Edited by Azizi Powell
This is Part IV of an ongoing pancocojams series on African American versions of the English children's singing game "Two Dukes A-Riding".
Part IV presents an excerpt from the record notes for the album Been In The Storm Too Long and lyrics for a South Carolina version of the "Johnny Cuckoo" singing game that was sung by Janie Hunter. A link to a sound file for that version of "Johnny Cuckoo" is also included in that post.
Part IV also includes information about the Gullah culture that is documented as the original site of examples of the singing game "Johnny Cuckoo". (Visit Part III for a more widely known example of "Johnny Cuckoo" from the Gullah culture.)
Click https://pancocojams.blogspot.com/2019/08/african-american-versions-of-english.html for Part I of this pancocojams series. Part I presents excerpts from two Mudcat folk music discussion threads: "Help: johnny cockaroo" [comments from 2008, 2009] and "Lyr Req: Playground songs" [one singing game example which I collected in 1992 and posted on that forum in 2007].
Click https://pancocojams.blogspot.com/2019/08/five-examples-of-two-dukes-riding.html for Part II presents text (word only) examples of and sound files for a few versions of the children's singing game "Two Dukes A-Riding" (or other titles for versions of that singing game.)
Click https://pancocojams.blogspot.com/2019/08/two-examples-of-african-american_5.html for Part III of this pancocojams series. Part III presents my thoughts about the meanings of the words "Johnny Cuckoo" in the African American singing game with that name. Part III also showcases a text (word only) example and a YouTube video of the singing game "Johnny Cuckoo" as sung by Bessie Jones and children from St. Simon's Island, Georgia along with a YouTube sound file and lyrics for a version of "Johnny Cuckoo" as sung by Joan Baez.
The Addendum to Part III presents an article excerpt about Black men in the United States Civil War's Union army and Black men in the Confederate army.
The content of this post is presented for folkloric, cultural, recreational, and entertainment purposes.
All copyrights remain with their owners.
Thanks to Janie Hunter and all those who are quoted in this post.
****
PANCOCOJAMS EDITOR'S NOTE
The record note excerpt given below identifies this showcased example of this singing game as being from Johns Island off the coast of South Carolina.
Another example of "Johnny Cuckoo" that is featured in Part III of this pancocojams series is from St. Simon's Island, Georgia.
Both of these examples are from Gullah people in the United States. Here's some information about the Gullah culture:
From https://en.wikipedia.org/wiki/Gullah
"The Gullah are African Americans who live in the Lowcountry region of the U.S. states of Georgia, Florida, and South Carolina, in both the coastal plain and the Sea Islands. They developed a creole language, the Gullah language, and a culture rich in African influences that makes them distinctive among African Americans.
Historically, the Gullah region extended from the Cape Fear area on North Carolina's coast south to the vicinity of Jacksonville on Florida's coast. Today, the Gullah area is confined to the Georgia and South Carolina Lowcountry. The Gullah people and their language are also called Geechee, which may be derived from the name of the Ogeechee River near Savannah, Georgia.[1] Gullah is a term that was originally used to designate the creole dialect of English spoken by Gullah and Geechee people. Over time, its speakers have used this term to formally refer to their creole language and distinctive ethnic identity as a people. The Georgia communities are distinguished by identifying as either "Freshwater Geechee" or "Saltwater Geechee", depending on whether they live on the mainland or the Sea Islands.[2][3][4][5]
Because of a period of relative isolation from whites while working on large plantations in rural areas, the Africans, drawn from a variety of Central and West African ethnic groups, developed a creole culture that has preserved much of their African linguistic and cultural heritage from various peoples; in addition, they absorbed new influences from the region."...
