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Ain't You Got a Right to the Tree of Life? - People of John's Island, South Carolina - Their Faces, Their Words and... Ain't You Got a Right to the Tree of Life? - People of John's Island, South Carolina - Their Faces, Their Words and Their Songs (Paperback, New ed of 2 Revised ed)
Guy Carawan, Candie Carawan; Translated by Ethel Raim (music transcription); Foreword by Bernice Johnson Reagon; Preface by Charles Joyner; Illustrated by …
R1,061 R914 Discovery Miles 9 140 Save R147 (14%) Ships in 12 - 17 working days

"Ain't You Got a Right to the Tree of Life?" presents an oral, musical, and photographic record of the venerable Gullah culture in modern times. With roots stretching back to their slave forebears, the Johns Islanders and their folk traditions are a vital link between black Americans and their African and Caribbean ancestors.

When first published in 1966, this book conveyed islanders' trepidation and jubilation upon the arrival of the civil rights movement to their isolated home. In this edition, which is updated through the late 1980s, the stories and songs of an older day blend with the voices of an empowered younger generation determined to fight the overdevelopment of their land by resort builders.

If You Don't Go, Don't Hinder Me - The African American Sacred Song Tradition (Paperback): Bernice Johnson Reagon If You Don't Go, Don't Hinder Me - The African American Sacred Song Tradition (Paperback)
Bernice Johnson Reagon
R467 Discovery Miles 4 670 Ships in 10 - 15 working days

"If you don't go, don't hinder me. I am leaving this place. I would like company. If I have to travel alone, don't get in my way".

How do you survive leaving everything you know to try to reconstruct your life and future in a new way? What do you carry with you on your journey to the new place?

Migration as a theme looms large in twentieth-century African American life. Bernice Johnson Reagon uses this theme as a centering structure for four essays that examine different genres of African American sacred music as they manifested themselves throughout the twentieth century and within her own personal life. The first essay examines the evolution of gospel music by looking at the work of Charles Albert Tindley, Thomas Andrew Dorsey, Reverend Smallwood Williams, Roberta Martin, Pearl William Jones, and Richard Smallwood. In the next essay Reagon relates the story of Deacon William Reardon and the prayer bands that carried the tradition of South Carolina spirituals through the twentieth century in the communities of Washington, D.C., and Baltimore. The concert spiritual tradition is the subject of the third essay, and the final essay explores how stories about African American women of the nineteenth century became a source of strength for Reagon in her development as an African American woman, singer, fighter, and scholar.

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