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Freedom in Congo Square
Chosen as a New York Times Best Illustrated Book of 2016, this poetic, nonfiction story about a little-known piece of African American history captures a human’s capacity to find hope and joy in difficult circumstances and demonstrates how New Orleans' Congo Square was truly freedom’s heart.
Mondays, there were hogs to slop,
mules to train, and logs to chop.
Slavery was no ways fair.
Six more days to Congo Square.
As slaves relentlessly toiled in an unjust system in 19th century Louisiana, they all counted down the days until Sunday, when at least for half a day they were briefly able to congregate in Congo Square in New Orleans. Here they were free to set up an open market, sing, dance, and play music. They were free to forget their cares, their struggles, and their oppression. This story chronicles slaves' duties each day, from chopping logs on Mondays to baking bread on Wednesdays to plucking hens on Saturday, and builds to the freedom of Sundays and the special experience of an afternoon spent in Congo Square. This book will have a forward from Freddi Williams Evans (freddievans.com), a historian and Congo Square expert, as well as a glossary of terms with pronunciations and definitions.
AWARDS:
A Kirkus Reviews Best Book of 2016
A School Library Journal Best Book of 2016: Nonfiction
Starred reviews from School Library Journal, Booklist, Kirkus Reviews, and The Horn Book Magazine
Mondays, there were hogs to slop,
mules to train, and logs to chop.
Slavery was no ways fair.
Six more days to Congo Square.
As slaves relentlessly toiled in an unjust system in 19th century Louisiana, they all counted down the days until Sunday, when at least for half a day they were briefly able to congregate in Congo Square in New Orleans. Here they were free to set up an open market, sing, dance, and play music. They were free to forget their cares, their struggles, and their oppression. This story chronicles slaves' duties each day, from chopping logs on Mondays to baking bread on Wednesdays to plucking hens on Saturday, and builds to the freedom of Sundays and the special experience of an afternoon spent in Congo Square. This book will have a forward from Freddi Williams Evans (freddievans.com), a historian and Congo Square expert, as well as a glossary of terms with pronunciations and definitions.
AWARDS:
A Kirkus Reviews Best Book of 2016
A School Library Journal Best Book of 2016: Nonfiction
Starred reviews from School Library Journal, Booklist, Kirkus Reviews, and The Horn Book Magazine
34 pages, Hardcover
First published January 5, 2016
About the author
Carole Boston Weatherford
89 books371 followersCarole Boston Weatherford is a children's book author and poet who mines the past for family stories, traditions, and struggles. A number of CAROLE's books tell the stories of African-American historical figures such as Harriet Tubman, Jesse Owens, and Billie Holiday. Other books recount historical events such as the Greensboro Sit-ins and the bombing of the Sixteenth Street Baptist Church in Birmingham. CAROLE's books have received a wide variety of awards, including a Caldecott Honour for “Moses: When Harriet Tubman Led Her People To Freedom”.
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Displaying 1 - 30 of 666 reviews
March 7, 2017
Freedom in Congo Square is a very colorful, rhyming children's book about slaves in Louisiana. They're enduring all the hard work of the week and counting down the days to Sunday, when they can be free for a time to celebrate at Congo Square.
We especially enjoyed the colorful illustrations in the book, mostly the pictures of them singing, dancing, and celebrating as they relish their culture and keep it alive.
I found the forward in the front of the book very interesting and eye-opening. The author brings the history to life. This highly educational book for children would be wonderful in the classroom or home library. Apparently, it's an educational story that would benefit adults too, because I'd never heard this story until picking up the book.
This is a Caldecott honorable mention in 2017. To see award information please visit our blog at www.twogalsandabook.com
5*****
We especially enjoyed the colorful illustrations in the book, mostly the pictures of them singing, dancing, and celebrating as they relish their culture and keep it alive.
I found the forward in the front of the book very interesting and eye-opening. The author brings the history to life. This highly educational book for children would be wonderful in the classroom or home library. Apparently, it's an educational story that would benefit adults too, because I'd never heard this story until picking up the book.
This is a Caldecott honorable mention in 2017. To see award information please visit our blog at www.twogalsandabook.com
5*****
June 26, 2018
What a book experience. You can feel the rhythm pulse in this book, you can feel the heat and the oppression pound down, down, and then on Sunday's, you can feel the release and the moments of freedom.
