MUSLIM ROOTS OF THE BLUES MUSLIMANA Roots of BLUES About Islam | Muslim Roots of the Blues About Islam

| muslimanski Roots of Blues The San Francisco Chronicle San Francisco Chronicle Sunday Au!ust "# $%%& Ned'el'a "# (olo)o* $%%& By Jonathan Curiel Jonathan Curiel Chronicle Staff Writer Kronika Staff Writer Musli+ roots of the ,lues- The +usic of fa+ous A+erican ,lues sin!ers reaches ,ac( throu!h the South to the culture of .est Africa Musli+ans(e (ori'ene ,luesa !la*,e /o*nati a+eri0(i ,lues /'e)a0a se1e /re(o do 2u1ne (ulture 3a/adna Afri(a Sylviane Diouf knows her audience might be skeptical so to demonstrate the connection between Islam and American blues music she!ll play two recordings" #he Muslim call to prayer $the religious recitation that!s heard from mos%ues around the world& and '(evee )amp *oller' an early type of blues song that first sprang up in the Mississippi Delta more than +,, years ago- Sylviane Diouf .na svo/e publike moglo biti skepti0an da tako poka.ati ve.u i.me1u islama i ameri0ki blues gla.bu ona 2e igrati dvi/e snimke" muslimanski po.iv na molitvu $v/erska mol/en/e da /e 0uo od d3ami/ama 4irom svi/eta& i '(evee )amp *oller 'rano vrsta blues p/esma /e prvo nastala u Mississippi Delta vi4e od +,, godina'(evee )amp *oller' is no ordinary song- '(evee )amp *oller' ni/e obi0na p/esma- It!s the product of e56slaves who worked moving earth all day in post6)ivil 7ar America- #o /e proi.vod e56robovi ko/i su radili ci/eli dan kretan/e .eml/e u post6)ivil 7ar Americi- #he version that Diouf uses in presentations has lyrics that like the call to prayer speak about a glorious 8od9er.i/a ko/a Diouf koristi u pre.entaci/ama /e tekstove ko/i su kao i po.iv na molitvu govoriti o slavno/ Bogu- $'7ell (ord I woke up this mornin! man I feelin! bad - - - 7ell I was thinkin! !bout the good times (ord I once have had-'& But it!s the song!s melody and note changes that closely parallel one of Islam!s best6known refrains- $ ':a 8ospodine /a se probudio ova/ mornin ! 0ov/ek /a feelin! bad--- :a bio sam thinkin !! bout dobrim vremenima 8ospodine /ednom sam imao-'& Ali to /e melodi/u p/esme i note prom/ene ko/e su usko paralelni /edan od islama na/po.nati/ih prip/eva- As in the call to prayer '(evee )amp *oller' emphasi.es words that seem to %uiver and shake in the reciter!s vocal chords- ;ao u po.ivu na molitvu '*oller (evee )amp' nagla4ava ri/e0i ko/e kao da drhtati i tresti u recitator vokalni akorde- Dramatic changes in musical scales punctuate both '(evee )amp *oller' and the call to prayerDramati0ne prom/ene u gla.benom vagom punktirati kako '(evee )amp *oller' i po.iv na molitvu- A nasal intonation is evident in both- <osna intonaci/a /e evidentan u oba'I did a talk a few years ago at *arvard where I played those two things and the room absolutely e5ploded in clapping because $the connection&was obvious ' says Diouf an author and scholar who is also a researcher at <ew =ork!s Schomburg )enter for Research in Black )ulture- '<isam ra.govor pri/e nekoliko godina na *arvardu gd/e sam igrao one dvi/e stvari a soba apsolutno eksplodirala u pl/eskan/e /er $ve.a& /e o0ito' rekao /e Diouf autor i u0en/ak ko/i /e tako1er istra3iva0 u <ew =orku Schomburg )enter for Research in Black )ulture- ':eople were saying !7ow- #hat!s really audible- It!s really there-!' '(/udi su se govore2i" !7ow- #hat!s really 0u/an- #o /e stvarno tamo-' It!s really there because of all the Muslim slaves from 7est Africa who were taken by force to the >nited States for three centuries from the +?,,s to the mid6+@,,s- #o /e stvarno posto/i /er svi muslimanski robovi i. Aapadne Afrike ko/i su bili u.eti silom kako bi S/edin/ene Dr3ave .a tri stol/e2a od +?,,6tih do sredine +@,,6ih- >pward of B, percent of the African slaves in the >nited States were Muslim and an untold number of them spoke and wrote Arabic historians say now- >vis od B, posto od afri0kih robova u SAD6u bili su Muslimani i neopisiv bro/ n/ih /e govorio i pisao arapski pov/esni0ari ka3u sada- Despite being pressured by slave owners to adopt )hristianity and give up their old ways many of these slaves continued to practice their religion and customs or otherwise melded traditions from Africa into their new environment in the antebellum South- >nato0 pritisku od strane robovlasnici prihvatiti

