As interest in the spirituals waxed and waned, a pattern appeared to be emerging. The spirituals seemed in some ways to suffer multiple “deaths,” only to re-emerge during periods of crisis -- both in the African American community and the culture at large -- to serve important purposes of uplift, inspiration and motivation to persist in the face of difficult obstacles. During World War II, for example, the spirituals experienced another period of resurgence in both the proliferation of Black “gospel” quartets (who sang many spirituals) and in the radio performances of spirituals by the Wings Over Jordan Choir. And in an interesting kind of irony, President Roosevelt’s radio “fireside chats” were frequently followed by the playing of spirituals.

In the years following World War II, as African Americans grew increasingly impatient with their continued exclusion from the fruits of American freedom and democracy, it made sense that the spirituals would experience another resurgence. In 1958, in the wake of his many confrontations with the forces of McCarthyism, the great American actor-singer-activist Paul Robeson wrote in his book Here I Stand about the spirituals as embodying a “a great force that must be unleashed in the struggles of today.” And in 1960, choreographer Alvin Ailey created “Revelations,” a celebration of the spirituals which eventually became his signature piece.