****
RECORD NOTES AND LYRICS FOR "JOHNNY CUCKOO" SINGING GAME
From https://media.smithsonianfolkways.org/liner_notes/folkways/FW03842.pdf
BEEN IN THE STORM SO LONG
"JOHNS ISLAND, SOUTH CAROLINA/RECORD BY GUY CARAWAN/PHOTOS BY ROBERT YElLIN
SPIRITUALS & SHOUTS, CHILDREN'S GAME SONGS, AND FOLKTALES
Side I: Side II:
1. Talking 'Bout a Good Time 1. Down on Me
2. That's All Right 2. Reborn Again
3. Jesus Knows All About My Troubles 3. Row, Michael, Row
4. Talk 4. Johnny Cuckoo
5. Lay Down Body 5. Old Lady Come from Booster
6. I'm Gonna Sit at the Welcome Table & Prayer 6. Shoo Turkey
7. Been in the Storm So Long 7. Mr. Postman Die
8. Water My Fl~ers
9. The Rabbit and the Partridge '
10. Jack and Mary and the Devil
FOLKWAYS RECORDS Album No. FS 3842 Library of Congress Card Number: R67-3095
© 1967 by Folkways Records & Service Corp., 701 Seventh Ave. ,New York, N. Y. 10036, USA
Distributed by Folkways/Scholastic Records, Englewood CliffS, N.J.
[page] 2
INTRODUCTION
BEEN IN THE STORM SO LONG
The people you hear on this record live on Johns Island -- one of the sea islands just off the coast of South Carolina. The record was made to accompany a book about these people -- a folk-life study of a southern rural Negro community. Ain't You Got a Right to the Tree of Life? is available from the Simon & Schuster Publishing Co.
The oldest forms of Negro folk life still alive today in the United States are to be found in the sea islands. These low flat islands, covered with swampy marshes, rich farm land, and forests of live oaks draped with Spanish moss, have only had bridges and causeways built to them from the mainland since about 1930. Some of them are still only accessible by boat. Because of their relative isolation from the cross-currents of modern life, the sea islands have preserved many aspects of the old slave culture, including the Gullah dialect, the old spirituals and style of Singing them, their own folk version of Christianity and "praise house" form of worship, folk tales and beliefs.
Most of these people are very poor and have large families. They work primarily as domestics and field hands. Some of them have to go into the nearest city, Charleston, for work since there is little opportunity to make a living on the island. Though there is a very low level of literacy among the older generation there is a rich oral tradition of folk expression.
Central to this tradition is Moving Star Hall. This is the gathering place for the older people. Here each person expresses himself in sermon, song, testimony and prayer. Moving Star Hall is also an organization for visiting the sick and burying the dead. The small clapboard building has been up since 1917 but the praise house form of worship and the burial society go back much further in time. A small group of Singers from Moving Star Hall have now travelled to northern folk festivals and concert halls.
I first went to Johns Island in 1959 to work with an adult literacy program and to record some of the music. I returned each winter and finally moved I nto the Negro community around Moving Star Hall with my wife and son and stayed for two years. During those years we gathered on tape many hours of life experience, songs, tales, children's games, much wisdom and wit. This record is only a small sample. I would suggest that anyone really interested in the area get the book, Ain't You Got a Right to the Tree of Life. There is also an earlier record from Johns Island: Sea Island Folk Festival, Folkways No. FS 3841.
Guy Carawan, Furnace Dock Road
Peekskill, New York
(Thanks to Simon & Schuster for permission to reprint text used in the book and photographs taken by Robert Yellin.)
[...]
SIDE II - 4
[page] 12
Jane Hunter:
JOHNNY CUCKOO
This is a children's song that our mothers taught us when we was growing up. In the afternoon we finish our work then we go in the yard and play ring
plays. And the sound is like this:
Here's one Johnny Cuckoo on a rainy day my
darling,
Is one Johnny Cuckoo on a bright starry night.
Please tell me where you come from on a rainy day my darling,
Please tell me where you come from on a bright starry night.
I come for my baby on a rainy day my darling,
I come for my baby on a bright starry night.
Oh, you look too black and dirty, dirty, dirty,
You look too black and dirty
Chuck 'em in the coffee pot.
This is a game. When you clap, then the kids do a dance you call a Charleston by it."
****
LINK TO A SOUND FILE FOR JANIE HUNTER'S VERSION OF "JOHNNY CUCKOO"
From https://folkways.si.edu/janie-hunter/johnny-cuckoo/african-american-music-african-american-spoken-american-folk-childrens-gospel/music/track/smithsonian
Track Info
ALBUM: Been in the Storm So Long: A Collection of Spirituals, Folk Tales and Children's Games from Johns Island, SC
YEAR RELEASED: 1990
CATALOG NUMBER: SFW40031_121
DISC / TRACK NUMBER 1 / 21
DURATION: 1:03
COUNTRY(S): United States
CULTURE GROUP(S): Gullah
LANGUAGE(S): English"
-snip-
Unfortunately, this sound file is very brief and I've not been able to find a longer example online.
