Intangible Roots explores the genealogy of African American Folklore. The Dance, Music and the People
If you want to understand dance/music study the people to understand the people study the culture. This channel will examine how social, cultural, political, economical, environmental and spiritual experiences inform our expressive practices.
You use FBA'S to demonstrate black culture comes from Africans !! You are absolutely Crazy as the hell !! You are PROOF that the dodo bird still exist !!!
What a bunch of Horse$het !! People legs and form of walking is exactly the same by every race all over the world !! You say James brown didn't call it hip hop but you credit Africans with hip hop !! When did they create something born in the U.S. !!!
Thank you for sharing. In these times we need more people like you who cite their sources. Sad that Intangible Roots got taken down. I hope it becomes available again somehow.
Thank you Duncan, I appreciate your comment. My documentary "Everything Remains Raw" was taken down but It will be up on my website moncelldurden.com in late July. also all Intangible Roots information can now be found on my website.
Thank you Moncell for all the knowledge drop, its very appreciated everything you contribute to open peoples perspective. Even so, some are ver hard headed, people got to do their homework. I even saw a comment people are saying aztecs( wich are Mexica) mayan and olmecs are descendent of african, and that piramids are the same Egiptian and Mesoamerican, sorry but there are many distictions and functions, at least people should read some anthropology books for starters, thanks Moncell and will keep eyes and ears open 🙏🏽🙏🏽🙌🏽🙌🏽
Hey Moncell, Thank you again. Here's a link to a dance done by the Balanta people of Gambia. It clearly demonstrates the role of hand clapping as you mentioned in your lecture. There isn't much poly-rhythm within the clapping; however, they are using wood blocks to amplify the sound. There may be another reason though. I've also seen special dried seed shell/hulls used for this purpose too. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1UOBVsk47d0.htmlsi=Y0PTmoDo9t-cFHe6
Latanya here. Thanks for sharing that BB King on Sanford and Son clip. I have always loved this scene. Black sitcoms include our cultural forms as an unspoken practice. It's like they had a meeting or rather it's IYKYK.
I don’t think the people who identify with FBA understand what cultural retention, and deep-rooted structure means. Somehow you think I’m saying, the music and dance in America was created in Africa and that’s not what anyone is saying. The deep-rooted structures, characteristics of behavior, and retentions are of the Africanist aesthetic.You realize that the dances, music, foods, religion, etc., throughout the Southern Islands, Cuba, Puerto Rico, Haiti, Brazil, etc., are all rooted in African retentions as well as some European customs. The African retentions are not just found in America; they are found throughout the African-diaspora. Brazilian Capoeira has roots in the Angola Ostrich dance, the Berimbau developed from the earth bow, the roots of Cuban music is from Spain and West Africa, etc. Just as Africans brought their cultures and customs to America, they brought them to the Southern Islands first. And again, that doesn't mean that new things and approaches were not created throughout the Americas. Hip Hop, Blues, Gospel, lindy hop, jazz, etc., was created in America but has its roots in Africa.
@@moncelldurdenintangibleroo4855 Sir that is not true what you're saying some of our character Behavior deep rooted structure come from European too so it's a mixture of everything that means it's a new creation
Professor Durden, Thank you for the education on dance. You seem to know your stuff. However, I really wish you and Tariq Nasheed could have worked together during his research. I totally understand what you are conveying; things & culture travels and MORPHOLOGY happens. I am not pro Tariq nor I'm not totally in disagreement with him, his views and his work. The most important thing that Tariq is trying to get 'Black Americans' and the rest of the world under and respect is all the things that the black American ancestors have created separately from their origins is 'OURS'! We are the only culture that has been doing this and other races, ethics groups and cultures successful take it from us and totally erase us from the historical perspective. Tariq is fighting hard to get all of us to stand up and fight to stop the steal.
