The collection documents the customs and culture of black gospel song and its performance in 19th- and 20th-century America. Dr. Reagon collected photographs, sheet music, and other primary and secondary sources chronicling the development and legacy of this medium, from the Civil War to the Civil Rights movement, from blues to Gospel to classical to jazz.
Among the subjects included in this collection are trailblazers such as Charles Tindley, Thomas A. Dorsey, Rosetta Tharpe, Duke Ellington, and Nathaniel Dett. Noted performers are the Fisk Jubilee Singers, the Harmonizing Four, the Hampton University Choir, and the Chick Webb Orchestra.
Scope and Contents:
The Bernice Johnson Reagon Collection of the African American Sacred Music Tradition documents the music, and the society, history, and customs from which it emerged. The materials were collected by Dr. Reagon during her tenure as Director of the Program in Black American Culture, Curator, and Curator Emerita at the National Museum of American History, Smithsonian Institution (1977-1997). The records span the nineteenth century and greater part of the twentieth century. The collection is important because it allows an understanding of the interconnectivity of African American musical forms. Gospel, Jazz, and Protest Songs document the African experience in America through verse and melody. Dr. Reagon collected photographs, sheet music and other primary and secondary sources chronicling the development of African American sacred music tradition from its birth during the period of slavery through the creation of concert spiritual, gospel music, jazz and the performance of protest song in the century following Emancipation.
The records, which measure approximately six linear feet, contain photographs, sheet music, and what Dr. Reagon calls "cultural files" pertaining to figures in, types of, and history of African American music. The cultural file material formats include book, news and magazine articles, programs, bio-sketches, and music. Information about personalities such as Marian Anderson, La Verne Baker, Dorothy Love Coates, Nathaniel Dett, Thomas Dorsey, Frederick Douglass, Duke Ellington, and the Golden Gate Quartet are contained among the collection materials. Also, there are items on gospel trailblazers such as Charles Tindley, Thomas A. Dorsey, and Rosetta Tharpe. In addition, the collection features materials connected to historians and other scholars who participated in a number of teams Reagon organized to carry out specific research initiatives in sacred music traditions and the larger African American experience.
The collection, which was arranged by Dr. Reagon and staff, consists of four parts: a cultural file, a sheet music file, a photography file, and a negative file. The cultural file includes primary documents such as programs from historic performances, personal letters, press releases, and programs from scholarly conferences as well as secondary materials such as journal articles, excerpts from books, and biographical notes. The photography (and negative) files contain photographs of performers and scholars who have participated in the evolution of the African American sacred music tradition. The sheet music file encompasses songbooks and individual pieces of music.
Series 1: Cultural Files, ca. 1836 - 1994: The bulk of materials date from the 1920's to the 1960's. Four document boxes of materials which relate to prominent personalities, groups and events that contributed to the popularization of African American sacred music. Also included in this series is information on slave songs, the Civil War, the Black Church, the Civil Rights Movement, and popular music culture.
Series 2: Sheet Music, ca. 1901 - 1993: The bulk of materials date from the 1900's to the 1950's. Three document boxes of sacred music sheets and songbooks including concert, spiritual, and gospel arrangements. Also included are a few popular compositions, some written by classically trained musicians.
Series 3: Negative Files, ca. 1880's - 1993: The bulk of the materials ranges from 1940 to 1965. Two boxes document boxes of photographic negatives depicting gospel music performers and performances. Included .are contact sheets and individual negatives of varying sizes.
Series 4: Photographs and Illustrations, ca. 1822 - 1993: The bulk of materials range from the 1900's to the 1980's. Eight document boxes of photographs featuring gospel performers, performances, sacred rituals, sacred organizations, Civil Rights activity , and gospel music conferences (primarily black and white).
Biographical / Historical:
Bernice Johnson Reagon, noted vocalist, musician, curator, historian, writer and civil rights activist, provided the impetus for the Smithsonian Institution's research into African American sacred song and music traditions from 1977 until ca. 1997.
Dr. Reagon was born October 2, 1942 to a rural Georgia Baptist minister (Jesse Johnson) and his wife (Beatrice Wise) whose religious influence is evident in her research and performance style. She came of age during the 1960's Civil Rights era, and was a Student Non-violent Coordinating Committee (SNCC) Freedom Singer. The SNCC Freedom Singers were an African American group whose vocal singing style was an integral element in the civil rights struggles. The Singers traveled throughout the country performing protest songs such as "We Shall Not Be Moved" and "This Little Light of Mine". Their songs reflected the Black church theology of the era, emphasizing freedom, long denied, but fervently sought by civil rights activists and the people they represented.
At one march, Reagon was jailed along with hundreds of other demonstrators. This experience taught her the importance of music as a political act. Reagon reflected on this in the book We Who Believe in Freedom: Sweet Honey in the Rock... She founded Sweet Honey in the Rock, a highly regarded female a capella ensemble dedicated to performing traditional music of the African diaspora in 1973, started working full time at the Smithsonian Institution in 1974, and earned a Ph. D. from Howard University in 1975.
Reagon's life has combined political activism with music and cultural history. She began directing the Smithsonian's Program in Black American Culture in 1976. In 1988 she became a curator at the National Museum of American History and after retirement in 1993 continued her work in African American songs of protest and sacred traditions as a curator emeritus at the Smithsonian and a distinguished professor at American University.