The art work is a wonder in this story. I love the artwork and it's simplicity. It conveys energy and feeling and a sense of music. It makes the story.
This is about the birthplace of Jazz, of cultures preserving their heritage and half a day that slaves can feel alive again and their own. They dance and sing. Congo square is now a historical landmark in the Louis Armstrong park in New Orleans where all this took place. It has a long history.
The kids enjoyed this book. It's an easy story to get into.
The art work is a wonder in this story. I love the artwork and it's simplicity. It conveys energy and feeling and a sense of music. It makes the story.
This is about the birthplace of Jazz, of cultures preserving their heritage and half a day that slaves can feel alive again and their own. They dance and sing. Congo square is now a historical landmark in the Louis Armstrong park in New Orleans where all this took place. It has a long history.
The kids enjoyed this book. It's an easy story to get into.
May 4, 2016
EVERYONE, PAY ATTENTION. THIS IS HOW YOU WRITE A BOOK THAT CELEBRATES SMALL JOYS IN THE LIVES OF SLAVES.
In rhythmic, rhyming text Carole Boston Weatherford takes the reader through a week in the lives of slaves, touching on different work slaves did while counting down to Sunday when they would be allowed an afternoon off. Congo Square in New Orleans was the place where slaves could gather, socialize and make music together on Sundays when the law declared that everyone was free from work. A forward and an author's note give additional information about Congo Square and the laws of the time.
This is a book that celebrates the exuberant joy slaves took in their Sundays at Congo Square without lessening the burden that slaves were faced with.
Highly recommended.
In rhythmic, rhyming text Carole Boston Weatherford takes the reader through a week in the lives of slaves, touching on different work slaves did while counting down to Sunday when they would be allowed an afternoon off. Congo Square in New Orleans was the place where slaves could gather, socialize and make music together on Sundays when the law declared that everyone was free from work. A forward and an author's note give additional information about Congo Square and the laws of the time.
This is a book that celebrates the exuberant joy slaves took in their Sundays at Congo Square without lessening the burden that slaves were faced with.
Highly recommended.
April 21, 2022
So yes, while Carole Boston Weatherford's lyrical text certainly does present and depict the work-heavy day and night toiling life of slavery in historic New Orleans, well, when I am reading the verses presented in and by Freedom in Congo Square, I for one do not think that the author's words really all that much specifically show the true horrors of African American slavery (as I have read similar such descriptions and accounts with regard to Mediaeval Feudalism, European and North American child labour etc.). Sure, Weatherford's poetry, it does most definitely point out that African American slavery was indeed a life of intense struggle and backbreaking labour and that the sting of the owner's or the plantation's manager's lash was a constant, never-ending fear and threat (and that the slaves were thus always looking forward to and yearning for Sunday, for their few hours of "freedom" in Congo Square). But I personally do wish that there had been a bit more specifically African American slavery issues and scenarios portrayed in Freedom in Congo Square, since at least for me, while Carole Boston Weatherford’s poetry is expressive, descriptive and also informative, her verses are also and nevertheless pretty well generic and standard with regard to indentured servitude in general (and on a global scale).
And as to R. Gregory Christie's accompanying illustrations for Freedom in Congo Square, while I would from a personal aesthetics point of view not really consider them in any way as personal favourites (for while I do love the colours used and the landscape depictions, the human figures are a bit too stylised for my tastes, with especially their arms and legs often seeming too long and stick-like). But that being all said, the illustrator's pictorial renderings do work very very well with Carole Boston Weatherford's lyricism, both complementing and often even expanding on her printed words, on the poetic musings featured (and thus, I can and do indeed much appreciate the Caldecott Honour designation for Freedom in Congo Square, although I would not really all that much enjoy R. Gregory Christie's illustrations as art in and of itself).
Now for me and on an academic (intellectual) level, my favourite parts of Freedom in Congo Square have of course been and are Freddi Williams Evans' foreword (as he is not only a historian but also seemingly a Congo Square expert, and that appreciatively, a link to his personal website has also been included in Freedom in Congo Square) and the back materials (a wonderful glossary and the author's note, although I do have to admit that I am more than a bit annoyed that Carole Boston Weatherford has not also included a list of books or websites for further study and research, for although I do appreciate that Freddi Williams Evans' personal website has been included in his foreword, I fail to understand and fathom why the author, why Carole Boston Weatherford’s then could not have equally added a few books, websites etc. to peruse for further study and information in her own otherwise excellent concluding notes for Freedom in Congo Square).
