African American Culture 5 Essay Example
African American Culture 5 Essay Example

African American Culture 5 Essay Example

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  • Pages: 14 (3774 words)
  • Published: December 20, 2017
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Within African cultures, there is a common perception regarding the connection between humans and the spiritual realm. This perception emphasizes a deeply personal interaction. In the wider African spiritual sphere, individuals are believed to be constantly influenced by other individuals, their ancestors, minor deities, the Creator, and different natural forces.

The belief in an interactive African spiritual world, where all things possess life-force, is reflected in ritual approaches to morality, wrongdoing, and spiritual empowerment. Since the days of slavery, African American religion has been deeply influenced by these concepts. African Americans embraced and adapted their own version of Protestant Christianity, which can be traced back to the 18th and 19th centuries. Despite initial resistance by whites, African Americans developed a unique form of Christian theology, worship style, and religious community. For African Americans, re

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ligion serves as a means to understand their place in both the spiritual and temporal world.African Americans, despite facing difficulties, saw an opportunity in the evangelical conversion requirements to regain personal authority. They realized that by directly communicating with God and convincing others to acknowledge the need for personal repentance and acceptance of Jesus, they could assert themselves. This is exemplified by a slave woman who boldly expressed to missionaries that her people came from across the sea, lost their parents, and desired to know the Father. The Africans' displacement did not erase their religious identity; they adapted their practices to the new spiritual landscape of their new home. The book "Come Shouting to Zion" discusses the various religious rituals that Africans preserved in the new world, particularly those related to pivotal life events like childbirth, marriage, burials, and communicating with ancestors an

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deities through ritual dancing and singing. The presence of Africans from different but fundamentally similar cultures in this unfamiliar land prompted slaves to form new pan-African cultures, which gained popularity as subsequent generations were born into slavery in America. This ultimately led to the establishment of a distinct African-American culture.

African-Americans in America developed pidgin African-English as a means of communication that was not associated with any specific African ethnic group, nor did it perfectly mimic American English. This shared language was adopted by black individuals in America. Slaves were introduced to a foreign language by white individuals, who wanted them to learn it sufficiently for productivity but not to the extent that it threatened the hierarchical structure based on race and socioeconomic status. Similarly, slaves were introduced to Christianity by whites, but eventually adapted it for their own purposes. Initially, slaves sought a spirituality that could explain and reflect their current condition. Some slaves were drawn to a theology that emphasized liberation and equality within Christianity, ideals which were often downplayed by 18th century Anglican evangelicals. However, slave owners feared that converting to Christianity would empower slaves to rebel against their bondage. There were numerous instances of rebellion and black assertion tied to slaves who identified themselves with the enslaved nation of Israel after hearing preaching on this topic during the early stages of evangelism.The fears of white people were fueled by this, as Anglicans persisted in expressing their discontent about planters who prevented them from teaching slaves about religion, claiming it hindered efforts to save African American souls. As a result, racism was reinforced and slaves were discouraged from assimilating into white European-American customs,

preventing them from advancing socially. However, only a small number of black individuals found the Christian message that Anglicans imparted to them attractive.

Anglican churches in the past enforced strict divisions between different social classes and races during services and sacraments. The high-church doctrine maintained that only educated men had the authority to teach, and expected black individuals to obediently accept their teachings without questioning. They were also encouraged to seclude themselves from white society when it came to matters of religion. Given these circumstances, it is not surprising that Christianity failed to establish itself as a deeply meaningful religion for Africans to embrace. However, it is important to acknowledge the significant role played by white individuals in determining the messages that Africans were permitted to hear, particularly slaveholders who intentionally excluded black individuals from accessing Christianity. It is worth noting that African people asserted their independence by rejecting this early version of Christianity that was offered to them.