kr42anstvo i dati svo/e stare na0ine mnogi od tih robova i dal/e prakticira/u svo/u religi/u i obi0a/e ili na drugi na0in melded tradici/e i. Afrike u svo/u novu okolinu u Cu3no/ pri/e rataDorced to do menial back6breaking work on plantations for e5ample they still managed throughout their days to voice a belief in the 8od of the Euran- :risil/en da ne ropski le1a6 ra.bi/an/e posao na planta3ama na prim/er oni su ipak usp/eli kro. n/ihove dane na glas v/erovan/e u Boga ;ur!ana- #hese slaves! practices eventually evolved 66 decades and decades later parallel with different singing traditions from Africa 66 into the shouts and hollers that begat blues music historians believe- Fvi robovi prakse kona0no evoluirali 6 desetl/e2ima i desetl/e2ima kasni/e paralelno s ra.li0itih tradici/a p/evan/a i. Afrike 6 u shouts i hollers da rodi blues gla.be povi/esni0ari v/eru/uAnother way that Muslim slaves had an indirect influence on blues music" the instruments they played- Co4 /edan na0in da se muslimanski robovi imali nei.ravan ut/eca/ na bluesa" instrumenti su odigrali- Drumming $which was common among slaves from the )ongo and other non6Muslim regions of $Africa& was banned by white slave owners who felt threatened by its ability to let slaves communicate with each other and by the way it inspired large gatherings of slaves- Stringed instruments $which were favored by slaves from Muslim regions of Africa where there!s a long tradition of musical storytelling& were generally allowed because slave owners considered Bubn/an/e $4to /e bilo uobi0a/eno me1u robove i. ;ongo i drugih ne6 muslimanske regi/e $Afrika& /e .abran/ena po bi/elim robl/em vlasnici ko/i su os/etili ugro3eni po svo/o/ sposobnosti da neka robovi komunicirati sa svaki ostali i na putu /e nadahnuo velike skupine robova - harfe $ko/e su preferira/u robovi i. muslimanskih regi/a Afrike gd/e ima dugu tradici/u gla.benih pripovi/edan/a& su op2enito bili dopu4teni /er robovlasnici smatrali them akin to Guropean instruments like the violin- n/ima srodan europskim instrumentima kao 4to /e violina- So slaves who managed to cobble together a ban/o or other instrument $the American ban/o originated with African slaves& could play more idely in public- #ako robovi ko/i su se usp/eli kaldrma .a/edno bend3o ili drugih instrumenata $bend3o ameri0ki pot/e0e s afri0kih robova& mogao igrati vi4e idely u /avnosti- #his solo6oriented slave music featured elements of an Arabic6Islamic song style that had been imprinted by centuries of Islam!s presence in 7est Africa says 8erhard ;ubik an ethnomusicology professor at the >niversity of Main. in 8ermany who has written the most comprehensive book on Africa!s connection to blues music $'Africa and the Blues'&- Fva solisti0ki ori/entirana rob gla.ba sadr3i elemente Arabic6Islamic p/esma stil ko/i /e otisnut po stol/e2a islama /e prisutnost u .apadno/ Africi ka3e 8erhard ;ubik etnomu.ikologi/i profesor na Sveu0ili4tu u Main.u u </ema0ko/ ko/i /e napisao na/kompletni/ih kn/iga na Africa!s ve.e blues gla.be $ 'Afrika i blues'&An influence on the ,lues Ut'eca' na ,lues ;ubik believes that many of today!s blues singers unconsciously echo these Arabic6Islamic patterns in their music- ;ubik v/eru/e da su mnogi dana4n/i blues p/eva0a nesv/esno /eka tih Arabic6Islamic u.oraka u n/ihovu gla.bu- >sing academic language to describe this habit ;ubik writes in 'Africa and the Blues' that 'the vocal style of many blues singers using melisma wavy intonation and so forth is a heritage of that large