She is wonderful! How proud you must be. She played at the Freight & Salvage in Berkeley and I came across this clip. I'm going to use a bit of it in the documentary of the history of the Freight I'm producing.
No one tried to destroy it because it cannot be destroyed. However, european slave owners forced white christianity on our black people and it became temporarily “lost” to us. It is always in our DNA you just have to meditate to find it.
I love the Buzzard Lope and wish it were practiced more widely. The message, theologically and culturally, is so unique and powerful. Imagine embodying the role of a Divine Rescuer to reclaim meaning over death! Thas a wave.
Notes for the footage written in 1964 when the film was made are available as a PDf at (3Ws)(.)media-generation(.)(c o m)/DVD%20PAGES/Bess/master.pdf Sorry for the parentheses, YT doesn't let you put websites in a comment.
BUZZARD LOPE Bessie Jones: In those days, they put this something down on the floor and they'd dance around it like a buzzard dancing around a cow -- a dead cow or mule or something. Peter Davis: Well, that's the way they feel, you see -according to how they were treated, you understand me. They said they were nothing but the old dead carrion that they would throw away in woods someplace; and then the buzzard would come around, you know, and pick off the carrion. The angel was the buzzard that come pick up the soul out of the old dead carrion... The "Buzzard Lope", one of the most remarkable items in the Sea Islanders' repertoire, is not a "shout". "Shouts" invariably involve whole congregations; the Buzzard Lope stands unique, the only solo dance in the Singers' religious repertoire. Its roots are plainly African. Melville Herskovits, the pioneer investigator into Afro-American anthropology, has provided hints as to its ultimate origin among the Ashanti-Fanti peoples of the Gold Coast, among whom the vulture was a sacred messenger who bore sacrifices to the gods. During the 1930's, in Surinam, Herskovits saw "Opete" (a Twi word for Vulture) dancers among the Bush Negroes; under possession, Opete cult members go out to find dead animals for food. "Those who danced for the buzzard... went about in a circle, moving with bodies bent forward from their waists and with arms thrown back in imitation of the bird from which their spirit took its name." (Herskovits, Rebel Destiny, p. 330.) On St. Simon's, this ancient African cult dance has been translated into theological terms which reflect tragic memories of slavery in the "Christian" nineteenth century. The handkerchief around which the buzzard dancer circles is the body of a slave, denied burial and thrown out in the woods like a dead animal. The Buzzard tiptoes around the body, advancing and retreating to make sure it is truly dead, and finally fulfills the ancient African role of messenger by carrying the sacrifice back to the Lord. Meanwhile the watching singers give their testimony of faith: Throw me anywhere, Lord, in that old field Throw me anywhere, Lord, in that old field Don't care where you throw me in that old field Since King Jesus own me, in that old field Don't care how you do me in that old field Since King Jesus choose me, in that old field You may beat and bang me in that old field Since King Jesus saved me, in that old field Don't care how you treat me in that old field Since King Jesus meet me, in that old field Throw me anywhere, Lord, in that old field Throw me anywhere, Lord in that old field When we began to shoot the Buzzard Lope, John Davis put on his suit jacket. I reminded him that he had not been wearing it in the earlier shots and suggested that he remove it. Later on, when he saw the footage, he remarked that if I had "let him" wear it, he could have made "the wings flap better". I hadn't understood that part of the aesthetic, and John had been too courtly and kind to embarrass me publicly by pointing it out. In his younger days, John used to pick up the handkerchief in his teeth and whirl around and around with it before finally carrying it away, but he said he was too old to do that anymore. John told me; too, that none of the younger St. Simon's Island men had wanted to learn the Buzzard Lope. Now that he is gone, we may never see it again, with or without the flapping wings.
Mitchell Hearns, a Dee Jay from Saint Louis who went by the moniker of "Gabriel" over the air waves (and as far as I know, still does) recorded a song called "The Buzzard Lope" back in the late 1950s or the early 1960s. It has absolutely no relation to this performance whatsoever, except for the title. It's an odd little fact, to be sure, but it does make you wonder about the origination of the term "Buzzard Lope"
It's a spiritual dance with African Origins. When slaves died their bodies were thrown into a field and eaten by buzzards. So the people gather in a circle, using the piece of cloth to represent a body and each person would go into the middle and imitate a circling buzzard. I learned about this in class as well as from the textbook :)
the slaves worked the fields and it was their area of expertise. it didnt matter if they died out there they were going to go home with the lord. so, throw me anywhere lord in that old field, it doesnt matter because im coming to be with you. it's victory over the field
Is it possible for somebody from Ireland and no apparent ethnic connection to Africa to 'feel his african roots'? after all cant we all trace our lineage back to Africa. Maybe we both are experiencing this music in a similar way but conceptualize our experiences differently. Historically the narrative of this music is immediately connected to africa, more importantly however than expressing something 'african' they are expressing something uniquely Human.