While Anglicans in the Southern mainland struggled for success, Moravians had a significant impact on Caribbean blacks, introducing a unique Christian community. Other missionaries, such as Methodists, Separate Baptists, and a few others in the late 18th and early 19th centuries, emphasized spiritual equality for African Americans. Black individuals resonated with the idea of a suffering savior, merging it with African musical expressions to create spirituals. However, they also had to accept Christianity as a means of affirming their lower societal status and obeying white slaveholders. Despite this, black individuals found opportunities at biracial revival meetings, where they interpreted Christian teachings and shared their own divinely inspired perspectives. During this crucial period, blacks in the Caribbean and American

South not only embraced Christianity but also transformed it into something unique to their own experiences.Following the period of revivals, which initially led to large-scale conversions in the South, numerous African-Americans dedicated their efforts to constructing a community where they could mutually assist each other and engage in worship that embraced African influences.

Black congregations in the local area expanded their religious community, particularly through the establishment of the African Methodist Episcopal Church in 1816. The A. M. E. Church provided an opportunity for blacks to participate in various levels of a collective, hierarchical social structure, a possibility that had not been available during slavery in America.

Blacks in the South and expanding frontier continued to participate as minorities in biracial congregations, although segregated seating was still practiced. However, they had fewer opportunities to become ordained preachers or lay leaders in mixed parishes. In such parishes, they were only allowed to "exercise the gift, provided they teach sound Doctrine sic" with the approval of whites (Frey & Wood, 166).

In order to escape criticism and limitations imposed by whites, African-Americans created their own religious communities where no white presence existed. In these communities, they were able to freely express their religious beliefs and practices such as polygamy and dancing. This allowed African-Americans to design a spirituality that fulfilled their needs within the slave societies of the Americas.

African-American religiosity has always been centered on extended and expanding families and households. It emphasizes self-determination, personal dignity, mutual aid, and shared responsibility for the progress of the race (Hortons, xi). This highlights the agency of African-Americans in defining their faith, modes of worship, and religious ties as part of

a larger emerging African-American culture.During the 18th and 19th centuries, Africans in America experienced constant change, particularly through enslavement, being taken away from Africa, and being bought and sold as property within America. This resulted in the heartbreaking separation of families. Apart from the personal challenges faced by each enslaved individual, the period of the American Revolution brought forth shifts in ideology and society. These changes exposed Africans and their offspring to evolving external beliefs about their position in American society, their human rights, and their spiritual needs.

Religion was a realm where African-Americans could exert control over their individual lives and culture. Across generations, evolving religious traditions offered spiritual renewal, community support, and the foundation for future generations. The transition from African religiosity to African-influenced Protestantism demonstrates the creation of a unique faith by black Americans. In this section, the musical choices feature selections from both Africa and the Americas. Some highlight the preservation of traditional musical styles, while others showcase the adaptation of traditional modes to modern styles. Each performance commonly incorporates percussion instruments like drums and group or solo singing. These musical selections are representative of a shared African musical aesthetic.

African dance has brought various characteristics to both traditional and contemporary expressions in America. These include rhythmic syncopation, call-and-response, melodic constructions, and vocal colors. The influence of African dance can be seen in many aspects of dance today. America's diversity allows for the blending of original dances from various cultures, resulting in a remarkable dance repertoire. Without the contribution of Africans, American dance would be entirely different. It all began with the different rhythms of the tribes.

Its roots in America began with

the slave trade. The American slave trade started in 1619 with the arrival of Dutch trading ships carrying Africans to Virginia. However, Africans were already being imported as slaves to the West Indies almost a century prior to that. Initially, they were transported by boat to destinations like Brazil, Cuba, and Haiti. Over time, these nations were taken over by different countries and slaves became subject to their rule. Brazil was taken over by the Portuguese, Cuba by the Spanish, and Haiti by the French.

The preservation of African culture during slavery was more prevalent in other nations compared to America. This was attributed to the Spanish and French leaders who followed the more lenient perspective on dancing upheld by the Catholic Church. In contrast, dance was strongly condemned by the Protestant church in America. As a result, dances practiced in the West Indies, Brazil, Haiti, and Cuba maintained a stronger African dance structure than those in America. These dances can be categorized as either recreational or sacred. An example of a recreational dance is the Juba, a competitive dance where participants would showcase their skill, sometimes even balancing objects on their heads. On the other hand, sacred dances were performed as acts of worship towards religious deities.

