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Showing posts with label Jim Along Josie. Show all posts
Showing posts with label Jim Along Josie. Show all posts

Wednesday, November 22, 2023

Selected Comments From A Mudcat Folk Music Discussion Thread On "Jim Along Josie" (2002-2009)

Edited by Azizi Powell

Latest revision - Nov. 24, 2023

This pancocojams post presents some comments* from the Mudcat folk music forum about the 19th century song "Jim Along Josie".

The content of this post is presented for historical, folkloric, and cultural purposes.

All copyrights remain with their owners.

Thanks to all Mudcat members and guests who are quoted in this post.
-snip-
*Comments written on Mudcat discussion forum are referred to as "posts".

This post is part of an ongoing pancocojams series on the 19th century American song "Jim Along Josie".. Click the "Jim Along Josie" tag for other pancocojams posts about this song. 

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PANCOCOJAMS EDITOR'S NOTE
Nov. 24, 2023 Update: I just realized that Guest Richie (comment #1) included misinformation that I unwittingly wrote in a cocojams page [published around 2001 -2002] about "Jim Along Josie".  I'm referring to Guest Richie's statement that a "josie" was a name for a woman's undergarment.

I also just realized that the paragraph under the title "Slave Dance Songs (on-line)" in Guest Richie's comment that is given as #5 in this pancocojams compilation was quoted from that same cocojams page that focused on the dance song "Jim Along Josie"  I wrote the description that was given on that page which Guest Richie quoted. My main source for that description wasThomas W. Talley's 1922 book Negro Folk Rhymes: Wise And Otherwise
 
https://www.gutenberg.org/files/27195/27195-h/27195-h.htm. pages 296-297. I don't have a copy of that cocojams page (or any cocojams page) and don't recall if I added a citation for that book on that page.

Several Mudcat members on that discussion thread questioned the source for the information that I shared about the meaning of the word "josie" in reference to the song "Jim Along Josie", on that Mudcat discussion thread, resulting in one guest emailing me. (That is how I learned about Mudcat). I returned his email and in 2004 I wrote a comment as a guest to that forum which corrected that misinformation about the word "josie" that I had included in that 2001 or 2002 cocojams page. .All of those comments (except for guest's email to me, but including guest's recollection of my initial reply to his query about the source I used for the meaning of the word "josie") are given below in this pancocojams  compilation.

In August or September 2004, shortly after I wrote that comment correcting my erroneous information about one meaning of the word "josie", I joined the Mudcat folk music forum.  I remained a very active member of that online forum until the middle of November 2014 (with some periods of publishing gaps after 2011). My main interest on that forum was American  children's recreational rhymes and children's singing games. 

**
This pancocojams compilation doesn't include all of the comments that I wrote on that Mudcat discussion thread about "Jim Along Josie". I didn't include all of my comments on that discussion thread because some of them were a little off-topic or a lot off-topic. That said, I did include one of my off-topic comments in this compilation because I felt/and still feel strongly about what I wrote.

**
As is the case with most Mudcat discussion threads, this Mudcat discussion thread about the song "Jim Along Josie" is still open for comments (as of the publishing date of this pancocojams post.) I wrote the last comment in that discussion thread that includes content (in March 2009). That comment isn't included in this compilation because it mostly consists of me conversing with the previous commenter. The actual last comment in that discussion thread as of Nov. 22, 2023 consists of a possible troll posting with just the screen name "Guest IvanB" and no content.

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SELECTED COMMENTS
I'm aware that my choice of comments for this pancocojams compilation could be considered somewhat arbitrary. People interested in this subject are encouraged to read the entire discussion thread.

These comments are written as they are found in that discussion thread with the exception of what is now called "the n word" since I use amended spelling for that word on this blog and elsewhere.

These selected comments from that Mudcat folk music forum are quoted without any explanatory notes.

Numbers are added to comments in this compilation for referencing purposes only

https://mudcat.org/thread.cfm?threadid=52464&messages=60&page=1

1.
Subject: Jim Along Josie: lyrics and origin
From: GUEST,Richie
Date: 15 Oct 02 - 01:34 AM

"Are the "Jim Along Josie/Josey" lyrics related to several songs including "Limber Jim/Buck-Eyed Jim," "Cotton-Eyed Joe," "Jaybird Died of the Whoopin' Cough?"

Here is a verse of the 1840 Minstrel lyrics:

Now way down south, not very far off,
A bullfrog died wid de hooping cough,
And de other side of Mississippi as you must know,
Dare's where I was christen'd Jim Along Joe.

 

One 1853 version: "Here come a little gal wid a josey on;" (using the word, josey, as a type of under garment). Any more info on this?

Other versions of Jim Along Josie?

Thanks,

Richie

****
2.
Subject: Lyr Add: JIM ALONG JOSIE (Play-party song)
From: Joe Offer
Date: 15 Oct 02 - 02:04 AM

Tom Glazer's Treasury of Folk Songs has it as a play-party song:

Hey Jim Along, Jim Along Josie,
Hey Jim Along, Jim Along Jo,
Hey Jim Along, Jim Along Josie,
Hey Jim Along, Jim Along Jo.

Walk Jim Along, Jim Along Josie,
Walk Jim Along, Jim Along Jo,
Walk Jim Along, Jim Along Josie,
Walk Jim Along, Jim Along Jo.

Hop Jim Along, Jim Along Josie,
Hop Jim Along, Jim Along Jo,
Hop Jim Along, Jim Along Josie,
Hop Jim Along, Jim Along Jo.

(Or anything else you can think of,

like crawl, roll, swing, etc.)

Somewhat similar text in the Handy Play-Party Book which cites its source as Katherine F. Rohrbough of Greene County, New York, about 1870.

Hey, Jim along, Jim along Josie,
Hey, Jim along, Jim along Joe!
Any pretty girl that wants a beau, sing,
Hey, Jim along, Jim along Joe!

Click to play

Here are the dance instructions:

FORMATION: The Virginia Reel formation:

four to six couples, boys in one line, facing partners in opposite line.

ACTION: Old Virginia Reel figures used. Preceding the individual action the lines all advance and go through the first 5 movements with partners opposite. All clap the first note of each 8 beats. All clap in time to the refrain.

Movements are summarized here:
1.First girl and last boy forward and bow (4 measures) All movements repeated immediately by first boy and last girl---another 4 measures.

2.Turn with the right hand around.

3. Turn with both hands joined.

4. Back to back, pass by the right (Dos-a-dos).

5. Back to back, by the left shoulders.

6. First couple chassez the center (slide step) to the foot of the set and back to place, with both hands joined.

7. Right hand to your partner and reel. (Right to your partner, left to the side.)*

8. Head couple comes back up the center and all follow down the outside.

9. Join hands with partners, return to place and make an arch.

10. Head couple goes under arch to the foot. Repeat from beginning with new (second) couple at the head.


Too damn complicated for me...