region of 7est Africa that had been in contact with the Arabic6Islamic world of the Maghreb since the seventh and eighth centuries-' ;ori4ten/e akademski /e.ik kako bi opisali ovu naviku ;ubik pi4e u 'Africi i blues' da 'vokalni stil mnoge blues p/eva0a koriste2i melisma valovita intonaci/u i tako dal/e /e ba4tina ko/a velikih podru0/a Aapadne Afrike ko/i /e bio u kontaktu s arapskim islamski svi/et Magreba od sedmog i osmog stol/e2a- ' $Melisma is the use of many notes in one syllableH so instead of a note that produces say a single sound of 'ah ' you!d get a note that produces something like 'ah6ahhhh6ahhh6ah6ah-' 7avy intonation refers to a series of notes that veer from ma/or to minor scale and back again something that!s very common in both blues music and in the Muslim call to prayer- #he Maghreb is the Arab6Muslim region of <orth Africa-& ;ubik summari.es his thesis this way" 'Many traits that have been considered unusual strange and difficult to interpret by earlier blues researchers can now be better understood as a thoroughly processed and transformed Arabic6Islamic stylistic component-' $Melisma /e kori4ten/e mnogih bil/e4ke u /edno/ slog tako um/esto u ob.ir da proi.vodi recimo /edan .vuk 'Ah' youd !dobiti na umu da proi.vodi ne4to poput" 'Ahhhh6ah6ahhh6ah 6ah '- valovita intonaci/a se odnosi na ni. nota ko/i vrluda od glavnih do man/ih ra.m/era i natrag ne4to 4to /e vrlo 0esta u oba blues gla.bi te u muslimanskom po.iv na molitvu- Magreb /e arapsko6muslimanske regi/e S/everne

Afrike -& ;ubik re.imira n/egov rad na ova/ na0in" 'Mnoge osobine ko/e su smatrali neobi0ne 0udne i te4ko tuma0iti po rani/im blues istra3iva0i sada se mo3e bol/e ra.um/eti kao temel/ito prera1ena i pretvorena Arabic6Islamic stilske komponente-' #he e5tent of this link between Islam and American blues music is still being debated- Fpseg ovu ve.u i.me1u islama i ameri0ki blues gla.ba /e /o4 uvi/ek raspravl/a- Some scholars continue to insist there is no connection and many of today!s best6known blues musicians would say their music has little to do with a religion whose most e5treme clerics regularly deride the evils of 7estern pop music- <eki u0en/aci i dal/e in.istirati na tome da nema ve.e a mnogi od danas na/po.nati/ih blues gla.benici 2e re2i n/ihova gla.ba ima malo ve.e s religi/a 0i/i na/ekstremni/im sve2enici redovito rugati se .ala .apadne pop6gla.be- =et a growing body of evidence 66 gathered by academics like ;ubik and by others like )ornelia 7alker Bailey a 8eorgia author whose great6great6great6great6grandfather was a 8eorgia slave who prayed toward Mecca 66 suggest a deep relationship between slaves of Islamic descent and >S cultureIpak sve ve2i bro/ doka.a 6 prikupio akademika poput ;ubik a prema drugima kao 4to )ornelia 7alker Bailey 8ru.i/a autor 0i/i pra6pra6pra6prad/ed /e bio rob ko/i /e molio 8ru.i/a prema Meka 6 sugerira duboku pove.anost i.me1u robovi islamskog podri/etla i SAD6kulture#o be sure Muslim slaves from 7est Africa were /ust one factor in the formation of American blues music but they were a factor says Barry Danielian a trumpeter who!s performed with :aul Simon <atalie )ole and #ower of :ower- Da biste bili sigurni muslimanski robovi i. Aapadne Afrike bili su samo /edan od 0imbenika u stvaran/u ameri0ke blues gla.be ali oni su 0imbenik ka3e Barry Danielian truba0 ko/i se i.vodi s :aul Simon <atalie )ole i #ower of :owerCall to /rayer 4o*i) na +olit)u Danielian who is Muslim says non6Muslims find this connection hard to believe because they don!t know enough about Arabic or Islamic music- Danielian ko/i /e musliman ka3e nemuslimana prona2i tu ve.u tvrdo to v/erovati /er oni ne .na/u dovol/no o arapske ili islamske gla.be- #he call to prayer and other Muslim recitations that were practiced by American slaves had a musicality to them /ust as these recitations still do even if they aren!t thought of as music by 7esterners Danielian