You just enjoy the music that doesn’t mean you feel “your African roots”. To put it into perspective imagine how you feel with no connection imagine how we as African Americans, who are direct descendants of this specific dance and culture, feel. You can’t begin to feel even an ounce of power as I felt watching it.
As a half american half chinese boy from the suburbs, i have a strange connection to this music as well. You're right, it is something human. It's suffering, joy, life and death, community and loneliness, despair and hope all in the songs and dances of past times.
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
This was my great grandmother. I lived with her until I was 10
She is wonderful! How proud you must be. She played at the Freight & Salvage in Berkeley and I came across this clip. I'm going to use a bit of it in the documentary of the history of the Freight I'm producing.
@@MargoDean1yes ma'am. In my 12 years of enjoying her she taught me a lot
The dance is called the Buzzard Lope, and John Davis is the buzzard circling the carrion and picking it up at the end of the song.
That's my Great Grandfather
That is my Great Grandfather
That's so cool :)
That’s my grandfather love you pops❤️💕
Amazing!
Our church and praying has changed so much. Miss my old ancestors that raised me right. Blessed to pass these hyms and dancing down to my girls.
So true
2024 and still feel the soul!
No words can describe the awesome legacy of seeing footage like this...Thanks to all of you who made this possible!
i can feel and here my african roots in this music. they could not destroy it,no matter how hard they tried
no one ever tried
Who tried to destroy it?
No one tried to destroy it because it cannot be destroyed. However, european slave owners forced white christianity on our black people and it became temporarily “lost” to us. It is always in our DNA you just have to meditate to find it.
@@truth1046 enslaved peoples loved christianity
These are Gullah/ Geechee people. They have retained more of their African roots than other Black Americans. I'm Black American by the way.
I love the Buzzard Lope and wish it were practiced more widely. The message, theologically and culturally, is so unique and powerful. Imagine embodying the role of a Divine Rescuer to reclaim meaning over death! Thas a wave.
Did you do this dance as a child?
@@kikikareema5912 No. But i wish i did. I do try to incorporate my own version of it into my prayer life now, tho
What is a Buzzard Lope?
Nevermind a comment below said it’s the name of the dance
fr !!! i hope one day we can start (re)incorporating this into BA death traditions across all regions :))
it's crazy to see that there isn't much difference in the way we praise the lord in church today.
the intricate clapping makes it so much more interesting
Look like he crip walking for the Lord. 🙌🏾
Yes! Footwork from the continent to the plantation fields to the streets. I saw the Roger Rabbit, Indian Step, Charleston. Rich!
🤣🤣🤣 I love my people! 😂😭😭
I love to see the progression of this in history!
I love to see the progression of this in history as regards to how it has turned into different genres of music.
Wow, what a beautiful story behind this song and dance. The meaning is precious....for all....!!
What a special video - such a spirit for life is so hard to find these days
This is pure gold ... Thank you for making this available.
it really resembles Rumba Columbia
amazing stuff! i just discovered the georgia sea island singers... def want to check that dvd out!
thanks for posting this!
love to see them together!
Praise the Lord 🙏🏾‼️
Bessie Jones had a strong voice
thank you so so so much for posting this. i love them and haven't found much by way of filmed performances of theirs...
Beautiful
Thank you Tyler Childers
Notes for the footage written in 1964 when the film was made are available as a PDf at (3Ws)(.)media-generation(.)(c o m)/DVD%20PAGES/Bess/master.pdf Sorry for the parentheses, YT doesn't let you put websites in a comment.
Who is YT....Oooh, you mean youtube! ;-)
Certain they do now? Could you post the link again?✌
www.media-generation.com/DVD%20PAGES/Bess/master.pdf
@@yourturn777 done
BUZZARD LOPE
Bessie Jones: In those days, they put this something down on the floor
and they'd dance around it like a buzzard dancing around a cow --
a dead cow or mule or something.
Peter Davis: Well, that's the way they feel, you see -according to how
they were treated, you understand me. They said they were
nothing but the old dead carrion that they would throw away in
woods someplace; and then the buzzard would come around, you
know, and pick off the carrion. The angel was the buzzard that
come pick up the soul out of the old dead carrion...
The "Buzzard Lope", one of the most remarkable items in the Sea Islanders'
repertoire, is not a "shout". "Shouts" invariably involve whole congregations; the
Buzzard Lope stands unique, the only solo dance in the Singers' religious repertoire.
Its roots are plainly African. Melville Herskovits, the pioneer investigator into
Afro-American anthropology, has provided hints as to its ultimate origin among the
Ashanti-Fanti peoples of the Gold Coast, among whom the vulture was a sacred
messenger who bore sacrifices to the gods. During the 1930's, in Surinam, Herskovits
saw "Opete" (a Twi word for Vulture) dancers among the Bush Negroes; under
possession, Opete cult members go out to find dead animals for food. "Those who
danced for the buzzard... went about in a circle, moving with bodies bent forward from
their waists and with arms thrown back in imitation of the bird from which their spirit took
its name." (Herskovits, Rebel Destiny, p. 330.)