I've not heard this complete song whose tune is different from the more widely known version of "Johnny Cuckoo" that is sung by Bessie Jones and sung by Joan Baez.
The tempo of this Janie Hunter version is also slower than the above mentioned examples and has no hand clapping accompaniment (in the brief audio file).
****
This concludes Part IV of this pancocojams series.
Thanks for visiting pancocojams.
Visitor comments are welcome.
Showing posts with label High John The Conqueror. Show all posts
Showing posts with label High John The Conqueror. Show all posts
Tuesday, August 6, 2019
Monday, August 5, 2019
Two Examples Of The African American Children's Singing Game "Johnny Cuckoo" (By Bessie Jones & By Joan Baez)
Edited by Azizi Powell
This is Part III of an ongoing pancocojams series on African American versions of the English children's singing game "Two Dukes A-Riding".
Part III presents my thoughts about the meanings of the words "Johnny Cuckoo" in the African American singing game with that name. Part III also showcases a text (word only) example and a YouTube video of the singing game "Johnny Cuckoo" as sung by Bessie Jones and children from St. Simon's Island, Georgia along with a YouTube sound file and lyrics for a version of "Johnny Cuckoo" as sung by Joan Baez.
The Addendum to Part III presents an article excerpt about Black men in the United States Civil War's Union army and Black men in the Confederate army.
Click https://pancocojams.blogspot.com/2019/08/african-american-versions-of-english.html for Part I of this pancocojams series. Part I presents excerpts from two Mudcat folk music discussion threads: "Help: johnny cockaroo" [comments from 2008, 2009] and "Lyr Req: Playground songs" [one singing game example which I collected in 1992 and posted on that forum in 2007].
Click https://pancocojams.blogspot.com/2019/08/five-examples-of-two-dukes-riding.html for Part II presents text (word only) examples of and sound files for a few versions of the children's singing game "Two Dukes A-Riding" (or other titles for versions of that singing game.)
Click https://pancocojams.blogspot.com/2019/08/an-example-of-singing-game-johnny.html for Part IV of this series. Part IV presents an excerpt from the record notes for the album Been In The Storm Too Long and lyrics for a South Carolina version of the "Johnny Cuckoo" singing game that was sung by Janie Hunter. A link to a sound file for that version of "Johnny Cuckoo" is also included in that post.
Part IV also includes information about the Gullah culture that is documented as the original site of examples of the singing game "Johnny Cuckoo". (The example given in Part III is a more widely known example of "Johnny Cuckoo" and also comes from the Gullah culture.)
The content of this post is presented for folkloric, cultural, recreational, and entertainment purposes.
All copyrights remain with their owners.
Thanks to Bessie Jones, Joan Baez, and all those who are featured in these embedded YouTube video and sound file. Thanks to all those who are quoted in this post and thanks to the publisher of these examples on YouTube.
****
PANCOCOJAMS EDITOR'S NOTE - WHAT I THINK THE THE WORDS "JOHNNY CUCKOO" MEAN IN THE SINGING GAME WITH THAT NAME
I believe that the African American children's singing game "Johnny Cuckoo" is an adaptation of the United Kingdom children's singing game "Two Dukes A-Riding". The words for certain verses (such as "you look to black and dirty"/"I'm just as good as you are"), and the two horizontal line formations indicate the connections between these two singing games. One difference between these two singing games is that "Dukes A-Riding" is a "courting" game (the Dukes are seeking a woman to marry) while "Johnny Cuckoo" is an "army enlistment" game (the Johnny Cuckoos want to be accepted as soldiers in an [un-named] army).
My assumption is that this singing game was probably created in the Southern region of the United States by Black people shortly after the end of the Civil War.
My position is that the name "Johnny" in the referent "Johnny Cuckoo" probably was partly lifted from "Johnny Reb", a common nickname for Rebel soldiers and partly lifted from the name of the herbal mojo root that Black folks called "John the Conqueror" and the folk hero who was named after that root.
