Musical Practices of Early Black Americans

Music

Item Set

Items

• Nicholas Cresswell, The Journal of Nicholas Cresswell (1774-1781), 102

  They have some particular dances at the full and change of the Moon, and sometimes pay a sort of adoration to the Sun.

• Nicholas Cresswell, The Journal of Nicholas Cresswell (1774-1781), 99

  Saw the Indians Dance in the Council house.

• Nicholas Cresswell, The Journal of Nicholas Cresswell (1774-1781), 97

  About noon the Shawnee & Dellaware Indians with one of the Ottawa Chiefs crossed the River in two Canoos about thirty in number. They was met at the River side by the Delegates and Garrison under arms who saluted them with a Volley, which the Indian Warriours returned then proceeded to the Council house. Danceing, Beating the Drum, and Singing the Peace Song, all the way.

• Nicholas Cresswell, The Journal of Nicholas Cresswell (1774-1781), 95

  Heard an Indian play upon a Tin Violin and make tolerable good Musick.

• Nicholas Cresswell, The Journal of Nicholas Cresswell (1774-1781), 92

  Saw an Indian Dance in which I bore a part, painted by my Squaw in the most Ellegant manner. Divested of all my cloaths, except my Callico Shirt Breechclout, Legings, and Mockesons. A Fire was made which we Danced round with little order whoping and hollowing in a most frightfull manner. I was but a Novice at the deversion and by endeavouring to act as they did, made them a great deal of sport, and ingraciated me much in their esteem.This is the most violent exercise, to the Adepts in the art I ever saw, no regular figure but violent Distortion of Features, Writhing and twisting the body in the most uncouth and Antic postures immaginable. Their musick is an old Kegg with one head knocked out and covered with a skin and beat with sticks which regulates their time. The men have strings of Deers hoofs tyed round their ancles and knees, and Gourds with shot or pebble stones in them in their hands, which they continually rattle.The women have Morris bells or Thimbles with holes in the bottom and strung upon a leathern thong tyed round their Ancles, Knees, and Waist. The jingling of these Bells and Thimbles, The rattleing of the Deershoofs & Gourds, Beating of the Drum & Kettle, With the Horrid Yells of the Indians, Renders it the most unharnonious Concert, that human Idea can possibly conceive. It is a favoured Diversion in which I am informed they spend great part of their time in Winter.

• Nicholas Cresswell, The Journal of Nicholas Cresswell (1774-1781), 91

  The parson was a Dutchman but preached in English. He had an Indian interpreter that explained it to the Indians by sentences. They sing in the Indian language. The men sits on one row of Forms and the women on the Other with the Children in the front each Sex comes in and goes out on their own side the house. The Old men sits on each side the parson.

• Nicholas Cresswell, The Journal of Nicholas Cresswell (1774-1781), 55

  A Couple gets up, and begins to dance a Jig (to some Negro tune) others comes and cuts them out, these dances allways last as long as the Fiddler can play. This is social but I think it looks more like a Bacchanalian dance then one in a polite Assembly.

• Nicholas Cresswell, The Journal of Nicholas Cresswell (1774-1781), 42

  About noon a Pilot Boat came along side to invite the Captn to A Barbicue. I went with him and have been highly diverted. These Barbicues are Hogs, roasted whole, this was under a large Tree. A great number of Young people met together with a Fiddle and Banjor Play’d by two Negroes with Plenty of Toddy which both Men and Weomen [sic] seems to [be] very fond of. I believe they have Danced and drunk till there is Few Sober people amongst them. I am sorry I was not able to join them.

• Nicholas Cresswell, The Journal of Nicholas Cresswell (1774-1781), 36

  Mr. Bayley and I went to see a Negro Ball, Sundays being the only days these poor Creatures have to themselves, they generally meet together and amuse themselves with Dancing to the Banjor. This Musical instrument (if it may be so called) is made of a Gourd something in immitation of a Guitar with only four strings and play’d with the fingers in the same manner. Some of them sing to it which is very droll musick indeed, In their songs they generally relate the usage they have received from their Masters or Mistresses, in a very Satirical stile and manner. Their poetry is like the Music Rude and uncultivated. Their Dancing is most violent exercise, but so irregular and Grotesque, I am not able to describe it. They all appear to be exceedingly happy at these merry makings and seem as if they had forgot or were not sensible of their misserable condition.

• Joseph Wilson and William D. Wilson, Sketches of the Higher Classes of Colored Society (Philadelphia, 1841), 61-62

  The amusements of the evening are much the same as before noticed, -music, conversation, & c . , — with the addition of exchanging “ mottoes " taken from the secrets ' papers, " which are to be found in plenteousness at all the regular evening parties.

• Joseph Wilson and William D. Wilson, Sketches of the Higher Classes of Colored Society (Philadelphia, 1841), 59.