And as to R. Gregory Christie's accompanying illustrations for Freedom in Congo Square, while I would from a personal aesthetics point of view not really consider them in any way as personal favourites (for while I do love the colours used and the landscape depictions, the human figures are a bit too stylised for my tastes, with especially their arms and legs often seeming too long and stick-like). But that being all said, the illustrator's pictorial renderings do work very very well with Carole Boston Weatherford's lyricism, both complementing and often even expanding on her printed words, on the poetic musings featured (and thus, I can and do indeed much appreciate the Caldecott Honour designation for Freedom in Congo Square, although I would not really all that much enjoy R. Gregory Christie's illustrations as art in and of itself).
Now for me and on an academic (intellectual) level, my favourite parts of Freedom in Congo Square have of course been and are Freddi Williams Evans' foreword (as he is not only a historian but also seemingly a Congo Square expert, and that appreciatively, a link to his personal website has also been included in Freedom in Congo Square) and the back materials (a wonderful glossary and the author's note, although I do have to admit that I am more than a bit annoyed that Carole Boston Weatherford has not also included a list of books or websites for further study and research, for although I do appreciate that Freddi Williams Evans' personal website has been included in his foreword, I fail to understand and fathom why the author, why Carole Boston Weatherford’s then could not have equally added a few books, websites etc. to peruse for further study and information in her own otherwise excellent concluding notes for Freedom in Congo Square).
May 25, 2016
This story is written in couplets and as a read aloud it carries its own beat while presenting the oppression of slavery and the freedom of blacks gathering at Congo Square in New Orleans to share their music and culture. One afternoon a week, slaves had the afternoon off and they danced and played music expressing themselves and creating Jazz music.
The folk style illustrations are two dimensional on the pages showing slaves' oppressive life. The flat drawing of the slaves sleeping in rows on top of each other on the plantation has students commenting on the odd, cramped look. However, the pages filled with slaves dancing and making music in Congo Square shows elongated bodies that are dynamic, joyful, and full of energy. It was truly the only time slaves felt free. An excellent book for discussions with older students.
The folk style illustrations are two dimensional on the pages showing slaves' oppressive life. The flat drawing of the slaves sleeping in rows on top of each other on the plantation has students commenting on the odd, cramped look. However, the pages filled with slaves dancing and making music in Congo Square shows elongated bodies that are dynamic, joyful, and full of energy. It was truly the only time slaves felt free. An excellent book for discussions with older students.
February 14, 2016
Weatherford and Christie depict the days of the week for U.S. slaves and builds anticipation for Sunday, the one afternoon that slaves were allowed to commune. The artwork is unique and full of movement. The author includes a forward AND an Author's Note to elaborate on the relatively sparse--yet poetic--text. A well-written introduction to the inhumanity of slavery without being graphic and still celebrating the shared cultural get-together of one afternoon. A stellar success.
Reviewed by: Miss Kelsey, Youth Services, Vernon Area Public Library
Reviewed by: Miss Kelsey, Youth Services, Vernon Area Public Library
June 3, 2019
Wow! I've heard a lot about this picture book because it's won both the Caldecott Honor and the Coretta Scott King Honor. This goes beyond the usual confines of a picture book. It examines the one place that slaves and free blacks were able to spend time together in New Orleans. The artwork was not only dynamic, but told in such a captivating way that I learned a lot about the history of Congo Square. While I won't delve into the historical aspects of the book, I do recommend this as a book for both children and adults to check out to learn more about this enriching part of history.
February 6, 2016
I liked it, but there was something odd I just can't put my finger on. I really liked the explanations at the beginning and end of the book - the historical info was fascinating. The illustrations were beautiful, evocative of classic American folk art. Even the verses of the story were well done. But when it all came together, it was either too simple or too complex for one book (maybe because the poem is written at a level so far below the introduction and back matter?). At any rate, I still highly recommend it.
February 3, 2016
Superb illustrations by Christie and vivid rhyming couplets by Weatherford tell the true, little-known story of how Sunday was set aside for slaves in New Orleans to gather together and remember their African heritage. They were allowed to assemble in Congo Square, now a part of Louis Armstrong Park and on the National Register of Historic Places. Beautiful and evocative.
