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• W264388002 abstract "THE GEOGRAPHY OF African Americans begins with the migration of enslaved Africans to the social and economic problems facing African Americans today the deteriorating urban centers of America. From the blues to hip hop, African American music reflects the changing conditions of African Americans over time. The country blues, for example, tell us a great deal about African Americans the post-emancipation South, while the urban blues is a key to their urban experiences. This essay focuses on the movement of African Americans from the South to the North, the forces that influenced their movement, and the blues treatment of that experience song lyrics containing spatial themes such as separation, isolation, wandering, the importance of place, and a desire to escape to an imagined promised land. The blues grew out of the field hollers and work songs of enslaved African Americans. These blues antecedents functioned to heighten energy, to convert labor into dances and games, and to provide excitement an otherwise unbearable situation (Cone). When African Americans were emancipated, their new social circumstances afforded more time for leisure, which was an important catalyst the continuing development of the blues. Sung mostly for pleasure and entertainment, the early blues served a social function different from their antecedents and eventually become known as the country blues. The country blues style emerged the late nineteenth century and was adopted by prison blues artists, blues artists who sharecropped for a living, and wandering country blues singers. It was performed solo and identified itself with the feelings of its audience--suffering and hope, economic failure, the break-up of the family, and the desire to escape reality through wandering, love, and sex. The subsequent development of the music :followed the migration patterns of African Americans out of the rural South toward northern cities. As they moved off the land, the migrants carried the blues to urban centers such as Memphis, Atlanta, Houston, Dallas, St. Louis, Cincinnati, Indianapolis, and Chicago. Separation and Isolation The reenslavement of African Americans after Emancipation finds expression blues lyrics that give voice to the isolation and separation that resulted. As large numbers of African Americans were to work first on the plantations, and then as the labor force that laid track and dug tunnels for railroads, worked prison factories and on state prison farms, mined coal, and built roads and canals, their capacity to sustain relations with family and community was seriously affected. The ideological redefinition of African Americans that justified their being forced into these labor roles was based on the popular notions that they were not only inferior but also prone to criminality. This criminalization of a race of people fortified the former slaveowners' determination to thwart any possibility of the African American population becoming a class of laborers. Consequently, the law, custom, and physical force were used to keep African Americans in their place--i.e., perpetual bondage. This redefinition was supported by the very constitutional amendment that abolished chattel slavery, Amendment XIII made it legal for a person to become a free labor unit if defined by a state or the federal government as a criminal. An example of the songs that grew out of the practice of criminalizing African Americans is the following: Standin' on de corner, weren't doin' no hahm, Up come a 'liceman an' he grab me by de ahm. Blow a little whistle an' ring a little bell; Heah come 'rol wagon a runnin' like hell. Judge he call me up an' ast mah name. Ah told him fo' sho' Ah weren't to blame. He wink at 'liceman, 'liceman wink too; Judge he say, Nigger, you get some work to do. Workin' on ol' road bank, shackle boun'. Long, long time `fo' six months roll aroun'. …" @default.
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• W264388002 date "2001-03-22" @default.
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• W264388002 title "From Down South to Up South: An Examination of Geography in the Blues" @default.
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