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Ring shout


Ring shout

A shout or ring shout is an ecstatic, transcendent religious ritual, first practiced by African slaves in the West Indies and the United States, in which worshipers move in a circle while shuffling and stomping their feet and clapping their hands. Despite the name, shouting aloud is not an essential part of the ritual.

The ring shout was practiced in some African American churches into the 20th century, and it continues to the present among the Gullah people of the Sea Islands.


  • Description 1
  • Origin 2
  • Influence 3
  • Footnotes 4
  • References 5
  • External links 6


"Shouting" often took place during or after a

  • McIntosh County Shouters in New Georgia Encyclopedia
  • The McIntosh County Shouters ring shout performers
  • "Run Old Jeremiah": Echoes of the Ring Shout
  • "Zabette" opera in three acts, music by Curtis Bryant, libretto by Mary R. Bullard, 1999
  • Carla Gardina Pestana, Sharon V. Salinger. Shout Because You're Free: The African American Ring Shout Tradition in Coastal Georgia. Retrieved 2009-09-26. 

External links

  • Diouf, Sylviane. Servants of Allah: African Muslims Enslaved in the Americas. New York: New York University Press, 1998. ISBN 0-8147-1905-8
  • Floyd Jr., Samuel A. "Ring Shout! Literary Studies, Historical Studies, and Black Music Inquiry." Black Music Research Journal, Vol. 22 (2002): 49-70.
  • Parrish Lydia. Slave Songs of the Georgia Islands. 1942. Reprint, Athens, Ga.: University of Georgia Press, 1992.
  • Turner, Lorenzo Dow. Africanisms in the Gullah Dialect. 1949. Reprint, New York: Arno Press, 1969.


  1. ^ Sylviane A. Diouf, Servants of Allah, 68-9.
  2. ^ Silvia King, quoted in Zita Allen, "From Slave Ships to Center Stage", 2001, accessed 8 July 2007
  3. ^ Lydia Parrish, Slave Songs, 54, quoted in Diouf, Servants of Allah, 68.
  4. ^ Diouf, Servants of Allah, 69. Lorenzo Dow Turner proposed the theory, and Lydia Parrish first reported it in 1942. Turner's translation of shaut (sic) as "to move around the Kaaba ... until exhausted" is inaccurate, according to Diouf, as neither sha'wt nor tawaf implies exhaustion.
  5. ^ Lane, Arabic -English Lexicon (1863) p. 1619.
  6. ^ Palmer, Robert (1981). Deep Blues. Penguin Books Ltd.: Middlesex, Eng. p. 38.  .
  7. ^ a b Floyd Jr., Samuel (2002). "Ring Shout! Literary Studies, Historical Studies, and Black Music Inquiry". Black Music Research Journal (Center for Black Music Research - Columbia College of Chicago and University of Illinois Press) 22: 49-70. 


These basic elements included calls, cries, and hollers; blue notes; call-and-response; and various rhythmic aspects. Examples of black music that would evolve from the ring include, but are not limited to, Afro-American burial music of New Orleans, the Blues, the Afro-American Symphony, as well as the music that has accompanied various dance forms also present in Afro-American culture.[7]

In his article, "Ring Shout! Literary Studies, Historical Studies, and Black Music Inquiry", Samuel A. Floyd Jr. argues that many of the stylistic elements observed during the ring shout later laid the foundations of various black music styles developed during the nineteenth and twentieth centuries. According to Floyd, "...all of the defining elements of black music are present in the ring...".[7]:52


According to musicologist Robert Palmer, the first written accounts of the ring shout date from the 1840s. The stamping and clapping in a circle was described as a kind of "drumming," and 19th-century observers associated it with the conversion of slaves to Christianity.[6]

The origins of the ring shout are usually assumed to be derived from African dance. Some scholars have suggested that the ritual may have originated among enslaved Muslims from West Africa as an imitation of tawaf, the mass procession around the Kaaba that is an essential part of the Islamic pilgrimage to Mecca. If so, the word "shout" may come from Arabic shawṭ, meaning "a single run", such as a single circumambulation of the Kaaba, or an open space of ground for running.[4][5]


In some cases, slaves retreated into the woods at night to perform shouts, often for hours at a time, with participants leaving the circle as they became exhausted.[2] In the twentieth century some African-American churchgoers in the United States performed shouts by forming a circle around the pulpit,[3] in the space in front of the altar, or around the nave.


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