  The love of music is universal; it is cultivated to some extent, -vocal or instrumental, by all; so that it is almost impossible to enter a parlor where the ear of the visitor is not, in some sort or other, greeted therewith. It is consequently made a prominent part of the amusements on all occasions of social meeting together of friends.

• Joseph Wilson and William D. Wilson, Sketches of the Higher Classes of Colored Society (Philadelphia, 1841), 58-59.

  With the young ladies at home they pass their evenings agreeably if so disposed. It is rarely that the visitor in the different families where there are two or three ladies, will not find one or more of them competent to perform on the piano - forte, guitar, or some other appropriate musical instrument; and these, with singing and conversation on whatever suitable topics that may offer, constitute the amusements of their evenings at home.

• Joseph Wilson and William D. Wilson, Sketches of the Higher Classes of Colored Society (Philadelphia, 1841), 51.

  The vulgar and indecent practices which obtain foothold among them, and which would perhaps forever soil the fame of any one of the plain, unostentatious, unpretending members of plebian society in the estimation of his associates, are by them termed “ fashionable foibles, " and he or she who is not an adept in such matters, is looked upon as a “ simple ton, ” or a “ flat; " or is otherwise regarded in the light that one would be who should appear in a ball - room and offer to lead in the dance, with brogans upon his feet — a grossly ignorant and unfashionable fellow! It is not of course for the want of education or of better information, but in truth the very possession of these, which they consider - con joined with wealth — confers upon them the privilege of establishing and adhering to just whatever regulations and practices, under the name of " fashion, ” their corrupt fancies may lead them to.

• Joseph Wilson and William D. Wilson, Sketches of the Higher Classes of Colored Society (Philadelphia, 1841), 30.

  In the departments of the lighter accomplishments, likewise, the higher classes of colored society show much advancement and proficiency. The young ladies, especially, are deserving of notice in this respect. In addition to the usual branches of education, many of them show much taste and skill in painting, instrumental music, singing, and the various departments of ornamental needlework, & c . They, too, have their literary associations for mutual improvement. The order of their exercises in these, consists, principally, of readings and recitations of appropriate compositions, both original and selected. It has not transpired, that the ladies' associations have yet introduced the form of systematic debates.

• Henry C. Knight, Letters from the South and West, 127

  On sabbath evening, the African slaves meet on the green, by the swamp, and rock the city with their Congo dances.

• Henry C. Knight, Letters from the South and West, 77

  When a slave dies, the master gives the rest a day, of their own choosing, to celebrate the funeral. This, perhaps a month after the corpse is interred, is a jovial day with them; they sing and dance and drink the dead to his new home, which some believe to be in old Guinea. Indeed, a wedding, and a funeral, are equally agreeable to those not personally interested in them, as then comes a holiday. It appears to be an instinct of these creatures to dance, to equivocate, and to pilfer; but, for the two latter propensities, ignorance and necessity plead loudly

• Henry C. Knight, Letters from the South and West, 77

  Instead of having a cheap apple-mill for cider, they scoop out a long trough,and into this empty the apples; and then may you see long rows of slaves, of both sexes, arranged up and down the sides, with ponderous pounders, and their shining black arms liked up and down in order, as they quash the pomace; and, as they drink what juice they please, they get merry, and sing lustily to the strokes of their tall weighty wooden pestles.

• Henry C. Knight, Letters from the South and West, 75

  Where they have kind masters, the slaves look cheerful, and happy; and do not labour harder than a free white labourer. The little ones, which in summer wear nothing more than a remnant of a shirt, and not infrequently go literally nude, and look like little imps, will yet be seen singing, and kicking, and wallowing about in the yellow sand right merrily.

• Samuel Mordecai, Richmond in Bygone Day (Richmond, 1856), 310-311.

  The most prominent member of the black aristocracy of my early years was Sy. Gilliat (probably Simon, or Cyrus,) the leading violinist, (fiddler was then the word,) at the balls and dancing parties. He traced his title to position to the days of vice royalty, having held office under Lord Botetourt, when governor, but whether behind his chair or his coach, is in the midst of obscurity. Sy. Gilliat flourished in Richmond in the first decade of this century, and I know not how many of the last. He was tall, and even in his old age, (if he ever grew old,) erect and dignified. When he appeared officially in the orchestra, his dress was an embroidered silk coat and vest of faded lilac, small clothes, (he would not say breeches,) and silk stockings, (which rather betrayed the African prominence of the shin-bone,) terminating in shoes fastened or decorated with large buckles. This court-dress being of the reign of Lord Botetourt, and probably part of the fifty suits which, according to the inventory he made, constituted his wardrobe; to complete this court costume, Sy. wore a brown wig, with side curls, and a long cue appended. His manners were as courtly as his dress, and he elbowed himself and his fiddle-stick through the world with great propriety and harmony.

