For many, December 26 is more than the day after Christmas. Boxing Day is one of the world's most celebrated cultural holidays. As a legacy of British colonialism, Boxing Day is observed throughout Africa and parts of the African diaspora, but, unlike Trinidadian Carnival and Mardi Gras, fewer know of Bermuda's Gombey Dancers, Bahamian Junkanoo, Dangriga's Jankunu and Charikanari, St. Croix's Christmas Carnival Festival, and St. Kitts's Sugar Mas. One Grand Noise: Boxing Day in the Anglicized Caribbean World delivers a highly detailed, thought-provoking examination of the use of spectacular vernacular to metaphorically dramatize such tropes as ""one grand noise,"" ""foreday morning,"" and from ""back-o-town."" In cultural solidarity and an obvious critique of Western values and norms, revelers engage in celebratory sounds, often donning masks, cross-dressing, and dancing with abandon along thoroughfares usually deemed anathema to them. Folklorist Jerrilyn McGregory demonstrates how the cultural producers in various island locations ritualize Boxing Day as a part of their struggles over identity, class, and gender relations in accordance with time and space. Based on ethnographic study undertaken by McGregory, One Grand Noise explores Boxing Day as part of a creolization process from slavery into the twenty-first century. McGregory traces the holiday from its Egyptian origins to today and includes chapters on the Gombey Dancers of Bermuda, the evolution of Junkanoo/Jankunu in the Bahamas and Belize, and J'ouvert traditions in St. Croix and St. Kitts. Through her exploration of the holiday, McGregory negotiates the ways in which Boxing Day has expanded from small communal traditions into a common history of colonialism that keeps alive a collective spirit of resistance.

Jerrilyn McGregory explores sacred music and spiritual activism in a little-known region of the South, the Wiregrass Country of Georgia, Alabama, and North Florida. She examines African American sacred music outside of Sunday church-related activities, showing that singing conventions and anniversary programs fortify spiritual as well as social needs. In this region African Americans maintain a social world of their own creation. Their cultural performances embrace some of the most pervasive forms of African American sacred music--spirituals, common meter, Sacred Harp, shape-note, traditional, and contemporary gospel. Moreover, the contexts in which they sing include present-day observations such as the Twentieth of May (Emancipation Day), Burial League Turnouts, and Fifth Sunday.

Rather than tracing the evolution of African American sacred music, this ethnographic study focuses on contemporary cultural performances, almost all by women, which embrace all forms. These women promote a female-centered theology to ensure the survival of their communities and personal networks. They function in leadership roles that withstand the test of time. Their spiritual activism presents itself as a way of life.

In Wiregrass Country, "You don't have to sing like an angel" is a frequently expressed sentiment. To these women, "good" music is God's music regardless of the manner delivered. Therefore, "Downhome Gospel" presents gospel music as being more than a transcendent sound. It is local spiritual activism that is writ large. Gospel means joy, hope, expectation, and the good news that makes the soul glad.

For many, December 26 is more than the day after Christmas. Boxing Day is one of the world's most celebrated cultural holidays. As a legacy of British colonialism, Boxing Day is observed throughout Africa and parts of the African diaspora, but, unlike Trinidadian Carnival and Mardi Gras, fewer know of Bermuda's Gombey Dancers, Bahamian Junkanoo, Dangriga's Jankunu and Charikanari, St. Croix's Christmas Carnival Festival, and St. Kitts's Sugar Mas. One Grand Noise: Boxing Day in the Anglicized Caribbean World delivers a highly detailed, thought-provoking examination of the use of spectacular vernacular to metaphorically dramatize such tropes as ""one grand noise,"" ""foreday morning,"" and from ""back-o-town."" In cultural solidarity and an obvious critique of Western values and norms, revelers engage in celebratory sounds, often donning masks, cross-dressing, and dancing with abandon along thoroughfares usually deemed anathema to them. Folklorist Jerrilyn McGregory demonstrates how the cultural producers in various island locations ritualize Boxing Day as a part of their struggles over identity, class, and gender relations in accordance with time and space. Based on ethnographic study undertaken by McGregory, One Grand Noise explores Boxing Day as part of a creolization process from slavery into the twenty-first century. McGregory traces the holiday from its Egyptian origins to today and includes chapters on the Gombey Dancers of Bermuda, the evolution of Junkanoo/Jankunu in the Bahamas and Belize, and J'ouvert traditions in St. Croix and St. Kitts. Through her exploration of the holiday, McGregory negotiates the ways in which Boxing Day has expanded from small communal traditions into a common history of colonialism that keeps alive a collective spirit of resistance.

Jerrilyn McGregory explores sacred music and spiritual activism in a little-known region of the South, the Wiregrass Country of Georgia, Alabama, and North Florida. She examines African American sacred music outside of Sunday church-related activities, showing that singing conventions and anniversary programs fortify spiritual as well as social needs. In this region African Americans maintain a social world of their own creation. Their cultural performances embrace some of the most pervasive forms of African American sacred music--spirituals, common meter, Sacred Harp, shape-note, traditional, and contemporary gospel. Moreover, the contexts in which they sing include present-day observations such as the Twentieth of May (Emancipation Day), Burial League Turnouts, and Fifth Sunday.

Rather than tracing the evolution of African American sacred music, this ethnographic study focuses on contemporary cultural performances, almost all by women, which embrace all forms. These women promote a female-centered theology to ensure the survival of their communities and personal networks. They function in leadership roles that withstand the test of time. Their spiritual activism presents itself as a way of life.

In Wiregrass Country, "You don't have to sing like an angel" is a frequently expressed sentiment. To these women, "good" music is God's music regardless of the manner delivered. Therefore, Downhome Gospel presents gospel music as being more than a transcendent sound. It is local spiritual activism that is writ large. Gospel means joy, hope, expectation, and the good news that makes the soul glad.

Wiregrass ("Aristida stricta") refers to a genus of flora that depends on fire ecology for germination. Although its growth is widespread from the Chesapeake Bay to the western brim of Texas, only one region has acquired the word for vernacular recognition. Ranging over parts of three states, Wiregrass Country extends from north of Savannah, sweeps across rolling meadows into the southwest Georgia coastal plain, fans over into the southeastern corner of Alabama, and dips into the northwestern panhandle of Florida.This book is the first comprehensive study of the folklife of this unique region and its people. Historically underpopulated, economically poor, and predominantly white until the Reconstruction period following the Civil War, Wiregrass Country is a rare stretch of the American South whose economic and cultural development has been shaped more by yeomen farming and frontier attitudes than by King Cotton, plantations, slave-holders, and slaves.Eventually, Wiregrass Country experienced a more diverse influx or residents--tenant farmers, African Americans, and northern industrialists. In many ways, however, it has remained characteristically rural. Few malls have invaded it, and high watertowers are more prevalent than stately court houses and city halls. This study typifies the population within the tristate region as communal-minded, frugal, and hardworking. Its values gain full expression in characteristic musical and verbal arts, such as Sacred Harp singing and personal narratives about the supernatural.Although virtually neglected by historians and folklorists, the region is a trove of cultural history preserved in folktales, music, festivals, yardscapes, hunting, and fishing.