fluence adjustment to the camp situation.

There are also grounds to believe that different value systems influenced
the way in which contrasting cultures adjusted to slavery. While the
African made the adjustment successfully, the American Indian, when he
was enslaved, did not. The African's agricultural labor had contained
many similarities to the work required on the plantation, but the Indian,
accustomed to a migratory hunting existence, was totally unprepared for
plantation slavery. He found nothing in it to sustain his values or his
will to live, and he was unable to make the adjustment.

If the African's agricultural background helped his adaptation to
American slavery, then we must assume that his detachment from his
heritage was not complete. Perhaps, besides influencing his life as a
slave, his African background may have found its way into other aspects
of American society. However, it would seem that because the African came
to believe in his own inferiority, there must have been very little
conscious attempt to keep his culture alive. Certainly, the recent Black
Power movement, which intended to revive pride in race and in the past,
bears eloquent testimony to the degree to which any conscious link with
the African past had been suppressed. Nevertheless, mental and emotional
habit can continue without any conscious intention, and habits of this
kind are important for the formation of personality, Moreover, it is
possible that the image of "Sambo" as an exasperating child may tell as
much about the mentality of the white master who perpetuated the picture
as it does about the slave whom it depicted. Perhaps the picture of the
childlike slave is also a reverse image of the sober, patronizing white
master whose life was rooted in austerity. To such a man spontaneity and
exuberance might well have seemed infantile.

The life of a slave did not give him much opportunity to create artifacts
which could later be catalogued as evidence of African influence.
However, he did create a unique music. While Negro spirituals were not
imported directly from Africa, they were more than an attempt to copy the
master's music. They represent highly complex fusion of African and
European music, of African and European religion, and of African and
European emotion. Blues and jazz, which emerged at a later date,
represent a similar creative tension. They clearly evolve from the
experience of the African in America and includ