• Samuel Mordecai, Richmond in Bygone Day (Richmond, 1856), 297.

  It is now a tobacco factory, and its original dimensions are trebled, if not quadrupled in size. A host of blacks now work there in twisting tobacco where the sacred Host was formerly elevated by the priest. A solution of liquorice has taken the place of holy water; but possibly the establishment may be employed in the manufacture of "Christian's Comfort," a commodity already mentioned. Here also fine psalmody may be heard, as of yore, and the organ loft is still occupied by a choir, but one whose music ceases on Sabbaths and Holy days.

• Samuel Mordecai, Richmond in Bygone Day (Richmond, 1856), 296.

  On the spot where it stood, is now erected a tobacco factory large enough for a Cathedral, and not only by the belfry which surmounts it, but also by the sounds that proceed from within its walls, might it be mistaken for one, as might several other similar establishments; for many of the negroes, male and female, employed in the factories, have acquired such skill in psalmody and have generally such fine voices, that it is a pleasure to listen to the sacred music with which they beguile the hours of labour. Besides the naturally fine voice and ear for music which seems to have been given to the black race, (perhaps to enable them "to whistle and to sing for want of thought,") many of the slaves in Richmond have acquired some knowledge of music by note, and may be seen, even in the factories, with their books of psalmody open on the work-bench. How much worse off are they than operatives in a factory in Old, or even in New England?

• Samuel Mordecai, Richmond in Bygone Day (Richmond, 1856), 180.

  Such bowing and curtseying, tiptoeing and tipfingering, backing and filling, advancing and retreating, attracting and repelling, all in the figures of Z or X, to a tune which would have served for a dead march! A long silken train following the lady, like a sunset shadow; and the gentleman holding a cocked hat under his arm, or in his hand, until at last the lady permitted the gentleman, at full arms-length, to hand her, by the very tips of her fingers to a seat, when, with a most profound bow, he retreated backward to seek one for himself. Then commenced the reel, like a storm after a calm—all life and animation. No solemn walking of the figure to a measured step —but pigeon- wings fluttered, and all sorts of capers were cut to the music of Si. Gilliat's fiddle, and the flute or clarionet of his blacker comrade, London Brigs. Contra dances followed, and sometimes a Congo, or a hornpipe; and when "the music grew fast and furious," and the most stately of the company had retired, a jig would wind up the evening, which, by-the-by, commenced about eight o'clock. The waltz and the polka were as great strangers to the ball-room floor, as were Champaign and Perigord pies to the supper-table.

• Charleston William Faux, Memorable Days in America, Part 2 (London, 1823), 114.

  We then viewed the Colonel's estate, consisting of 600 acres, of hill and dale, 90 of which are meadow irrigated, and which produces 2,000 dollars in hay annually, while the tobacco crop is commonly worth from 100 to 150 dollars an acre. Here is a marl bank, by which the Colonel has improved the estate, which, including its first cost, employs 20,000 dollars, and nets, from 12 to 15 percent. It is cultivated by from 12 to 20 negroes , who seem happy and well treated, singing and working merrily. The Colonel thinks slaves are better off than free - men. ' All slave- holders think so, especially those idle men who keep them merely for hiring out, that they may live entirely by the labour and breeding of blacks. Free blacks, in a slave state, are most of them unhappy,

• Charleston William Faux, Memorable Days in America, Part 2 (London, 1823), 84-85.

  At night , I went to the black church , where the black minister shewed much uncultivated talent . After sermon they began singing merrily , and con tinued , without stopping , one hour , till they became exhausted and breathless . 66 Oh ! come to Zion , come ! ” “ Hallelujah , & c . ” And then , “ O won't ! you have my lovely bleeding Jasus , " a thousand a times repeated in full thundering chorus to the tune of “ Fol de rol . ” While all the time they were clapping hands , shouting , and jumping , and exclaiming , « Ah Lord ! Good Lord ! Give me Jasus ! Amen . " At half - past ten this meeting broke up . For an hour it seemed like Bedlam let loose . At the close , one female said , striking the breasts of two male friends , “ We had a happy time of it . ”

• Charleston William Faux, Memorable Days in America, Part 1 (London, 1823), 119-120.

  This being Sunday, I visited the white and black Methodist congregations at George town, to the latter of which (the black) the white mayor of the town, a rich Englishman, of long and high standing, is minister. At half a mile distant, we could distinctly hear their devotional songs. We found a mighty assemblage of priests and priestesses, for all preached, prayed, and sung together. The pious prayers, and sensible, cheerful singing of the poor negroes, (who are, however, apt to rise into wild enthusiasm), are very honourable to black capabilities, and exonerate them from the charge of natural and moral inferiority.