Tag Archives: folk songs

Where did he come from? Where did he go?

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Every American who went to a school dance is most likely familiar with the dance floor classic, “Cotton Eye Joe.” Everyone is always asking, where did he come from? Where did he go? But who really was Cotton Eye Joe? What is the history of the song?

This link will take you to a rendition of the folk song “Cotton Eye Joe”

“Cotton Eye Joe” has a very complicated history, rooted in the common issue of songs appropriating African American culture. The song itself began as a folk song in the American South in the 1800’s.1 The original song and lyrics were stated to be a caricature of enslaved people on Southern plantations.2 The song itself has had multiple, all racist, variations. One depicts a black man coming to town and stealing people’s wives.2 In multiple other versions he is described as a slave who is owned by the narrator of the song. One version has a morbid detail which states that Joe made a fiddle out of his dead son’s coffin.3 The word “cotton-eye” itself refers to the idea that Joe may have been drunk on moonshine, or was a highlight of the contrast between dark skin and white eyes.1

“Cotton Eye Joe” almost faded into obscurity, until 1994 when the Swedish techno group, Rednex, created a remix of the song. They reformed the lyrics to get rid of the racist elements and instead make it about a woman being entranced with and running away with Cotton Eye Joe.3 In the music video, the band members dressed up like stereotypical hillbillies, and claimed to be “rescued from an uncivilized village in Idaho and taken to Sweden to discover their passion for music.”1 After receiving backlash from Southern American audiences, the members of the group stated that they thought the redneck image was compatible with the feeling of the music–raw, energetic, simple, and party.1

The complex history of the song illustrates how music with racist themes are so intrinsically entwined with American music.

Sources:

1 – https://americansongwriter.com/the-meaning-behind-cotton-eye-joe/

2 – https://www.fcsgw.org/cotton-eyed-joe/

3 – https://www.huffpost.com/entry/cotton-eyed-joe-origins_n_55b8ffade4b0a13f9d1b1b15

Is American music really American?

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After playing in the St. Olaf Orchestra’s concert last spring which essentially had all works from Antonin Dvorak; including Dvorak’s “New World Symphony” and “American Suite.” It became clear to me that what we consider “American” music, isn’t actually American. We learned from Joseph Horowitz that Dvorak would take bits in pieces from melodies he heard while traveling around America. It should be noted that most “American” music contains melodies, tunes, and isms from many other different cultures. 

In Dvorak’s Prophecy, Scholar Joseph Horowitz sheds light on the fact that Dvorak was in search of “homegrown” music. According to Dvorak “homegrown meant music created by Black and Indigenous people.” The term “homegrown” can definitely be picked apart to pieces when attempting to determine if Indigenous, Black, or American music is considered to be homegrown or not.

When Dvorak composed these pieces, he had the idea that everything he heard and picked up was essentially American. Although we can acknowledge that most of the tunes he incorporated in his music were from Indigenous people. 

“Dvorak was stirred by the sad fate of the Indian and the pathos of the slave. His empathy found expression in his Symphony From the New World- … It begins with a sorrow song and ends with an Indian dirge. Its most famous tune, later reconstituted as the synthetic spiritual “Goin’ Home,” memorializes the tragic servitude of Black Americans.”

On a similar but a little different note, I think that our education system has failed us in the past. Growing up and hearing music on the radio, on TV, in stores, we’ve always thought that what we were hearing was American music. In actuality, most of these pop songs we hear have stemmed from African American people. We have been surprisingly ignorant when it comes to the origins of the music we listen to and I think that ought to change. We can complete this circle by coming back to Dvorak. Dvorak composed the “American Suite,” in an attempt to capture American music. Before I had any prior knowledge of this piece, I simply thought: Dvorak was in America at the time therefore, the music was American. Oh, how I was wrong, and I imagine I’m not the only one who had thought this way. I hope we can learn and acknowledge our ignorances and move forward with open minds.

Dvorak in Spillville, Iowa where he spent a summer in search of “American” music.

Citations

Music: Dr. dvorak’s new symphony. 1893. The Critic: a Weekly Review of Literature and the Arts (1886-1898). Dec 23, https://www.proquest.com/magazines/music/docview/124901982/se-2 (accessed September 20, 2023).

Horowitz, Joseph. Dvořák’s prophecy and the vexed fate of Black Classical Music. New York: W. W. Norton & Company, 2022.

Toll, Martha Anne. “Review | He Saw a ‘noble’ Future for Black and Indigenous Composers. He Was Wrong.” The Washington Post, December 10, 2021. https://www.washingtonpost.com/outlook/he-saw-a-noble-future-for-black-and-indigenous-composers-he-was-wrong/2021/12/08/9705c2f4-2ba1-11ec-985d-3150f7e106b2_story.html.

Mexican Corrido and Music Born of Revolution

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The beginning of the 20th century brought about a slew of cultural and political revolutions in Mexico, more specifically 1910-1920. Fleeing the political turmoil, typically as a result of stolen land from wealthy capital owners, hundreds of thousands, left from the one tenth of the population’s live lost, of immigrants migrated to the US. With blooming inductres in the sector of mining, agriculture and ranching, the hundreds of thousands of hungry Mexican immigrants answered the call, and were met with radicalized violence and discrimination, as was probably customary at the time. It was in this time of integration that the Mexican tradition of Corrida was born, or folk songs that were sung between migrant workers to bring them together. 

