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A Place to Worship: African American Camp Meetings in the Carolinas
on MUSE / Johns Hopkins
Black camp meetings are one of those American institutions that have survived precisely because they were never designed for an audience. Born in secrecy — the hush harbors where enslaved Africans worshiped beyond earshot of enslavers — they evolved after emancipation into formalized annual gatherings on purchased land, with purpose-built dwellings, shared meals, and weeklong worship. The St Paul camp ground in Dorchester County, South Carolina, has been running continuously since the 1870s, when four formerly enslaved men bought 113 acres and families began building structures they still use today. The architecture of these meetings tells you everything about their function. Dwellings — still called "tents" regardless of their concrete floors and electricity — are arranged in a circle around an open-air preaching structure. Families own and maintain individual units, passing them through generations. The layout is communal by design: you eat together, you worship together, you sleep in proximity. Deacon Herbert Gardner, secretary of St Paul's board of trustees, describes a place where the physical infrastructure has modernized (dirt floors to sawdust to concrete) while the social infrastructure has held steady. Maurice Wallace, an English professor at Rutgers and former North Carolina pastor, frames camp meetings as "practices of historical memories" — not nostalgia, but active community construction. His language is precise: "Black worldmaking that is spiritual and natural and familial and intergenerational." This is not a festival or a heritage tourism product. It is a living institution where people get married, mourn their dead, and feed each other alligator and candy yams in the same week. Minuette Floyd, an art education professor at the University of South Carolina, has spent more than 25 years documenting camp meetings with her camera after reconnecting with the tradition through her brother. Her photographs and videos have traveled from Charlotte's Museum of History to Martha's Vineyard Museum to the McKissick Museum. Her 2018 book, *A Place to Worship: African American Camp Meetings in the Carolinas*, captures both the history and her own personal thread through it. When her brother died last summer, she returned to Tucker's Grove in North Carolina without him, looked at old photos she'd taken of him there, and put her camera down — choosing to participate rather than document. That gesture — camera down, presence up — captures something essential about what these gatherings are and why they've lasted. They are not performances. They are not artifacts waiting to be preserved. They are functional social technology: a mechanism for maintaining kinship, transmitting memory, and renewing spiritual practice across generations, built on land that formerly enslaved people purchased and improved with their own hands. The fact that they continue largely unchanged in structure — while quietly upgrading from kerosene to electricity — is the point. The scholarly and curatorial attention is catching up. Wallace co-created a 2022 exhibit at Rutgers' Zimmerli Art Museum. Floyd's traveling exhibit received state and federal funding. But the meetings themselves predate and will outlast the academic interest. They are not waiting to be discovered. They have been doing the work of community maintenance for over 150 years, in the same circles, on the same land, with the same families cooking the same food — and new generations running around the same grounds.
Worth reading?
RECOMMENDED
Score
64
/100
Readers interested in Black American institutional history, Southern foodways, religious practice outside megachurch frameworks, or community-scale social architecture. Also for anyone who wants to understand what 'intergenerational' actually looks like in practice.
Cultural Placement
Like Zora Neale Hurston's ethnographic fieldwork crossed with the structural patience of a Robert Caro community study, but rendered as photo-driven Guardian feature journalism. The piece shares DNA with Imani Perry's *South to America* in its insistence that Black Southern institutions are not relics but active social infrastructure. It owes something to the storytelling approach of StoryCorps — centering individual voices within a communal frame — while its visual and archival instincts recall the documentary tradition of Dawoud Bey or Carrie Mae Weems. The journalism here is closer to cultural preservation than critique, and it knows the difference.
Honest assessment
This is a carefully reported feature that treats a 150-year-old Black institution with the seriousness it deserves — not as a curiosity or a heritage item, but as living social technology. It won't surprise you formally, and it doesn't push back against its own framing, but the material is rich enough to carry the piece. Best read as a primary document that will age well.
What Is NOVEL?
64
/ 100
BedrockNews applies a structured analytical framework called NOVEL to cultural works — games, books, film, music, and more.
How NOVEL worksNerve
2/5
Originality
3/5
Voice
3/5
Endurance
4/5
Lineage
4/5
What did the artist risk? What could have failed?
Low formal risk. The Guardian feature format is safe terrain, and the piece doesn't challenge its subjects or complicate its own framing. Competent and respectful, but nothing here could have collapsed.
Lineage tree
Zora Neale Hurston's fieldwork
direct ancestor — ethnographic documentation of Black Southern practice
Imani Perry, South to America
tonal influence — insistence on Southern Black institutions as living, not archival
Dawoud Bey photography
extends the form of — community portraiture as historical documentation
StoryCorps oral histories
structural influence — centering individual voices within communal frame
Verified Facts (10)
St Paul camp ground in Dorchester county has held annual camp meetings for more than 150 years
Four formerly enslaved men purchased 113 acres in the late 19th century
Started from meager beginnings on two acres of land in the 1870s
Hush harbors were religious gatherings held outside of the earshot of enslavers
Maurice Wallace is an English professor at Rutgers University–New Brunswick and co-creator of a 2022 exhibit at Rutgers University's Zimmerli art museum
Minuette Floyd is an art education professor at University of South Carolina
Floyd's 2018 book A Place to Worship: African American Camp Meetings in the Carolinas published via Johns Hopkins University Press
Deacon Herbert Gardner is secretary of the board of trustees for St Paul camp ground
Photographs displayed at Charlotte Museum of History, Martha's Vineyard Museum, and McKissick Museum
More than a thousand worshipers gathered at St Paul in mid-to-late October
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