Dr. Reagon has authored and edited numerous publications including, We'll Understand It Better By and By: African American Pioneering Gospel Composers, (Smithsonian Press, 1992) and We Who Believe in Freedom: Sweet Honey in the Rock...Still on the Journey (Anchor Books, 1993). She was principal scholar, producer and host of the National Public Radio series "Wade in the Water: African American Sacred Music Traditions (1994). Dr. Reagon has served as consultant composer and performer for several film and video projects including programs for PBS,"Eye on the Prize" (Blackside Productions) and "We Shall Overcome" (Ginger Productions), and has won a number of awards for her scholarship and pioneering work (MacArthur Fellowship, 1989; the Charles Frankel Prize,1995 and the Isadora Duncan award, 1996).
Provenance:
Collection donated by Bernice Johnson Reagon.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The collection is open for research. Only reference copies of audiovisual materials may be used.
Collection Rights:
Reproduction restricted due to copyright or trademark. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Floyd Levin Jazz Reference Collection, 1880-2010, Archives Center, National Museum of American History
Sponsor:
Processing and encoding funded by a grant from the Council on Library and Information Resources.
Because --Marriage prologue and benediction --Wedding ceremony, part 1 --Wedding ceremony, part 2 --Gospel train -- Thank you Jesus --God don't like it --So high.
Track Information:
101 Because / Vivian Cooper. Guitar.
102 Marriage Prologue / Rev. Kelsey. Guitar.
103 Wedding Ceremony, Part 1 / Rev. Kelsey. Guitar.
104 Wedding Ceremony, Part 2 / Rev. Kelsey. Guitar.
201 Gospel Train / Sunset Harmonizers. Guitar.
202 Thank You Jesus / Harmonizing Four. Guitar.
203 God Don't Like It / Rosetta Tharpe. Guitar.
204 So High / Rosetta Tharpe. Guitar.
Local Numbers:
FW-ASCH-LP-3653
Decca.5382
Publication, Distribution, Etc. (Imprint):
New York Decca 1951
General:
Program and biographical notes on container. Performer(s): Wedding ceremony, Rev. Kelsey, minister; gospel concert featuring Vivian Cooper, Harmonizing Four of Richmond, the Rosettes, and the Sunset Harmonizers. Production notes: Recorded at Griffith Stadium, Washington, D.C. on July 3, 1951.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
God shall wipe all tears away / sung by The Kings of Harmony -- Canaan Land / sung by The Famous Blue Jay Singers) -- Walk around / sung by The Soul Stirrers -- Tree of level / sung by The Fairfield Four -- Yield not to temptation (He locked the lion's jaw) / sung by Roberta Martin Singers -- Daniel in the lion's den / sung by Rosetta Tharpe -- Give me wings / sung by Willie Mae Ford Smith -- They led my Lord away / sung by Marion Williams -- We're marching to Zion ; Jesus is all the world to me / sung by Congregation at the Ridgecrest, N.C., Baptist Conference Center) -- The ninety and the nine / sung by George Beverly Shea -- To God be the glory / sung by Billy Graham London Crusade Choir -- Brighten the corner where you are / sung by Homer Rodeheaver -- In the garden / sung by Mrs. William Asher and Homer Rodeheaver -- Nearer, my God, to thee ("Bethany") / sung by Oscar Seagle -- Saved by grace / sung by Gipsy Smith -- Just as I am, without one plea ("Woodworth") / sung by Billy Graham Australian Crusade Choir.
Track Information:
101 God Shall Wipe All Tears Away / Kings of Harmony (Brass ensemble), Carey Bradley, Eugene Strong.
102 I'm On My Way to Canaan's Land / Famous Blue Jay Singers, Charlie Bridges, Silas S. Steele.
103 Walk Around / Soul Stirrers (Musical group), R.H. Harris, S.R. Crain.
104 Tree of Level / Fairfield Four, Edward Thomas, Samuel H. McCrary.
105 Yield Not to Temptation / Roberta Martin Singers, Eugene Smith, Norsalus McKissick. Piano.
106 Daniel in the Lion's Den (He Locked the Lion's Jaw) / Katie Bell Nubin, Rosetta Tharpe, Sammy Price. Piano,Guitar,Bass.
107 Give Me Wings / Bertha Smith, Gwendolyn Cooper, Willie Mae Ford Smith. Piano,Organ (Musical instrument).
108 They Led My Lord Away / Marion Williams.
201 We're Marching to Zion / Ridgecrest Baptist Conference Center..
202 Jesus Is All the World to Me / Ridgecrest Baptist Conference Center..
203 The Ninety and Nine / George Beverly Shea, I. Allan (Ira Allan) Sankey. Organ (Musical instrument).
204 To God Be the Glory / Billy Graham.
205 Brighten the Corner Where You Are / Homer A. (Homer Alvan) Rodeheaver. Brass.
206 In the Garden / Homer A. (Homer Alvan) Rodeheaver, William, Mrs. Asher.
207 Nearer, My God, to Thee ("Bethany") / unidentified quartet, Oscar Seagle.
208 Saved by Grace / Gipsy Smith.
209 Just as I Am, Without One Plea ("Woodworth") / Billy Graham.
Local Numbers:
FP-RINZ-LP-0290
New World.224
Publication, Distribution, Etc. (Imprint):
New York New World 1978
Date/Time and Place of an Event Note:
Recorded ca. 1909-ca. 1975.
General:
New World Records: NW 224. Biographical and historical notes by Anthony Heilbut ("Black urban hymnody, gospel") and Harry Esken ("White urban hymnody"), with lyrics, bibliography, discography, and personnel listings (6 p.) on container and bound in.
Gospel songs and hymns; various performers.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
