African American Spirituals

African American Spirituals: Telling the Rest of the Story[i]

To appreciate the meaning, message, and mutual ministry of the slave spirituals, it is vital to understand how and why they were composed. Carey Davenport, a retired Black Methodist minister from Texas, had been born enslaved in 1855. He vividly depicts the spontaneous nature of slave spirituals. Sometimes the Colored folks would go down in dugouts and hollows and hold their own service, and they used to sing songs that come a-gushing up from the heart.”

These were not polished, practiced anthems designed to entertain. They were personal, powerful psalms designed to sustain. “Songs were not carefully composed and copyrighted as they are today; they were ‘raised’ by anyone who had a song in their hearts.”

Slave spirituals were shared songs composed on the spot to empathize with and encourage real people in real trouble. Anderson Edwards, a slave preacher, remembers, “We didn’t have any song books and the Lord gave us our songs and when we sang them at night it just whispering so nobody would hear us.”

The creation of individual slave spirituals poignantly portrays care-giving at its best. When James McKim asked a slave the origin of a particular spiritual, the slave explained, “I’ll tell you; it’s this way. My master called me up and ordered me a hundred lashes. My friends saw it and are sorry for me. When they come to the praise meeting that night they sing about it. Some are very good singers and know how; and they work it in, work it in, you know; till they get it right; and that’s the way.” Spirituals were born from slaves observing and empathizing with the suffering of their fellow slaves as a way of demonstrating identification and solidarity with the wronged slave.

Creating and singing spirituals in the middle of their predicament became a means for reciprocal bonding. Slaves wove the words into the fabric of their worship and into the tapestry of their everyday life together. This resulted in communal empathy. The flexible, improvisational structure of the spirituals gave them the capacity to fit an individual slave’s specific experience into the group’s experience. One person’s sorrow or joy became everyone’s through song. Singing the spirituals was therefore both an intensely personal and vividly communal experience in which an individual received consolation for sorrow and gained a heightening of joy because his experience was shared. It was a lasting portrait of the truth that shared sorrow is endurable sorrow.

In the very structure of the spirituals, we see articulated the idea of communal support. Frequently the spirituals mentioned individual members present, either by name—“Sister Tilda, Brother Tony,”—or by description—“the stranger over there in the corner.” This co-creation included everyone in the experience of mutual exhortation and communal support. Drawing from the Bible, Protestant hymns, and sermons, the slaves fashioned spiritual music which expressed their faith in moving, immediate, and dramatic terms.

The spontaneous creation of the spirituals exemplifies what people-helpers call “staying in the moment,” “being present,” and “immediacy.” The African American spirituals demonstrate that caring for people is not so much about skills, but about artful connecting through real and raw relating.

[i]Excerpted with permission of Baker Books from Beyond the Suffering: Embracing the Legacy of African American Soul Care and Spiritual Direction.