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Volume 1 of Nothing but Love in God's Water traced the music of protest spirituals from the Civil War to the American labor movement of the 1930s and 1940s, and on through the Montgomery bus boycott. This second volume continues the journey, chronicling the role this music played in energizing and sustaining those most heavily involved in the civil rights movement.Robert Darden, former gospel music editor for Billboard magazine and the founder of the Black Gospel Music Restoration Project at Baylor University, brings this vivid, vital story to life. He explains why black sacred music helped foster community within the civil rights movement and attract new adherents; shows how Martin Luther King Jr. and other leaders used music to underscore and support their message; and reveals how the songs themselves traveled and changed as the fight for freedom for African Americans continued. Darden makes an unassailable case for the importance of black sacred music not only to the civil rights era but also to present-day struggles in and beyond the United States.Taking us from the Deep South to Chicago and on to the nation's capital, Darden's grittily detailed, lively telling is peppered throughout with the words of those who were there, famous and forgotten alike: activists such as Rep. John Lewis, the Reverend Ralph Abernathy, and Willie Bolden, as well as musical virtuosos such as Harry Belafonte, Duke Ellington, and The Mighty Wonders. Expertly assembled from published and unpublished writing, oral histories, and rare recordings, this is the history of the soundtrack that fueled the long march toward freedom and equality for the black community in the United States and that continues to inspire and uplift people all over the world.

Gospel music --- African Americans --- Spirituals (Songs) --- History and criticism. --- Civil rights --- History. --- Music

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"Eric Sean Crawford, associate professor of music and director of the Joyner Institute for Gullah and African Diaspora Studies at Coastal Carolina University, examines the history and diffusion of Gullah spirituals, an important and at times overlooked aspect of Gullah culture in the Lowcountry and Sea Islands of South Carolina and Georgia. Crawford's work focuses primarily on the South Carolina sea island of St. Helena in Beaufort County. While much has been done to study, preserve, and interpret Gullah culture, Crawford writes, "the shouting and rowing songs, containing the strongest West African retentions, are mostly lost and forgotten. This book illuminates the remarkable history, survival, and influence of this island's music since the earliest recordings in the 1860s." While Crawford's focus may be the St. Helena spirituals, his study is not limited only to that one place. Instead he examines the diffusion and impact of the music and culture that emanated from this one small island community. He follows the Gullah spirituals through to the musical arrangements of the famed Hampton Singers and later shows how the songs served as a rallying point and cultural bridge, helping to build support for America's involvement in World War I and as a way of easing racial tensions both at home and abroad. He shows how patriotic texts and themes were added to the spirituals and helped to make them popular wartime songs. Hampton University folklorist Natalie Curtis, for example, used the melody from the St. Helena spiritual "Ride On, Jesus" in her wartime anthem "Hymn of Freedom," which was sung not only in churches of the time, but also to gatherings of American soldiers mobilizing for war. Part of the goal of the US Army in choosing the song was to build African American support for the war, and also ease racial tensions within the (still segregated) ranks. Later, civil rights activists in the 1950s and 60s would find their own spiritual and political uses for the songs, as many were rediscovered and disseminated throughout the country as protest songs. The songs were not reimagined as protest songs, but rather had always been, and Crawford traces this long trajectory "from their beginnings in West Africa and later oppression by white missionaries to their height as songs for social change and black identity in the twentieth century." Crawford--an ethnomusicologist by training--relies not only upon archival records, but also conducted his own fieldwork, personal recordings, and oral interviews to develop his understanding of St. Helena and its music. His work, however, diverges from these earlier studies in its attempt to tell the stories not only of the music, but also of the music makers. This includes song leaders Minnie Gracie Gadson and Deacon James Garfield Smalls, who Crawford discusses in Chapter 7 and who both shared their own knowledge and memory of the St. Helena spirituals with Crawford during his time conducting field recordings on the island. Finally, Crawford includes an appendix with more than fifty transcriptions of St. Helena spirituals, many no longer performed and more than half derived from his own transcriptions completed during his fieldwork. The "Gullah Songbook," as he calls it, includes notations on Gullah terminology and phrasing that is provided by educator/author/television personality Ron Daise, who was the receipient for the 2019 South Carolina Governor's Award for his work preserving and disseminating Gullah culture"--

Spirituals (Songs) --- Gullahs --- Political aspects --- History and criticism. --- Music --- United States. --- South Carolina

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The untold story behind the creation of the classic songbook Slave Songs of the United States.

Ethnomusicologists --- Spirituals (Songs) --- History and criticisim. --- Garrison, Lucy McKim, --- Slave songs of the United States.

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Using ""The Negro Spiritual"" as a source material, this volume analyzes the methods employed by social scientists, historians and literary critics in studying African-American religion, and makes its own theological statement regarding African-American religion.

Black theology. --- African Americans --- Spirituals (Songs) --- African American theology --- Blacks --- Theology, Doctrinal --- Religion. --- History and criticism. --- Religion --- Black people

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In So Great a Light, So Great a Smoke, Louisa A. Burnham takes us inside the world of a little-known heretical group in the south of France in the early fourteenth century. The Beguins were a small sect of priests and lay people allied to (and sharing many of the convictions of) the Spiritual Franciscans. They stressed poverty in their pursuit of a Franciscan evangelical ideal and believed themselves to be living in the Last Days. By the late thirteenth century, the leaders of the order and the popes themselves had begun to discipline the Spirituals, and by 1317 they had been deemed a heresy. The Beguins refused to accept this situation and began to evade and confront the inquisitorial machine. Burnham follows the lives of nine Beguins as they conceal themselves in cities, construct an "underground railroad," solicit clandestine donations in order to bribe inquisitors, escape from prison, and venerate the burned bones of their martyred fellows as the relics of saints. Their actions brought the Beguins the apocalypse they had long imagined, as the Church's inquisitors pursued them along with the Spirituals and began to arrest them and burn them at the stake. Reconstructing this dramatic history using inquisitorial depositions, notarial records, and the previously unknown Beguin martyrology, Burnham vividly recreates the world in which the Beguins lived and died for their beliefs.

Third orders --- Franciscan Spirituals --- Monasticism and religious orders --- Tertiaries --- Spirituals, Franciscan --- Friars --- Olivi, Pierre Jean, --- Languedoc (France) --- Church history. --- Olieu, Pierre Jean, --- Oliva, Petrus Johannis, --- Olivi, --- Olivi, P. J. --- Olivi, Peter, --- Peter John Olivi, --- Peter of John Olivi, --- Olivi, Petrus Johannis, --- Peter Olivi, --- Olivi, Pietro di Giovanni, --- Olivi, Pierre de Jean,