The aim of the dance was for the dancer to be "possessed" by the god so that the god would communicate through the dancer. Voodoo and Shango dances serve as examples of this practice. Elements of the African religious custom of possession, where individuals detach from reality through the combined impact of music and dance, can be observed in the fascination with certain styles of jazz dance. In the

United States, African dance was primarily hindered by two factors: the church's disapproval of dancing for its perceived immorality and the restricted use of the principal African instrument, the drum. Drumming was prohibited after a slave rebellion in 1739.

Slave owners on plantations reacted by prohibiting the use of drums, which compelled slaves to seek out alternative percussion instruments. They turned to banjos, clapping hands, stomping feet, and the fiddle. The dances performed on plantations served both recreational and religious purposes. Due to the European influence in America, these dances took on a more uniquely American style rather than solely African. Many dances mimicked the movements of animals, while circle dances and celebratory dances were also prominent.

Among the various dance categories, competitive dances had emerged, with the most famous being the cakewalk. The slaves, having witnessed their owners' dancing celebrations, mimicked their rigid upper body movements while incorporating fluid leg movements. The owners took pleasure in this spectacle and rewarded the best dancer with a cake. Unfortunately, the white individuals' observation of African dancing led to them forming stereotypes about enslaved dancers.

They started to darken their faces and imitate them using indigenous movements like the 'shuffle'. The white people's imitation dances marked the beginning of an era of American entertainment centered around the stereotype of the dancing 'Negro'. Prior to the Civil War, most professional dancers were white, except for William Henry Lane, also known as "Master Juba", who was a freeborn slave believed to be the world's best dancer. He resided in Manhattan, where Irish immigrants also lived. His dancing style combined Irish jig dancing with African rhythm, similar to the slaves who were compelled

to compete with Irish migrant workers on ships. These movements by both Lane and the Nigerian slaves are said to have pioneered tap dance.

From 1845 to 1900, Minstrelsy gained popularity as a form of entertainment in America. It featured male performers who depicted the Negro as either slow and shuffling or sharply dressed and quick moving. The minstrel show played a significant role in popularizing vernacular dances such as the cakewalk and jig dancing on a large scale. Following minstrelsy, the emergence of ragtime music and ballroom dancing brought about another major change after 1910. White ballrooms featured various animal dances, including the Turkey Trot and Chicken Scratch.

The introduction of native-inspired dances into ballrooms paved the way for a similar phenomenon to unfold on Broadway. Zeigfield incorporated some of these dances into his Follies, thus bringing social dance onto the theatrical stage. The main aspect borrowed was not the specific dances, but rather their swinging characteristics. In 1921, the musical Shuffle Along showcased a jazz-inspired dance known as the Charleston, which left the audience energized and with a newfound appreciation for black dancing.

Tap dance expanded its reach to include white audiences, resulting in the transformation of the musical comedies. During the late 1920s, jazz-infused songs replaced the previously popular standards among white communities, leading to the wide acceptance of Jazz music as a distinctly American genre. The pivotal role played by Louis Armstrong in the development of swing music, a subgenre of jazz characterized by African-influenced rhythm and the involvement of large bands, cannot be overlooked. This shift towards swing brought about faster and more precise footwork, with the Lindy becoming the latest dance craze.

The Lindy incorporated elements from early African dances such as the shuffle, glide, buck, and wing movements, ultimately heralding new jazz dance styles found in subsequent musical productions.

The advent of Television in the 1950s kept people at home instead of on the dance floors. Jazz music and dancing declined in popularity after WWII due to evolving technology and music. It also provided white choreographers with the chance to experience African swing. Musicians such as Charlie Parker and Dizie Gillespie began to explore more complex beats and improvisation, resulting in jazz music becoming something more to listen to rather than to dance socially.