Hello, thank you for your kind words, I appreciate you taking the time to review the offering and providing a response. An acquaintance tried to connect Tariq and I during the process of his filming but out paths never crossed. Africans and “Black” American have given the world everything. As we know “Black” Americans are responsible for traffic lights, pacemakers, GPS, etc., etc. These things are independent of an African experience and are born out of an experience on this stolen land. Of course, Africans are a creative people, so it stands to reason why that trait still exists in us. Whether we choose to agree, the lineage of our Africanness doesn’t cease to exist because we are born here. Our mitochondrial cellular memory explains that connection. Now when it comes to our spiritual practices and the arts body mechanics, value and means of dance, foods, rhythmic sensibilities, hairstyles, instrumentation, improvisation, the understanding that originality and individuality aren’t just appreciated they’re expected; those expressions hold more of the physical retention of the Africanist aesthetics. I agree “black” folks need to know and appreciate the values of our contributions to the global society as well as our ancestral legacy’s. And I applaud and support anyone’s efforts to do that; in the case of Tariq, he seems to be operating from a half empty glass on the perspective that it’s full. And so, I disagree with him some of the things he is saying. He appears to have this separatist mindset when it comes to our connection to an African thought process. Given the plight of “Black” folk in this country I understand the frustrations form the lack of acknowledgment. But he uses the underdevelopment of African by Europeans and the difference between Africa now and American accessibility to the social, political, economic, and environmental climate in America along with the national identity of American to blur the lines to create that separatist view. That fact that he addresses himself as a race baiter speaks of Eshu the divine trickster, and so I have reservations about his true intentions. But still open to civil dialog.
Make sure you go around & tell all ETHNIC groups WORLDWIDE. To give Africa & African ppl. There Accomplishments & Cultures. Ya Hear 🤣🤣🤣🤣😝😝😂😂😂. Other Ethnic Groups worldwide " Would instantly end yall Pan Africanism.
ITS BLK AMERICAN CULTURE & Creations" Across America. You are not going to separate Blk American Creations & Cultures Within & Across in America. Just cause Blk Americans is the Great Achievers & Made the Most Accomplishments within America. We Blk Americans & every other groups within America & Across The World. Isnt liable to give & share & give credit to Ppl in Africa. DRUMS BEEN USED WORLDWIDE AROUND THE WORLD IN MANY ETHNIC GROUPS & CULTURES FOR CENTURIES. EVEN IN AMERICA FOR CENTURIES. TELL EVERY SINGLE ETHNIC GROUPS WORLDWIDE" IN ALL CORNERSOF THE EARTH.. TO GIVE THERE CULTURE & ACCOMPLISHMENTS TO AFRICA. THEY WOULD LOOK AT YOU LIKE YOU LOST YOUR FREAKING MINDS. WE ARE NOT AFRICAN " Tell every ethnic groups on earth that their African. Our ppl was already here in America. Only 4% Africans came here in ships into America. And were breeded out completely for CENTURIES. The Pan African Community is spreaded false disinformation for decades. Yall are another enemy. You showing other ethnicities that worldwide. Copying & Cosplaying our Blk American Creations & CULTURES. I'm so glad Blk Americans " Is disconnecting for life. Away from the Pan African communities. Our Grandparents & Great Grandparents Across America & throughout generations told us About their Native American Roots. Thankyou God" Were discovering so much information about our North American History. We will never support Any Pan Africanism. In Our Blk Communities never again
I disagree with you on what the Puerto Rican bboys did. The foundational crews begin in 75 with TBB. Puerto Ricans. All of the moves that we see in breaking come from the foundation of the Puerto Rican bboys. Facts.
No one is clowning you. The allegations, inconsistencies, and deleting videos of your own Puerto Rican brothers readily admitting that Black Americans created Hip Hop before any Puerto Ricans were invoved are what display your efforts in a comical light. And nothing said on this channel rips the creation of Hip Hop from the domain of FBA. Common origins, similar mannerisms, and African cultural influences do not steal Hip Hop from its rightful creators. No amount of intellectualizing or gaslighting will do that. Primary sources, i.e., people who were actually there, have already declared the origin of Hip Hop. Anything after that is gaslighting. Joseph, after being sold into slavery, rose to be the top ruler under Pharaoh. Joseph did that, not all of Israel. Africa has different ethnicities, tribes, clans, etc. The achievements of one ethnicity are not the achievements of another. Anything other than that is a Judas move. Now, I won't go into how heinously and intentionally separate that your community were in those early days from FBA. Nothing you say now overrides that tendency in your community. As long as that exists, stop claiming Africa.
