However, the Blues, Black Spirituals, and all African American Traditional Music should is a pivotal part that must continue to pass on when enjoying Juneteenth and the victory of the Texas slaves freedom. They sing numerous hymns from their hymnbook, The Primitive Hymns, which contains only texts and no musical notations, during all parts of their church services. The musical instruments and styles of dress reveal the intertwining of influences from African and Europe. Gansango is directed by Etienne Cakpo, originally from Benin and now a choreographer and teacher based in Seattle, Washington. The foot is hardly taken from the floor, and the progression is mainly due to a jerking, hitching motion, which agitates the entire shouter, and soon brings out streams of perspiration. Lined-out hymn singing has roots in sixteenth and seventeenth century England and Scotland. Slaves continued to hold countryside dances at night throughout the eighteenth century, even after the Stono Rebellion in 1730 when slave dances were outlawed along with use or ownership of drums, horns and other loud instruments (Morgan 1998:580–582). These dances looked nothing like African dances because slavery ended in 1865; the younger 1920s generation would have known nothing about African tribes, for in those times the 1920s were seen as modern. It might be compared to the notes of an organ or orchestra, where all harmony is poured out in accompaniment of the air.” (Allen quoted in Dargan, 112–13). Primitive Baptist associations in states such as Alabama, Florida, Georgia, North Carolina, and Virginia also have their own unique hymn tunes and rhythms while sharing the same hymn texts and manner of lining out. Rhythmic music, movement, dancing, and syncopated and harmonious chants as part of African cultural traditions, have long been noted as integral parts of African American secular and sacred ceremonies, celebrations and rituals. ("Ragtime". Other runaways were drawn to a different kind of cultural performance in the Christian church. "Improvisation in African-American Vernacular Dancing. (Darden, 2004) (1), The heritage of West Africa found perhaps its fullest expression in the spiritual form called the ring shout, which seemed to thrive on the sea islands of South Carolina, Georgia, and Florida. [2]:21 Something like a regional Chesapeake tradition, a thing entirely novel in European eyes, arose perhaps not long before the 18th century had become the 19th. Different jazz dance steps were performed in these musicals, and the popularity of jazz increased across the world. Black Primitive Baptists maintain the strongest tradition, however. Particularly significant in this collection are the racist visual depictions of African Americans which provide information about racial attitudes over the course of the nineteenth and early twentieth centuries. Versions of the ring shout can also be seen today in some African American Primitive Baptist churches in Georgia and Florida. (Rabotaeu, 1978, 70) The ring shout is still performed today by the descendants of slaves, particularly in McIntosh County, Georgia. Much has been written about the relationship between improvisation in jazz and improvisation in jazz dance - the two are linked by their emphasis on improvisation and creative additions to compositions while they are in process - choreography and composition on the spot, in a social context - rather than a strict division between "creation" and "performance", as in the European middle class ballet and operatic tradition. As Baptist, Methodist, and Presbyterian missionaries spread the gospel during the eighteenth and nineteenth century, including into African American slave communities, they brought with them hymns composed by English hymn writers such as Issac Watts, William Cowper, and Charles Wesley. (1). “Ragtime” was born in the African-American communities of St. Louis in the 1890’s. Baptist, Methodist, and Presbyterian missionaries taught lining out to slaves and poor whites in the South where literacy was low and hymnbooks were few. Jurretta Jordan Heckscher, "All the Mazes of the Dance". He was one of the foremost teachers and choreographers of traditional African dance in America and traveled extensively throughout Africa to study with leading artists. Songs were written by African-American composers. In many parts of West Africa—from which many slaves were taken—music was very rhythmic and incorporated a heavy use of drums. In an 1867 article in The Nation , Allen described the ring shout in the following manner: “…the true ‘shout’ takes place on Sundays or on ‘praise’ nights through the week, and either in the praise-house or in some cabin in which a regular religious meeting has been held… The benches are pushed back to the wall when the meeting is over, and old and young men and women… boys… young girls barefooted, all stand up in the middle of the floor, and when the [spiritual] is struck, begin first walking and by-and-by shuffling round, one after the other, in a ring. [2]:21 Within one or two generations of establishing these creolized African forms, or perhaps simultaneously, elements of European dances were added. 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