Spirituals
The project
The Spirituals transport the listener back to a time prior to the invention of the Blues or Gospel. This genre started on the enslavement ships, where the kidnapped Africans were brought in chains to the new world. The enslaved Africans were worked without mercy from birth to death. To alleviate the suffering and tremendous trauma they faced, they invented simple songs in the fields or they ‘spiritualised’ the European hymns they heard in and around the plantation. These songs always promised a better tomorrow after death, or gave the enslaved listener and the enslaved singer hope to make it through another day. Some of the songs have been handed down via oral tradition, and some of the songs as stated before have been reworked into an African centred way of singing. Angela has composed a modern day spiritual to honour the ancestors that have gone on before and the sacrifices that they made. The theme addressed by the Duo is highly relevant even in modern times. One example of relevancy is the great human suffering imposed on people who become victims of the modern day underground sex slavery and paedophilic trafficking rings. Both of the aforementioned conditions see human beings as a form of currency rather than people. Under such inhumane conditions, the danger of dying and or losing a loved one is still very real. People enduring this level of diabolical wickedness still find the strength to move forward through faith and the belief in God; there is indeed hope for a better tomorrow. Amen
Amazing Grace
(Author unknown, text is attributed to John Newton, 1725-1807)
The tune is possibly Irish-derived and first appeared among the folk songs of America in an 1831 collection. The author of the text is John Newton, a former slaver ship captain, and it can be considered a hymn of thanksgiving to God for the grace of his conversion, which was all the more “amazing” the more infamous his profession.
Sometimes I feel like a motherless child
(Author unknown)
The song dates back to the slavery era in the United States, when it was common practice to sell the children of slaves. An early performance of the song by the Fisk Jubilee Singers dates back to the year 1870. The song is a clear expression of grief and despair conveying the fate of a child torn from his parents to be sold.
Just a closer walk
(Author unknown, the text is attributed to Martha J. Lankton, 1829-1915)
The earliest known recording is by the Selah Jubilee Singers on October 8, 1941 (Decca Records). The title and lyrics of the song allude to a biblical passage. It is a song of joy and expresses the hope of regaining freedom by walking beside God so as not to be abandoned even in the afterlife.
Look in the eyes
(Angela Williams, 1968)
It expresses the author’s anguish as she imagines what a 12-year-old girl who still wants to play, go to school and do all the things that children normally do may feel when she is suddenly deprived of her parents, raped and forced to become a mother herself, at only 13 years old.
Soon Ah will be done
((William Dawson, 1899-1990)
Soon I will be done soon is a spiritual song that transmits energy. The rhythm and liveliness are in diametrical opposition to the text that apparently speaks of death. This dichotomy actually suggests that spirituals were used by enslaved Africans as a way of hiding their real “message” from their captor’s ears. Many were actually used as codes and instructions on how to get to the north and to freedom.
Lord, How come me here ?
(Author unknown)
It is a deep lament, an expression of mourning sung in the evening by the slaves gathered to comfort each other. It gives voice to a collective grief: “They treat me badly here, Lord and they have sold my children.” The sharing of the testimony is comforting. It is also a prayer in which they plead for God to intervene and grant relief to those suffering under unjust conditions and inhumane circumstances.
He touched me
(Bill Gaither, 1936)
It is a piece composed in 1963. The verb “touch” recurs often in New Testament stories with reference to Jesus touching people’s eyes by healing them, or touching people’s lives by changing them. It is a special, spiritual word, and it was this that inspired the author to compose a song praising the Lord’s “touch.”
Steal away
(Wallace Willis, 1820-1880)
Songs such as “Steal Away “, “Swing Low, Sweet Chariot,” “Wade in the Water,” and the “Gospel Train” are songs with hidden codes, which expressed not only the call to have faith in God, but contained hidden messages for slaves, urging them to escape. “Steal Away” was composed by Wallace Willis, a native Choctaw freed in the Old Indian Territory, sometime before 1862.
Scarborough fair
(Author unknown, traditional English ballad)
The ballad’s protagonist asks a passerby on his way to the fair to greet the one who had once been his sweetheart and to ask her when she will return to him. But she replies (resorting to impossible feats of accomplishment) “never.” Scarborough is a port town located in Yorkshire, north of the capital York, overlooking the North Sea. Its good location made it a busy trading port in the Middle Ages, when trade by sea revived.