February 4, 2016
I've never been to New Orleans, and now I want to. This story invites me to see the history of Congo Square, and celebrate those slaves and non-slaves, after six days of hard work, who met and made music, met and danced, met and helped each other prepare for the next hard week. Congo Square is located in Louis Armstrong Park, is now on the National Register of Historic Places and according to the foreword by Freddi Williams Evans, a Congo Square expert, we are all invited!
The story told about this important place shares that in Louisiana, it was the law that everyone, including slaves, had to rest on Sunday.
Weatherford tells the tale in couplets, and page by beautiful page, we see slaves working hard, making it through all their tasks, making it one day closer to Sunday, and Congo Square. For example: "Wednesdays, there were beds to make,/silver to shine, and bread to bake." There, among the dancing and music making, they also met those from the countries where they were captured. They spoke their original languages, and learned what was going on in the community from each other. It was a unique place because in other places, slaves were not allowed to play African music or speak in their native languages. Here they could, and did.
I loved R. Gregory Christie's art in The Book Itch, and love the art in this one two. It's hard for me to describe how he did the pages. It seems to be in a folk-art style, but what strikes me most is that each page shows such motion, and especially when you get to the Congo Square pages, the dancing and the music. Each day leading up to Sunday there is action, work, work, and more work. On Sunday, there is still movement, but the dancers fly and the musicians show feeling in their bodies as they play. The end papers appear to be of African design.
Carole Boston Weatherford writes a nice author's note at the back and adds a glossary.
The story told about this important place shares that in Louisiana, it was the law that everyone, including slaves, had to rest on Sunday.
Weatherford tells the tale in couplets, and page by beautiful page, we see slaves working hard, making it through all their tasks, making it one day closer to Sunday, and Congo Square. For example: "Wednesdays, there were beds to make,/silver to shine, and bread to bake." There, among the dancing and music making, they also met those from the countries where they were captured. They spoke their original languages, and learned what was going on in the community from each other. It was a unique place because in other places, slaves were not allowed to play African music or speak in their native languages. Here they could, and did.
I loved R. Gregory Christie's art in The Book Itch, and love the art in this one two. It's hard for me to describe how he did the pages. It seems to be in a folk-art style, but what strikes me most is that each page shows such motion, and especially when you get to the Congo Square pages, the dancing and the music. Each day leading up to Sunday there is action, work, work, and more work. On Sunday, there is still movement, but the dancers fly and the musicians show feeling in their bodies as they play. The end papers appear to be of African design.
Carole Boston Weatherford writes a nice author's note at the back and adds a glossary.
March 10, 2017
They rejoiced as if they had no cares;
half day, half free in Congo Square.
Things to remember:
-Thought provoking "half free..."
-informative
-end pages: African pattern
half day, half free in Congo Square.
Things to remember:
-Thought provoking "half free..."
-informative
-end pages: African pattern
February 18, 2017
Located at the Louis Armstrong Park in New Orleans, rich in history, this is a story of Congo Square, in slave time, this was a place of luxury, a place and time where the slave can let the music take him o r her wherever they dreamed. In Congo Park one could be free from rank and cruelty.
Unique in concept, the black slave could have one day off, and that day was Sunday. But, sadly as time went on, there was only one place where the black slave on New Orleans could congregate, and that place was Congo Square.
Today, as then, musc occurs, and the spirit is lead to a feeling of freedom, away from everyday grind, and as the music flows the spirit is soon to follow. In New Orleans, after 1817, slaves could only gather in one place on their one day a week, and that place was in an open field known as Congo Square. There, the slaves could play African music, dance, play, and sing.
Each day was as grueling as the next, but the spirit of ancestry and comradery helped to make the other six days somewhat bearable.
Freedom in Congo Square is indeed worthy of all the many awards of recognition, including the following:
2017 Caldecott Honor
2017 Coretta Scott King Honor
2017 Charlotte Zolotow Award
A 2016 New York Times Best Illustrated Book
Unique in concept, the black slave could have one day off, and that day was Sunday. But, sadly as time went on, there was only one place where the black slave on New Orleans could congregate, and that place was Congo Square.
Today, as then, musc occurs, and the spirit is lead to a feeling of freedom, away from everyday grind, and as the music flows the spirit is soon to follow. In New Orleans, after 1817, slaves could only gather in one place on their one day a week, and that place was in an open field known as Congo Square. There, the slaves could play African music, dance, play, and sing.
Each day was as grueling as the next, but the spirit of ancestry and comradery helped to make the other six days somewhat bearable.