Thank you so much for this. I was told that he tried to insinuate that the swastika symbol from the outlaws in the 70s was Puerto Ricans being racist against blacks. Not so. Many outlaws from many gangs used that symbol. It was a menacing symbol that was used by the enforcers or the Gestapo. I have spoken to the former wife of Benji who was the president of the savage skulls. She confirms this.
Interesting video! However, the point of the film Microphone Check is simply to set the record straight that the statement that during the 1960’s and early 70s (a very specific period of time of creation) the “African Diaspora” or “Latino’s contributed 50/50 percent” to the creation of American Hip Hop was false. There is no claim that Black American Descendants of the Institution of Slavery have no ties to African Culture. There is no claim that Black American created music (negro spirituals, Jazz, Blues, Hip Hop, etc.) do not contain any remnants of some cultural elements (call and response, certain rhythms, etc.) from the continent of Africa. Similar to Haiti, Jamaica, Trinidad, etc. (any former slave colony), Black Americans have some connection to the continent of Africa. We could say the same thing about Brazil, Belize and many other nations in the Caribbean, Central and South America. But to claim that Black Americans do not create entirely new genre’s of music (using instruments that did not exist on the continent of Africa) is ahistorical. To claim that Jamaicans, Puerto Ricans, and others “created” Hip Hop (Break Dancing, Grafitti, DJing, Scratching, Rapping, etc.) is like saying Black Americans did not create Gospel, R & B, Jazz, Country, Blues , Rock & Roll, Ragtime, etc. It is disrespectful and only done to our Black American culture. No one says Africans did not create Afrobeats (even though Fela Kuti credits Black Americans for helping create the sound). No one says Jamaicans did not create Reggae or Dance Hall (even though the founders including Marley acknowledged Black American influences). No one says samba, bossanova, and other Latin music is not theirs (again Black Jazz influenced the creation of those genres). No. People only say Black Americans did not create anything and just remixed what they had retained from their African roots for 400+ years. And when Black Americans try to say no that is not correct, we are shamed and accused of “self hate,” “hating on Africa, or simply “anti-Black.” Why is this done only to Black Americans? In closing, we must acknowledge that the academic field of anthropology has never done a deep dive into the true history of the Americas. We know the Olmec, Toltec, Mayan and Aztec people were of dark skin. They have pyramids as old as the pyramids in Egypt and literally thousands of them. We have no idea of the level of trade that might have occurred before 1492 between America and Africa. For example, Mali may have arrived as early as the 1100s. We know from the 1828 Webster dictionary that an American was defined as the “copper colored races found here by the European.” Thus, many of the original Indian Tribes (e.g., Ohlone Indians in California or the Wampanoag in Massachusetts) were dark skinned. Yet, Africana Centers at colleges across the nation fail to discuss these issues. Why? While I have and will always support Pan Africanism as expressed by Malcom X, I must give all the former slave colonies respect for their original and unique post slavery culture. That is why I do not refer to Black Americans as merely Africans living in America. If we force Black Americans to only identify as Africans then we must also call Jamaicans, Haitians and other Caribbean people merely Africans on a bunch of islands in the Atlantic. That feels wrong.
