Historical archaeology has revealed many examples of the ways in which sacred spaces became

the corner stone of resilience for the African captives of North America as they were subjugated
to the ‘peculiar institution’ of slavery. Likewise, the deliberate placement of sacred, secret and
symbolic objects in spatial contexts, for the purpose of evocation, protection and direction, are
an inherent aspect of HipHop cosmology. From the hidden sub-floor deposits of plantation life,
to the inner ciphers of dance, to the prayer circles of testifiers, I will draw on examples from my
ethnographic work (conducted in archaeological and other contexts) to explore how the African
worldview is relived in, and power is attributed to, the spiritual objects and artifact contexts that
are unearthed by archaeology and manifested in contemporary HipHop.

HipHop is present day African American culture, thus I will continue to inject the terminology in
lieu of the latter, because African people have invoked the meaning of Kujichagulia (Self-
Determination) and have for the last 30 years or so stating that, “We are HipHop!” This is how
we identify ourselves in the Americas, just as other Africans throughout the diaspora refer to
themselves as Ibo, Akan, Zulu, Hausa, and Rastafarians and so on.

The dynamics of performance and evoking spirit in a spatial context exceeds the mundane of the
public or spiritual arenas but rather migrate between both worlds, enabling the participants to
experience transcendental experiences between the two realms. How can the people of HipHop
(African American culture) and outside the community understand that what exists today are not
just remnants, retentions or “Africanisms” of the past, but rather a cultivated and continuation of
a Pre-Colonial African culture that is still prevalent in the now.

HipHop culture is a system of accumulative knowledge, shared experiences, beliefs, rituals,

customs, practices, art, acculturation and new creations rooted in Pre-Colonial African
cosmogony; it is a process which gives people a general design for living and patterns for
interpreting their reality. The manifestations of culture consists of behaviors, values and attitudes
and are expressed and recreated with freestyle and rhythm through Emceein’, Breakin’,
Deejayin’ and Graffiti. The culture is accompanied by an attitude of rebellion, kujichagulia (self-
determination) interdependence and entrepreneurialism. HipHop perpetuates its cosmological
view into the world through art, science, religion, spirituality, philosophy, education and politics.

Captured and enslaved Africans had to rely on the cosmological commonalities they shared
instantly in efforts to establish communicative forms across linguistic barriers. Fortunately for
these ancestors, the 13th, 14th and 15th century systems of migrations, trade and commerce
established a Pre-Colonial multi-cultural environment. This African multiculturalism would
become a powerful rallying point for an emerging cultural unity that would become more
fortified throughout the Middle Passage, slavery and the Maafa as a whole. Archaeologists and
historians have uncovered an increasing amount of evidence to suggest the various ways
Africans and their descendants carved out social spaces in the New World, where they continued
the observances and expressions of core value systems, beliefs and practices. Although not being
able to express themselves’ overtly, the integrity of the collective cosmologies was maintained.
The covert operations, yield a watered down understanding of the originally intents of the
ancestor, yet they remained and transformed those expressions into vibrant and vital exercises of
cultural traditions that led to further developments and changes of those customs, motifs and
beliefs over time. (Fennell, 2007)
Over and over you can be sure
There will be sorrow but you will endure
Where there's a flower there's the sun and the rain
Oh and it's wonderful there both one in the same
Joy and pain are like sunshine and rain

– Frankie Beverly & Maze “Joy & Pain”

So the question is, what happens to this cosmological perspective when the people are entrapped,
injured, abused, rape and exploited by an oppressive materialistic regime. Just because the
people lost their freedom, did they lose their integrity as well? Does their world view become
distorted and clouded by the dominating culture to a point where they are no longer recognized
as Africans. Or is it possible that a legacy of powerful spiritual conceptions gives them the
ability to revitalize themselves in spite of great suffering and imminent devastation? (Ani, 2004)

African Cosmology

If you can see if you can solve the mystery

The answer revolves around your history
 So carefully I drop this degree
Scientifically and realistically (Who is God?)
– Rakim “The Mystery”

The development of African cosmological views are the results of millions of years of
formulation which was spent battling the calamities and hazards of nature on one hand, and the
military and cultural imperialisms of human invaders from other geographic areas outside the
continent on the other. (Nyang, 1990) African culture is tenacious and will find any number of
ways to maintain itself; the millions of years of development have created a strong base of
fortification. Thus it is resilient and morphs under certain pressures only to morph into its
original form. This paradoxical dynamic of culture helps to explain the phenomenon of African
culture throughout the diaspora. (Ani, 2004)

The essence of the worldview is depth and multi-dimensional, incorporating that all is a part of
the whole and the whole is comprised of all. The interdependence of all beings in a cyclical
motion of unborn-life-death-ancestry, accounts for a cosmological view that is a pervasive
elements of all the various societies on the African continent and abroad. The relations between
the cosmic forces of the universe, particularly the sun moon and stars are mirrored through
rituals, ceremonies and symbols. The valued attributes of life and death are entwined with divine
motions of celestial bodies and are expressed in esoteric symbolisms. Even today, Africans old
and young will often reaffirm the affirmation of “What goes around, comes around”, illustrating
their understanding and incorporation of cosmology in their daily life-ways.

