WELL OF SOULS

Though the banjo has a uniquely jaunty sound, underneath the bluegrass playfulness is an often painful history.

Gaddy traces the instrument’s origin to the rituals of enslaved Blacks in the American South, the Caribbean, and South America. Regardless of its exact form, the instrument played a crucial role in religious and ceremonial dances, and Gaddy tracks its early history through Suriname and Haiti. Some slave owners sought to suppress it, while others tolerated it. In fact, one of the first depictions of a banjo is in a painting of a spiritual dance performed by enslaved people on an 18th-century North Carolina plantation. The author shows how the arrival of Christianity among enslaved people was a setback for the banjo. “For hundreds of years, drums, fiddles, banjos, and wind instruments were part of religious dances,” she writes. “Now, as a result of conversion to Christianity, there were none. The banjo and Christianity didn’t seem to mix.” The next step in the evolution of the banjo came from an odd place: a White musician named Joel Sweeney (1810-1860), who was taught to play by an enslaved man. Sweeney did much to popularize the sound, as did the minstrel shows popular at the time. In the 1840s, William Boucher, an instrument maker, began constructing and selling banjos, defining the pattern of construction along the way. Eventually, the banjo would return to Black communities, but it would take several decades. Though Gaddy weaves an undeniably interesting tale, the focus often remains on the history of slavery rather than the banjo. While she demonstrates how the two are intertwined, there are long sections of the book that do not connect to the instrument’s story. This is not a fatal flaw, but rigorous editorial streamlining would have resulted in a more focused, coherent book. Grammy-winning musician Rhiannon Giddens provides the foreword.

A deep dive into the social history of the banjo.