By Sari Zeinnedine | Staff Writer

African American musicians in the American South during the early 20th century come to mind when we think of the Blues’ beginnings. We frequently overlook the fact that many of these performers were Muslims, and that their cultural and religious origins had a large impact on the development of the genre. Jonathan Curiel investigates the Muslim roots of the Blues and the ways that Islam shaped the growth of this iconic American genre in a recent article for the San Francisco Chronicle. Many prominent figures in the early Blues scene, including performers like Lead Belly, Big Bill Broonzy, and Robert Johnson, according to Curiel, were Muslims. Sylvian Diouf, a well-known historian of the African diaspora did a small exercise at Harvard to prove the prominent connection between this genre and the culture of the Muslim slaves brought to America from West Africa, from the 1600s to the mid-1800s. Sylviane Diouf will play two recordings—the Muslim call to prayer, a religious recitation heard in mosques all over the world, and “Levee Camp Holler,” an early form of Blues music that originated in the Mississippi Delta more than 100 years ago—in order to convince her skeptic audience that Islam and American Blues music are closely linked.

Unfortunately, mainstream music history frequently ignores the contributions of these Muslim musicians to the creation of the blues. This is a part of a bigger pattern that erases the contributions made by disadvantaged groups to America’s cultural landscape. For instance, a lot of people do not even know that the name “jazz” originated from the African American word “jass,” which itself is derived from the Arabic word “jaz,” which means “to dance.” We may progress toward a more inclusive and honest picture of American musical history by recognizing and lauding the Muslim roots of the Blues. 

Recognizing the Muslim origins of the Blues can also contribute to overcoming Islamophobia and advancing interreligious harmony. By emphasizing the Muslim origins of the Blues, as Curiel writes in his article, “We might contribute to countering the damaging preconceptions and narratives that frequently paint Muslims as foreign or incompatible with American culture.” We may embrace the diversity of American communities and debunk false narratives that aim to disconnect us by recognizing the diversity of American musical traditions. Several facets of the Blues genre exhibit Islamic influences. Islamic religious music, which frequently consists of a lead vocalist and a chorus that responds in unison, is where the call-and-response style, a defining characteristic of the Blues, has its origins. The Islamic maqam system, which stresses the fifth note in its melodies, is comparable to the pentatonic scale used in blues, which accentuates the fifth note of the scale.

An illustration from the use of instruments

The instruments that the slaves from the Muslim parts of Africa carried with them were also quite important. These slaves preferred stringed instruments because their white masters saw them as more acceptable, such as the banjo. This allowed slaves who managed to construct or acquire a banjo to play it more frequently in public. Due to this, a solo-focused slave music genre with Arabic-Islamic song-style components was able to develop. According to Gerhard Kubik, an ethnomusicology professor at the University of Mainz, this style was influenced by the centuries-long presence of Islam in West Africa. Slaves were able to preserve their cultural practices and communicate their experiences to a larger audience by adopting this style into their music. 

The banjo, which originated with African slaves, is an excellent illustration of how Muslim slaves influenced Blues music. The banjo was originally performed as a lute-like instrument in West Africa. The ngoni, a traditional West African instrument, and the banjo share a basic design. Slaves brought the banjo to the United States, where it swiftly gained popularity among black and white performers.

The banjo’s style of play clearly reflects the impact of Muslim slaves on the instrument’s development. Fretwork or clawhammer, which includes hitting the strings with the back of the fingernail or a small piece of wood, is a common way to play the banjo. This method is comparable to how the ngoni is played in West Africa, where a stick or a fingernail is frequently used.

The impact of Islam on the Blues, however, goes beyond only the music itself. Numerous Blues lyrics allude to the difficulties faced by African American Muslims during the Jim Crow era. Lead Belly sings about being refused service at a hotel due to his race in the song “Bourgeois Blues,” for instance: “Now, those white men in Washington, they know how / To call a colored guy a nigger just to see him bow.” Many of the themes and lyrics in the Blues are influenced by this experience of prejudice and racism, which many African American Muslims may identify with.

In closing, the Muslim origins of the Blues serve as a reminder of the ability of music to sever cultural barriers and forge a feeling of shared identity. Let’s take the time to acknowledge and commemorate the contributions made by Muslim musicians to this enduring American musical style as we continue to celebrate and enjoy the Blues. By doing this, we can advance social justice and interfaith understanding while creating a more complete and authentic depiction of American music history. We can fight back against false narratives that aim to divide us and endeavor to create a society where everyone is treated fairly and justly.