The word "cuckoo" means "crazy". I wonder if the word "cuckoo" was purposely chosen to convey one or both of these hidden in plain sight messages:
1. that some Black people and many non-Black people in those days might consider a Black person who wanted to be a soldier in the (Rebel?) army as being crazy.
2. that some Black people and many non-Black people then (and even now) may consider Black people to be crazy if they/we had/have strong positive self-esteem.
Be that as it may, I think it's most likely that the word "cuckoo" developed by folk processing from the mojo root and folk character "John The Conqueror". Here's some information about "John The Conqueror" from https://en.wikipedia.org/wiki/John_the_Conqueror
"John the Conqueror, also known as High John de Conqueror, John, Jack, and many other folk variants, is a folk hero from African-American folklore. He is associated with a certain root, the John the Conqueror root, or John the Conqueroo, to which magical powers are ascribed in American folklore, especially among the hoodoo tradition of folk magic. Muddy Waters mentions him as Johnny Cocheroo pronounced Johnny Conqueroo in the songs, "Mannish Boy" and "I'm Your Hoochie Coochie Man". In "Mannish Boy" the line is "I think I'll go down/To old Kansas too/I'm gonna bring back my second cousin/That little Johnny Conqueroo", and in "I'm Your Hoochie Coochie Man" it is called "John De Conquer Blue".
Folk hero
Sometimes, "John" is an African prince who was sold as a slave in the Americas. Despite his enslavement, his spirit was never broken. He survived in folklore as reluctant folk hero, a sort of trickster figure, because of the tricks he played to evade those who played tricks on him. Joel Chandler Harris's Br'er Rabbit of the Uncle Remus stories is a similar archetype to that of High John the Conqueror, out doing those who would do him in. Zora Neale Hurston wrote of his adventures ("High John de Conquer") in her collection of folklore, The Sanctified Church."...
-end of quote-
I don't think that Black children who played Johnny Cuckoo" were echoing their fathers' or uncles' or older brothers' desires to be part of the Confederate army*. My position is that whoever created this "Dukes A-Riding" adaptation did so for two reasons:
1. to provide opportunities for creative dramatic play :with accompanying hand clapping and dance
2. to help Black children develop and reinforce positive self-esteem and coping mechanism when they encountered people who believed that they weren't as good as "other" people.
Contrast my interpretation of the "you look all black and dirty" and "I'm just as good as you are" with my interpretation of those same words in "Two Dukes A Riding" songs (given in the comment section below).
-snip-
*Read a brief excerpt from an online article about Black Confederates in the Addendum below.
****
SHOWCASE VIDEO - Little Sally Walker Bessie Jones
ichagall, Published on Apr 20, 2010
Little Sally Walker Bessie Jones
-snip-
The "Johnny Cuckoo" singing game begins at 3:28 in this video.
****
LYRICS: JOHNNY CUCKOO
(as sung by Bessie Jones)
1st verse:
Here comes one Johnny Cuckoo
Cuckoo; Cuckoo
Here comes one Johnny Cuckoo
On a cold and stormy night
2nd verse:
What did you come for
Come for
Come (here) for
What did you come for
On a cold and stormy night
3rd verse:
I come for me (We come for us)
A soldier, soldier,
I come for me (We come for us)
A soldier
On a cold and stormy night
You look too black and dirty
Dirty dirty
You look too black and dirty
On a cold and stormy night
5th verse sung by Johnny Cuckoo/s
I'm (We're) just as good* as you are
You are. You are.
I'm (We're) just as good as you are
On a cold and stormy night
* sometimes given as "just as clean as you are"
-snip-
The song immediately repeats from the beginning with the first Johnny Cuckoo picking another player to act the role of the second Johnny Cuckoo along with her. The group sings "Here comes two Johnny Cuckoos etc
This continues with multiple Johnny Cuckoos until the game ends.
Source: Bessie Jones, Bess Hawes Lomax: Step It Down: Games, Plays, Songs & Stories from the Afro-American Heritage.
The singing game "Johnny Cuckoo" is also included as as #10 on the 3rd CD of A Musical Journey From The Georgia Sea Islands To The Mississippi Delta, edited by Alan Lomax; 1993 Atlantic Recording
****
PERFORMANCE INSTRUCTIONS FOR THE SINGING GAME "JOHNNY CUCKOO"*
One person in the group (male or female) plays the role of “Johnny Cuckoo”. The rest of the group stands in a horizontal line some distance from the girl but facing her. The group perform individual hand claps [clap their own hands) to the beat while singing this song.