****
3.
Subject: RE: Jim Along Josie: lyrics and origin
From: John Minear
Date: 15 Oct 02 - 07:40 AM

Richie, I'm interested in your suggestion of a possible connection between "Jim Along Josie" and the "Limber Jim/Buckeye Jim" tradition. You can find a discussion of "Limber Jim/Buckeye Jim" here. There is obviously a connection between the lyrics about

Now way down south, not very far off,
A bullfrog died wid de hooping cough,

from "Jim Along, Josie" and,

Way down yonder in a wooden trough,
An old lady died with the whooping cough.

which is from "Limber Jim".

 

But I am more intrigued by the phrase "Jim along, Josie". It reminds me of "go limber, Jim, you can't go". We were never able to really pin down what "go limber, Jim" meant. I wonder what "Jim along" means. And is there any significance to the use of "Jim"? Is it more than a name? It would seem so in the "Jim along, Josie" context.

Masato, I appreciate your thoroughness in laying out the minstrel background of this piece. I've never come across anything similar for "Limber Jim/Buckeye Jim" and would imagine that it is later than the minstrel tradition but draws floating verses/phrases from that tradition. - T.O.M.

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4.
Subject: RE: Jim Along Josie: lyrics and origin
From: GUEST,Richie
Date: 15 Oct 02 - 07:51 AM

JIM ALONG JOSIE:

Now way down south, not very far off,
A bullfrog died wid de hooping cough,
And de other side of Mississippi as you must know,
Dare's where I was christen'd Jim Along Joe.

Hey get along, get along Josey,
Hey get along, Jim along Joe!


BUCK-EYED JIM:

Way up yonder above the moon,
A jay-bird lived in a silver spoon.
Way down yonder in a sycamore trough
An old lady died with the whoopin'-cough.

Go limber, Jim; you can't go.
Go weave and spin, you can't go, Buckeye Jim.


JAYBIRD DIED OF THE WHOOPIN' COUGH also BILE DEM CABBAGE:

Jaybird died of the whoopin' cough,
Sparrow died of the colic.
'Long come a frog with a fiddle on his back
Inquirin' his way to the frolic.

-Richie


****
5.
Subject: RE: Jim Along Josie: lyrics and origin
From: GUEST,Richie
Date: 15 Oct 02 - 08:06 AM

Turtle Old Man-

Here's more info. It's not clear if this was in the African- American tradition before 1838, which is the date I have for "Jim Along Josie," or the song became part of the tradition after becoming popular.

From Slave Dance Songs (on-line):

"Jim-Along-Josey" appears have been a popular dance song among enslaved African American in the late 19th century. Adults performed this partner dance almost the same way as square dancing is performed. A man who didn't dance called out the moves that the people had to do. A fiddle (violin) and other instruments would play the music for the dancing. The dancing would go on for a long time because the caller would remember as many verses as he could and also would make up (improvise) new verses to chant. "Jim" is a still common nickname for the male name "James". "Josey" was a common man's or woman's nickname (from "Joseph" or "Josephine"). "Josey" was also the name of an article of under clothing. "Josey" was also used as a name of this dance step. "The phrase "all the go" is like the current slang phrase "all that". They are both used to refer to something that is considered the best, or the most favorite, or something that is the done in the latest, most popular style. The sentence "the bullfrog died with the whooping cough" appears in a number of African American slavery and immediate post-slavery folk songs. The "whooping cough" is probably a reference to a disease called tuberculosis. "Jim Along Josie" is found in quite a few American folk songs books. Unfortunately, these books rarely mention the song's African American origin.

-Richie"

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6.
Subject RE: Jim Along Josie: lyrics and origin
From: GUEST,Richie
Date: 15 Oct 02 - 10:46 AM

"Here's some info about Jim Along Josie and Cotton Eyed Joe:

 A HORSE NAMED ROVER:

The 'B' part is a common strain which can be found in collections from European countries (Germany), and in the chorus of the American minstrel ditty "Jim Along Josey" (1840). A version of the tune is found in Ford (1940, pg. 60) as "Cotton Eyed Joe." (From Ceolas)

COTTON EYED JOE:

Verse: Way back yonder a long time ago
Daddy knew a man called Cotton-eyed Joe
Blew into town on a travelin' show
Nobody danced like the Cotton-eyed Joe.

CHORUS: Cotton-eyed Joe, Cotton-eyed Joe
Where did you come from? Where did you go?
Where did you come from? Where did you go?
Where did you come from Cotton-eyed Joe?


JIM ALONG JOSIE:

Now way down south, not very far off,
A bullfrog died wid de hooping cough,
And de other side of Mississippi as you must know,
Dare's where I was christen'd Jim Along Joe.

Hey get along, get along Josey,
Hey get along, Jim along Joe!
Hey get along, get along Josey,
Hey get along, Jim along Joe!

 -Richie


****
7.
Subject: RE: Jim Along Josie: lyrics and origin
From: masato sakurai
Date: 15 Oct 02 - 11:35 AM

From "The Journal of an African Cruiser," by An Officer of the U.S. Navy, in The United States Democratic review, Volume 16, Issue 83 (J.& H.G. Langley, etc., May 1845, p. 483) [N.B. the date]:


"August 2, 1843.--Liberia.--We were visited by Governor Roberts, Dr. Day, and General Lewis, the latter being Colonel Secretary, and military chief of the Settlement. They looked well, and welcomed me back to Liberia with the cordiality of old friendship. The Governor was received by the Commodore, Captain and officers, and saluted with eleven guns. He and his suite dined in the cabin, and some of the officers of the Porpoise in the ward-room. In the evening, we brought out all our forces for the amusement of our distinguished guests. First, the negro band sang 'Old Dan Tucker,' 'Jim along Josey,' and other ditties of the same class, accompanied by violin and tambourine. Then Othello played monkey, and gave a series of recitations. [...]" (p. 483)"

A parody of "Jim Along Josey," from The Living age ... (Volume 9, Issue 110) (New York etc.: The Living age co. inc. etc., June 20, 1846, p. 627).

~Masato"

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8.
Subject: RE: Jim Along Josie: lyrics and origin
From: masato sakurai
Date: 15 Oct 02 - 12:01 PM

From S. Foster Damon, "Notes to 'Jim Along Josey' [Firth & Hall edition (1840)]", in Series of Old American Songs (Brown University Library, 1936, No. 24):

"Jim Along Josey" was another sweeping success in the burnt-cork tradition. It was written by Edward Harper, who sang it in his drama, The Free Nigger of New York, about 1838 (E.L. Rice: Monarchs of Minstrelsy, p 24). In February 1839, John Washington Smith was singing it at the Bowery Amphitheater (Odell: Annals IV, 324). Thereafter, everybody sang it. It was developed into a number of extravaganzas and afterpieces: Jim Along Josey (Chatham Theater, 1840); Jim Along Josey, or the Ticket Taker (Bowery, 1840); The Black Ghost, or the Nigger Turned Physician (1841); and The Masquerade (1843).