Understanding the Corrido tradition requires close examination of the political turmoil happening at the time. Pofrio Diaz ruled Mexico from 1876-1911. Under his administration, the goals of the government lied towards bringing in investments from outside the country and revitalizing the country’s infrastructure. However altruistic, these goals were met from direct exploitation of the peasant working class, and many were forced from their land. Work conditions were incredibly terrible.

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Corrido de la Cucaracha broadside by artist José Guadalupe Posada showing a full-length figure of a simply dressed woman with a shawl around her shoulders and hands on her hips, 1915. The song conveys the story of la cucaracha, which literally means “cockroach,” but during the Mexican Revolution this term was synonymous with “camp follower” and referred to women who would follow and live with their male partners in the war camps.’

These songs were sung by the Mexican immigrants working in America’s booming industries. Due to the nature of this musical practice’s tradition, many of the contents of it citation do not exist, though the primary source I’ve chosen to analyze is, in fact, written down. 

Music born from political roots, and born form the direct experience of assimilating into another culture, is something we’ve touched on in this class and classes previous. Not necessarily born in Mexico, thought deeply rooted in existing Mexican musical tradition, Corrido is an interesting mix of assimilationist hardship and musical creation. I found this practice particularly interesting as it relates to our conversations about American music being a shared experience, not necessarily born from one group with one distinct sound.

Folk Music Revival During the McCarthy Era

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In the 1950s, several Americans who worked in the public sphere were under attack from United States Senator Joseph McCarthy during a time known as the Second Red Scare. Attempting to rid American media and entertainment of any trace of Communist sentiment, Senator McCarthy blacklisted writers, actors, and musicians who were suspected of Communist allegiance or sympathy. Anxiety over Communism lasted well into the 1960s, and one such victim of late McCarthyism was folk singer Pete Seeger in 1963. In the video below, former Governor Gordon Browning speaks at a press conference about Seeger’s suspected alliance with the “Communist Conspiracy” to warn folk music consumers of this potential “threat” to American entertainment.Screen shot 2015-03-07 at 11.01.37 AM

Seeger’s alignment with populist / socialist sentiment and his incorporation of it into music was no secret. He had been a member of the Communist Party from 1942-1949, and he was a founding member of The Weavers, a folk group that performed songs like “Talking Union”1 at workers strikes and other such political events until McCarthy blacklisted the group in 1953. Just two months before the 1963 press conference, Seeger released his album “We Shall Overcome” which featured songs that aimed to rally supporters of the Civil Rights Movement. That Seeger’s music was political is undeniable.2

However, Browning brings up an interesting point when he says:

Folk singing, for hundreds of years, has been a highly respectable art, and a very wonderful form of entertainment, and now we are concerned that the Communists are moving into this field and that they are going to pervert this wonderful form of entertainment so it will satisfy their own needs.3

Were folk revivalists, as Browning believes, using folk songs for political causes they were never meant to support, or has folk music always belonged to populist / socialist causes? In some ways, both are correct. It is certainly true that folk revival songs like “Talking Union” had more overtly political messages than traditional folk ballads like “Barbara Allen:”

Was in the merry month of May
When flowers were a-bloomin’
Sweet William on his deathbed lay
For the love of Barbara Allen

Slowly, slowly she got up
And slowly she went nigh him
And all she said when she got there
“Young man, I think you’re dying”

“O yes I’m sick and very low
And death is on me dwellin’
No better shall I ever be
If I don’t get Barbara Allen”4

Yet, folk ballads such as “Barbara Allen” often addressed universal themes like love and played important roles in rural, often poor and oppressed communities like those in Appalachia. While traditional folk song did not always directly encourage political activism like songs of the folk revival movement did, they represented the common person. So, Browning was not mistaken in noticing the overt political messages in folk revival music that were absent in earlier folk music, but he was wrong to assume that traditional folk music did not support the same sentiments that the Leftist songs of the folk revival movement did.

Footnotes

1“Talking Union,” Youtube video, posted by farmboy10001, December 8 2010, https://www.youtube.com/watch?v=osnjAb-hoPo

2“Seeger Pete.” In Encyclopedia of Popular Music, edited by Larkin, Colin. : Oxford University Press, 2006. http://www.oxfordreference.com/view/10.1093/acref/9780195313734.001.0001/acref-9780195313734-e-25192.

3Gordon Browning, “Folk singers linked to alleged ‘Communist Conspiracy,’ Popular Culture in Britain and America, 1950-1975, 2:25, August 19, 1963, http://www.rockandroll.amdigital.co.uk/video/videodetails.aspx?documentId=664253&videoSearch=Pete+Seeger  

4“Ballad of America.” Barbara Allen (American Folk Song). Accessed March 8, 2015. http://www.balladofamerica.com/music/indexes/songs/barbaraallen/index.htm.