Agreed. Once again you are missing my point. Black Americans have created gospel through their expression of psalmody and adding lyrics that spoke to the agrarian labor. This also steep in the movement of the ring shout that helped African cultivate a sense of community ring shouts turned into field hollers, which turned into praise houses which turned into churches. I personally don't subscribe to Black as a permanate defining label because black is a construct. The Largest percentage of my family lineage comes from Moscogee Indian on this continent and Mozambique on the mother land. To abrogate my lineage just because I was born here seems wrong to me. but I digress, yes "black" Ameircans created all those things here, hip hop, rock n roll, the blues etc which really developed after the emancipation because before then songs focused on negro spirituals which were coded language about escaping and singing about free after. Blues came out of being thinking they were free, but life got worse hence the blues. The word Jazz can be found in many languages in Africa; Jasi with the Mandinka people means out of character, Bantu speaking people "Jaja" means to make dance, Wolof speaking people "Yees" means the same to dance, Temne people "Yas", meaning to be lively, energetic applied to music dance even sex. The work Hip is connected to a wolof word meaning to open one’s eyes, some believe would be spelled Xippi or hippi check John Leland book on the history of the word Hip. Geneva Smitherman author of Talking and Testifying. We have created new dances here as well, the dances are new, but the structure of the dance is Africanist aesthetics, like orientation to the earth, poly rhythms and polycentrism, percussiveness, carrying something in one’s hand, etc. See my point is what we have create here which does speak to our unique experiences in America are still connected to the African retention. Baptism in church for another example is a connection to the Yoruba practice and Orisha ritual that recognizes the marriage between yemaya goddess of the sea and Obatala father of many Orisha. Senior usher board members two stepping down the aisle in church come from the ring shout. Ragtime music was based on "black" folks playing Philip Sousa music with an african sense of time and rhythm. Syncopating the music. So, the "time" was different hence march time music like Sousas Stars and Strips but musicians like Scott Joplin Africanized the beat created Ragtime. Anthropology as a field has not focused on African American practices which is why I did. My research focuses on the deep-rooted structures of our characteristics of behavior. I hope this little bit helps you all to understand the connection are rich which is all I'm saying. That we have created new things here but in the deep structure those things are fundamentally tethered to our ancestors who were brought here for hundreds of years. and with them came their cultural practices which and over time became what we have today. Again, thank you for the comment. Blessings
@@moncelldurdenintangibleroo4855 Thank you for the thoughtful response! However, your point is lost during the video as the desire to craft an "African Origin" for the efforts of American Descendants of Slavery (ADOS) is prioritized. As a result, your work unfortunately diminishes the unique genius of the ADOS population post slavery. For example, the word hip comes from the proto-Germananic term "hupiz" as well as a middle -English term "Hepe." Remember that English comes from Latin. While I would argue that ancient Germans were influenced by dark skinned North Africans (as was most of Europe from 700-1400 A.D. was) it would be speculation on my part to do so. Unfortunately, your work (and many others) do not dissect and scrutinize any other group's culture to the level of ADOS only to conclude any new creation is the result of a deep rooted "retention" of Wolof Language (or other ethnic group) that did not first appear until the 1500s. It is speculation to suggest that many (or most) slaves brought to the U.S. ever spoke that language. In addition, neither you nor anthropologists go into the history of the Muskogee tribe or other dark skinned indigenous American people. Maybe, Scott Joplin did not "Africanize" Souza's music but captured something from what was going on here in America from antiquity. Afterall, there is no Ragtime anywhere on the African continent. There simply is no scholarship (or interest) to draw "connections" to what was going on in the Americas pre-1492 or from 1500-1750 A.D. Black American or ADOS scholars only wish to always solely focus on our speculative connections to the continent of Africa (ignoring migration patterns, wars, ethnic divisions). At the same time never doing this to Jamaicans, Haitians, etc. This single-minded scholarship (much of it excellent) has the consequence of undermining ADOS accomplishments and group self-esteem. The argument becomes we are merely "a lost tribe of Africans" roaming around in America as a racial minority. It ignores the fact we are an ethnic majority (50.1 million people) who are not immigrants and influence the world. Much respect my brother!