On St. Simon's, this ancient African cult dance has been translated into
theological terms which reflect tragic memories of slavery in the "Christian" nineteenth
century. The handkerchief around which the buzzard dancer circles is the body of a
slave, denied burial and thrown out in the woods like a dead animal. The Buzzard tiptoes
around the body, advancing and retreating to make sure it is truly dead, and finally fulfills
the ancient African role of messenger by carrying the sacrifice back to the Lord.
Meanwhile the watching singers give their testimony of faith:
Throw me anywhere, Lord, in that old field
Throw me anywhere, Lord, in that old field
Don't care where you throw me in that old field
Since King Jesus own me, in that old field
Don't care how you do me in that old field
Since King Jesus choose me, in that old field
You may beat and bang me in that old field
Since King Jesus saved me, in that old field
Don't care how you treat me in that old field
Since King Jesus meet me, in that old field
Throw me anywhere, Lord, in that old field
Throw me anywhere, Lord in that old field
When we began to shoot the Buzzard Lope, John Davis put on his suit jacket. I
reminded him that he had not been wearing it in the earlier shots and suggested that he
remove it. Later on, when he saw the footage, he remarked that if I had "let him" wear it,
he could have made "the wings flap better". I hadn't understood that part of the
aesthetic, and John had been too courtly and kind to embarrass me publicly by pointing
it out.
In his younger days, John used to pick up the handkerchief in his teeth and whirl
around and around with it before finally carrying it away, but he said he was too old to do
that anymore. John told me; too, that none of the younger St. Simon's Island men had
wanted to learn the Buzzard Lope. Now that he is gone, we may never see it again, with
or without the flapping wings.
Thank you!!!!
afrikans be afrikaning no matter where we were held captive
what is the name of the game he is playing with the rag. This is like the brazilian art of capoeira.
It shows how connected we are in the diaspora.
This isn't a game. This is The Buzzard Lope
Mitchell Hearns, a Dee Jay from Saint Louis who went by the moniker of "Gabriel" over the air waves (and as far as I know, still does) recorded a song called "The Buzzard Lope" back in the late 1950s or the early 1960s. It has absolutely no relation to this performance whatsoever, except for the title. It's an odd little fact, to be sure, but it does make you wonder about the origination of the term "Buzzard Lope"
Irish and Africans in early NY created tap dance by combining their dance forms....yes!
Praise God for music and dance
Call and Response
2024 I love us
I loved it without a doubt, but what were they saying and what was the entire scenario all about?
Jennifer Bynum They're saying "Throw me anywhere, Lord, in that old field."
Don't care how you treat me. If King Jesus meet me"
"
Jennifer Bynum The dance is called "The Buzzard Lope."
It's a spiritual dance with African Origins. When slaves died their bodies were thrown into a field and eaten by buzzards. So the people gather in a circle, using the piece of cloth to represent a body and each person would go into the middle and imitate a circling buzzard. I learned about this in class as well as from the textbook :)
the slaves worked the fields and it was their area of expertise. it didnt matter if they died out there they were going to go home with the lord. so, throw me anywhere lord in that old field, it doesnt matter because im coming to be with you. it's victory over the field
Adam in the garden
This is excellent! Thank you for uploading, I am currently working on a production that asks the question is dance inherent?
How did that turn out?
Still working on it ;)
You still working on it?
looks older than 1964
nice
I recently created an Instagram account to showcase African American culture would it be alright if used this video?
yes
Is it possible for somebody from Ireland and no apparent ethnic connection to Africa to 'feel his african roots'? after all cant we all trace our lineage back to Africa. Maybe we both are experiencing this music in a similar way but conceptualize our experiences differently. Historically the narrative of this music is immediately connected to africa, more importantly however than expressing something 'african' they are expressing something uniquely Human.
I felt it watching this for sure :)
actually, we can't all trace our lineage back to africa.
look into out of africa debunked and sub saharan neanderthal dna rates
You just enjoy the music that doesn’t mean you feel “your African roots”. To put it into perspective imagine how you feel with no connection imagine how we as African Americans, who are direct descendants of this specific dance and culture, feel. You can’t begin to feel even an ounce of power as I felt watching it.
As a half american half chinese boy from the suburbs, i have a strange connection to this music as well. You're right, it is something human. It's suffering, joy, life and death, community and loneliness, despair and hope all in the songs and dances of past times.
Yeah but it’s definitely significant to black people and connecting to the roots that were ripped away from us. glad u enjoy the video tho!
🪶🪶🪶🪶🪶🪶🪶🏹
When is this from?
The description says this footage is from 1964 but its documented that our ancestors danced this during slavery if I'm not mistaken.
Ashe to our ancestors ❤
🫶🏾