Summary: In the early nineteenth century, African Americans were involved in the “Second Awakening”. They met in camp meetings and sang without any hymnbook. Spontaneous songs were composed on the spot. They were called “spiritual songs” and the term “sperichil” (spiritual) appeared for the first time in the book “Slave Songs of The United States” (by Allen, By the way, African Americans used to sing outside of churches. During slavery and afterwards, slaves and workers who were working at fields or elsewhere outdoors, were allowed to sing “work songs”. This was the case, when they had to coordinate their efforts for hauling a fallen tree or any heavy load. Even prisoners used to sing “chain gang” songs when they worked on the road or on some construction project. But some “drivers” also allowed slaves to sing “quiet” songs, if they were not apparently against slaveholders. Such songs could be sung either by only one soloist or by several slaves. They were used for expressing personal feeling and for cheering one another. So, even at work, slaves could sing “secret messages”. This was the case of negro spirituals, which were sung at church, in meetings, at work and at home. The meaning of these songs was most often covert. Therefore, only Christian slaves understood them, and even when ordinary words were used, they reflected personal relationship between the slave singer and God. The codes of the first negro spirituals are often related with an escape to a free country. For example, a “home” is a safe place where everyone can live free. So, a “home” can mean Heaven, but it covertly means a sweet and free country, a haven for slaves.