African American dance has evolved from a social means to an artistic expression. Professional companies and dancers have brought back early African rhythms, and the beauty and emotion of traditional songs, such as Catherine Dunham’s "Shango", Alvin Ailey’s "Revelations" and Bill T. Jones’ "Uncle Tom’s Cabin". Over the last 50 years, African American dance has experienced both innovation and a strong connection to its roots.

The definition of professional dance has expanded to include popular and social dances like break dancing and hip-hop, alongside ballet, modern, and jazz. These urban black dance forms are now acknowledged for their artistic qualities and ability to express emotions. The dance styles created and performed by African Americans have become an integral part of American dance. Nearly every dancer and individual in America has incorporated early African polyrhythmic movements into their dance steps. Personally, I believe that the American dance world would not have thrived as successfully without the influence of African dance.

Since the slave trade, the drum has been utilized worldwide as a means of communication and personal

expression. Its diverse range of users includes early African tribes, who employed them in ceremonial contexts. Africans brought drums to the Americas, contributing to their popularity among American musicians. In the mid-1900s, drum sets emerged, featuring a combination of percussive elements such as hi-hats, bass and snare drums, and tom toms. As music evolved, so did drum kits, ultimately replacing the need for an entire drum section. The emergence of rock and roll necessitated changes in drum kits to suit the new musical styles.

The drums have evolved to become sonically diverse, incorporating electronic drums for increased adjustability both ergonomically and musically. Drum manufacturers constantly vie to create the best product on the market, driving ongoing innovation. African American musicians and early slaves embraced drums as a primary means of expression, drawn to the deep bass that replicated heartbeats and thunder. While the sound waves for open-ended and string instruments are straightforward, closed-end instruments like drums have distinct sound waves. The drum shell dissipates a significant amount of energy, prompting modern variations in drum construction.

Different types of wood are used to produce various sounds or levels of energy absorption. Maple construction is chosen for a warmer, deeper sound, while birch creates a high, resonant tone filled with vibration. Oak, the heaviest wood, dissipates the most energy, resulting in a lower, flat sound. Egypt serves as an excellent example of economic progress over the past decade, showcasing significant improvement and continuous growth. It is now the third-largest economy in the Middle East and North Africa region (after Saudi Arabia and Israel) and one of the most robust ones with enormous potential for future

economic expansion and diversification. Egypt's commitment to economic reform is evident through a large privatization program, emphasis on private investment, and fostering growth.

The country of Ghana has experienced noticeable improvement, particularly in its diverse economy. In 1957, the Gold Coast changed its name to Ghana after evidence suggested that its current inhabitants descended from migrants who moved south from the ancient kingdom of Ghana. In comparison to other West African nations, Ghana possesses a relatively wide range of natural resources. Notably, the country produces and exports minerals such as gold, diamonds, manganese ore, and bauxite. Additionally, ongoing exploration for oil and gas resources is taking place. Nevertheless, timber and marine resources are important but depleting assets.

Agriculture remains a crucial pillar of Ghana's economy, contributing to over one-third of its GDP and around 55% of formal employment. Cash crops like cocoa and its products play a predominant role in export revenue, along with timber products, coconuts, other palm products, shear nuts, and coffee. Moreover, Ghana has successfully established a program for exporting nontraditional agricultural products like pineapples, cashews, and peppers.

The basic foodstuffs in Ghana include cassava, yams, plantains, corn, rice, peanuts, millet, and sorghum. Fish, poultry, and meat are also important dietary staples. Compared to many other African countries, Ghana has a relatively advanced industrial base. Industries such as textiles, apparel, steel (using scrap), tires, oil refining, flour milling, beverages, tobacco, simple consumer goods, and car, truck, and bus assembly are present. Industry, including mining, manufacturing, construction, and electricity, contributes around 25% of the GDP. The improvement in Ghana and Egypt is believed to have a positive impact on African Americans in general. The saying "We

come from a long line of kings and queens" holds true when looking back at history.

