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Let's clap, jump, sing & shout; dance, spin & turn it out! : games, songs & stories from an African American childhood
Here's a songbook, a storybook, a poetry collection, and much more, all rolled into one. Find a partner for hand claps such as Eenie, Meenie, Sassafreeny, or form a circle for games like Little Sally Walker. Gather as a family to sing well-loved songs like Amazing Grace and Oh, Freedom, or to read aloud the poetry of such African American luminaries as Langston Hughes, James Weldon Johnson, and Paul Laurence Dunbar. And snuggle down to enjoy classic stories retold by the author, including Aesop's fables and tales featuring Br'er Rabbit and Anansi the spider.
Book
The games black girls play: Music, body, and \soul\
Authority in African-American culture is generally associated with maleness and masculinity. Despite the outstanding examples of blues queens and certain gospel and R&B performers, the everyday participation of women in shaping and sustaining black music is generally overlooked by scholars and musicians alike. This study illustrates how black musical styles incorporated into the earliest games African-American girls play challenge the rigid gender distinctions that have been erected as a result of inattention to women's \"musicking.\" Vocal \"musicking\" (Small 1987, 50), idiophonic body musicking, and the social interplay located within black girls' games illuminates several critical issues: (1) a discernible black musical style (e.g., \"soul\") is learned and manifest as children's play; (2) analyses of game-songs demonstrates the complexity of time lines, melo-linguistic expression, and the incorporation of physical motion as musical sound, gesture, and dance in girls' games; (3) girls' games are related to antebellum and early twentieth-century genres of body-musicking among African-Americans; (4) girls' games are constantly shaped by interpretations of race, gender, and sexuality; and (5) social constructions of female identity can cause the reinterpretation of black girls' performance in mixed racial company and public settings. Data collected for this study includes oral interviews with African-American women who grew up in urban communities (ages 18-56) and recordings of handclapping games and \"cheers\" collected from girls and women (ages 9-32). Building on the musicological work on African-American music (Floyd 1991; Wilson 1992), complemented by African concepts of \"oral mnemonics\" (Kubik 1972) and musical time (Stone 1985), game-songs are analyzed as complex oral-kinetic \"etudes\" in embryonic forms. These \"etudes\" develop aural and kinetic sensitivity to the vocal articulations, structures, forms, and dances that are vital to subsequent black musical/social experience. Girls' games are analyzed further to discover how embryonic musicking signifies social identity, sexual identity, and group affiliation. Despite historical misinterpretations, a distinct style of musicking is shared by both genders in black culture. Exclusive attention to black-female performers as music-makers, listeners, and dancers uncovers this parity. By revealing the complexity of girls' games, female participation in black musicking can be viewed with greater clarity and authority.
Dissertation