The stricter sects, which prohibited dancing, whether square or round, admitted "Jim Along Josey" as a game and not a dance, although to uncritical eyes the players seemed to be doing something easily mistaken for a Virginia reel. For the game, see the Journal of American Folk Lore (XXIV, 295 ff): "Play Parties and Games of the Middle West"."

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9.
Subject: Lyr Add: JIM ALONG JOSIE
From: GUEST,Richie
Date: 15 Oct 02 - 02:11 PM

"JIM ALONG JOSIE

From: Slavery Dance Song's (On-line)

Caller: Oh, I'm from Louisiana, as you all know
           That's where Jim-Along-Josey's all the go.
           The *Black folk's rise when the bell do ring
           And this is the song that they do sing:

 Group: Hey get along Jim-Along Josey
             Hey get along Jim Along Jo!

 Caller:  Away down south, a long ways off, 
              The bullfrog died with the whooping cough. 
              And on the other side of Mississippi, as you know 
              Thats where I first called Jim Along Jo.       

 Group:  Hey get along Jim-Along Josey!
              Hey get along Jim Along Jo!

 Notes: *I believe this was edited here for racial content. Chorus is similar (Hey! Black-eyed Susie) also to "Black-Eyed Susie". The phrase "all the go" is like the current slang phrase "all that". They are both used to refer to something that is considered the best, or the most favorite, or something that is the done in the latest, most popular style. (see notes in my above post)."

 ****
10.
Subject: RE: Jim Along Josie: lyrics and origin
From: GUEST
Date: 15 Oct 02 - 02:16 PM

"Collections of secular Negro folk rhymes (White, Talley, Odum, etc.) are full of material the Negroes obtained from blackface minstrels. Songs such as Jim Along Josie, Kemo Kimo and Jim Crow quickly entered Negro folk music from the minstrel source. The shipboard vignette provided by Masato is an important illustration of this fact.

Did some of the rhymes, which are used over and over in several different songs (Jaybird, animals with (w)hooping cough, way up yonder, etc.) originate with blacks? Possible, but almost impossible to document because they were not collected until late. When collectors became active, after the Civil War, attention focused on the spiritual songs. The large body of secular songs and dances were ignored until after 1900. By then, it was too late to be certain of origins.

The many sources checked by Dena Epstein for her work on pre-Civil War Negro music ("Sinful Tunes and Spirituals") turned up very little. Interviews for the Slave Narrative may contain some information on the party songs, but too few of the interviewers were interested in music. There are tantalizing remarks in the few I looked at. The former slave will say something like "We used to sing a song about..." but the interviewer will push on to another topic. One of the few was found by Katlaughing (Go tell Aunt Rhoda variant).


One interesting verse in Epstein:

Hurra for good ole Massa,
He give me de pass to go to the city.
Hurra for good ole Missus,
She bile de pot and gie me de licker.
Hurra, I'm goin' to de city.

 

If there was a minstrel troupe in town, slaves on a pass would pick up the songs and make them their own. As pre-Civil War references show, the slaves were sometimes made to sing and entertain the master and his guests. Unfortunately, there are very few references to song content.

Slaves from different plantations would meet briefly and pass on all sorts of information while carrying out tasks for the master (freighting supplies, taking produce and materials to the mills, etc.). Songs and jokes would certainly be included in the gossip."

****
11.

Subject: RE: Jim Along Josie: lyrics and origin
From: GUEST,Richie
Date: 16 Oct 02 - 12:42 AM

"TWO MORE EXAMPLES:

1. Yaller Gal with a Josey on, The Baltimore: F. D. Benteen, 1849. As sung by Nightingale Ethiopian Serenaders

 

I see'd a dashing yaller gal,
One day upon the levee,
Her form was round her step was light
But wa'nt her bustle heavy!

She cast a tender glance on me,
And my heart was gone Oh!
She was the taring yaller gal,
That had a josey on,

Chorus: Oh yes, we all remember her
She used to hoe the corn,
She's the dashing yaller gal
That had a Josey on.

2. From Bert Mayfield was born in Garrard County, May 29, 1852, two miles south of Bryantsville on Smith Stones place.

 One song we would always sing was:

 Who ting-a-long? Who ting-a-long?
Who's been here since I've been gone?
A pretty girl with a josey on.

-Richie"

****
12.
Subject: RE: Jim Along Josie: lyrics and origin
From: GUEST,Richie
Date: 16 Oct 02 - 07:46 AM


"Here are some of my notes from Warner's web-site on tom P. Smith (Joe's last post):

HEY, GET ALONG JOSIE. (Git Along Josie) Tom Smith, b. Guyandotte, W. VA. NYC, 1952. Damon calls the song "Jim Along Josie", and says it was written by New York minstrel-performer Edward Harper in 1838. Frank Warner remembered the song from his childhood in Tennessee and North Carolina.


Tom Smith was a dignified gentleman and a neighbor in Greenwich Village. Mr. Smith had grown up in the 1890's in Huntington, West Virginia, which had been a stop on the road for those headed west in the nineteenth century. His father had learned songs from a mountain woman hired to sew for the family and his mother's family had brought many English songs to Virginia. Mr. Smith learned songs from African-Americans in town and minstrel era songs too. He was also a polished storyteller and a grand talker.


Peggy And Mike Seeger have a version on American Folk Songs for Children, Rounder. Anyone have those lyrics?

-Richie"

****
13.
Subject: Lyr Add: JIM ALONG JOSIE (Oklahoma versin)
From: masato sakurai
Date: 16 Oct 02 - 08:53 AM


"Peggy and Mike's version is from Ruth Crawford Seeger's American Folk Songs for Children (Doubleday, 1948, pp. 72-75; with music):

JIM ALONG JOSIE

(OKLAHOMA)

1. Hey jim along, jim along Josie,
Hey jim along, jim along Jo.
Hey jim along, jim along Josie,
Hey jim along, jim along Jo.

2. Walk jim along, jim along Josie,
Walk jim along, jim along Jo. (Repeat)

3. Hop jim along, jim along Josie,
Hop jim along, jim along Jo.


IMPROVISATION and RHYTHMIC PLAY: Josie may have thoughts or motions other than those in the traditional yext given above.

4. Run, jim along, jim along Josie, etc.

5. Jump, jim along, jim along Josie, etc.

6. Tiptoe along, jim along Josie, etc.

7. Crawl along, jim along, jim along Josie, etc.

8. Swing along, sing along, jim along Josie, etc.

9. Roll, jim along, jim along Josie, etc.

 

An invitation is sometimes appreciated:

 

Let's go walking, jim along Josie, etc.
Let's go running, jim along Josie, etc.
Let's sit down now, jim along Josie, etc.


For rhythmic play the music should be repeated many times without stopping. The words will probably be sung only once, or not at all.


ACCOMPANIMENT: Speed and type of accompaniment may be adapted to the various rhythmic activities. The sample variations which follow are suggestions only. Do not use them if you can make your own. In all of them the chordal basis is the same.