@@vstpluginsonicxtc Thank you PluginSonic. So, what are your thoughts on the connection of the Ghanaian dance the Adowa to the Camel-walk, and the Charleston forming form the Yankadi from Guinea, that I offer in the video? I wouldn’t say crafted rather honoring both, what was drafted here and those retentions that survived. As far as the word hip It was British Linguist David Dalby that traced the likely origin of the hip to Wolof speaking people. Wolof being a phonetic language no one is sure how it would be spelled as it has a glottal sound, so the “H” is suggested. However, most scholars like Dalby, Leland, Smitherman, Holloway agree on the meaning “To open one’s eyes, or be aware of” in the same way we use the word. In the Jazz era it was Hep meaning you know what was going on, you were a Hep-Cat, or Hip in Hip Hop. Hop in an American context other than being a verb has meant to dance in the case of going to a sock-hop in the 1950s. Addressing English, yes, we know that English is a bastardized German, mixed up with Celtic languages. When the Anglish what some call the Anglo-Saxon went to Britain to help fight off the Romans. But the language in England was once RP Received Pronunciation, which has changed over time. What we speak here now is SAE Standard American English. It would take more than a comment post to go into Phonological and grammatical structures so what I will add is that Africans had their own languages and systems of sounds, and we find the modification of African linguistic retentions throughout the Diaspora. As linguist Dr. Erni Smith suggest we can see these retentions are noticeable when the mother tongue attempts to speak a new language. In the case of voice and voiceless some consonants clusters are spoken while others are not. Africans of the Bantu, Niger, and Congo learning to speak English would demonstrate homogeneous voicing meaning instead of saying “Fast” the (FT and ST) configuration are both voice “Black” folks will say fass, or “Past” we will say, pass but in heterogenous voicing we will say, a voice and voiceless configuration for example the word “Think” (NK) N is voice and K is voiceless, Jump (MP) configuration M is Voice and P is voiceless. AAE or AAVE. As far as my family roots I only brought that up to say that I will not negate my ancestry; and in so doing I would refer to myself as Afro-indigenous before “black” as I already mentioned black is a construct and is not a definitive identity trait. As to Scott Joplin Ragging the beat literally meant syncopating the beat which was done in Africa not in Europe. Ragtime was developed primarily by African Americans; It combined African based syncopation and polyrhythms with European music like John Philip Sousa march time music. It fused the marching band sound of Sousa with the Syncopation and improvisation of African music for a hybrid that swept the nation in the late 1890s. Along with Ragtime music came the animal dance craze with dances like the Camel-walk, Bunny hug, Grizzly bear, Turkey Trot, Snake Hip, Joplin songs Combination was inspired by Sousa “The Thunder march”, and the Great Crush Collision was inspired musically by the Sousa “Washington post march” and the Panic of 1893, when fear of an economic depression lead to a spectacle of crashing two trains to raise money. I’m curious as to why American “Black” people are so afraid to acknowledge that many of our retentions come from the motherland. And acknowledging that doesn’t take away from what we’ve created here. It’s says that what we do is not 60 years or even 400 years old, its much older and deeply rooted and rich with ancestral knowledge. “Black and blackness are themselves signs of diaspora, of a cosmopolitanism that African subjects did not choose but from which they necessarily reimagined themselves.” Moncia L. Miller I’m not sure what you’ve been reading but there is plenty of research. Here are a few books the check out. Enjoy and thank you for the correspondence • The SAGE Encyclopedia of African Cultural Heritage in North America. Of which I have two articles in by MWalimu J. Shujaa and Kenya J. Shujaa • Black Rhythms of Peru: Reviving African Musical Heritage in the Black Pacific • Funk: the music, the people and the rhythm of the one by Rickey Vincent • Dancing Many Drums: Excavations in African American Dance by Thomas F. DeFrantz • The Rhythms of Black Folk: Race, Religion, and Pan-Africanism by Jon Michael Spencer • Cool Pose: The dilemmas of black manhood in America by Richard Majors and Janet Mancini Billson • The Dozens by Elijah Wald • What makes that Black: the African American aesthetic in American expressive culture by Luana • The Creolization of American Culture by Christopher J. Smith • How Europe underdeveloped Africa by Walter Rodney • Bodies in Dissent by Daphne A. Brooks • Cuba and its Music: From the drums to the mambo by Ned Sublette • Slaves to Fashion Monica L. Miller • Dancing Wisdom Embodied Knowledge in Haitian Vodou, Cuban Yoruba, and Bahian Candomblé by Yvonne Daniel • The spirituals and the Blues by James H. Cone • The Drama of Nommo by Paul Carter Harrison • Music in the United States by H. Wiley Hitchcock • Black Indians: A hidden heritage by William Loren Katz • An Afro Indigenous history of the United States by Kyle T. Mays • An Indigenous people history of the United States by Roxanne Dunbar-Ortiz • Blood Memory by Dayton and Ken Burns • Afro-Latin America 1800-2000 by George Reid Andrews • Ring Shout Wheel About: The racial politics of music, and dance in north American culture by Katrina Dyonne Thompson • Hoedowns, Reels and Frolics: Roots and branches of Southern Appalachian Dance by Phil Jamison • Africans in Colonial Louisiana: The development of Afro-Creole Culture in the Eighteenth Century. By Gwendolyn Midlo Hall • National Rhythms, African Roots: the deep history of Latin American popular dance by John Charles Chasteen • Black Dance From 1619-to today by Lynne Fauley Emery • Afro-Cuban jazz by Scott Yanow • From Afro-Cuban rhythms to latin Jazz by Raul A. Fernandez