“Johnny Cuckoo” starts strutting/marching toward this line when the group sings the first and second line verses. Sometimes the Johnny Cuckoo appears to stand in the same spot but moving like she is strutting (or marching) back and forth.
Everyone sings the entire song although technically the third (and 5th verse) is supposed to be Johnny Cuckoo singing alone.
All of the players in the line turn their backs on the "Johnny Cuckoo/s and switch their hips to the rhythm.
There is a significant increase in the speed of the singing in the 4th first as the group sing and perform a double offbeat clap.
The line turns around again and keeping the same tempo the Johnny Cuckoo turns away from the group and does the same hip swinging dance while clapping his or her hands.
Johnny Cuckoo begins strutting/ marching until he or she reaches the line and arbitrarily picks someone to be the second Johnny Cuckoo with her.
The song immediately repeats from the beginning with the group singing "Here comes two Johnny Cuckoos etc
This continues with multiple Johnny Cuckoos until everyone is a Johnny Cuckoo.
-snip-
*This is my description of the performance of this singing game, although these directions borrow heavily from the instructions that are given in the Bessie Jones & Bess Hawes Lomax book Step It Down.
****
SHOWCASE SOUND FILE - Joan Baez Johnny Cuckoo
bbaaeezz, Published on Feb 27, 2011
Joan Baez - Johnny Cuckoo
****
LYRICS - JOHNNY CUCKOO
(as sung by Joan Baez)
"Here comes one Johnny cuckoo
Cuckoo,cuckoo
Here comes one Johnny Cuckoo
On a cold and stormy night
What did you come for
Come for,come for?
What did you come for
On a cold and stormy night?
I come to be a soldier
Soldier,soldier
I come to be a soldier
On a cold and stormy night
You are too black and dirty
Dirty,dirty
You are too black and dirty
On a cold and stormy night
I'm just as good as you are
You are,you are
I'm just as good as you are
On a cold and stormy night"
Source: https://genius.com/Joan-baez-johnny-cuckoo-lyrics.
****
ADDENDUM
From https://www.battlefields.org/learn/articles/black-confederates Black Confederates: Truth and Legend By Sam Smith
..."Many Southern slaves took advantage of the fog of war to escape towards freedom. Before the Emancipation Proclamation was officially adopted, these escapes usually meant congregating around the Union armies that were operating in Southern territory. Vast columns of escaped slaves followed almost every major Union army at one point or another. These people, sometimes called “contrabands,” as in “confiscated enemy property,” frequently served as scouts and spies for the Union soldiers.
When the Emancipation Proclamation took effect on January 1, 1863, Union forces had regained control of large swaths of the South. Although many now claim that the Proclamation was effectively useless because it established policy for a foreign nation, the practical reality is that the Union, by force of arms, had every necessary power to establish policy in its occupied territories, just as Confederate armies exercised their power to capture and enslave free black people during their brief occupations of Northern territories.
After the Proclamation, the refugees in the contraband camps, along with free black people throughout the North, began to enlist in the Union Army in even greater proportion than Northern white men. After some time in legal limbo, many Southern black men took up arms against their former masters and distinguished themselves on campaign and on the battlefield. By the time the war was over, black soldiers made up 10% of the Union Army and had suffered more than 10,000 combat casualties.
Some black Southerners aided the Confederacy. Most of these were forced to accompany their masters or were forced to toil behind the lines. Black men were not legally allowed to serve as combat soldiers in the Confederate Army--they were cooks, teamsters, and manual laborers. There were no black Confederate combat units in service during the war and no documentation whatsoever exists for any black man being paid or pensioned as a Confederate soldier, although some did receive pensions for their work as laborers. Nevertheless, the black servants and the Confederate soldiers formed bonds in the shared crucible of conflict, and many servants later attended regimental reunions with their wartime comrades.