The simple dance-song Jim Along Josie is said to be based on an old minstrel song. It is widely known, especially as a game or play-party song. In some versions Josie appears to be the dance itself:

Hold my mule while I dance Josie.

In a very old one, still sung, "Josie" is something to wear:

Who's been here since I been gone?
Pretty little girl with a josey on.

"Hey jim along" is also sung "Hey get along," "Hi come along," "Hey jam along," "Come-a-get along," "Come-a-high, jim along."

~Masato"

****

Subject: Lyr Add: JIM-ALONG JOSIE (from Vance Randolph)
From: GUEST
Date: 16 Oct 02 - 01:25 PM

"A few late-collected verses from Vance Randolph, Ozark Folksongs, vol. 3 (revision) pp. 385-386.

Had an old horse, his name was Ball,
Hitched him up but he wouldn't pull at all.

Cho.

Hey jim-along, jim-along Josie,
Hey, jim-along, jim-along Jo.


Swung my hick'ry an' Ball he sprung
We bid fare-thee-well to the wagon tongue.


Fire in the mountain, fun, boys, fun,
Cat's in the cream jug, run, gals, run.


Hogs in the 'tater patch, that I know,
Cows in the cornfield told me so.


First to the white house, then to the jail,
Tore my pants on a rusty nail.


Old dog Towser standin' on the gate,
Smelled meat a-fryin' an' he said he couldn't wait.


1926, Mrs Elizabeth Typer, Arkansas.

 

Ducks in the mill pond, geese in the clover,
Tell them pretty gals I'm a-comin' over.
How you gittin' 'long, gittin' 'long, Josie?
How you gittin' 'long, gittin' 'long, Jo?

1928, Clyde Sharp, MO"


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14.
Subject: RE: Jim Along Josie: lyrics and origin
From: GUEST,Richie
Date: 16 Oct 02 - 11:15 PM

"Turtle Old Man-

Here are some thoughts about the meaning of the title, "Jim Along Josey."

In the title "Jim Along Josey" the word- Josey, is used as a name (could be a man's or woman's name) The word "Josey" is an African-American dance step and also a minstrel slang for a type of undergarment. The word, Jim, is not really used for a name. "Get Along Josey" could just as easily be substituted for "Jim Along Josey."

There is one version posted entitled, "Git Along Josie"

Just don't ask me what "King Kong Kitchie Kitchie Ki-Me-O" means!

-Richie"

****
15.

Subject: RE: Jim Along Josie: lyrics and origin
From: GUEST
Date: 17 Oct 02 - 12:29 AM

"In the older versions, "Sing Song" is used. I believe King Kong is a later change to make it sound more African. Similarly, "won't you try me, oh" seems earlier. "Kitchie" seems to be a later, more nonsensical rendering.

Is Josey an undergarment? I believe that the word comes from joseph, a riding cloak for a woman, and the sort of get-up that well might appear in a minstrel show. Josephs were worn as late as the 1860s (reference to one by George Elliot)."

****
16.

Subject: RE: Jim Along Josie: lyrics and origin
From: GUEST
Date: 17 Oct 02 - 05:55 PM

"Would still like to know what the authority is for josey being an undergarment. www.cocojams.com has that statement under Jim-along-josie, but cite no basis for that statement."

****
17.
Subject: RE: Jim Along Josie: lyrics and origin
From: GUEST,Richie
Date: 17 Oct 02 - 10:47 PM

"Guest-

 Perhaps we could try and E-mail the site.

 Personally, I really like your info about Josey being derived from a "joseph, a riding cloak for a woman, and the sort of get-up that well might appear in a minstrel show."

 

That was excellent and it sure makes more sense to me.

Who is George Elliot? Do you have any other info about this?

 

-Richie"

****
18.
Subject: RE: Jim Along Josie: lyrics and origin
From: GUEST
Date: 18 Oct 02 - 03:28 PM

"Azizi Powell of Cocojams kindly answered with these comments:

"Thomas Talley's Negro Folk Songs" is where "Jim Along Josey" is found. Here, "Josie" is a girl's name (nickname for Josephine?). This predates blackface minstrels. I also recall songs that mentioned a girl with a "josey" on or taking off her josey. Your definition is probably the correct one. Mine was a guess. I appreciate the information and I'll write you back with the sources for these songs and will do other research because I saw josey as clothing mentioned in some book about word origins.

I'll check it out, and thanks for contacting. It was my hope that this kind of exchange would occur as a result of the site. Sorry that I haven't had the funding to continue putting new examples on. I don't know HTML and haven't been able to recruit someone to assist me with this project."

I will email back and point out the many threads here at Mudcat, and a little on how to access them. The email address she(?) provided is azizip17@hotmail.com.

I couldn't find "Jim Along Josey" in Talley's Negro Folk Rhymes (1990 ed.). There may be another book called Negro Folk Songs.

 

Ian, obviously I don't know much about female British authors (except for 20th century crime writers). I pulled my remarks off Google. She came up because she made the latest reference to a joseph that I could find. I was interested in how long that name was used for that kind of cloak and found her quote in the OED."

****
19.
Subject: RE: Jim Along Josie: lyrics and origin
From: GUEST,Richie
Date: 19 Oct 02 - 11:44 PM

"It's easy to see the folk process at work here. Compare the above post to the third verse of my original post:

Oh! When I get dat new coat I expects to hab soon,
Likewise new pair tight-kneed trousaloon,
Den I walk up and down Broadway wid my Suzanna,
And the white folks will take me to be Santa Anna.

 

Thanks to all who have contributed."

 
****
20. 
Subject: RE: Jim Along Josie: lyrics and origin
From: GUEST,Azizi
Date: 25 Jul 04 - 12:35 AM

"I'm writing this to correct information I made some two years ago on my website cocojams.com that I see have found there way here and Lord knows where else. Let me first apologize and offer the following information as a way of making up for any confusion I caused.

Firstly, I wrote that Jim Along Josey is included in Thomas Talley's 1922 Negro Folk Rhymes. I was mistaken. The versions I was speaking of are found in Dorothy Scarborough's 1925 book on the Trail Of Negro Folk Songs. That Folklore Associates' edition of Scarborough's book, published in 1963 has three different versions of Jim Along Josie {pps 104-106), one called Jim Along, Josey, one called Hold My Mule, and one that Scarborough notes is "a variant of the Josey song".

I also said that a josey was a woman's undergarment. I was wrong. As someone wrote in this thread or another, "Josey" is a woman's coat. See John Russell Bartlett, The Dictionary of Americanisms: New York Crescent Books, originally published 1849. "Joseph, a very old riding coat for women, scarcely now to be seen or heard of-Forby's Vocabulary. A garment made of Scotch plaid, for an outside coat or habit, was wornin New England about the year 1830, called a Joseph by some a Josey.

