traditions and an innately creative cultural heritage orally transmitted and practiced from one generation to the next for thousands of centuries. Therefore, it should be abundantly evident that these people did not arrive in America as blank slates, i.e., tabula rasa. Likewise, it would be hideous to assume that slave-catchers would encourage the Africans to bring along their instruments on this ‘mysterious voyage.’ Fortunately, their culture had afforded a medium whereby life, spirituality, and community homogeneously existed and manifested through rhythm, movement, and song.
Forced against their will to contribute to the advancement of a strange land, embodying their cultural creativity's knowledge became essential to their survival amid such crude and wretched environment. Unable to fully communicate through speech, rhythm and music were the universal tools in which the enslaved saw themselves in each other. Their creativity somehow gave them the power to transform their plight into something unique, dynamic, and "functional." Just as rhythm had served as the foundation upon which African culture was built and sustained, the enslaved Africans created and improvised patterns and melodies to accommodate, synchronize, and attempt to release in response to their horrendous circumstances. The cadence of the work song and improvised lines from the spiritual accompanied the labor throughout the day. By nightfall, however, the tempo had changed to that of a shout, one of deep religious fervor and spiritual vitality. The percussiveA term used to describe the sounds made by striking or hitting and characterized by sounds that are short and loud and often rhythmic in nature. sound of a hammer, axe, or a plow were replaced by the shuffling of feet against the ground and highly syncopated hand clapping and knee slapping configurations. No! Mother Africa had not been forgotten! The fervent moans, cries, and shouts, to the familiar form of call-and-responsePerformance style with a singing leader who is imitated by a chorus of followers. This is also known as responsorial singing. and repetitionThe practice or form of using the same word or phrase over and over again in a piece of writing or speech to emphasize a point or make memorable., were not only the expressions of a soul in exile but were indeed powerful petitions to the God of the universe and the spiritual forces of nature, beckoning for intercession.
Steal Away to Jesus
My Lord, He calls me. He calls me by the thunder.
The Trumpet sounds within my soul.
I ain't got long to stay here.
Dr. H. Beecher Hicks, Jr.
The oppressors required something that was of great value from the oppressed, only to make a mockery of their religion.