Freedom in Congo Square is indeed worthy of all the many awards of recognition, including the following:
2017 Caldecott Honor
2017 Coretta Scott King Honor
2017 Charlotte Zolotow Award
A 2016 New York Times Best Illustrated Book
July 20, 2017
Age: Kindergarten-2nd grade
History: Slavery
Weatherford and Christie depict the days of the week for slaves and builds anticipation for Sunday, the one afternoon that slaves were allowed to commune. The artwork was unique and full of movement without being frightening. (Lately, I have seen so much unusual picture book artwork that is nightmare-inducing, so I'm glad to see that it can be done.) The author includes a forward AND an Author's Note to elaborate on the relatively sparse--yet poetic--text. A well-written introduction to the inhumanity of slavery without being graphic and still celebrating the shared cultural get-together of one afternoon.
History: Slavery
Weatherford and Christie depict the days of the week for slaves and builds anticipation for Sunday, the one afternoon that slaves were allowed to commune. The artwork was unique and full of movement without being frightening. (Lately, I have seen so much unusual picture book artwork that is nightmare-inducing, so I'm glad to see that it can be done.) The author includes a forward AND an Author's Note to elaborate on the relatively sparse--yet poetic--text. A well-written introduction to the inhumanity of slavery without being graphic and still celebrating the shared cultural get-together of one afternoon.
June 18, 2016
In Louisiana, slaves had a day off from work on Sundays. In New Orleans, after 1817, they could only gather in one place on this day, an open field known as Congo Square. There, the slaves could play African music, dance, play, and sing. As the author says in an Afterword, “For a few hours every Sunday, Congo Square gave slaves a taste of freedom.”
The book begins with a Foreword by a historian about Congo Square (which is now located within Louis Armstrong Park in New Orleans).
Then the author uses rhyming couplets on double-page spreads to take us through the days of the week to show some of the work done by slaves, and how much they looked forward to Sundays. Midweek, for example:
“Wednesdays, there were beds to make,
silver to shine, and bread to bake.
The dreaded lash, too much to bear.
Four more days to Congo Square.”
Come Sunday, both the author and illustrator convey the joy of that one day:
“They rejoiced as if they had no cares;
half day, half free in Congo Square.
This piece of earth was a world apart.
Congo Square was freedom’s heart.”
The book ends with a glossary and an Author’s Note.
R. Gregory Christie is the perfect illustrator for a book that focuses so much on movement, whether showing the work done by slaves during the week, or dancing and singing on Sundays. He uses folk art-style paintings and a bright palette well-represented by Pan-African colors. His figures look more rigid and angled during the work week, but they stretch and leap and flow in Congo Square.
Both the author and the illustrator have garnered many awards.
Evaluation: This book has much to recommend it: the story will teach children some of the many things slaves were required to do. Moreover, the juxtaposition of the harshness of slavery with the joy expressed on (half)days of freedom certainly illustrates - both in words and pictures, how absurd was the outrageous canard that slaves were “happy.” Finally, the way Christie changes the lines and colors of his art can show children how important and effective images are in affecting perception.
The book begins with a Foreword by a historian about Congo Square (which is now located within Louis Armstrong Park in New Orleans).
Then the author uses rhyming couplets on double-page spreads to take us through the days of the week to show some of the work done by slaves, and how much they looked forward to Sundays. Midweek, for example:
“Wednesdays, there were beds to make,
silver to shine, and bread to bake.
The dreaded lash, too much to bear.
Four more days to Congo Square.”
Come Sunday, both the author and illustrator convey the joy of that one day:
“They rejoiced as if they had no cares;
half day, half free in Congo Square.
This piece of earth was a world apart.
Congo Square was freedom’s heart.”
The book ends with a glossary and an Author’s Note.
R. Gregory Christie is the perfect illustrator for a book that focuses so much on movement, whether showing the work done by slaves during the week, or dancing and singing on Sundays. He uses folk art-style paintings and a bright palette well-represented by Pan-African colors. His figures look more rigid and angled during the work week, but they stretch and leap and flow in Congo Square.
Both the author and the illustrator have garnered many awards.
Evaluation: This book has much to recommend it: the story will teach children some of the many things slaves were required to do. Moreover, the juxtaposition of the harshness of slavery with the joy expressed on (half)days of freedom certainly illustrates - both in words and pictures, how absurd was the outrageous canard that slaves were “happy.” Finally, the way Christie changes the lines and colors of his art can show children how important and effective images are in affecting perception.