    Olivia was drawn as an Amazon, sitting upon a bank of
    flowers, dressed in a green Joseph.-Godsmith, Vicar of Wakefield .


I still believe that is "Josey" was {sometimes}used as dance name. See the lines "Hold my mule while I dance Josey

       Hold my mule while I dance Josey
       Hold my mule while I dance Josey
       Oh, Miss Susan Brown."

 

The other two verses given are: "Wouldn't give a nickel if I couldn't dance Josey". and "Had a glass of buttermilk and I danced Josey".

 

However it may be possible that an earlier name for the "Josey" dance was "Jim Along, Josey." In that case "Jim Along" probably was the equivalent of the phrase "Get a-long", which Scarborough uses in the chorus of this song "Hey, get a-long, get a-long, Josey

                     Hey, get a-long, Jim a-long, Jo!
                     Hey, get a-long, get a-long Josey,
                     Hey, get a-long, Jim a-long Jo!

  

I find it interesting that Scarborough consistently uses a comma in the title and "Jim Along" lines. This may reinforce the notion that "Jim Along" means the same thing as "Get along". But sometimes a word may have multiple meanings in the same song perhaps because the lines are mixed and matched by different people, and often the song changes over time and space. So the 3rd verse of Scarborough's first version of "Jim Along, Josey" reads
                     Away down south, a long ways off
                     A bullfrog died wid de whooping-cough
                     And t'other side of Mississippi, as you know
                     Was whar I was called fust Jim A-long Jo.

 

In that context, anyway, a person {one can assume a man} was given the nickname Jim Along,Jo. Probably then his name was Joe and he got along?? Who?? Where? How? Oh well,I'm not going to continue this speculation...

 But, since I don't think that I have seen the variant version that Scarborough shared in your database {though that doesn't mean it's not there}, I'll include it in this message.

 "Here is a variant of the Josey song, that combines stanzaas from other well-known favorites, This was sent to me by Virginia Fitzgerald, from Virginia.

 As I was going up a new-cut road,
I met a Tarrepin an' a Toad.
Every time the Toad would jump,
The Tarrepin dodge behind a stump.
O! rall, rall Miss Dinah gal,
O! do come along, my darling!
O! rall, rall, Miss Dinah gal,
O! do come along, my darling!
My ole Missis promise me
When she died she'd set me free'
Now ole Missis dead an' gone,
She lef' olde Sambo hillin' up corn.

Hey, Jim a-long, Jam a-long a-Josie,
Hey, Jim a-long, Jam a-long, Joe!
Hey, Jim a-long, Jam a-long, from Baltimo'!
You go round an' I go through
.......................

You get there befo' i do,
Tell 'em all I'm comin' too.

Hey, Jim a-long, Jam a-long, Josie
Hey, Jim a-long, Jam a-long, Joe!
Hey, Jim a-long, Jam a-long, from Baltimo'

--

It should be noted that "You get there before I do, tell my friends I'm coming to" is a floating verse found in a number of African American spirituals.

Also, let me take this opportunity to thank you for the interesting information and often insightful comments found on this website!

Ms. Azizi Powell"

****
21.
Subject: RE: Jim Along Josie: lyrics and origin
From: Joybell
Date: 13 Sep 06 - 07:56 AM

"Sam Cowell - the great Sam Cowell said he wrote Jim Along Josie. He claimed to have written lots of songs that he didn't though. He did, however grow up singing with Black Americans. He was born in 1820 and left America in 1840. Nothing conclusive there but a piece of the puzzle.

Cheers, Joy"

 ****
22.
Subject: RE: Jim Along Josie: lyrics and origin
From: Billy Weeks
Date: 13 Sep 06 - 11:53 AM

"The distinguished actor and vocalist Madame Lucia Vestris sang a parody of 'Jim Along Josey' in an extravaganza based on 'Beauty and the Beast' in Covent Garden in the late 1840s. The song (by Planché) was published as 'The Celebrated Rose Song: Oh get along - get along do!' The lithographed portrait figure on the sheet music front shows Vestris in character in oriental dress with what appears to be a slightly dusky complexion. It would be interesting to know whether she blacked up (even if ever so slightly) for the part.

A collection of minstrel songs published by Turner & Fisher (NY and Philadelphia) about 1840, entitled 'Jim Along Josey Roarer, an entire new collection of negro songs' (running title 'Nigga Songs') testifies to the popularity of JAJ at that time. The title page decoration is of a dancing, barefoot figure in what may be sailor attire. It has all the characteristics of contemporary caricatures of African Americans.

Publishers and performers of early minstrel songs seemed to be happy to blur the origins of their material until such time as primacy and profit became serious issues. Harper, like Cowell claimed JAJ, and no doubt they and other minstrels did invent songs in the genre. I can't myself believe that that genre itself sprang into existence in the 1830s without drawing heavily from African American sources and pre-existing songs. But..."

 ****
23.
Subject: RE: Origin: Jim Along Josey / Jim Along Josie
From: GUEST,Gibb
Date: 02 Mar 09 - 11:05 PM

"I've recently come across a reference to another possible relative of "Jim Along Josey"; thought I'd plug it into this old thread if that's OK.

Well, "Haul Away Joe"/"Haul Away for Rosie" is one of the best known chanteys. I'd never felt that much one way or the other what its source might be. Anyway, JG Jewell, in AMONG OUR SAILORS (1974), wrote about sailor "songs"--apparently, although we do have references back to the 1850s (about events of 1840s), the term "chantey" was not in so wide a use yet. He writes:

"When hauling taut the weather main-brace they sing a perversion of the old negro melody, "Hey Jim along, Jim along, Josey!" but the sailors put it—

"Way, haul away—haul away, Josey—
Way, haul away—haul away, Joe!"


 
I'd not come across that connection made in print before. ( I know Doerflinger (in his revised text of SONGS OF SAILOR AND LUMBERMAN) consulted Jewell, but there is a gap in his notes to "Haul Away Joe." ) It sounds like a reasonable relationship to me though; wonder what others think.

Gibb"

****
24.
Subject: RE: Origin: Jim Along Josey / Jim Along Josie
From: Azizi
Date: 03 Mar 09 - 09:07 AM


"
I started posting a response to the last post and comment about other phrases in previous post, but before doing that I feel the need to write this:

 When I read threads like this, I have to steel myself to get through the use of the "n" word and the use of the word "Negro" spelled with a small "n" instead of being capitalized like other group referents such as "British", "Jewish", "Chinese", French, Spanish, and "Japanese" are.* I mention this because I feel that it should be a matter of record on threads like this so that present day readers and future readers are/will be aware that some people have/had this reaction. The reason why I continue reading these types of threads is because I find the information interesting. However, I think that quite a few Black people might have the initial (and ongoing) negative reaction to these usages, and as a consequence of that, they stop reading the thread and other threads in this forum. Which is a shame, for a whole host of reasons.