says- :o.iv na molitvu i druge muslimanske recitations ko/i su prakticirali su ga ameri0ki robovi /e mu.ikalnost u n/ima ba4 kao i ti recitations /o4 uvi/ek 0ak i ako se oni ne misli kao gla.ba .apadn/aci Danielian ka3e'I!m part of the #i/aniyya Sufi order which is based in 7est and <orth Africa ' says Danielian who lives in Cersey )ity <C 'And I know that when we get together especially when the cheikhs $leaders& come and everybody gets together and there are hundreds of people and we do the litanies they!re very musical- =ou hear what we as Americans would call soulfulness or blues- #hat!s definitely in there-' 'Ca sam dio #i/aniyya sufi/skog reda ko/i se temel/i u .apadno/ i s/everno/ Africi' ka3e Danielian ko/i 3ivi u Cersey )ity <C 'I /a .nam da kada smo se .a/edno pogotovo kada cheikhs $vo1e& dola.e i svatko dobiva .a/edno a tu su i stotine l/udi a mi ne litani/e oni su /ako gla.beno- 2ete 0uti ono 4to mi kao Amerikanci da po.iv blues ili soul- #o /e definitivno tamo- ' 7hat Americans now think of as blues music eveloped in the +@I,s and early +I,,s in Southern states like (ouisiana Mississippi and Alabama- Jto sada Amerikanci misliti kao blues gla.be eveloped u +@I,6tim i ranim +I,,6tim kao 4to su dr3ave u Cu3no/ (ouisiani Mississippi/u i Alabami- Blues music was an outgrowth of all the different music that was then being performed in the South from minstrels to street shows- Blues gla.ba /e plod svih ra.li0itih gla.bu ko/a se tada provodi se u Cu3no/ od trubadura do ulice poka.u/e- Garly blues performers didn!t recogni.e the music!s African or Muslim roots because by then the songs had more fully merged with white Guropean music and had lost their obvious connections to a continent that was K ,,, miles away- Rani blues i.vo1a0a ni/e prepo.nao gla.bu s afri0kim ili muslimanske kori/ene /er do tada p/esme su imale vi4e potpuno spo/ena s bi/elom europske gla.be i i.gubili o0ite ve.e kontinent ko/i /e K-,,, mil/a- Also by the turn of the L,th century the progeny of America!s Muslim slaves had generally converted to )hristianity either by force or circumstance- #ako1er na pri/ela.u u L,- stol/e2e progeny of America!s muslimanskih robova op2enito /e pretvorena u kr42anstvo bilo silom ili okolnost- Among Southern blacks in

that period there were few e5ponents of Islam- Me1u Southern crnci u tom periodu bilo /e nekoliko eksponenti islama- But as more scholars like Diouf and ;ubik research that period in history they see plenty of signs that weren!t obvious +,, years ago- <o kao i vi4e u0en/aka poput Diouf i ;ubik istra3ivan/a u tom ra.dobl/u u povi/esti oni vide mnogo .nakova ko/i nisu o0iti pri/e +,, godina#ake the case of 7) *andy who earned the moniker 'Dather of the Blues' for the way he formali.ed the music over a K,6year career of writing songs and playing the cornet- >.mite slu0a/ 7) *andy ko/i /e .aradio na.ivom 'Ftac of the Blues' na na0in na ko/i /e formali.iran gla.be preko K,6godi4n/e kari/ere .a pisan/e p/esama i igran/e kornet- In his autobiography *andy $whose parents were slaves& writes about a life6changing moment that happened around +I,B- > svo/o/ autobiografi/i *andy $0i/i su roditel/i bili robovi& pi4e o 3ivotu mi/en/a trenutak da se dogodilo oko +I,B- *andy was sleeping at a train station in #utwiler Misswhen 'a lean loose6/ointed <egro had commenced plucking a guitar beside me while I slept*is clothes were ragsH his feet peeped out of his shoes- *is face had on it some of the sadness of the ages- As he layed he pressed a knife on the strings of the guitar- --- #he effect was unforgettable- *is song too struck me instantly- --- #he singer repeated the line $'8oin! where the Southern cross! the Dog'& three times accompanying himself on the guitar with the weirdest music I had ever heard-' *andy /e spavao kod 3el/e.ni0ke stanice u #utwiler gospo1ica kad /e 'mr4av labavo spo/ene68ora /e .apo0ela plucking gitaru pored mene dok sam spavala- </egove hal/ine su krpeH n/egove noge peeped i. n/egove cipele- </egovo lice /e o tome ga neki od tuge i starosti- ;ao 4to /e on postavio on pritisne no3 na ni.ove gitare- --efekt /e bio ne.aboravan- </egova p/esma previ4e /e udario mene odmah- --- p/eva0 ponovio lini/e $ '8oin !gd/e Cu3ni kri3! the Dog'& tri puta se prate na gitari sa weirdest gla.bu sam ikada 0uo- ' Sin!in! a,out e)erythin! 