January 31, 2019
First reviewed on Literaritea
These pictures amaze me more every time I read this book! (1/31/19)
This book came out early January and set the bar high for nonfiction picture books. While books about the slavery experience in the U.S. are nothing new, Freedom in Congo Square highlights a unique part of that history. A lengthy foreword by Congo Square historian Freddi Evans and a thorough author’s note at the end explain the historical and artistic significance of this public square in Louisiana for those who are unfamiliar with it. (The two notes are a bit repetitious, but both add extra details and are worth repeating.)
Congo Square was the place for freed African Americans and African American slaves to congregate on Sunday afternoons. Communication, music, dance, a marketplace and fellowship filled the square and drew plenty of people every Sunday afternoon.
Weatherford’s text is simply and rhythmic, in keeping with the musical importance of the square:
Tuesdays, there were cows to feed,/ fields to plow, and rows to seed./ A moment without work was rare./ Five more days to Congo Square.
Beginning with Monday and moving through the week, the text and illustrations look ahead to the coming Sunday. Christie’s illustrations are remarkable. Until Saturday night, the pictures are static, moments of hard work frozen in time. Nearly every character pictured is looking to the right, drawing the reader to keep turning the page just as the text looks ahead to the coming Sunday.
When Sunday comes, people and text burst forth in sudden movement. Characters dance, look every which way, and leap off the page. The spirit of Congo Square comes alive.
In addition to the aforementioned author’s note and foreword, end matter includes a glossary. This is a great title to have on hand for Louisiana state history, African American history, and jazz history. Recommended for K-3rd grade.
These pictures amaze me more every time I read this book! (1/31/19)
This book came out early January and set the bar high for nonfiction picture books. While books about the slavery experience in the U.S. are nothing new, Freedom in Congo Square highlights a unique part of that history. A lengthy foreword by Congo Square historian Freddi Evans and a thorough author’s note at the end explain the historical and artistic significance of this public square in Louisiana for those who are unfamiliar with it. (The two notes are a bit repetitious, but both add extra details and are worth repeating.)
Congo Square was the place for freed African Americans and African American slaves to congregate on Sunday afternoons. Communication, music, dance, a marketplace and fellowship filled the square and drew plenty of people every Sunday afternoon.
Weatherford’s text is simply and rhythmic, in keeping with the musical importance of the square:
Tuesdays, there were cows to feed,/ fields to plow, and rows to seed./ A moment without work was rare./ Five more days to Congo Square.
Beginning with Monday and moving through the week, the text and illustrations look ahead to the coming Sunday. Christie’s illustrations are remarkable. Until Saturday night, the pictures are static, moments of hard work frozen in time. Nearly every character pictured is looking to the right, drawing the reader to keep turning the page just as the text looks ahead to the coming Sunday.
When Sunday comes, people and text burst forth in sudden movement. Characters dance, look every which way, and leap off the page. The spirit of Congo Square comes alive.
In addition to the aforementioned author’s note and foreword, end matter includes a glossary. This is a great title to have on hand for Louisiana state history, African American history, and jazz history. Recommended for K-3rd grade.
May 8, 2017
This story was told in a poetic manner that explained how slaves suffered and the pain they endured throughout the week. The enslaved people would count down the days until they could meet in Congo Square and dance, drum, and sing. I found this picture book on the Caldecott Honor Book page and after reading it discovered that the illustrations were so in tune with the words that flooded the page. I felt that the illustrations played a huge part in setting the mood and tone of the story. The pictures correlated with bright, vivid colors when there was happiness and dark, ashen colors when the slaves expressed sadness. From our reading, I observed picture/text relationships in this story. It seemed like the pictures helped to tell more of the story than the words had offered on the page. I think this book would be appropriate for students grades 4+. However, if you are using this book as a read aloud, I think that students even younger could be read this story. This book has won Kirkus Reviews Best Book of 2016 Award and School Library Journal Best Book of 2016: Nonfiction Award.
March 26, 2017
I'd never heard of Congo Square and really enjoyed this poetic book that introduces children to the hope and joy that slaves felt as they gathered in Congo Square to talk, sing, play instruments, share news, sell goods, and dance. I appreciate that it doesn't ignore the evils and horrors of slavery but it also shows the triumph of the human spirit and how the opportunity to gather gave them a bit of hope and something to look forward to. The illustrations are bright and portray the grinding difficulty of the work they endured six days a week and the joyful celebration of meeting on Sunday.
