Sigma Alpha Iota

'inner joy' works incorporating spiritual-inspired melodies are still being created. Negro Spiritual competitions are surfacing and groups specializing in the genre remain. The question is often asked if spirituals should be sung only by African-Americans. A particular race or ethnicity is not a requisite for an effective rendition of a spiritual. Neither is an innately beautiful voice or a highly trained singer. Even those with stunningly beautiful voices with keen abilities to read music and complex rhythms may well miss the mark of effectiveness. It is something beneath the surface, beneath the beauty of the voice, and beneath the color of one's skin, that must factor into bringing the beauty and meaning of the spiritual to the surface. Dr. Matthew Kennedy, Director Emeritus, Fisk Jubilee Singers, states it is the spiritual quality of the genre that makes it endure. Effective renditions of the spirituals rely on one's ability to be in touch with a spiritual sense and expressiveness of human emotion from within the soul. The performer should not distract the audience with contrived or pretentious motion. Before performances, I pray that my imperfections and human frailty not detract from the purity of the message. Sincerity is key. The voice is simply a medium through which the message and spiritual nature can be conveyed. The uninspired vocal gymnastics may disturb the listener. Good vocal technique assists the medium in allowing the sincere message to be realized. There is no documentation that slaves were given routine voice lessons. A pleasing voice is desirable and easy on the ear, yet the message and beauty of the melody are more essential. Spirituals generally reflect inner joy and some hope for a better day. It is this hope and vision for the future that gives the song life and vitality. From my point of view, it is beneficial, particularly from a vocal standpoint, to focus on the determination for a solution and hope for a brighter day and not the weightiness of the circumstance. For instance, "Lord, I'm bearing heavy burdens trying to get home. I'm climbing high mountains, tryin' to get home. I'm standing hard trials, trying to get home." My initial point of understanding is the depth of the circumstance. I yearn for this freedom and sing with the urgency of "tryin' to get home." Home and heaven, indicating freedom, are much higher and brighter than the heavy burdens and hard trials. From a vocal standpoint, this attitude and forward thinking relieve undue weightiness and Here speaks of a longing, a yearning, and faith in better times ahead. These songs were great tools of perseverance. heaviness of the voice allowing the song to move forward without losing the strength and essence of the message. Here speaks of a longing, a yearning, and faith in better times ahead. These songs were great tools of perseverance. Code words and double entendre pervade the spirituals. Harriett Tubman is said to have led hundreds of slaves to freedom using double entendre and code words. "Steal away to Jesus" has its religious implication and was also used to indicate that a runaway slave escaping to freedom; "This little light of mine, I'm gonna let it shine" speaks of a beautiful inner spirit being spread and shared amongst all people. This, also, may have been used to suggest that a candle would be placed in the window of a home that would be safe and open to harboring runaway slaves. The "sword" was the Bible, as this was the slave's shield and armor. This ingenuity suggests an intellect and wisdom of slaves not often found in written characterizations of slaves. The message in the spiritual is generally quite simple, yet most profound and universal. It typically reveals character, wisdom, and intellect of slaves persevering during severe, brutal and unjust circumstances. Slaves were removed from their homeland, native language, and culture, stripped of their identity, and forcibly brought to this country to be sold and auctioned as property. They were demeaned in a most cruel fashion. Slave narratives reveal accounts of severe trials and tribulations. Yet, there was hope and deep faith and beautiful melodies spewed from the depths of their souls. Life's difficulties did not end with the abolishment of slavery. Trials and tribulations remain today. Humankind of all races, cultures, and ages drawing from personal experiences can generally connect on some level with pain and struggle. Composer/arranger Mark Hayes, a Caucasian who has published very fine arrangements of Negro Spirituals, speaks to this. He states that we may never be able to know or even imagine the kind of pain and suffering of the slave, but every human experienced that on some level as part of the human condition. Hayes is drawn to the everyday, plaintive quality, human pathos and emotion in the spiritual. It is from this point that he composes. Diction and language should be natural in the Negro Spiritual. Dialect should not be exaggerated and the language should not be over-purified. Many African languages do not have the 'th' sound used in English words such as "this" "that" and "those". The "d" which is in the language was a general substitute. Consequently, the tongues of slaves were not lazy; they were simply developed to move in a different manner. The dialect notated "de" or "duh" indicating "the" or "dis" "dat" "dose" should be treated as "this" "that" "those". A mere substitution of a "d" for a "th". This does not require an exaggeration. The language should be natural. Roland Carter, composer and recognized scholar of African-American music, has arranged poignant Spiritual-art songs where the voice and piano are true collaborators. Carter does not attempt to recreate the authentic slave performance, as he believes there is not sufficient documentation to know. His arrangements tend not to make extensive use of dialect. His arrangements are still quite moving, as he retains the simplicity, rich harmonies, and uses the piano effectively paint words without overshadowing the voice or becoming a distraction. Most spirituals have a continual inner pulse, heartbeat, and drive that keep them moving. Some speak of the steadiness of a rocking chair; others speak of the steady rhythm of the slaves in fields. There are various ways to conceive this. Steadfast is quite indicative of the spirit of the creators. There is no single definitive interpretation of each spiritual. People respond differently to the same stimuli. It is important to approach the Negro Spiritual with reverence, dignity, and sensitivity. Speak beneath the surface, heart to heart without pretense. A Delta Nu initiate, Dr. Gail RobinsonOturu is a performing artist and Professor of Music (Voice) at Austin Peay State University in Clarksville, TN. A current member of the Clarksville Alumnae Chapter, she is a past SAI National Director. She holds a Master's Degree from Howard University in Music Education, and a Doctorate in Vocal Performance from New York University. She is a recipient of the Sword of Honor and Rose of Honor. Currently she is collaborating with Roland Carter, performing and recording his soon-to-be released spiritual-art song arrangements. sai-national.org SUMMER 2011 PAN PIPES 13

• Cover