 *There was a concerted, hard fought movement by Black Americans in the mid to late 1950s to get newspapers and text books and other public media and private entities to capitalize the "n" in the word "Negro". That movement was successful, but shortly thereafter the formal group referent changed first to "Afro-Americans" and then to (what it is now} "African Americans".

 Note that the referent "African American" is always capitalized. There is more leeway with the accepted informal group referent "Black"(people). Some people capitalize the beginning letter, and some people don't. I always capitalize it and also always capitalize the "w" in White (people) because of that practice I mentioned earlier.


I should also note that sometimes African Americans will purposely use the word "Negro" with either a capital "n" or a small "n" to refer to Black Americans who the writers believe are talking and/or acting in ways that are detrimental to overall Black interests and stature (to put it another way, these people are said to be acting like "Toms". "Toms" is a short form of the insulting referent Uncle Tom).

**

With that said for the record, I'll add another post to this thread with my thoughts about the name "Josie" and other comments about some phrases found in a previously posted example of this dance song."

****
25.

Subject: RE: Origin: Jim Along Josey / Jim Along Josie
From: Azizi
Date: 03 Mar 09 - 09:35 AM

" "Way, haul away—haul away, Josey—
Way, haul away—haul away, Joe!"

It occured to me when I read Guest Gibs post that I know a woman whose name is "Josie". "Josie" used to be a far more common nickname for Josephine than it is now, probably because the name "Josephine" is rarely given now). As it happens, this African American woman's given name is "Josie" and not "Josephine".

 

But this thought made me wonder about the name "Josey" as a personal name for a man as found in that old dance song. In particular, I thought of how a non-Spanish speaking person might pronouce tghe name "Jose" as "Joe-see". Given that some crews came from the Caribbean, has the Spanish language influence on chantey songs-and on other African American/Black Caribbean dance songs been identified?"...

****

https://mudcat.org/thread.cfm?threadid=52464&messages=60&page=2

26.

Subject: RE: Origin: Jim Along Josey / Jim Along Josie
From: GUEST,Gibb
Date: 03 Mar 09 - 10:39 PM

"Hi Azizi,

You wrote:

"But this thought made me wonder about the name "Josey" as a personal name for a man as found in that old dance song. In particular, I thought of how a non-Spanish speaking person might pronouce tghe name "Jose" as "Joe-see". Given that some crews came from the Caribbean, has the Spanish language influence on chantey songs-and on other African American/Black Caribbean dance songs been identified?"

 

The thing about chanteys if that, more often than not, their lyrics have nothing to do with the sea! In this case, I see no reason to search for a sea origin of "Josie" since we already have the (hypothesized) pre-chantey origin: "Jim Along Josey." Trying not to exaggerate too much, it seems like half the chanteys were made this way, taking stock, catchy, rhythmic phrases from pop tunes of the day, play songs, older work songs, folk rhymes, and jusr adapting them. To respond to your question though, I don't know of any significant influence of Spanish language on chanteys. As far as a Spanish influence on Black Caribbean dance songs, that is a pretty huge topic, but I think the answer is yes...with qualification. One would have to say where they are drawing lines at "Spanish." Much of the Caribbean dance music shares a common rhythmic sensibility. Stuff you might associate as "Cuban" (and therefore Spanish?) is shared with Jamaican music, for example. The burning question is, why are they similar? Is it because they share a common sensibility back from African music, or is it more recent cross-pollination? Anyways...

 

Back on topic...kinda....if Jim Along Josie and Haul Away Joe are relatives, that adds some pretty strong irony to our present conundrum. In this light, the use of "Haul Away Joe" on the slave ship in "Roots" is pretty absurd. And due to the Clancy Brothers' schtick, people strongly associate the chantey with the Irish (that's not to say chanteys can't have multiple associations/resonances, and Irish sailors did sing it) -- when I was searching for a thread for "Haul Away Joe," I came across one post where the person said he couldn't stand to hear that chantey sung with an American accent!

 

Gibb"

****
27.
Subject: RE: Origin: Jim Along Josey / Jim Along Josie
From: Azizi
Date: 04 Mar 09 - 12:59 AM

"Thanks for your response, Gibb.

 

I appreciate learning that information about shanteys.

 

I often wondered why "Haul Away, Joe" was used in Roots as opposed to some other song. I suppose it was used because it was already relatively well known, though I wonder how many people knew that it was a shanty. When I watched Roots, I didn't know that term-actually I knew it in the context of huts but didn't know it in the context of songs. :o)

 

It's good to learn something new.

 

Best wishes,

 

Azizi"

****
28.

Subject: RE: Origin: Jim Along Josey / Jim Along Josie
From: GUEST,Gibb
Date: 04 Mar 09 - 10:15 AM

"Azizi,

 My ~guess~ as to why they would have used "Haul Away Joe" in Roots:

 It was set pre-1776. However, we don't have any evidence to exactly what chanteys might have been sung prior to the 19th century. We know there was some kind of chanteying, but it is all conjecture which of the songs (i.e. the ones known to us today) would have been used, if at all. One of the popular ones to conjecture existed back then is "Haul on the Bowline." That one has similarities to "Haul Away Joe." So my guess is that, pressed to speculate on what may have existed, they chose those two."

****

Thanks for visiting pancocojams.

Visitor comments are welcome. 

2017 Journal Article Excerpt: "Jim Along Josey": Play-Parties and the Survival of a Blackface Minstrel Song

Edited by Azizi Powell

This pancocojams post presents a long excerpt from the 2017 Journal article by Maya Brown about the song "Jim Along Josie" as an example of a black faced minstrel song that became a play party song.

The content of this post is presented for folkloric, cultural, and educational purposes.

All copyrights remain with their owners.

Thanks to Maya Brown for her research and writing and thanks all those who are quoted in this post. Thanks also to the online publisher of this journal article.
-snip-
Click https://pancocojams.blogspot.com/2013/08/examples-of-dance-josey-cant-dance.html for the closely related 2013 pancocojams post entitled "Examples of "Dance Josey" & "Can't Dance Josey" Songs".

****
JOURNAL ARTICLE EXCERPT
From https://oaks.kent.edu/sites/default/files/journals/2/articles/45/submission/stamped.pdf Excellence In Performing Arts Research, Volume 4, 2017

"Jim Along Josey": Play-Parties and the Survival of a Blackface Minstrel Song

by Maya Brown

 [page] 1

Abstract

The play-party was a social activity once practiced in rural America amongst Protestants in the latter half of the nineteenth century. With a desire to circumvent the church’s strict no dancing rules, as well as avoid reprimand, play-party adolescents adapted the lyrics and instrumentation of blackface minstrel songs to create a vocal music to accompany their playparty games. The main objective of this paper is to demonstrate that play-parties offered the space for the continuation and reinterpretation of minstrel practices, particularly song repertoire.

In this paper, the children’s song “Jim Along Josey” is used as a case study, first to reveal the role of songs in play-parties, and secondly to demonstrate the process of musical reinterpretation that characterized this social event. The study also reveals that minstrel songs such as this have survived within the genre of children’s music due to the reinterpretation conducted by play-party adolescents.