WHAT EVERYONE SHOULD KNOW ABOUT CHRONOLOGICAL BLACK AMERICAN CULTURAL HISTORY: Hip hop came directly out of The Black Power/Black Is Beautiful/ Black Arts Movement of the 1960's &1970's. This was the most culturally and politically active era in African American history. The teen contingent of the movement played out as presented on Soul Train produced by Don Cornelius beginning 1970 when the show was nationally broadcast from Chicago from 1970 to the end of 1971. He moved the show to LA, but he took several of his teen dancers with him to ensure the dance quality of the show would remain the same after the move. The TV show became our most powerful Black teen cultural influence for 36 years. Soul Train hit American popular culture like a cultural tsunami. It instantly eclipsed Dick Clark's American Bandstand in international popularity. Chicago is the capitol of African American Blues and Gospel Music. Chicago due to The Great Migration is Mississippi once removed. Chicago developed the best social dancers in Black America. Michael Jackson comes from that dance enclave. Because break dancing had been a part of the Chicago dance lexicon since the 1950's, most likely influenced by the Black dance crews seen on TV variety shows in the 1950's, the Chicago teens on Soul Train showcased break dancing as part of their dance repertoire. For the first time in or cultural history we had a national stage to spotlight Black music stars, show-off old and new Black dances, and to premiere new Black talent. Teens across this nation copied the break dancing seen on Soul Train, including The Black Spades. They sang James Brown's (who was a frequent guest on ST) "Soul Power." They personalized it by singing "Spade Power! They put their influence on break dancing to make it uniquely their own. James Brown's "Say It Loud, I'm Black and I'm Proud" was the Black teen national anthem. Those who recognize James Brown as the Godfather of hip hop, rarely mention the Black Power aspect of what he was promoting, along with other Black Protest stars like Curtis Mayfield (Movin' On Up sold 2M in 30 days), Nina Simone (To Be Young Gifted and Black), and Marvin Gaye (What's Goin' On album sold 2M albums in 30 days) among many others, that sparked the impetus for Black teen heightened involvement. The Black Arts Movement elevated rhyming Black Protest poets like H Rap Brown, Amiri Baraka, Sonia Sanchez, Don L. Lee aka Haki Madhubuti, The Last Poets, and Mari Evans among others, to the forefront as the rapping voices of Black Power that politicized Black American teens. This Black teen cultural revolution was televised. Neither Puerto Ricans nor Jamaicans were singing, dancing, rapping about, nor identifying with our Black Is Beautiful/Black Power/Black Arts Movement. They still don't. Their great jealousy grew out of the international excitement generated by Black American teens dancing on national TV that did not include them. Because the broadcast came out of Chicago, not NYC, it singularly showcased Black American teens only. Soul Train is the genesis of the NYC PR and Jamaican great cultural jealousy. The emergence of The Black Spades Black Power gang culture gave PRs in the Bronx a local Black cultural expression they could cosplay in their jealous quest to leech the Black American teen international pop culture spotlight. Their desire for the same fame that Black teens had, is the reason NYC PRs in mass set aside their long-standing antipathy towards NYC African Americans in order to surreptitiously enter their ranks to gain acceptance so they could cosplay Black American dance, music and style. Five plus decades later Latinos have delusionally convinced themselves that they actually created what they effetely copied. Anyone who speaks about the development of hip hop and doesn't mention the worldwide influence the Black Is Beautiful/Black Power/Black Arts Movement or the impact of Soul Train, they don't know what they are talking about. The 10 years following the assassination of MLK, Black America was politically and culturally ablaze. Hip hop grew directly out of the tenor of those times. No immigrant group was powerful enough to influence Black American teen music, dance, nor style during that Black Power period, no matter where they were located. All other teens, white American teens and white college students, American immigrant teens in and outside of NYC, and teens around the world copied the powerful music, dance, and political colloquialisms (like "Right-On" and "Power To The People!") presented by African Americans from various regions across this nation. Contemporary self-aggrandizing cultural history revisionists like Colon and certain descendants of island immigrants have chosen the most active, the most vocal, and the most recorded period in Black American history to try and hijack. All their ever-changing revisionist folklore narratives are continually being debunked by authentic Black Americans, because they have no visual or journalistic documented evidence to support their delusional wishful claims, nor do they present acceptable reasoning that ratifies Puerto Rican/Jamaican bizarre demands to force their way into African American culture that resists their irrational intrusions.