4'e)a0(i o s)e+u #he song was about a nearby train station where different trains intersected- :/esma /e o bli.ini 3el/e.ni0ke stanice gd/e ra.li0ite vlakovi pres/e0en- As *andy noted in the autobiography $which was published in +IK+& 'Southern <egroes sang about everything- #rains- Steamboats steam whistles sledgehammers fast women mean bosses stubborn mules 66 all became sub/ects for their songs- #hey accompany themselves on anything from which they can e5tract a musical sound or rhythmical effect anything from a harmonica to a dashboard- In this way and from these materials they set the mood for what we now call the blues-' *andy ;ao 4to /e navedeno u autobiografi/i $ko/i /e ob/avl/en u +IK+& 'Cu3no negroes p/evao o svemuMel/e.nica- :arobrodi parni .vi3dal/ke sledgehammers fast women mean ga.da tvrdoglava ma.ga 6 sve /e predmete .a svo/e p/esme- Fni sami pratiti na sve od ko/ih se mogu i.dvo/iti gla.beno ritmi0kim .vuk ili efekt ni4ta od harmonika na nad.orno/ plo0i- <a ova/ na0in a od tih materi/ala postavl/en oni raspolo3eni .a ono 4to mi danas .ovemo blues '7hile washboards in fact became popular among later blues musicians such as Robert Brown $known as '7ashboard Sam'& the techni%ue that *andy witnessed 66 that of pressing a knife on uitar strings 66 can be traced to )entral and 7est Africa where as ;ubik points out in 'Africa and the Blues ' people play one string .ithers that way- Dok washboards u stvari kasni/e /e postao popularan me1u blues gla.benicima kao 4to su Robert Brown $po.nat kao 'daska .a pran/e rubl/a Sam'& tehnikom ko/a *andy sv/edo0i 6 da /e pritiskom no3a na uitar strings 6 mo3e se pratiti u )entralno/ i Aapadno/ Africi gd/e /e kako isti0e ;ubik u 'Africi i Blues' l/udi igra/u /edan ni. .ithers ta/ na0in- *andy assumed the techni%ue $which is now called 'slide guitar'&was borrowed from *awaiian guitar playing but it!s more likely that the itinerant guitar player that *andy met in #utwiler was manifesting his African roots- *andy preu.eo tehniku $ko/a se sada .ove 'slide gitara'& /o4 /e bila posu1ena i. hava/ska gitara svira ali /e v/ero/atni/e da putu/u2i gitarista ko/i *andy sastali su se u #utwiler /e o0itu/u2i svo/e afri0ke kori/ene- ;ubik has traveled to Africa many times for his research and has lived there;ubik /e putovao u Afriku mnogo puta .a n/egova istra3ivan/a i 3ivio tamoBailey who visited 7est Africa in +I@I says the African and Muslim roots of Southern >S traditions are often mistaken for something else- Bailey ko/i /e pos/etio Aapadnu Afriku +I@I ka3e afri0kih i muslimanskih kori/ena Cu3na >S tradici/a 0esto su u .abludi .a ne4to drugo-

Churches face east Lice Cr()e isto( Bailey lives on 8eorgia!s Sapelo Island where a small community of blacks can trace their ancestry to Bilali Mohammed a Muslim slave who was born and raised in what is now the country of 8uinea- Bailey 3ivi na Sapelo 8eorgia!s Island gd/e /e mala .a/ednica crnaca mogu pratiti svo/e pretke na Bilali Mohammed Musliman rob ko/i /e ro1en i odrastao u ono 4to /e sada .eml/a 8vine/a- 9isitors to Sapelo Island are always struck by the fact that churches there face east- :os/etitel/i Sapelo otok uvi/ek su .apan/eni 0in/enicom da posto/e crkve lice prema istoku- In fact as a child Bailey learned to say her prayers facing east 66 the same direction that her great6great6great6great6grandfather faced when he prayed toward Mecca- Aapravo kao di/ete Bailey nau0io re2i /o/ molitve na istok 6 u istom sm/eru da /o/ /e pra6pra6pra6 prad/ed lica kad se