Fisk Jubilee Singers continue to sing spirituals 150 years later

Fisk Jubilee Singers continue to sing spirituals 150 years later

The Fisk Jubilee Singers in 2016. Photo by Bill Steber and Pat Casey Daley

(RNS) — A century and a half ago, nine young men and women embarked on a trip from Fisk University, establishing a tradition of singing spirituals that both funded their Nashville, Tennessee, school and introduced the musical genre to the world.

The Fisk Jubilee Singers, based at the historically Black university founded by the abolitionist American Missionary Association and later tied to the United Church of Christ, started traveling 150 years ago on Oct. 6, 1871. They since have continued to sing so-called slave songs such as “Down by the Riverside” and “There Is a Balm in Gilead” and stood on stages from New York’s Carnegie Hall to Nashville’s Ryman Auditorium.

Musical director Paul Kwami has led the group since 1994 and sang with it when he was a Fisk student in the 1980s. Then and now he views the songs as not only expressions of the religious beliefs of enslaved people, but also of the original singers and the ones who continue to sing today.

“There are songs like ‘Ain’t-a That Good News,’ which is a song that talks about having a crown in heaven, having a robe in heaven,” said Kwami, a member of a nondenominational Full Gospel church in Nashville. “Well, they’ve never been to heaven, but then they’re singing about heaven — that’s an expression of faith.”

Kwami, a native of Ghana, in West Africa, talked with Religion News Service about how the ensemble began, who should sing spirituals and which of the songs are his favorites.

The Fisk Jubilee Singers in Jubilee Hall at Fisk University on Oct. 29, 2020. Photo by Bill Steber and Pat Casey Daley

The interview has been edited for length and clarity.

The Fisk Jubilee Singers won their first Grammy in 2020 for an album that celebrates almost a century and a half of music. What does that say about the endurance of the group and the music that they have sung for so long?

The album was actually produced on the (university’s) 150th anniversary. But then, of course, it is the Fisk Jubilee Singers who won the Grammy, which actually makes me realize that people still recognize who the Fisk Jubilee Singers are. And people still appreciate the music. Additionally, people realize Fisk Jubilee Singers are artists and do not limit themselves to just Negro spirituals. There’s versatility in our choice of music when we have celebrations.

How do you define spirituals, and differentiate them from other forms of African American music sung in Black churches and beyond?

The Negro spirituals are songs that were created by the slaves during their time of slavery. But when we talk about music like jazz or blues or gospel, those genres of music came long after the Negro spirituals were established. And some people even say these other forms of music were birthed out of the Negro spirituals.

When we talk about the Negro spiritual and, say, gospel music, the performance styles are completely different. Gospel music simply deals with church music with a lot of instrumental accompaniment, clapping, a lot of improvisation. But with the Negro spiritual, even though there may be some improvisation, it doesn’t involve a lot of improvisation. Traditionally, Negro spirituals don’t call for instrumental accompaniment.

When the Fisk Jubilee Singers sing, the music is a cappella. The original Fisk Jubilee Singers transformed the Negro spiritual into an art form or concert spiritual. And because of that, clapping, for example, is not recognized as part of a performance of Negro spirituals.

Spirituals are known for their layers of meaning, some of which were hidden to slave masters. Can you give an example of one that is often sung by Fisk Jubilee Singers that reflects that?

One we often sing is “Steal Away to Jesus.” (One) meaning is that we will run away to the North — because we’re stealing away to Jesus — and Jesus was referring to a place of freedom.

When George White, a music professor and Fisk’s treasurer, decided to have singers from the school perform the spirituals for white audiences as fundraisers, was his idea supported by many or was it controversial or both?

To leave Fisk with a group of students to go on a tour, singing to raise money — that was opposed. The administration at Fisk at that time did not believe he would succeed. They thought this was more of an experimental adventure because no one had ever done that. He was not sure of how audiences would receive Black young people singing so he taught them to sing Western (and European) classical music with a hope that would be more attractive to the various audiences. The Fisk Jubilee Singers were also not willing to sing the Negro spirituals because those songs were very sacred to them. But eventually, they started singing the Negro spirituals to the delight of their audiences.

