How one Southern church forges unity through voice
The centuries-old tradition of Sacred Harp, a form of choral singing in which anyone can participate, draws people to a spare church in rural Alabama once a year.
from the May 28, 2008 edition
Page 2 of 3
Singers face one another in straight-backed wooden chairs forming a hollow square – men on one side, women on the other – altos, basses, tenors, and trebles holding songbooks they no longer need to read.
The music is entrenched, etched into memory by childhood Sundays that seemed too long – itchy, starched dresses and pinching patent leather shoes, choking ties and hair slicked down with mothers' spit.
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"Fa so la," Arthur Gilmore begins, his deep voice providing the pitch to guide the singers. From his position in the center of the square, he gets an experience unique to the leader – a wall of sound buffeting from four directions in quadraphonic stereo. There'll be no sermon today. Never is. The songs themselves are lessons for the followers, but religion is left on the doorstep, as are politics.
The purpose is the music, and its unique sound attracts people from all walks of life, from Buddhists to Jews. Sacred Harp singing is participation more than performance, open to anyone who wishes to enjoy it, out of spirituality, curiosity, or a love for music.
Dr. Eric Eliason, a music professor at Brigham Young University in Provo, Utah, is one who has come to participate in the once-a-year event at Liberty Grove. He says he's taught Sacred Harp for years, but just began singing five months ago when he discovered a group meeting weekly 10 minutes from his house.
"I thought it was a Southern thing," Mr. Eliason says, filling his plate during the customary dinner on the grounds here, spread upon a long picnic table beneath the trees. For visitors like Eliason, the home-cooked meal, prepared over several days, is exotic. Sweet potato cobbler, fried okra, Coca-Cola ham, coconut cake, banana pudding. For others, it's everyday food, another day in the South.
Though some attribute the resurgence of Sacred Harp to its vignette in the movie "Cold Mountain," Eliason says it began rebounding in the 1970s thanks to singers like Bob Dylan, who spawned a renewed interest in folk music. Dr. Warren Steel, a professor of music at the University of Mississippi in Oxford, Miss., says technology has helped fuel the movement. Mr. Steel runs a website devoted to fasola and attends singings 30 weekends a year.
Today, both he and Eliason have been invited to lead. There's no pressure. If the singers falter, they begin again. Steel says singings still fulfill their original purpose – to gather communities together in a world where religion can be divisive and the arts are a commodity. "You can't buy this," Steel says. "You can't make money off it."
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