We possess significant ancestral ties to Ghana and Egypt. Understanding our history empowers us to acknowledge our past and embrace the future. Resisting limitations imposed by others and refraining from blame allows us to reverse negative patterns. Furthermore, by acquiring extensive knowledge of Ghana, Egypt, and Mali, we can enhance our culture through education and challenge any preconceived notions about our heritage. It is often unrecognized that many remarkable African American inventors have been the driving force behind inventions. The race of the inventor is inconsequential; what matters is that we, as a culture, have made numerous significant contributions, if not more, than any other culture.

Throughout Western civilization, there have been numerous contributions to society that have brought us to where we are today. It is crucial for us to embrace the knowledge of our ancestors and appreciate their hard work, as they have paved the way for milestones like the ability to vote and the potential for a black president. The saying that we are descendants of kings and queens holds immense power, as it highlights the beauty in being black and reinforces the fact that our ancestors held significance comparable to monarchs. One such individual who made a great contribution was Lewis Temple, born in Richmond, Virginia in 1800. He later relocated to New Bedford, Massachusetts in 1829. As a blacksmith, Temple invented the "Temple's Toggle" and "Temple's Iron," both whaling harpoons. He formed close relationships with whalers who purchased his harpoons and engaged in numerous conversations with them.

Wood was often referred to as the "black Edison." He

was born on April 23, 1856, in Columbus, Ohio and had little formal education, dropping out of elementary school. Despite this, Wood started working in a machine shop when he was very young. Later on, at the age of sixteen, he relocated to Missouri in 1872.

In 1881, he established a factory in Cincinnati, Ohio, specializing in the production of telephone, telegraph, and electrical equipment. In 1884, he submitted his first patent application for an enhanced steam-boiler furnace. Woods successfully patented the "telographony," which combined the functions of a telegraph and telephone. One of his significant inventions, known as the Synchronous Multiplex Railway Telegraph, was created in 1887. This invention allowed for the transmission of messages from moving trains and railway stations. Moreover, in 1890 he embarked on improving the lighting system by developing an efficient and secure dimmer that resulted in a remarkable 40% energy saving.

Woods was also an innovator in the creation of an overhead conducting system for electrical railways and the electrified third rail. He acquired a total of 150 patents by the time of his death in 1910. Lewis H. L played a pivotal role in the advancement of the electric light bulb.

Born in Chelsea, Massachusetts in 1848 and raised in Boston, Lewis Howard Latimer was the only black member of the Edison Pioneers, a group of inventors and scientists who collaborated with Thomas Edison. At the age of sixteen, Latimer enlisted in the Navy and served as a cabin boy on the U. S. S Massaoitta. He later became a draftsman for Hiram Maxim, inventor of the machine gun and head of an electric lighting company. Notably, Latimer was also assigned

to draw plans for Alexander Graham Bell's telephone patent in 1879.

Latimer, a notable inventor, focused on enhancing the carbon filament utilized in the light bulb. In 1882, he was granted a patent for an enhanced technique to manufacture carbon filaments. Additionally, Gerrett's remarkable contributions include the invention of the gas mask and the three-way traffic signal. Mogan, born in Paris, Kentucky on March 4, 1875, abandoned school at the age of fourteen after completing fifth grade. He subsequently relocated to Cincinnati, Ohio and secured employment as a handyman in a sewing shop.

Morgan focused on the recurring situations where firemen were affected by fumes and dense smoke while entering burning buildings. He developed a breathing apparatus, which he successfully patented in 1914. Additionally, in 1923, Morgan patented an automatic traffic signal, which he later sold to the General Electric Company for a sum of four thousand dollars. Garrett A. continued Morgan's legacy in 1963.

Morgan passed away in Cleveland, Ohio at the age of 88 following a two-year illness. To mention only a few, they were significant contributors to both African American culture and western civilization.

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