This book retraces the African origins of African-American forms of worship. During a five-year period in the field, Pitts played the piano at and recorded numerous worship services in black Baptist churches throughout rural Texas. His historical comparisons and linguistic analyses of this material uncover striking parallels between "Afro-Baptist" services and the religious rituals of Western and Central Africa, as well as other African-derived rituals in the United States Sea Islands, the Caribbean, and Brazil. Pitts demonstrates that African and African-American worship share an underlying binary ritual frame: the somber melancholy of the first frame and the high emotion of the second frame. Pitts's revealing perspective on this often misunderstood aspect of African-American religion provides an investigative model for the study of diaspora cultural practices and the residual influence of their African sources.

In the 1930s, during the Depression, Mose Ingram, once a plantation worker and now educated in the North, goes to the fictional town of Columbus, Oklahoma, to become school principal in the black community of Happy Hollow. Conviced that education is the answer to the negroes' problems, Mose sees his path toward progress marked by bitter experience and narrowed by the rigid caste system of segregation. But he remains optimistic, convinced that his people have pride, humility, and human understanding.

SOON TO BE A NETFLIX FILM STARRING SAMUEL L. JACKSON! Winner of the New York Drama Critics Circle Award for Best Play, this modern American classic is about family, and the legacy of slavery in America. August Wilson has already given the American theater such spell-binding plays about the black experience in 20th-century America as Ma Rainey's Black Bottom, Joe Turner's Come and Gone, and the Pulitzer Prize-winning Fences. In his second Pulitzer Prize-winner, The Piano Lesson, Wilson has fashioned perhaps his most haunting and dramatic work. At the heart of the play stands the ornately carved upright piano which, as the Charles family's prized, hard-won possession, has been gathering dust in the parlor of Berniece Charles's Pittsburgh home. When Boy Willie, Berniece's exuberant brother, bursts into her life with his dream of buying the same Mississippi land that his family had worked as slaves, he plans to sell their antique piano for the hard cash he needs to stake his future. But Berniece refuses to sell, clinging to the piano as a reminder of the history that is their family legacy. This dilemma is the real "piano lesson," reminding us that blacks are often deprived both of the symbols of their past and of opportunity in the present.

This book follows the historical trajectory of African Americans and their relationship with the Mississippi River dating back to the 1700s and ending with Hurricane Katrina and the still-contested Delta landscape. Long touted in literary and historical works, the Mississippi River remains an iconic presence in the American landscape. Whether referred to as "Old Man River" or the "Big Muddy," the Mississippi River represents imageries ranging from the pastoral and Acadian to turbulent and unpredictable. However, these imageries—revealed through the cultural production of artists, writers, poets, musicians, and even filmmakers—did not reflect the experiences of everyone living and working along the river. Missing is a broader discourse of the African American community and the Mississippi River. Through the experiences of African Americans with the Mississippi River, which included narratives of labor (free and enslaved), refuge, floods, and migration, a different history of the river and its environs emerges. The book brings multiple perspectives together to explore this rich history of the Mississippi River through the intersection of race and class with the environment. The text will be of great interest to students and researchers in environmental humanities, including environmental justice studies, ethnic studies, and US and African American history.

Reviews and rates the best recordings of 8,900 blues artists in all styles.

Traditional African musical forms have long been accepted as fundamental to the emergence of blues and jazz. Yet there has been little effort at compiling recorded evidence to document their development. This discography brings together hundreds of recordings that trace in detail the evolution of the African American musical experience, from early wax cylinder recordings made in West Africa to voodoo rituals from the Carribean Basin to the songs of former slaves in the American South.