Introduction

Although American blackface minstrelsy is no longer a socially acceptable form of entertainment in the United States, remnants of its musical characteristics linger in the songs frequently taught to children.

Some of the most nostalgic songs in children’s music repertoire— i.e. “Jimmy Crack Corn,” “The Little Brown Jug,” “Camptown Races,” “Shoo Fly, Don’t Bother Me,” “Oh, Susanna,” and “Do Your Ears Hang Low?”—were at one time sung in blackface performance.

 All too often, American children encounter former minstrel songs in elementary schools, summer camps, children’s television shows and music albums rarely with the opportunity to know that these songs were once performed on the minstrel stage.

The minstrel show was a popular nineteenth century stage performance, which entertained audiences by exploiting African American stereotypes. These productions contained overtly prejudice themes that were, and continue to be, detrimental to the black individual. The minstrel song was particularly dehumanizing for its derogatory lyrics that aided in the creation of fictitious African American caricatures.

Interestingly, it seems contemporary children’s songs based on this genre have omitted these offenses. Upon comparing the lyrics of the two genres, it is observed that an adaptation, perhaps even an expurgation occurred to render the song appropriate for a child. By tracing the history of the children’s song “Jim Along Josey,” this paper hopes to reveal how the former minstrel song has managed to survive into the modern day.

[...]

[page] 2

[...]

 Amid the folk genres collected throughout America was the children’s song. According to ethnomusicologists Patricia Shehan Campbell and Trevor Wiggins, children’s songs appeared to be of great interest to scholars from the end of the nineteenth century to the last years of the twentieth century, and folklorists valued children’s song as a source of social expression and cultural material much like folk songs.

Benjamin A Botkin And Play-Party Songs

One such folklorist was Benjamin A. Botkin, who in 1937 published his doctoral dissertation about the American play-party.

In this work, Botkin collected over 1,000 variations of 128 play-party songs from students at the University of Oklahoma. Botkin began his research in the early 1930s with the focus of collecting and preserving an oral tradition that was on the verge of dying. After conducting his research, however, it became apparent to him that the playparty was a unique form of social behavior; one that would intrigue scholars for years to come.

[…]

[page] 3

[…]

Botkin identified the value of collecting play-party songs and believed they provided the key to understanding American rural cultures and communities. As he described in the quote above, play-parties were multilayered social events that included dance-like movements, songs and games. They were exclusive to America, but known to thrive in the frontier and midwestern regions.

It was in these isolated settings where Protestant sects prohibited dancing, yet encouraged play-party activity. 

Play-parties are often compared to nineteenth century singing schools or literary societies because they offered families who lived throughout the countryside a sense of community and entertainment. According to Botkin, play-parties would occur in “the front room or yard of the farm or ranch house, though sometimes the school-house or school-yard was used.”

Participants would play-party as an activity; this phrase describes the act of playing party games (i.e., singing, marching, and dancing games). Those who engaged in the play-party games included the “young people of high school and marriageable age and young married couples,” while older people and young children served as spectators.

Individuals of courting age were particularly interested in the games because they wanted to partake in social activities involving physical and social interactions with the opposite sex.

Like many children’s songs of this era, play-party songs were disseminated through oral tradition. Lyrics of the same song were varied depending on where the lyrics were collected.

[…]

Using Botkin’s terms, play-partiers either based their game songs on older traditional pieces (English and Scottish songs) or newer indigenous pieces (American songs).

Participants often used melodies of the most popular vocal tunes of the era, including blackface minstrel tunes, and change the lyrics to describe the games they were playing.

Botkin theorized that play-party teens specifically chose minstrel songs to create their game songs for three reasons: (1)    most of them were jovial banjo or fiddle tunes, whose airs were used for dancing, (2) their

[page] 4

jesting and clowning had an irresistible appeal for the play-party in its mood of rambling nonsense, with its double taste for silly jingle and burlesque banter, and (3) they had the advantage of wide diffusion by travelling minstrel-troupes [in addition to minstrel song sheet music sales]

Once adapted, minstrel songs survived as fragments of choruses and verses, “or crossed and amalgamated with one another with other songs.”

The most notable minstrel songs that were modified into the American play-party songs were “Old Dan Tucker,” “The Little Brown Jug,” “Shoo Fly, Don’t Bother Me,” “Turkey in the Straw,” “Jump Jim Crow,” and “Jim Along Josey.”

American Blackface Minstrel Songs

American blackface minstrelsy was a form of comedic theatrical performance most recognized today for its use of burnt cork make-up, a type of black body paint that white men and women used on their skin to portray demeaning African American stereotypes.

This stage tradition was first performed in the United States as early as 1822, when British comedian
Charles Mathews created a solo act that parodied his experience in the South by combining skits, stump speeches and black songs.

 By the end of the decade, the American performer Thomas “Daddy” Rice was portraying the character Jim Crow; an uncouth yet happy-go-lucky southern plantation slave. Rice organized the solo act by adding black dialect plantation songs, virtuosic dancing, banjo and fiddle music and crude humor. Another character who appeared on stage during this time an urban freed slave by the name of Zip Coon. The creation of blackface characters such as these, along with Mammy and the picanny, formed pervasive stereotypes often associated with black imagery and behavior.

The classic age of minstrelsy in the United States lasted from the 1840s to the 1870s. The solo act had evolved into duos, trios and eventually quartets that performed during the interludes of theater performances and circus acts. In 1843, The Virginia Minstrels performed the first organized minstrel show and created the standard instrumentation for the quartet ensemble: the fiddle, banjo, bones (castanets constructed from cow bone) and tambourine. Minstrelsy had developed into a full variety show incorporating plantation ballads, instrumental interludes, dance breaks and full chorus numbers.

The music performed on the minstrel stage was catchy to sing, easy to play and fun to dance to. Minstrel songs derived from British dance tunes and resembled songs from the African American tradition. The song form displayed a verse/refrain design where a soloist would sing the verses and a chorus joined in for the refrain. Eventually, the refrain was sung in four party harmony.

The fiddle and banjo eventually became synonymous with the most popular dance crazes of the era; i.e. the Cakewalk, the Walk-Around, the Breakdown, the Buck-And-Wing, the 

[page] 5

Essence Dance, and Jumping Jim Crow.

The irregular rhythms beloved by audiences were created by the animated strumming of the banjo. They enjoyed them so much that minstrel songs often inserted dance breaks at the end of every chorus.

 By the mid-1800s, the minstrel entertainment industry noticed a market for selling the minstrel song through music scores. Instrumental parts written for banjo, fiddle and the piano became accessible to people who wanted to sing and dance to their favorite minstrel tune”

[…]

Case Study

By comparing the original lyrics of  “Jim Along Josey” with the play-party versions, one can begin to understand why the song adaptation had occurred. The song was originally written in 1838 by the minstrel performer Edward Harper, and became a hit as a popular fiddle and dance tune. In his book Scandalize My Name: Black Imagery in American Popular Music, Sam Dennison suggests the first
performance of “Jim Along Josey” was sung by Harper in a blackface drama called The Free Ni--er*
of New York.