This rich symbolic system requires each person to go inside themselves for the inner meaning.
As these truths are gained, they are consumed like food; they provide nourishment for the soul,
and a guide for placing the interpreter in greater harmony with the universe. (T’Shaka, 1995) An
African person cannot detach themselves from the spirituality of the group, to be without this
connection amounts to self excommunication from the entire life of society. African people do
not know how to exist without such a spiritual connection to one another. To be human is to
belong to the whole community. And to do so involves participating in the beliefs, ceremonies,
rituals and festivals of that community. (Mbiti, 1999)
Symbols are often created to be long-lasting expressions of points of view, in the context of this
study; symbols are the oral and written expressions of cosmology. As Oba T’Shaka stated earlier,
they are designed for the person viewing them to search for inner truths and to arrive at a
conclusion without going through a thinking process. For many people who choose not to
question the fact of why they do what they do, when asked their only response may be, “That’s
the way it’s always been.” or “That’s the way my grandmother and her mother did it, so that is
why I do it.” Sometimes forms endure while the meanings once associated with them shift, in
other instances, meanings persist and the shapes evolve. Knowledge of ideas and techniques for
creating arts are not necessarily verbalized, written down, or expressly transmitted within a
family, nor are all levels of meaning always known to everyone in a community (Tobin and
Dobard, p. 7-8)

Being that certain symbols such as crossroads and cosomograms are intrinsic ideas and motifs in
the minds and hearts of HipHop, it is only fitting that we explore the simplicities and
complexities of these symbols to arrive at an understanding of the usefulness in creating sacred
spaces for the evocation of spiritual realities. The most import aspects of both crossroads and
cosmograms are the motivations of the people who are at the center of it all and the actions,
rituals and ceremonies that occur in this sense of time and space. So now, let’s take a closer look
at the symbols in both the archaeological and ethnographic contexts, to see how this all comes
together to understanding the utility and attributed power of HipHop conception and
actualization of sacred spaces.

Crossroads: The Brick Streets of Freedmans Town to the Corner Scene

The brick streets of Freedmans Town were laid in the early 1870’s with free and formerly
enslaved African hands, hands that were connected to accumulative cultural knowledge. This
connection enhanced the functionality of a transportation system, into a system for the spiritual
and unseen realities of African culture. For Africans just out of slavery, Freedmans Town
Houston, Texas represented the epitome of hope, freedom and the possibility of prosperity. With
more liberties than their rural counterparts, these urbanized Africans were able to sustain an
independent economy and a community of educators, religious leaders and professionals. As a
densely established neighborhood in the wake of freedom, Freedmans Town was the place to be,
it was the crossroads for the intersecting lives of the enslaved and the free. Rutherford B.H. and
Paul Yates, sons of the Rev. Jack Yates, discuss the notoriety of Freedmans Town in their
biographical work, “The Life and Efforts Jack Yates”
Dating as far back as the mule car which was replaced by the electric car, on the San Felipe line which
curved at the corner, the residence of the late Jack Yates was looked upon as being a point from which to
direct visitors and strangers coming to the Fourth Ward. “Ride the San Felipe Car and ask the conductor to
let you off at Jack Yates’” was a familiar expression during that time. (Yates and Yates, p. 23)

A closer look at the harrowing bone patterning of the streets, suggest the combination of
intersections and crossroads are defining factors as to the interpretative meaning of the brick
streets in Freedmans Town. Understanding the brick streets involves accepting the Africanisms
of the architects and brick masons who built Freedmans Town. “The “turn in the path,” i.e., the
crossroads remains an indelible concept in the Kongo-Atlantic world, as the point of intersection
between the ancestors and the living.” (Thompson, p. 109) Freedmans Town grew, “becoming
one of the most colored sections of the city, for its size, and particularly the center of Houston’s
religious, social, and business life, this surely was not brought about just incidentally.” (Yates, p.
22) The interlocking crossing patterns at each intersection reflect deeper meanings of life and
culture. The intersection was the place in which people crossed paths throughout the day,
exchanged greetings and communicated.