This is not to say that no black man ever fired a gun for the Confederacy. To be specific, in the “Official Records of the War of the Rebellion,” a collection of military records from both sides which spans more than 50 volumes and more than 50,000 pages, there are a total of seven Union eyewitness reports of black Confederates. Three of these reports mention black men shooting at Union soldiers, one report mentions capturing a handful of armed black men along with some soldiers, and the other three reports mention seeing unarmed black laborers. There is no record of Union soldiers encountering an all-black line of battle or anything close to it."...
****
This concludes Part III of this four part pancocojams series.
Thanks for visiting pancocojams.
Visitor comments are welcome.
This is Part III of an ongoing pancocojams series on African American versions of the English children's singing game "Two Dukes A-Riding".
Part III presents my thoughts about the meanings of the words "Johnny Cuckoo" in the African American singing game with that name. Part III also showcases a text (word only) example and a YouTube video of the singing game "Johnny Cuckoo" as sung by Bessie Jones and children from St. Simon's Island, Georgia along with a YouTube sound file and lyrics for a version of "Johnny Cuckoo" as sung by Joan Baez.
The Addendum to Part III presents an article excerpt about Black men in the United States Civil War's Union army and Black men in the Confederate army.
Click https://pancocojams.blogspot.com/2019/08/african-american-versions-of-english.html for Part I of this pancocojams series. Part I presents excerpts from two Mudcat folk music discussion threads: "Help: johnny cockaroo" [comments from 2008, 2009] and "Lyr Req: Playground songs" [one singing game example which I collected in 1992 and posted on that forum in 2007].
Click https://pancocojams.blogspot.com/2019/08/five-examples-of-two-dukes-riding.html for Part II presents text (word only) examples of and sound files for a few versions of the children's singing game "Two Dukes A-Riding" (or other titles for versions of that singing game.)
Click https://pancocojams.blogspot.com/2019/08/an-example-of-singing-game-johnny.html for Part IV of this series. Part IV presents an excerpt from the record notes for the album Been In The Storm Too Long and lyrics for a South Carolina version of the "Johnny Cuckoo" singing game that was sung by Janie Hunter. A link to a sound file for that version of "Johnny Cuckoo" is also included in that post.
Part IV also includes information about the Gullah culture that is documented as the original site of examples of the singing game "Johnny Cuckoo". (The example given in Part III is a more widely known example of "Johnny Cuckoo" and also comes from the Gullah culture.)
The content of this post is presented for folkloric, cultural, recreational, and entertainment purposes.
All copyrights remain with their owners.
Thanks to Bessie Jones, Joan Baez, and all those who are featured in these embedded YouTube video and sound file. Thanks to all those who are quoted in this post and thanks to the publisher of these examples on YouTube.
****
PANCOCOJAMS EDITOR'S NOTE - WHAT I THINK THE THE WORDS "JOHNNY CUCKOO" MEAN IN THE SINGING GAME WITH THAT NAME
I believe that the African American children's singing game "Johnny Cuckoo" is an adaptation of the United Kingdom children's singing game "Two Dukes A-Riding". The words for certain verses (such as "you look to black and dirty"/"I'm just as good as you are"), and the two horizontal line formations indicate the connections between these two singing games. One difference between these two singing games is that "Dukes A-Riding" is a "courting" game (the Dukes are seeking a woman to marry) while "Johnny Cuckoo" is an "army enlistment" game (the Johnny Cuckoos want to be accepted as soldiers in an [un-named] army).
My assumption is that this singing game was probably created in the Southern region of the United States by Black people shortly after the end of the Civil War.
My position is that the name "Johnny" in the referent "Johnny Cuckoo" probably was partly lifted from "Johnny Reb", a common nickname for Rebel soldiers and partly lifted from the name of the herbal mojo root that Black folks called "John the Conqueror" and the folk hero who was named after that root.
The word "cuckoo" means "crazy". I wonder if the word "cuckoo" was purposely chosen to convey one or both of these hidden in plain sight messages:
1. that some Black people and many non-Black people in those days might consider a Black person who wanted to be a soldier in the (Rebel?) army as being crazy.
2. that some Black people and many non-Black people then (and even now) may consider Black people to be crazy if they/we had/have strong positive self-esteem.