The spirituals were “concertized” for performance for these fundraisers. Do you think anything was lost as the songs moved from the field where slaves had labored to concert halls where people paid to hear them sung?

I don’t think anything was lost. I read a quote by one of the original Fisk Jubilee Singers, and in this book he transcribes some of the songs they sang. I look at the melodies and they’re the same melodies we sing except the arrangements may be different.

How were the singers received at a time when slavery had just ended and African Americans were not welcome in many venues that were segregated?

Originally, they were not well received. There are accounts where people would go into the concerts, listen to the Fisk Jubilee Singers sing and not even give donations. There are accounts of Fisk Jubilee Singers going into hotels and hotel owners, realizing they were Black people, turned them away, wouldn’t give them a place to sleep or food to eat. There was a time when George White was able to purchase first-class coach (train) tickets for them but they were refused admittance into the first-class coaches because of the color of their skin. There is a painting somewhere that someone depicted them looking more like animals on stage singing. So they did go through those types of experiences as they went on their first tour. But I always say the young Fisk students who went out to raise funds for the university kept their focus on their mission and also were able to sing their songs and win the hearts of many people.

There have been debates over whether white people singing spirituals is a form of cultural appropriation. And I wonder where you stand on that issue.

As a musician I don’t agree with that because growing up in Ghana, we were taught songs like the “Hallelujah” chorus from Handel’s “Messiah.” The performance of music, I don’t believe should be limited to one specific culture. Because music, rather, brings people together. I would rather encourage people of every culture to learn music of other cultures.

The Fisk Jubilee Singers sang with The Erwins, a Southern gospel group, in February, including the song ” Watch and See.” How often do the Fisk singers sing music other than spirituals and is that generally well received, or are they criticized for not sticking with the music tradition for which they’re known?

I think one of the reasons we won the Grammy is because we sang with other people and the album consists of a variety of music that actually would not be classified as Negro spirituals. The album consisted of country music. We had some blues. We had gospel. We do want to be remembered as an ensemble that sings Negro spirituals but when there are occasions that call for us to sing other types of music and if it fits into our schedule, we are going to do so.

Do you have a favorite spiritual sung by the Fisk Jubilee Singers and, if so, which one and why?

I have a lot of favorite spirituals. One of them is ” Lord, I’m Out Here on Your Word.” I like that spiritual because it’s a song that helps me to be committed to my work. A line in the song says “If I die on the battlefield, Lord, I’m out here on your Word.” That is telling me that no matter what goes on, I am out to serve God. And I know he is a faithful God. And I have to be faithful to him as well. If I’m serving him, then no matter what’s going on, I trust him to provide whatever I need to succeed in my work.

Another is “He’s Got the Whole World in His Hands.” I love that song, again, because it gives me the idea that God takes care of us.

 

Michelle Obama, This Is Your Life

Michelle Obama, This Is Your Life

AMERICA’S FIRST LADY: Michelle Obama dancing with her husband at President Obama’s inaugural gala on January 20, 2009. A new book shares the history of her multiracial family tree.

While Alex Haley’s groundbreaking book, Roots: The Saga of an American Family, may have not been the first attempt to bridge history from the coasts of Africa to American slavery to modern-day life in America, it certainly galvanized widespread  interest in African Americans tracing their roots back to their enslaved ancestors and beyond. Since then, scholar and educator Henry Louis Gates Jr. has become Haley’s heir apparent, generating new interest in tracing roots with the additional tool of DNA testing with his PBS show African American Lives and most recently Finding Your Roots. Finally, the proliferation of genealogical research websites such as Africanancestry.com has also made genealogical research more accessible than ever before.

With the scrutiny of the lineage of the nation’s first black president who has more of a direct connection to Africa than many African Americans, very little attention was paid initially to the lineage of Michelle Obama. However, Mrs. Obama’s lineage is likely more representative of average African Americans who may know some of the history of their grandparents in America but have little knowledge of their connection to their enslaved roots or African beginnings. In 2009, a genealogist discovered that Michelle Obama was the great-great-great granddaughter of Melvinia Shields (a former slave) and a white man. New York Times reporter Rachel L. Swarns wrote about the discovery and was later convinced to expand the article into her new book American Tapestry: The Story of the Black, White and Multiracial Ancestors of Michelle Obama. Swarns traces the ancestry of Mrs. Obama all the way to Clayton County, Georgia, where I have lived for several years.