pomoli prema MekiBilali was an educated man- Bilali /e bio obra.ovan 0ov/ek- *e spoke and wrote Arabic carried a Euran and a prayer rug and wore a fe. that likely signified his religious devotion- Fn /e govorio i pisao arapski nosio ;ur!an i molitva tepih i nosili fes v/ero/atno .na0ilo da /e n/egova religio.na odanost- $Bilali had been trained in Africa to be a Muslim leaderH on Sapelo Island he was appointed by his slave master to be an overseer of other slaves&- $Bilali /e trenirao u Africi se muslimanski vo1a na Sapelo Island imenovan /e n/egov rob gospodara biti nadglednik drugih robova&- Although Bilali!s descendents adopted )hristianity they incorporated Muslim traditions that are still evident today- Iako Bilali!s potomaka usvo/en kr42anstvo oni su ukl/u0eni muslimanske tradici/e ko/e su /o4 uvi/ek vidl/ivi i danas#he name Bailey in fact is a reworking of the name Bilali which became a popular Muslim name in Africa because one of Islam!s first converts 66 and the religion!s first mue..in 66 was a former Abyssinian slave named Bilal- Ime Bailey u stvari prerada ime Bilali ko/a /e postala popularna muslimansko ime u Africi /er /e /edan od islama prvo pretvara 6 i religi/a prvi mu/e.in 6 bio /e biv4i rob Abyssinian ime Bilal- $Mue..ins are those who recite the call to prayer from the minarets of mos%ues-& Fne historian believes that abolitionist Drederick Douglass who changed his name from Drederick Bailey may have had Muslim roots- $Mue..ins su oni ko/i i.govara po.iv na molitvu sa minareta d3ami/a-& Cedan pov/esni0ar smatra da Abolitionist Drederick Douglass ko/i /e promi/enio svo/e ime i. Drederick Bailey sviban/ imati /e muslimanske kori/ene'*istory changes things ' says Bailey NI who chronicled the history of Sapelo Island in her memoir '8od Dr- Bu..ard and the Bolito Man-' ':ovi/est prom/ena stvari' i./avio /e Bailey NI ko/i /e chronicled povi/est Sapelo Island u svo/im memoarima 'Bo3e dr- 4kan/ac a Bolito Man'- '#hings become something different from what they started out as-' 'Stvari posta/u ne4to druga0i/e od onoga 4to im /e po0eo kao'A good e5ample is the song '(ittle Sally 7alker-' Dobar prim/er /e p/esma 'Sally (ittle 7alker-' It!s been recorded by many blues artists but it!s also been recorded as '(ittle Sally Saucer' $the lyrics describe a girl 'sittin! in a saucer'&- #o /e evidentirana po mnogim blues um/etnika ali isto tako /e .abil/e3eno kao 'Mala Sally Saucer' $lyrics opisu/u d/evo/ka 'Sittin !u tan/ur'&Drankie Euimby a relative of Bailey!s who also traces her roots to Bilali Mohammed says the song originated during slavery on the 8eorgia coast written by songwriting slaves who took the last name $7alker& of their slave owners- Drankie Euimby ro1ak Bailey!s ko/i /e tako1er tragove svo/e kori/en/e u Bilali Mohammed ka3e p/esma nastala .a vri/eme ropstva u 8ru.i/i obali ko/u /e napisao songwriting robovi ko/i /e preu.eo pre.ime $7alker& n/ihovih robovlasnici'I!ve seen $people& take the song and use different words ' says Euimby who sings slave songs with her husband in a group called the 8eorgia Sea Island Singers which recently performed for :resident Bush and his )abinet- 'Ca sam vidio $l/udi& u.eti p/esmu i koriste ra.li0ite ri/e0i' rekao /e Euimby rob ko/i p/eva p/esme sa suprugom u grupu na.vanu 8ru.i/a Sea Island p/eva0i ko/a /e nedavno i.vr4io .a preds/ednika Busha i n/egove vlade- '7e!re educating people about this-' '7e!re obra.ovan/e narod o tome-'

