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'inner joy' Beneath the Surface The Negro Spiritual: A Performer's Point of View Dr. Gail Robinson-Oturu By Dr. Gail Robinson-Oturu B efore I sing any song, I become very still, open my mind, body and heart, and search deep within my soul for the essence and inner meaning of the text. As a performer, the poetry and intent of the message are paramount. Upon discovery of this core ingredient, learning, feeling, and interpreting a song can commence. This holds true for German Lieder, French mélodie, and Italian art songs and arias. It is no different for the Negro Spiritual, where the profound words and beautiful melodies evolved from the hearts, souls, and experiences of an enslaved people enduring unspeakable and 12 unbearable burdens. These songs, which have survived centuries, maintain strength, viability, and appeal like none other. They transcend cultures and remain relevant to persons of all ages today. This article is not an attempt to document the history of the spiritual. It is simply a humble effort to convey, from a performer's personal point of view and years of experience, an approach to meaningfully interpret and perform these gems of American music. The Negro Spiritual has captured the hearts of people around the world and has earned a rightful place in history. The melodies, passed down through an oral tradition from generation to generation, can be traced back to PAN PIPES SUMMER 2011 sai-national.org the 17th century and continue to be the source of inspiration in today's music. Some melodies were notated in the 19th century. In 1865, the Fisk Jubilee Singers traveled the globe singing spirituals in an effort to raise money to keep the doors open of what has become Fisk University. International attention and favorable response were by-products of this commercial venture. Harry T. Burleigh, at the urging of Czech nationalist composer Antonin Dvořák, compiled and published a collection of solo arrangements in 1917. Major performing artists began including a group of solo spiritual arrangements on most recitals. Today, choral arrangements, solo art songs, instrumental adaptations, and instrumental

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