Darkness

“March on Washington,” from James Baldwin’s “The Fire Next Time.” (Steve Schapiro)

Slaves were expected to sing as well as to work. A silent slave was not liked, either by masters or overseers. "Make a noise there! Make a noise there!" and "bear a hand," were words usually addressed to slaves when they were silent. This, and the natural disposition of the negro to make a noise in the world, may account for the almost constant singing among them when at their work. There was generally more or less singing among the teamsters, at all times. It was a means of telling the overseer, in the distance, where they were and what they were about. But on the allowance days those commissioned to the Great House farm were peculiarly vocal. While on the way they would make the grand old woods for miles around reverberate with their wild and plaintive notes. They were indeed both merry and sad. Child as I was, these wild songs greatly depressed my spirits. Nowhere outside of dear old Ireland, in the days of want and famine, have I heard sounds so mournful.  In all these slave songs there was ever some expression of praise of the Great House farm—something that would please the pride of the Lloyds.

                         I am going away to the Great House farm,
                         O, yea! O, yea! O, yea!
                         My old master is a good old master,
                         O, yea! O, yea! O, yea!

These words would be sung over and over again, with others, improvised as they went along—jargon, perhaps, to the reader, but full of meaning to the singers. I have sometimes thought that the mere hearing of these songs would have done more to impress the good people of the north with the soul-crushing character of slavery than whole volumes exposing the physical cruelties of the slave system; for the heart has no language like song. Many years ago, when recollecting my experience in this respect, I wrote of these slave songs in the following strain:      

"I did not, when a slave, fully understand the deep meaning of those rude and apparently incoherent songs. I was, myself, within the circle, so that I could then neither hear nor see as those without might see and hear. They breathed the prayer and complaint of souls over-flowing with the bitterest anguish. They depressed my spirits and filled my heart with ineffable sadness."        

The remark in the olden time was not infrequently made, that slaves were the most contented and happy laborers in the world, and their dancing and singing were referred to in proof of this alleged fact; but it was a great mistake to suppose them happy because they sometimes made those joyful noises. The songs of the slaves represented their sorrows, rather than their joys. Like tears, they were a relief to aching hearts. It is not inconsistent with the constitution of the human mind that it avails itself of one and the same method for expressing opposite emotions. Sorrow and desolation have their songs, as well as joy and peace.

—Life and Times of Frederick Douglass (1881/1892)