Earlier this summer, Clayton County officials unveiled a monument dedicated to Melvinia Shields in Rex, Georgia, where Melvinia lived when she gave birth to Mrs. Obama’s great-great grandfather Dolphus Shields. Both black and white family members took part in the ceremony, although Mrs. Obama was not present. While Mrs. Obama declined to be interviewed for the book (as a policy, she is not interviewed for any books, Swarnes said), Swarnes interviewed Mrs. Obama’s family members including her aunt, uncle and others and explained just how all of these people, both black and white, spanning several states, are related. In fact, she traced Mrs. Obama’s maternal and paternal roots, spinning a rich history that is surprisingly relevant today.

One of the book’s recurring themes is how tenuous civil rights can be, particularly for American black people. Following the Emancipation Proclamation, during the era of Reconstruction, blacks were given unprecedented freedom and access to representation in government, both locally and nationally. Jefferson Long became the first black man to represent Georgia in the U.S. House of Representatives, where he served less than three months before leaving his seat in 1871. Swarnes noted that it would be over a century before another African American represented Georgia again as segregationists and Ku Klux Klan members began implementing schemes and laws rescinding the rights of African Americans. In 1908, “blacks were effectively barred from the ballot box altogether when whites amended the state constitution to require voters to pass a literacy test and own property. … They also had to own forty acres of land or property valued at $500.” As I read example after example of civil rights reversals, I was reminded of the contemporary controversy surrounding the recent implementation of voter ID laws throughout the country that many believe will effectively disenfranchise black voters. In fact, Rev. Al Sharpton and his National Action Network launched a “Voter Engagement Tour” this summer to travel to various states where new voter ID laws have been enacted to educate voters about their full rights.

With all the debate about marriage, whether it’s for white people or gay people or any people, I was interested in how marriage was presented Swarnes’ book. A successful marriage has always been a difficult feat, though there is a tendency to romanticize the marriages of yesteryear. Dolphus Shields was married four times. Fraser Robinson II, Mrs. Obama’s paternal grandfather, left his wife and children in Chicago after nearly seven years of marriage around 1941. In fact, when he enlisted in the Army on March 26, 1941 at 28 years old, he was described as “separated without dependants.” He did, however, ultimately reconcile with his wife around 1950. Mrs. Obama’s maternal grandparents Purnell Shields and Rebecca Jumper Coleman separated after having seven children. The couple lived separately, blocks away from one another in Chicago, although they never divorced.

The black church and the historical impact of religion were also apparent in this work. What has been deemed as “Christian” has certainly changed throughout history. In the 1800s, “one Methodist minister told his congregation that ‘catching and returning runaway slaves to their masters is a Christian duty binding upon any church members.’” I wonder if the church (First Baptist Church of Crystal Springs in Mississippi) that recently refused to allow a black couple to get married at their church would have supported such a stance had it been in existence then. Dolphus Shields, who was a deacon, helped to found Trinity Baptist Church and another church in Birmingham, Alabama, that still exists today. Lavaughn Johnson, for whom the First Lady is named (her full name being Michelle LaVaughn Robinson Obama), was deeply religious, becoming the first African American woman to manage a Moody Bible bookstore.

As I read American Tapestry, I considered how genealogy is also a persistent theme in the Bible. The lineage of Jesus included Rahab the prostitute, King David the adulterer, the less-than-supermodel Leah, the wise King Solomon, Joseph the dreamer and many other interesting people. Slavery, wars, famine, government takeovers, and more served as backdrops. I believe genealogy in the Bible, as it does in American Tapestry, demonstrates that human beings are essentially the same from generation to generation despite modern innovations, shifting cultural sensibilities and evolving laws through the years. As there is nothing new under the sun, we will always need a Savior to help us resist temptation to be inhumane toward each other and achieve our highest human good. Remembering from whence we came as individuals, families, and nations can help remind us that we’re all part of an evolving legacy of human struggle, hope, and redemption.