Who are the Stagolees of the 21st century?Has the romanticized-outlaw image of Stagolee carried over into rap music? Juba was in some ways a response to the drum ban: the body became a rhythmic instrument.Juba is usually performed just with the voice and the body. As Joe Kloc describes the scenario:Popular songs about Stagolee, in the ancient folk tradition of murder ballads, began cropping up almost immediately after this event. Here, Danny “Slapjazz” Barber demonstrates and discusses its origins in the Stono Rebellion:You can see how juba/hambone mutates over time into other forms. You all remember this, from the 1964 film On Sunday, September 9, 1739, twenty Congolese slaves (mislabeled by contemporary historians as “Angolan”) gathered on the banks of the Stono River near Charleston (in this period, Sunday was a day off for slaves). The toasters were performing authenticity, or, in other words, keeping it real.As clarinetist Mezz Mezzrow (above) put it, in an eloquent description of signifying:There are folk heroes who appear over and over in toasts across geographical areas from Louisiana to California to upstate New York: they include Pimping Sam, The actor and comedian Rudy Ray Moore recorded several albums of toasts recited some toasts concerning these characters in front of a live comedy audience in the 1970s:The great George Clinton recorded a version of “Shine and the Great Titanic” in 1997:Rudy Ray Moore also played Dolemite, another legendary figure in the toast repertoire, in a spoof blaxploitation film of the same name in 1975 The poet and musician Jalaluddin Mansur Nuriddin (1944 – 2018) recorded Chuck D of Public Enemy produced a documentary about Nuriddin’s album in 2014:The Last Poets’ West Coast counterparts, the Watts Prophets, were equally influential:The poet Nikki Giovanni (above), like the Last Poets and the Watts Prophets, recorded a spoken-word album in 1971, Another frequent subject of toasts is the Signifying Monkey.
The circular dance formation involving hand clapping was recorded in Africa as early as 1621, by Richard Jobson, a European traveler, wrote: “the standers by seem to grace the dancer, by clapping their hands together after the manner of keeping time” (Jobson in Epstein 141). Finally, Juba was a person, AKA William Henry Lane, an African-American minstrel performer in the 1840s. The music was performed in a circular formation customarily with variations on the basic rhythm, in the form of syncopation and shifting accented notes. The white Oklahoma-born writer Milburn traces “extemporaneous rhyming,” known in today’s parlance as freestyling, to eighteenth-century England, where reciting rhymed verse made up on the spot was a popular form of parlor entertainment.A form of folk poetry that developed in the black community simultaneously with hobo balladry is toasting. The first black dancer to perform onstage for white audiences in the United States was known as Master Juba (his real name was William Henry Lane). Why does van der Merwe include this example?6. Toasts, according to scholars of folklore, were traditionally performed in African-American Vernacular English (AAVE) by men for male audiences in typically male settings. These lyrics were recorded in Prince Edward County, Virginia, sometime before 1838:Juba runnin’ all around These lyrics are those performed by Bessie Jones in 1972:Depending on proficiency level, have students draw, discuss in small groups, or write a short essay comparing the fulfillment of basic needs in their lives to those of children born into slavery. A collection of some of the musical examples referred to by Peter van der Merwe in your reading. He often appears in toasts with his friends and adversaries Lion and Elephant. He became a legendary pimp in St. Louis, and shot another man, Billy Lyons, in a bar fight in 1895, during which Lyons snatched Shelton’s Stetson hat off his head. As Bruce Jackson, who compiled the 1974 anthology of toasts In other words, the subject matter of jailhouse toasts was self-referential: tales of criminal exploits recited by men who had committed similar exploits. . And why were drums banned? Higher-level extension: Students will write and perform their own verse of “Juba” based on their knowledge of slave children’s experience.“Patting Juba” was first described and derided as a “secular amusement” practiced by slaves in Kentucky by Henry Bibb in the 1820s (Bibb in Epstein 142). They commandeered a guns-and-ammo shop, killed the owners, armed themselves, and headed south, chanting and playing drums as By the end of the day, the rebels numbered over a hundred, dozens of whites were dead, and the leaders of the Stono Rebellion would soon be executed.After the rebellion was put down, the colonies enacted punitive measures against blacks, including the death penalty for any slave who learned to read. Others posit the word is derived from Jubal, the inventor of musical instruments described in the Old Testament. Doo-wop.
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