Raymond Brown, I know about everything you have just written and agree with 95% of what you're saying. Just because we have different perspectives doesn't mean I'm unaware. I don't believe communities of people are bitter, the only people that sound bitter to me is the so-called FBA people. I do believe what "black" folk have created has and is helping other cultural groups that have fallen pray to Descartes Philosophy and have lost connection to the embodied experience, which is why European people has gravitated toward ethnicities with an embodied cultural knowledge like Africans, Cubans, "Black" folks aka Africans. While Africans did travel to what became known as America, the vast influx of "black" people in America are because of Africans being enslaved and brought to this land. I know you know this, One does not forget or lose their culture because they were taken somewhere else. One also does not cease being of their lineage just because of forced migration. The cultural modes of African traditions, ritual, expressions have undergone modifications because of being on different lands, under different social, economic, political, environmental laws and the navigation and negotiation of ones cultural practice under said laws. Now, what "Black" folk in American have created speaks to their experiences in America but it's undergird by the retentions of Africanist Aesthetic, and characteristics of behavior that are not bound by time and geography. SIDE NOTE: The Soul Train line is based on the Camel-walk stroll a dance Don Cornelius did as a young person, what became known as the Camel-walk comes from the Adowa dance in Ghana, the line formation of the soul train line is a reflection of the influence of the European Countra dance the "Virginia Reel". And the steps that you do while standing on the side of the line come the 1957 line called the Madison which was created by a black man named William "Bubbles" Holloway along with some local dancers at the LVA club in Ohio Columbus. Those dancers are Carla Singer, Irvin Jones, Mary Autry, Wallace Jones, Patricia Hodge, Billy, Deanna Early and Eugene Green. named after Madison Ave in NYC. I could go on but what's the point? people believe what they believe. That's as much as I can offer today.. Oh Watch the documentary "The Hippest Trip" its all about soul train. Don Mentions getting the soul train line from a dance he did as a kid he just doesn't say the name.
Original Man Can't Be Regulated To No Land Mass. The Entire Planet Belongs to The Righteous. FBA Is Still Original People, Direct Descendants of The Originator!! You Can't Use Africa to Regulate US
I know it was born here but anthropologically speaking Its deep rooted structures are found in African cultural retentions. If you don't understand or haven't studied anthropology you don't realize that I agree with you. I just understand how what we do here in America is tethered to African traditions, in relation to form, function, etc., and understanding the significant units (aesthetics) that make up form and function as well the morphology of cultural practices through migration. But again if you haven't studied anthropology you may not appreciate what I'm sharing or saying. However, please provide me with your structural analysis as to why black American culture is not tethered to African retention. Give me the documentation, the articles, books, etc that support your statement. You can read chronicling cultures, by Robert Kemper and Anya Peterson Royce, signifying, sanctifying, & slam dunking by Gena Dagel Caponi, Africanisms in American culture by Joseph E Holloway, Migrations of Gesture by Carrie Noland and Sally Ann Ness, Black Culture and black consciousness, by Lawrence W. Levine, African Rhythm and African Sensibility by John Miller Chernoff, The Spirituals and the Blues by James H Cone, The Making of African America by Ira Berlin. Perhaps these books will help you grasp the bigger picture. So, Bro, you stop and do some real research, present real evidence to support your claim, because I can prove everything I have to share and it's supported by amazing scholarship in the field. Bring your evidence then we can have a real conversation. Thank you for your comment, have a blessed day
There was a time I believed these intellectuals were unaware of how cultures and their people could be erased because of their love and commitment to Africa. I nolonger believe that. The evidence is in their faces. It's as simple as taking a half glass of water filling it up with a coke. It's noloner water. They are deliberately participating in our eraser. Every accomplishment is credited to Africa, however the negative aspects of our community seems to be all ours, you never hear them compare Black American gangs to African gangs. They are erasing us from all sides. Their accomplices are Presidents of HBCUs, politicians, judges,etc. I guess anthropology only covers Africa, Argentina would be a good place to start, 97% European today.
