appendix a
Companion Audio Materials
The inclusion of recorded materials with this book serves several pur-
poses. First, it is reminiscent of the earliest recordings of Gullah/ Geechee
folkways, where linguists (in particular) helped create an archive of
Gullah/ Geechee culture. I envision this material as making its own con-
tribution to the continuation of those archives. Second, I believe that it is
one thing as an ethnographer to give descriptive language to someone’s
metaphysical experience of encountering the Holy Spirit and talking to the
dead, and another to allow someone to literally hear the transformation
take place.
Third, these materials demonstrate the distinct musical practices that,
like many other aspects of lowcountry culture, are now threatened by the
shifts of modernity. Many of these songs are no longer (or rarely) recorded
and are sung with less frequency as older members of the communities
pass away and younger generations do not continue the traditions. The
same holds true for Yenenga Wheeler’s stories. Yenenga has never had an
apprentice and does not know of anyone else who is a storyteller. She gra-
ciously granted me permission to use her stories from a recording that she
made in February 2006—materials she often sells on her own. Some of the
recordings of the songs I have included here are from archives of Wesley
umc rather than my own recordings because they are of much better qual-
ity than those I acquired during fi eldwork. I have only included songs that
I heard while I was in the fi eld. Occasionally, however, when I could not
fi nd secure recordings as sung by the women, I included the best record-
ing I could locate. For example, Lucinda’s son David is the leader on the
track “A Charge to Keep I Have.” Hence, it is included here as an example
of the style, content, and structure of religious music in the lowcountry
and demonstrative of how Lucinda has passed on her vocal style and abil-
ity to her son.
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