5uitar deri)ed fro+ Ara, oud 5itara nastala od ara/s(e oud Because there is little documentation about these slave6time origins it!s easy to argue about what can be une%uivocally linked to Africa and Islam- Budu2i da /e malo dokumentaci/e o tim rob vremena pori/ekla lako se raspravl/ati o tome 4to mo3e biti /edno.na0no pove.an Afrike i islam- Islam and Arab culture have certainly been influences on other music around the world including flamenco which is rooted in seven centuries of Muslim rule in Spain- Islam i Arapski kulture .asigurno su ut/eca/a na druge gla.be 4irom svi/eta ukl/u0u/u2i i flamenko ko/a /e ukori/en/ena u sedam stol/e2a muslimanske vladavine u Jpan/olsko/#he modern guitar is a direct descendant of the oud an Arabic lute that was introduced to Gurope during Spain!s Muslim reign- Moderni gitara /e direktni potomak oud arapski lutn/a ko/a /e uvedena u Guropi .a vri/eme Jpan/olske vladavine Muslimana- In fact there!s a connection between Renaissance music and Arab6Islamic culture a connection that academics have studied with more precision than the connection between black Muslim slaves in America and this country!s blues music- > stvari posto/i ve.a i.me1u renesansne gla.be i arapsko6 islamske kulture ve.e ko/e su .nanstvenici prou0avali s vi4e preci.nosti nego 4to ve.a i.me1u crne muslimanskih robova u Americi i ove .eml/e bluesaSo far knowledge of Islam!s association with blues music seems limited to a select group of academics and musicians- Do sada po.navan/e islama suradn/i s blues gla.bom 0ini ograni0ena na odabir grupe akademika i gla.benika- Books like ;ubik!s 'Africa and the Blues' $published in +III by the >niversity :ress of Mississippi& and Diouf!s 'Servants of Allah" African Muslims Gnslaved in the Americas' $published in +II@ by <ew =ork >niversity :ress& are more geared toward university audiences- ;n/ige poput ;ubik /e 'Afriku i Blues' $ob/avl/en u +III >niversity :ress of Mississippi& i Diouf /e 'slu3benika Allaha" Afri0ki muslimani Gnslaved u Americi' $ob/avl/eno u +II@ <ew =ork >niversity :ress& su vi4e usm/erena prema sveu0ili4te publika - ;ubik!s book for e5ample is weighed down with chapters of dense writing and obscure references- ;ubik kn/iga na prim/er /e te3io dol/e s poglavl/ima gustih pisan/e i opskuran referenceIn terms of popular culture it!s hard to find a single work 66 whether it!s a novel movie song or other art form 66 that covers the topic of Islam music and African slaves- > smislu popularne kulture te4ko /e na2i /edan posao 6 da li /e to roman film p/esmu ili neki drugi oblik um/etnosti 6 ko/i pokriva temu islama gla.be i afri0kih robova- 'Daughters of the Dust ' Culie Dash!s +II+ film about life on the Sea Islands of 8eorgia features a Muslim man who portrays Bilali Mohammed but a scene that shows him in prayer lasts /ust a few moments and the movie received limited release- 'Daughters of the Dust' Culie crtica i. +II+ film o 3ivotu na Sea Islands of 8eorgia mogu2nosti muslimanski 0ov/ek ko/i portretira Bilali Mohammed ali pri.or ko/i ga poka.u/e u molitvi tra/e samo nekoliko trenutaka a film dobio ograni0enom i.dan/u'Roots ' Ale5 *aley!s novel that was made into a historic #9 series in the +IO,s featured a main character $;unte ;inte& who is Muslim although novelist Cames Michener and others doubted the authenticity of *aley!s work- 'Roots' Ale5 *aley /e roman ko/i /e bio napravl/en u povi/esne #9 seri/e i. +IO,6ih istaknuta glavni lik $;unte ;inte& ko/i /e Musliman iako romanopisac Cames Michener i drugi sumn/ao autenti0nost *aleyove radaAs more people become aware of the connection between Islam and the blues there will be an inevitable shift in perception of how the Muslim religion has spread across continents and influenced other cultures- ;ako sve vi4e l/udi posta/e sv/estan ve.e i.me1u islama i blues bit 2e nei.b/e3an pomak u percepci/i kako muslimanske v/ere se pro4irio kontinenata i pod ut/eca/em drugih kultura- #he difference between Spain which once was con%uered by Muslims and the >nited States is that African slaves were brought to this country in chains against their will to do hard labor- Ra.lika i.me1u Jpan/olske ko/i /e nekad bio / la muslimani a SAD /e afri0kih robova ko/i su dovedeni u ovu .eml/u u lancima protiv n/ihove vol/e da ne robi/a- #he slave trade led to a diaspora unlike any other in human history with at least +, million Africans bought and sold into bondage in the Americas- #rgovina robl/em /e dovela do di/aspore .a ra.liku od bilo ko/e druge u l/udsko/ povi/esti u. na/man/e +, mili/una Afrikanaca