January 23, 2016
Poetic text takes readers through the days of the week and the tasks that need to be done mirrored by a countdown to Sunday, a day of rest, spent in Congo Square.
A foreword, glossary, and author's note give readers the necessary background information to get the most out of this text.
Mixed media artwork is haunting and really helps reveal the emotions tied to the time spent in Congo Square as evidenced by the vibrant colors and the expressive body movement of the gatherers (i.e. arms extended, leaping legs as if dancing etc).
Highly recommended read aloud for 2-4+.
A foreword, glossary, and author's note give readers the necessary background information to get the most out of this text.
Mixed media artwork is haunting and really helps reveal the emotions tied to the time spent in Congo Square as evidenced by the vibrant colors and the expressive body movement of the gatherers (i.e. arms extended, leaping legs as if dancing etc).
Highly recommended read aloud for 2-4+.
May 22, 2016
Reviewed at http://www.unleashingreaders.com/?p=9874
I found this book to be touching and beautiful and sad. Books about slavery always make me so ashamed of our past, so they are hard to read yet so important. I think Weatherford’s story really captures the brutal conditions of slavery in the South but also the freedom that was felt on the one free day in Louisiana. Also, I personally like rhyming couplets, so I thought it had a great sing-songy quality. And let’s not forget the illustrations. They are pieces of art. They could each be framed and put in a museum.
I found this book to be touching and beautiful and sad. Books about slavery always make me so ashamed of our past, so they are hard to read yet so important. I think Weatherford’s story really captures the brutal conditions of slavery in the South but also the freedom that was felt on the one free day in Louisiana. Also, I personally like rhyming couplets, so I thought it had a great sing-songy quality. And let’s not forget the illustrations. They are pieces of art. They could each be framed and put in a museum.
February 23, 2017
This book was all around amazing. The illustrations were captivating and so delicate. The story had a wonderful look into slavery. The enslaved people of New Orleans, Louisiana would gather in Congo Square on Sundays, their half day off. The informational text from Weatherford, and Evans, a historian and Congo Square expert, that went along with the book, was the highlight for me. The author and illustrator captured a snapshot of what blossomed from Congo Square during this time. Many things can be found in the music of today.
March 28, 2016
With all the hub-bub about another picture book's inaccurate depiction of slavery for young people, why is no one trumpeting this quiet gem? Powerful, spare text depicts the hope of many a slave in the New Orleans environs that Sunday and their half day of rest will come and the promises that taste of freedom brings. Magnificently illustrated.
March 14, 2016
Beautiful. I learned about Congo Square, and it tells the story - the whole story - in an understandable manner, with extra information for adults or older children reading the book. The illustrations are beautiful and evocative. They work on a lot of levels for me. They just capture such movement. I absolutely love this book.
February 2, 2016
Told in verse, this is a celebration of the human spirit to still find reasons to laugh and play, dance and make music. I would think it's necessary to do so to endure and to have hope. The back matter includes more information about the place and a glossary.
May 20, 2016
Wasn't a fan of the art and some of the rhymes were uneven, but what a terribly interesting topic!!! I'm glad someone wrote about it because I wouldn't have known about it otherwise...
March 5, 2017
Excellent! 1st reading 6/1/16
December 29, 2016
Lovely, bright, flowing illustrations go well with the rhyming text in this interesting book!
February 2, 2017
Beautifully written and outstandingly illustrated rhyming story of plantation, slaves, their chores, and their weekly gathering rejoicing song, dance, and freedom.
February 8, 2018
I loved this and will be purchasing it for the grand kids
March 22, 2016
Reviewed for Mock Caldecott Awards. I loved the idea of the information presented but didn't like the illustrations that went along with it. I thought that the drawings of humans were very flat and had very strange proportions. I did think the color palette was lovely. My favorite parts of the book were the Forward and the Author's Note which gave more detailed history about Congo Square in New Orleans.
March 25, 2016
I felt weird reading about slaves doing backbreaking chores and looking at illustrations of whippings and dogs going after a runaway, set to a sing-song rhyme. The tone juxtaposition was jarring. Also, to share with kids, you'd need to read the front and back matter so they knew what the heck was going on. Great ideas here, but I'm not a huge fan of the execution.
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