Abstract
This thesis considers the role that gospel music played in the culture of early to mid-twentieth century Chicago. In order to better understand why the popularity of gospel music increased dramatically in the first half of the century, this paper looks at a number of Thomas Andrew Dorsey’s songs. Dorsey’s lyrics discussed life’s difficulties and acknowledged pain and suffering, while at the same time offering hope for a better future through God. By understanding the social conditions of Chicago at this time, it becomes clear why these themes were appealing to Chicagoans of all backgrounds. In addition to impacting individuals’ lives, gospel also affected Chicago’s culture by uniting disparate groups by fostering compassion and negotiating racial tension through its performance at outdoor music festivals. The widespread appeal of these songs also worked to humanize the suffering and hope of African Americans. By relating to these songs, people of all backgrounds were also relating to the experience of African Americans, which fostered a compassionate understanding among whites and blacks. Furthermore, performances of gospel music at festivals brought migrants, old settlers, and whites together, literally and figuratively, by opening the events to people of all races and by emphasizing the similarities of attendees’ American and Protestant identities. Catherine Bell’s theory of ritual in her work Ritual Theory, Ritual Practice also helps make sense of how these festivals united Chicagoans by explaining how the performance of gospel music allowed people of various backgrounds to become involved in the formation of a new, more interracial Chicago culture.
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