kupovao i prodavao u ropstvo u ob/e Amerike- #hose slaves! pain is evident in American blues music 66 a music that!s often about cruel treatment sad times and a yearning to break freeFni robovi !bol se o0itu/e u ameri0ki blues gla.be 6 gla.ba ko/a /e 0esto o okrutnom postupan/u tu3na vremena i 0e3n/a .a break free- Blues music is a uni%ue American art form that went around the world and in turn influenced history- Blues /e gla.ba /edinstvena vrsta um/etnosti ameri0ki ko/i su i4li 4irom svi/eta i s druge strane pod ut/eca/em povi/est- 7ithout the blues there wouldn!t be /a.. wouldn!t be the bluesy music of the Rolling Stones and the Beatles- Be. blues ne bi se /a.. ne bi bio blues gla.bu Rolling Stonesa i BeatlesaBendin! of notes Sa)i'an'e ,il'e6(e In his book 'Black Music of #wo 7orlds ' author Cohn Storm Roberts says he can hear patterns of Islamic African music in the songs of Billie *oliday- > svo/o/ kn/i.i '#he Black Music of #wo 7orlds' autor Ivan Storm Roberts ka3e on mo3e 0uti u.orcima islamske afri0ke gla.be u p/esmama i Billie *oliday- Roberts refers to the 'bending of notes' that is evident in *oliday!s sad soulful ballads as well as the call to prayer- Roberts se odnosi na 'savi/an/e nota' ko/a se o0itu/e u *oliday /e tu3no du4evan balade kao i po.iv na molitvu- #his same note6bending can be heard in the music of BB ;ing and Cohn (ee *ooker- #a ista napomena6savi/an/e mo3e se 0uti u gla.bi BB ;ing i Cohn (ee *ooker- Blues music with its thriving tempos and many lyrical references to relationships has often been described as 'the devil!s music' by those on the outside looking in- Gven many devout Muslims think of blues music as decadent and indicative of permissive 7estern morals- Blues gla.bu sa svo/im usp/e4an tempo i mnogim lirski reference odnosa 0esto se opisu/e kao 'vrag /e gla.ba' od onih na van/ske looking in Pak i mnogi v/ernici misle o blues gla.be kao dekadentno i indikativno dopustivo .apadnog morala:eople like Diouf ;ubik and Moustafa Bayoumi an associate professor of Gnglish at Brooklyn )ollege )ity >niversity of <ew =ork who has researched Islam!s connection to American music are trying to correct the public record- (/udi kao 4to /e Diouf ;ubik i Moustafa Bayoumi i.vanredni profesor engleskog na Brooklyn )ollegeu )ity >niversity of <ew =ork ko/i /e istra3ivao islama ve.e na ameri0ki gla.be poku4ava/u ispraviti /avnosti rekord- Bayoumi wrote a paper two years ago that e5amined African Muslim history in the >nited States in which he argues that Cohn )oltrane!s best6known album 'A (ove Supreme ' features )oltrane saying 'Allah Supreme' in addition to the many refrains of 'A (ove Supreme-' Bayoumi napisao 0lanak pri/e dvi/e godine da /e ispitao afri0ki muslimanske povi/esti u S/edin/enim Dr3avama u ko/o/ on tvrdi da /e Cohn )oltrane na/po.nati/ih albuma '(ove Supreme' i.gled )oltrane govore2i" 'Allah 9rhovni' u. mnogo se odri0e od ' (ove Supreme ''It!s about uncovering a hidden past ' says Bayoumi asked about the spate of new scholarship on the sub/ect of Islam and African Americans- '#o /e oko otkrivan/a skrivene pro4losti' ka3e Bayoumi pitali o bu/ica novih stipendi/a na temu islama i afri0kih Amerikanaca- '=ou can hear $influences of Islam& in even the earliest days of American blues music- 7hat you!ve gotten lately is an ethnomusicology that!s trying to reconstruct that- #hese are deliberate attempts to rebuild a bridge as it were-' 'Mo3ete 0uti $ut/eca/i islama& u /o4 od na/rani/ih dana ameri0ki blues gla.be- Jto ste ste0en u posl/edn/e vri/eme /e etnomu.ikologi/e ko/i poku4ava rekonstruirati ta/- #o su nam/erno nasto/i obnoviti most kao 4to su bili-' G6mail Conathan )uriel at /curielQsfchronicle-com- G6mail" Conathan )uriel na /curielQsfchronicle-com-