@@moncelldurdenintangibleroo4855 Stop lying dude with all that out of Africa bs.If you are well studied then you should know calling yourself an African is calling yourself just above a animal entity.Like Kendrick Lamar said ain't none of y'all non FBAs are like us so stop with the bs.
To be honest I’m not clear on what his true stance is, he does call himself a race baiter so this could all be a plan to generate more conversation around him. One of his followers told me they identify with old African but not this new Africans ??????? 😳
@@sleepyccs Going back is not worshiping buddy lol You can’t take hip hop out the bronx and then say we stopping at the south lol If your going back Go all the way back to the root
PROBLEM! Not ALL BLACK GRASSROOTS AMERICANS came to USA via Atlantic Slave Trade but AMERICAS. You are USING 2nd hand source in this video just like some other WHITE folks or token black folks saying ALL black folk born before 1865 all came from Africa/ Atlantic Slave Trade. They have a reason to keep this Africa fetish alive. My source is 1st hand source aka my BLACK skinned native Americans/ Indigenous ancestors .They were not BLACK from African but America. The problem is we have some BLACK folks who has NO connection to Africa for over 200 years and have an Africa FETISH. Most ADOS, FBA black grassroots , black folk are Afro indigenous, black indigenous. What I don’t get with black folks with Africa fetish. We have Black and Latino. We have subgroup Mexican, Puerto Rican, Cuban etc. we have subgroup Black diaspora aka people themselves or a parent , grandparents born outside USA. And , black grassroots aka person , parent, grandparents born in USA. There is nothing wrong claiming our homeland USA. Africa is a vacation home if you can afford to visit.
If FBA are native Why don’t none of y’all speak a native language? Lol And why didn’t y’all communicate in your native language during slavery and not have to make up Tutnese?
How's this for a Soul Train stroll line from a 1913 Black-cast film with Bert Williams: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-i_4Pg8cUWNc.html Go to 6:45 to the end at 7:19 . Also, is this the guy doing the Russian kazakski that you were referring to?
Hey Judy yes, that is the clip I used from which featured Bert Williams. The line they are doing is connected to the Virgina Reel. I lot of structured dances in America were heavily influenced by European set dances. So the structure of the Soul Train line may have a kinship with the structure of the Virgina Reel but what makes it different it that the Soul Train line was specifically developed from the Camel-walk stroll. There is more to this and I might do a talk specifically on the history of line dances in America. I teach the class often but I've never done a talk on it.
@@moncelldurdenintangibleroo4855 I'm so old I remember the Virginia Reel -- learned it in grade school. What I thought was distinctly African-American in this clip was that each couple had their own unique style.
This was fantastic!! I didn't think I'd make it through the whole 3 hours, but I divided it up. There is no question in my mind of the continuity from thousands of years old African cultural forms and much of what we see in African-American culture today.. Why aren't more people doing what Moncell is doing: a close analysis of dance (or music) to discover the underlying patterns, which are repeated and altered in fascinating ways. I have a few small comments but will have to dig up some old video to make points. I would like to see that the 10 Sefirot (Hebrew) are from the Kabbalah, so yes it is pretty old. Thank you for this fascinating cultural study!
Bro, I didn't even pay that dude no mind. Like how can you even let them words come out of your mouth unless like you said have an agenda. I/we appreciate you and how you make diggin for facts a norm of how things should be. I always question "but from where and when" or "but from who"
Here is the link from the Transatlantic slave trade Atlas. Atlas of slave trade www.slavevoyages.org/ My comments on tariq RU-vid ru-vid.comQKxW1SkP9GY?si=OcZvft2A71eguNeE Tariq Referencing my comment ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-dc_6Luajjnc.htmlsi=Iv7FnXhvbeQYPdUo
It took at second to get the audio working correctly so to beginning you will hear music while i get it together. Thank you to all those that brought their time and energy into this talk.
Awesome tidbits! The NICHOLAS BROTHERS WERE THE BEST OF THE BEST! Straight fire 🔥. Thank you for explaining the dance steps, this is how you preserve our history and pass it down to future generations to learn and hopefully respect and appreciate and be proud of our heritage.
Hello Walker, this was an interview he did in London, It was giving to me by a friend. I'll see if I can locate the direct source. I'll ask my friends in London.