Be that as it may, I think it's most likely that the word "cuckoo" developed by folk processing from the mojo root and folk character "John The Conqueror". Here's some information about "John The Conqueror" from https://en.wikipedia.org/wiki/John_the_Conqueror
"John the Conqueror, also known as High John de Conqueror, John, Jack, and many other folk variants, is a folk hero from African-American folklore. He is associated with a certain root, the John the Conqueror root, or John the Conqueroo, to which magical powers are ascribed in American folklore, especially among the hoodoo tradition of folk magic. Muddy Waters mentions him as Johnny Cocheroo pronounced Johnny Conqueroo in the songs, "Mannish Boy" and "I'm Your Hoochie Coochie Man". In "Mannish Boy" the line is "I think I'll go down/To old Kansas too/I'm gonna bring back my second cousin/That little Johnny Conqueroo", and in "I'm Your Hoochie Coochie Man" it is called "John De Conquer Blue".
Folk hero
Sometimes, "John" is an African prince who was sold as a slave in the Americas. Despite his enslavement, his spirit was never broken. He survived in folklore as reluctant folk hero, a sort of trickster figure, because of the tricks he played to evade those who played tricks on him. Joel Chandler Harris's Br'er Rabbit of the Uncle Remus stories is a similar archetype to that of High John the Conqueror, out doing those who would do him in. Zora Neale Hurston wrote of his adventures ("High John de Conquer") in her collection of folklore, The Sanctified Church."...
-end of quote-
I don't think that Black children who played Johnny Cuckoo" were echoing their fathers' or uncles' or older brothers' desires to be part of the Confederate army*. My position is that whoever created this "Dukes A-Riding" adaptation did so for two reasons:
1. to provide opportunities for creative dramatic play :with accompanying hand clapping and dance
2. to help Black children develop and reinforce positive self-esteem and coping mechanism when they encountered people who believed that they weren't as good as "other" people.
Contrast my interpretation of the "you look all black and dirty" and "I'm just as good as you are" with my interpretation of those same words in "Two Dukes A Riding" songs (given in the comment section below).
-snip-
*Read a brief excerpt from an online article about Black Confederates in the Addendum below.
****
SHOWCASE VIDEO - Little Sally Walker Bessie Jones
ichagall, Published on Apr 20, 2010
Little Sally Walker Bessie Jones
-snip-
The "Johnny Cuckoo" singing game begins at 3:28 in this video.
****
LYRICS: JOHNNY CUCKOO
(as sung by Bessie Jones)
1st verse:
Here comes one Johnny Cuckoo
Cuckoo; Cuckoo
Here comes one Johnny Cuckoo
On a cold and stormy night
2nd verse:
What did you come for
Come for
Come (here) for
What did you come for
On a cold and stormy night
3rd verse:
I come for me (We come for us)
A soldier, soldier,
I come for me (We come for us)
A soldier
On a cold and stormy night
You look too black and dirty
Dirty dirty
You look too black and dirty
On a cold and stormy night
5th verse sung by Johnny Cuckoo/s
I'm (We're) just as good* as you are
You are. You are.
I'm (We're) just as good as you are
On a cold and stormy night
* sometimes given as "just as clean as you are"
-snip-
The song immediately repeats from the beginning with the first Johnny Cuckoo picking another player to act the role of the second Johnny Cuckoo along with her. The group sings "Here comes two Johnny Cuckoos etc
This continues with multiple Johnny Cuckoos until the game ends.
Source: Bessie Jones, Bess Hawes Lomax: Step It Down: Games, Plays, Songs & Stories from the Afro-American Heritage.
The singing game "Johnny Cuckoo" is also included as as #10 on the 3rd CD of A Musical Journey From The Georgia Sea Islands To The Mississippi Delta, edited by Alan Lomax; 1993 Atlantic Recording
****
PERFORMANCE INSTRUCTIONS FOR THE SINGING GAME "JOHNNY CUCKOO"*
One person in the group (male or female) plays the role of “Johnny Cuckoo”. The rest of the group stands in a horizontal line some distance from the girl but facing her. The group perform individual hand claps [clap their own hands) to the beat while singing this song.
“Johnny Cuckoo” starts strutting/marching toward this line when the group sings the first and second line verses. Sometimes the Johnny Cuckoo appears to stand in the same spot but moving like she is strutting (or marching) back and forth.