Standing at the crossroads symbolically related to a greater

understanding of life and living as each person arrive at the
crossroads in some point in time and must make a definitive
decision about her life. The crossroads in the square are the
chief places for conducting rituals, meetings and performing
offerings to God. These spiritual crises are the most important
events in our spiritual development, they mark our spiritual growth. (Amen) Through gaining
knowledge, wisdom and understanding at the crossroads, truth is discovered, thus aiding the
person or community to acquire the direction sought by arriving willing or unwilling at this
junction in life. Thus the sacredness of the crossroads is in the ability to find direction through
truth by coming in contact with the vortex of the mundane and spiritual for the sole purpose of
person or communal growth of prosperity and joy. In contrast to the positivity of this statement,
it is also well understood that sometimes adverse or bad decisions are made at the crossroads,
and renders the participant(s) to suffering and pain. Still to this day, you can observe the people
of the community gathered at intersections in Freedmans Town at any time of day or night
hanging out on the corner.
The Crossroads Scene: as I was laying in the cut, standing at the corner waiting for the bus.
About four cars like I done had now encounters me as a pedestrian in the path. Then passing by
was a brotha I know; once recognized we building fo’ sho’ about how we gonna change the game
and make it happen, cause the world is amoral and now is the time to get the riches and the spoils.
By that time my bus had come, so
“I’ll check-ya latta, maybe tomorrow sometime we can finish tha rhyme. PEACE, Bro.”
“Peace to the GOD!” he responded and made tracks again along his path. -thaBFAP

The Science of Crossroads

Geometrically speaking a cross is the intersection of a horizontal and vertical line, creating four
adjacent 90° angles counter opposed to the 4 hypotenuses, thus forming a square. The composed
cross, is the convergence of all activity. The X and Y axis are only two of many dimensions, but
for the sake of the people, the third aspect of this intersection is the Z axis which intersects the
previous two, creating a 3D perspective that is essential to our understanding of the metaphysical
realities of these signs. The crossroads themselves are the symbolic meeting place for humans to
determine relations and guidance in terms of which direction to travel. A person can decide to go
in any of the four two-dimensional directions or take the third dimension to ascend or descend
along the Z axis.

Drawing patterns on the ground is clearly an African retention with little to no creolization
involved. Through the Caribbean and the southern United States, Africans were noticeably
engaged in drawing points on the ground, signifying the connection of two worlds. When
standing on these points drawn at the crossroad, a person’s direction in life was determined as
crucial and must be seriously contemplated. This practice of people meeting each other at the
crossroads can be witnessed when there appears to be a crowd, but actually it is a circle of
interdependent people engaged in a conversation, a game or a dance. Here in this sacred space is
where decisions are collectively decided and the fate of theNomad (Those Having Encountered
Numerous Oppositions Manifesting African Destiny) is ultimately determined.

Cosmograms: The Praise House to the Church House

From the present vantage point it may seem quite strange that initially, the colonists had no
desire whatsoever to Christianize the Africans they held captives as slaves. The souls and
salvation of African people were not a priority over slave labor in addition to the prevailing
thoughts of the day, were if Africans were Christians, they would be inclined to expect the same
freedoms as their European counterparts. After years of deliberations, debates and laws such as
the Slave Codes, colonists and planters decided the enslaved did required “A Detail of a Plan for
the Moral Improvement of Negroes on Plantations” as stated by Thomas S. Clay in 1833. Many
planters also felt concern, that if the African were not given an expressive outlet, rebellions were
imminent and feared the systematic destruction of the slavery. Juxtapose, it became an
advantageous to use religion as a means of installing obedience and pride in servitude and
maintaining the established order of slavery. After religious gatherings of enslaved Africans
became legal, between 1820 and Emancipation in 1865 the church was the only institution in
which Africans were permitted to exist for their own needs. Offering the only avenue for the
expressional activities of the race, the church answered many of the social and spiritual
necessities for Africans, unlike other groups whose circumstances had never before been
required to serve in such a manner. It was the place, a center at which friend looked forward to
meeting friend, contact with whom was denied by the rigorous demands of slavery. (Woodson,
1921) Before this time, the ceremonies only existed as invisible and covert operations, in which
people would secretly gather under the cover of darkness to express their spiritual devotions to
the God and the ancestors. As a response to such hooligan behaviors, plantation owners began to
establish the Praise House or utilized certain plantation structures for the purpose of gatherings.
Africans would be allowed to attend once a week, and in some areas twice a week, to gather for
religious and social reasons. The Praise House would thus become the predecessor of modern
churches, who still serve the community as not only a place of religious worship, but
socialization and political organization.
The excavation of the 1848-1887 enslaved African tenant community of the Levi Jordan
Plantation located in Brazoria County, Texas presented a wealth of information on the structural
design and activities that took place in the Praise House. The sub-floor deposits located in the
center of the Praise House on the Jordan plantation are comprised of a collection of coins, a
knife, a cross, ash deposits of the hearth planted in a four cardinal directions pattern, formulating
a cosmogram with the cross in the center. Thus the archaeological data clearly supports the
notion that the deposits recovered equate to the utility of symbolism beneath the floor of the
cabin. A collection of data recovered from the Frogmore Manor Plantation of St. Helena, South
Carolina presented similar patterns under the area conjurer Dr. Buzzard’s cabin.

