Wild-thingslayhere - Just Aesthetic

Work Songs and Sea Shanties

There’s been a lot of posts making the rounds discussing the ties between industrial union songs, folk songs, and sea shanties (since there’s been a rise in sea shanty popularity because of tik tok.) But I have yet to see one making the direct connection from African American work songs. Which is a little disheartening, as a black person who has always liked and enjoyed the genre.

Work songs have existed lonnnnnggg before shanties. But the distinct lyrical and instrumental form of what we immediately think of as “sea shanty” had antecedents in the working chants of international maritime traditions. Mainly those sung while loading vessels with cotton in ports of the Southern United States, during the 18th and 19th century. And you know what also rose in the 18th and 19th century? 

Answer: Chattel Slavery. 

“In the first few decades of the 19th century, White European-American culture, especially the Anglophone—the sailors’ “Cheer'ly Man” and some capstan songs notwithstanding—was not known for its work songs. By contrast, African workers, both in Africa and in the New World, were widely noted to sing while working. The fact that European observers found African work-singers so remarkable suggests that work songs were indeed rather foreign to their culture.” Source

Slave music has many distinct qualities. In early captivity, drums were used to provide rhythm, but they were banned in later years because of the fear that Africans would use them to communicate in a rebellion (they were, and also used as escape codes.)  Slaves then resorted to generating percussion, using other instruments or their own bodies. Another quality is the call-and-response format, where a leader sing’s a verse or verses and the others respond with a chorus. There’s also field hollers, shouts, moans, etc.

As slaves were forced into christianizing, their work songs evolved into Spirituals. Other measures to prevent slave rebellion included making sure that slaves from the same tribe were intentionally scattered, so that they could not share the same language. The forbiddance of practicing indigenous religions and speaking anything other than English meant that eventually, the large groups of slaves were once again able to communicate with each other. 

Spirituals were largely informed by the colonial hymns and folk songs of the time. They had the multitudinous purpose of 1.) keeping everyone working 2.) imparting Christian values 3.) describing the hardships of slavery, and 4.) hiding codes to escape.  Famous Spirituals include “Swing Low, Sweet Chariot” and “Wade in the Water” and they were a significant part of navigating the Underground Railroad. 

The switch to steam powered ships by the end of the 19th century gradually made sea shanties obsolete as work songs, so they are largely preserved as folk music. But because African Americans were still forced into the labour class, their work songs continued to evolve. Here are some chain gang songs for example.

Work songs > Spirituals > Gospel Music > Blues > Every Modern Black American Musical Genre That we Know Today

Not only that, but the root genre of work songs still exist across the globe, distinct to the agricultural and industrial work force of each culture. These videos were all posted within the last 5-10 years, from Tasmania, South Africa, The Philippines, and Tanzania. You can hear the connection between them being the tremendous labour they do.

https://href.li/?https://www.deviantart.com/yonaz

Mine and other’s genuine relief and excitement at the gavle goat burning due to the observation that the previous streak of it not burning lasted through some very tough years is proof of how quickly and organically religious rituals can arise, in this essay I will…

Timothy Barr, Heirloom, 2010, Oil on panel

by Lucas Pezeta

“Oh, sweetheart. You’re just tired.” A heard the soft tap of a metal tray being put onto the nightstand, and a gentle hand propped their head up. “Here,” their mother whispered as glass pressed against A’s lips. “Drink this.”

They began to drink, but whatever liquid this was was thick, burning. It felt like sludge pushing through their mouth and invading their throat.

Choking, A pushed their mother away, violently retching as they fell to the floor beside the bed. They got out what little of the disgusting liquid was in their body, whirling around with wide eyes.

“What was that!?” they screamed as they scrambled away from their mother on the ground. “What are you trying to feed me!?”

“Oh, dear,” the mom tsked, tilting her head. She was delicately holding a flask with a black substance inside of it. As she walked closer, A struggled to crawl further away. “It’s only medicine.”

The nights are somewhat cold (-10°C/14°F) but the days are really nice. Värmland, Sweden (March 12, 2022).

Close Encounters by Edd Allen https://flic.kr/p/2mYpwqe

There is no easy way out of learning to be literate when it comes to fiction.

You cannot say "An author is never what they write".

You cannot say "An author is always what they write".

Authors who are completely normal people with healthy understandings of every dark topic in our work can write extremely fucked up shit about topics including bigotry, rape, you name it. If you think writing about those topics at all is "glorifying" it, then you will falsely believe those authors are horrible people.

But horrible people can actually be authors - and sometimes they hide their horribleness in ways you can't recognize. Sometimes they don't - sometimes they are just fully and openly bigoted.

But if you can't tell the difference between "A story that has fucked up shit in it because those things fit the mood, motifs, message, or genre" vs "A story with fucked up shit in it because the author thinks those things are morally good", you are going to fucking struggle in life and you will in fact be very susceptible to bigoted propaganda.

And no, I won't sit here and say it's always easy to tell the difference. But with practice, you can in fact tell the difference between a story where the author is writing about the main character being ravaged and raped in a sexy way because it's a safe way to explore that fantasy, VS, an author who clearly just thinks women should be raped and subjugated because that's their actual worldview.

That can involve examining the individual piece of media, other things that author has written, who the author is, etc.