Everyone sings the entire song although technically the third (and 5th verse) is supposed to be Johnny Cuckoo singing alone.
All of the players in the line turn their backs on the "Johnny Cuckoo/s and switch their hips to the rhythm.
There is a significant increase in the speed of the singing in the 4th first as the group sing and perform a double offbeat clap.
The line turns around again and keeping the same tempo the Johnny Cuckoo turns away from the group and does the same hip swinging dance while clapping his or her hands.
Johnny Cuckoo begins strutting/ marching until he or she reaches the line and arbitrarily picks someone to be the second Johnny Cuckoo with her.
The song immediately repeats from the beginning with the group singing "Here comes two Johnny Cuckoos etc
This continues with multiple Johnny Cuckoos until everyone is a Johnny Cuckoo.
-snip-
*This is my description of the performance of this singing game, although these directions borrow heavily from the instructions that are given in the Bessie Jones & Bess Hawes Lomax book Step It Down.
****
SHOWCASE SOUND FILE - Joan Baez Johnny Cuckoo
bbaaeezz, Published on Feb 27, 2011
Joan Baez - Johnny Cuckoo
****
LYRICS - JOHNNY CUCKOO
(as sung by Joan Baez)
"Here comes one Johnny cuckoo
Cuckoo,cuckoo
Here comes one Johnny Cuckoo
On a cold and stormy night
What did you come for
Come for,come for?
What did you come for
On a cold and stormy night?
I come to be a soldier
Soldier,soldier
I come to be a soldier
On a cold and stormy night
You are too black and dirty
Dirty,dirty
You are too black and dirty
On a cold and stormy night
I'm just as good as you are
You are,you are
I'm just as good as you are
On a cold and stormy night"
Source: https://genius.com/Joan-baez-johnny-cuckoo-lyrics.
****
ADDENDUM
From https://www.battlefields.org/learn/articles/black-confederates Black Confederates: Truth and Legend By Sam Smith
..."Many Southern slaves took advantage of the fog of war to escape towards freedom. Before the Emancipation Proclamation was officially adopted, these escapes usually meant congregating around the Union armies that were operating in Southern territory. Vast columns of escaped slaves followed almost every major Union army at one point or another. These people, sometimes called “contrabands,” as in “confiscated enemy property,” frequently served as scouts and spies for the Union soldiers.
When the Emancipation Proclamation took effect on January 1, 1863, Union forces had regained control of large swaths of the South. Although many now claim that the Proclamation was effectively useless because it established policy for a foreign nation, the practical reality is that the Union, by force of arms, had every necessary power to establish policy in its occupied territories, just as Confederate armies exercised their power to capture and enslave free black people during their brief occupations of Northern territories.
After the Proclamation, the refugees in the contraband camps, along with free black people throughout the North, began to enlist in the Union Army in even greater proportion than Northern white men. After some time in legal limbo, many Southern black men took up arms against their former masters and distinguished themselves on campaign and on the battlefield. By the time the war was over, black soldiers made up 10% of the Union Army and had suffered more than 10,000 combat casualties.
Some black Southerners aided the Confederacy. Most of these were forced to accompany their masters or were forced to toil behind the lines. Black men were not legally allowed to serve as combat soldiers in the Confederate Army--they were cooks, teamsters, and manual laborers. There were no black Confederate combat units in service during the war and no documentation whatsoever exists for any black man being paid or pensioned as a Confederate soldier, although some did receive pensions for their work as laborers. Nevertheless, the black servants and the Confederate soldiers formed bonds in the shared crucible of conflict, and many servants later attended regimental reunions with their wartime comrades.
This is not to say that no black man ever fired a gun for the Confederacy. To be specific, in the “Official Records of the War of the Rebellion,” a collection of military records from both sides which spans more than 50 volumes and more than 50,000 pages, there are a total of seven Union eyewitness reports of black Confederates. Three of these reports mention black men shooting at Union soldiers, one report mentions capturing a handful of armed black men along with some soldiers, and the other three reports mention seeing unarmed black laborers. There is no record of Union soldiers encountering an all-black line of battle or anything close to it."...
****
This concludes Part III of this four part pancocojams series.
Thanks for visiting pancocojams.
Visitor comments are welcome.
Subscribe to:
Posts (Atom)