The first music score of the song—written for piano—was published in the same year. As shown in Figure 1, the cover reveals that the song was once sung by the “Eminent Professor” John M. Smith, who marketed himself to his audiences as “the celebrated delineator of Etheopean character.”

Blackface minstrelsy was also commonly referred to as Ethiopian (or in this case spelled Etheopean)

[page] 6

minstrelsy throughout the course of the nineteenth century. The sheet music publication distributed the song to a wider audience.

[…]

Oral tradition gave rise to the many interpretations of the lyrics over time.

The original lyrics of “Jim Along Josey” contain racial slurs and allusions that are inappropriate for a child today. These African American stereotypes and themes were commonly applied in minstrel songs and sung in what was perceived as an African American dialect:

I’se from Lucianna as you all know,
Dar where Jim along Josey’s all de go,
Dem ni--ars* all rise when de bell does ring,
And dis is de song da dey do sing.
Hey get along, get along Josey,
Hey get along, get along Jo!

The minstrel character, Jim Along Josey, was always represented as a dandy; a Northern freed slave who pretentiously attempted to dress in the latest aristocratic fashion. Additionally, this caricature often attempted to self-identify as whiter than other black individuals.

The second verse describes this character:

Oh! When I gets dat new coat which I expects to hab soon,
Likewise a new pair tight-kneed trousaloon,
Den I walks up and down Broadway wid my Susanna,
And de white folks will take me to be Santa Anna.
 Hey get along, get along Josey,
 Hey get along, Jim along Joe!

According to Botkin, the chorus is using the American slang phrase hey get along which is an instruction for one to move out of the way. This phrase is also synonymous with the expression to move along.

In addition to the provided dance break at the end of the piece, the chorus lyrics instructs the dancer to move. This dance was a form of breakdown which was associated with the African American folk dances that often occurred on plantations.

[page] 7

Of course, minstrel dances were never to be participated in by the play-party youth because dance was forbidden amongst rural American Protestants.

One former play-partier, Vance Randolph, recalled the church’s condemnation for all dance related activities: 
Less than a dozen years ago the people of my own village refused to allow a children's dancing-class in the town, and I myself heard one of our leading citizens declare that he would rather see his daughter dead than to have her dance, even in her own home. But the play-party, it appears, is a different matter altogether, and even the most fanatical religionists see no particular harm in it. The party-games are really dances, of course, but there is no orchestra; the players furnish their own simple music by singing lustily as they go through the intricate figures.

 Any actions alluding to dance were viewed as sins that created sexual desires. The playpartiers were not ones to overtly participate in these activities because they respected the authorities of the church. However, they were still interested in creating flirtatious physical contact with the opposite sex. Not being allowed to use the minstrel instrumentation associated with the dance music of this time, the teens were subjected to use vocal song to organize their play-party game activities instead. This enabled them to create lyrics that instructed movements, which resembled forbidden dances.

Within the context of the play-party, these movements were not regarded as sin. This is further highlighted by former play-party participant Mrs. L. D. Ames:
These play-parties were really dances. The players did not dance, however, to the music of instruments, but kept time with various steps to their own singing. But they were not called dances: they were called simply parties. The better class of people in the country did not believe in dancing. Regular dances, where the music was furnished by a " fiddler," were held, for the most part, only in the homes of the rough element.

[…]

The preference for vocal accompaniment at play parties arose from the European and North American history or folklore that associated particular instruments with the Devil and evil spirits. Thus, aside dances, instrumentation in play-party contexts also had negative connotations

In his chapter entitled, “The Devil, the Fiddle, and Dancing,” folklorist Herbert Halpert describes this ideology:
The Devil is known for his skill in playing the fiddle, an instrument which some reports say he invented. Sometimes he has contests with human fiddlers. If he teaches people to  

[page] 8

play, they become superlative performers. When he or his pupils are invited to play at dances, their music may be compulsive; people who hear it are forced to dance. Sometimes they cannot stop dancing until they die—unless the spell is broken, frequently by religious mean. Instruments he or his pupils have played may continue to play themselves after the pupil’s death.

[…]

The fear of the fiddle’s evil connotations engendered a creative space, the play-party, where vocal accompaniment could replace the fiddle’s function. On the performance of dance movements, one play-party version of “Jim Along Josey,” found in Iowa, describes physical movement and the embrace of another participant. Also, notice the use of the spelling “Josie” as opposed to “Josey” and the use of the phrase “Get along,” instead of “Jim along.” This illustrates how this song was orally transmitted and therefore required no universal spelling of the song lyrics:

Hey, come a get along,
Get along, Josie.
Hey, come a get along.
 Get along Jo.
If I was single and wanted a beau,
I’d fly to the arms of Jim along Jo.

A very similar version of the song was collected by Botkin in his dissertation. As mentioned before, these lyrics were collected in Oklahoma:

Hey, come a get along,
Get along, Josie.
Hey, come a get along.
Get along Jo.
 All you girls that want a beau,
 Fall in the arms of the calico.

[page] 9

The movements of this next version of “Jim Along Josey ” found in Eastern Illinois, reflect a tag game that results in the male and female hugging as a prize. Also, these lyrics have added reference to animals and nonsense scenarios, which reflect the children’s song aesthetic:

Cat’s in the cream jar,
Run, girls, run!
Fire in the mountains,
 Fun, boys, fun!
 Hey, Jim along, Jim along Josie!
 Hey, Jim along, Jim Along, Jo.

For this version, participants form a circle of couples with the boy standing to the rightside of the girl. Once the singing commenced a girl leaves her spot in the circle to run to the other side. As she attempts to return to her original spot, a boy across the circle tries to catch her. If he accomplishes this, he wins the embrace with the girl. This could also be described as a tag game, so therefore the movements in this song could be applied to other play-party tag game games too.

This next set of lyrics is from Western Nebraska and while the song is not titled “Jim Along Josey” it shares a similar chorus with the previous versions. Instead, this song is called “Hi, Come Along!”:

Hitch my oxen to the cart
And go down the hill to get a load of bark
Hi, come along, Jim along Josie,
Fetch him along, Jim along Jo;
Take him along, Jim along Josie,
Fetch him along, Jim along Jo.

The numerous versions of “Jim Along Josey” were collected at the turn of the twentieth century from different locations across the United States, however, they share similar lyrics.

Whether the lyrics were instructing dance-like movements or expressing nonsense words, the phrase “Jim Along Josey” persisted. Because play-party songs used oral tradition, they served as an effective medium for minstrel songs to survive into the modern day.”…
-snip-
*This word is fully spelled out in this article.

The words in italics were written that way in this article.

****
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