Could those in physical bondage be free in spirit? Marsha Hansen, in My Soul is a Witness: The Message of Spirituals in Word and Song, explains how African American slaves used folk hymns to persevere, worship, and practice a religion that belonged to their oppressors. This author is also a solo vocalist and the sister-in-law of Keith Richards (lead guitarist of Rolling Stones), who collaborated with her on the accompanying CD, which features home recordings of Negro spirituals.

 

Historians, sociologists, and scholars have tackled the subject of African American folk hymns; however, Hansen approaches the topic from a “religious” or Christian perspective. Just like Negro spirituals, that transcends culture, so does this book. It is not only for the African American who wants to learn more about their African roots or ancestor’s music; it is for every Christian that struggles with understanding how to trust in God in spite of sufferings.

 

Hansen uses biblical stories and spirituals to encourage Christians to remain hopeful, which is the common theme in spirituals. She addresses how slaves were able to place their trust in a god that some referred to as “the god of the white man.” As she reveals, slaves identified with Bible characters who endured torment, discouragement, or bondage, such as Job, the Israelites, Daniel, and the psalmist, David. In each chapter, the author gives a review of a Negro spiritual as it applies to Scripture, and weaves in the significance of these folk hymns with modern day Christianity.

 

Hansen’s writing is far from the “unsophisticated language” or “childlike lyrics” found in some Negro spirituals, i.e., I Got a Home in-a Dat Rock, or Sinner, Please Don’t Let Dis Harvest Pass. She is a talented soloist with education in theology and human services. Her knowledge is apparent in the language she uses, describing musical arrangements. “Syncopation and antiphonal elements are important cultural elements of our singing…vocal slides, or glissandi…are typical and essential to emphasizing both mood and message of the music” (p.14).

 

Although readers will walk away from this book with enlightenment and encouragement, they may leave hungering for more, as she pens her first book in only 122 pages. She gives only a brief overview of African American slavery with most of the book covering her analysis of songs. However, the addition of the CD, with anointed and heartfelt recordings, makes up for any deficiencies. There is so much diversity in the arrangement of songs; the music behind the gospel lyrics range from rock to rhythm and blues. The book with the music is worth the investment to hear and read about the message of Negro spirituals.

 

Review contributed by Tameka Delaney Edwards. She is a member of Faith Landmarks Ministries in Richmond, Va., wife, mother of three, Communication undergraduate at Regent University, and freelance writer.