Of importance here was the discovery of four sub-floor features centered on each of the four walls
of the cabin. Two of these deposits consisted of the intentional burial of articulated animals, one
storage pit, and the other a deposit of ash and burned shell and metal. These four deposits appear
to form a cosmogram below the floor of the cabin” (Brown, 107).

Once again, we can see the intentional placement of items to establish these hidden cosmograms,
yet they must have served a greater purpose above the floors they were shield by, the activities
that take place on and within these “points drawn” on the ground transports us into the
ethnography of the Praise House that would later evolve into some of the practices and motions
that can be identified in the HipHop community today.

Over the past two years, I have been attending to 1st Central Baptist Church located on Staten
Island, NY. I have witnessed the drama of life and death take place in the center of the sanctuary;
from events like my own wedding, the Christening of babies, to the funeral of a dear friend of
mine and weekly prayers circles of testimonies and revitalization. All of these events take place
in the center of the church and all share the same sacredness in respects to Spirit of God and the
congregation. One day when group pictures were being
taken, I stood in the balcony overlooking the sanctuary and
was able to see the floor plan as a set of concentric circles,
with the pulpit being at the apex of it all. I also noticed that
the cross behind the centerpiece Bible had a circle in the
center, and the cloth that hangs over the pastor’s podium has
a cross with pointed ends going through a crown (another circular object). In the midst of all of
this is where the congregation is seated in the southern most region, the mothers and elder
women sit on the eastern side, the elder men and band is on the western side and the choir is
seated behind the ministers, who are in a half circles themselves, seated behind the ordained
minister of the church at the center of it all standing on the apex of the concentric circles. I have
seen the same format with some variations in all of the Baptist churches I attended in different
parts of the United States and noted that these patterns are not necessarily found to be in
Caucasian churches, unless they are Baptist.

The Science of Cosmograms

The cosmogram is comprised of the crossroads as the center piece,
but also has a dynamic of counter-clockwise motion component,
as seen in this example. Like a low pressure convergence in the
formation of weather conditions; the counter-clockwise motion from a low center of air pressure,
forces the air to move upward into the atmosphere. Another way to look at the counter-clockwise
motion is the notion of wavelengths in physics and sound waves, the counter-clockwise motion
propels the energy forward or upward. The cosmogram is not
merely a symbol; it is believed to mediate power between the
spiritual world of the ancestors and the world of the living.
(Bellegarde-Smith) Some Africans studied in the diaspora
remember the precise Ki Kongo terms for the cardinal points
emphasized by the drawing: Heaven (Nsulu) at the top, the land
of the Dead (nsi a fwa) below, and the Kalungu line dividing the
realm of the living, earth (ntoto, from the dead” (Holloway, p.155) Even everyday people are
believed to be able to invoke God and the ancestors by combining the cosmogram with song.
Marshall Stearns describes a ring shout he witnessed in the 1950’s

The dancers form a circle in the center of the floor, one in back of another, then they begin to
shuffle in a counter-clockwise direction around and around, arms out and shoulders hunched. A
fantastic rhythm is built up by the rest of the group standing back to the walls, who clap their
 hands and stomp the floor…. Suddenly sisters and brothers scream and spin, possessed by
religious hysteria. (46)

HipHop Crossroads and Cosmograms Conclusively

There is a thin line between the interpretations of the sacred and the mundane, often the line is so
blurred it can be confusing to both observers and participants, but these are only the dynamics of
the Z axis which transcends both worlds. This axis may account for members of the HipHop
community tapping into transcendental and possession-like properties, whether they are in the
center of the club dancing or the center of the church worshiping. “The Spirit” has the ability to
be “caught” and receive in just about any location or environment. Even in the worst
environments of drug and crime infested communities, the main corner or crossroad, where
everything goes down, the lives of the people can be determined by the decision that are made if
they are active participants in the activities that take place, from the block party, community
rally or the exchange of gang warfare.

In order for me to proceed on my quest to definitely define HipHop, modern African American
culture, I had to take the conversation out the clutches of artists, entertainers or the latest fads
and dance craves and moves to bring to light the structural components of culture. The
sacredness of HipHop lives in the family reunions, house parties, religious centers, community
events and political rallies, where we gather in circles at the crossroads and stand on
cosmograms to perform the rituals and ceremonies that maintain and propels our worldview. The
experiences of 4.5 million years of human cultural development and the intensity of the
“Peculiar Institution” slavery have formed a culture not solely based on retentions or totally new
cultural forms, but rather a revitalized and unwavering cosmological foundation. As the African
proverb states, “I am because, you are. You are because I am, therefore we are.” We are a circle
of interdependence. We are HipHop.
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