In the call-and-response structure of the spirituals that evolved during the period of bondage, enslaved Africans affirmed the traditional African emphasis on the importance of family and (tribal) community identity, a value reinforced by the common experience of enslavement. Within this traditional African communal value system, every member of the community was welcomed into the communal circle. In the ring shout4, a counterclockwise circle dance ceremony that evolved early in the sojourn of Africans in America, the lyrics and rhythms of the songs sung in the circle often accentuated this communal orientation. For example, in the following song sample, “How Do You Do, Ev’ry Body,” we can feel the communal spirit of welcome evident in the ring shout circle:
Song sample: “How Do You Do, Ev’rybody?” – Greeting shout, from “The Long Road to Freedom: An Anthology of Black Music,” Harry Belafonte, compiler, Buddha Records (BMG Distribution), 2001 (www.BuddhaRecords.com)
How Do You Do, Everybody?
Greeting Shout Spiritual
How do you do, everybody, how do you do?
How do you do, everybody, how do you do?
I don’t come to worry your patience.
I just come to bring salvation.
How do you do, everybody, how do you do?
How do you do, my dear brethren, how do you do?
How do you do, my dear brethren, how do you do?
I don’t come to worry your patience.
I just come to bring salvation.
How do you do, everybody, how do you do?
How do you do, my dear sistren, how do you do?
How do you do, my dear sistren, how do you do?
I don’t come to worry your patience.
I just come to bring salvation.
How do you do, everybody, how do you do?
How do you do, my dear mother, how do you do?
How do you do, my dear mother, how do you do?
I don’t come to worry your patience.
I just come to bring salvation.
How do you do, everybody, how do you do?
How do you do, my dear father, how do you do?
How do you do, my dear father, how do you do?
I don’t come to worry your patience.
I just come to bring salvation.
How do you do, everybody, how do you do?
How do you do, my good member, how do you do?
How do you do, my good member, how do you do?
I don’t come to worry your patience.
I just come to bring salvation.
How do you do, everybody, how do you do?
How do you do, everybody, how do you do?
How do you do, everybody how do you do?
I don’t come to worry your patience.
I just come to bring salvation.
How do you do, everybody, how do you do?
Last chorus repeated
During the period leading up to the American Revolution of the 1770s, enslaved African singers mirrored in their songs the democratic ideals that were being developed by the British colonists who were themselves fighting for independence from the oppressive rule of England. As the Declaration of Independence asserted that “Every person is endowed with God-given inalienable rights . . . Life, liberty, and the pursuit of happiness,” enslaved Africans believed that they too were entitled to these same rights. Many of their songs revealed the strength of their convictions. The following example, “Run, Mary, Run,” which is also a ring shout song, provides a good illustration:
Song sample: “Run, Mary, Run, You Got a Right to the Tree of Life,” recorded by The Seniorlites and included in Wade in the Water, Volume II: African American Congregational Singing, Bernice Johnson Reagon, compiler, Smithsonian/Folkways Recordings & National Public Radio, 1994.
Run, Mary, Run
Run, Mary, run,
Run, Martha, run,
Tell, Mary, run, I say,
You got a right to the tree of life.
Run, Mary, run,
Run, Martha, run,
Tell, Mary, run, I say,
You got a right to the tree of life.
Little Mary you got a right,
You got a right to the tree of life.
You got a right, you got a right,
You got a right to the tree of life.
The Hebrew Children got a right,
You got a right to the tree of life.
Paul and Silas you got a right,
You got a right to the tree of life.
Got a right, you got a right,
You got a right to the tree of life.
I come to tell you, you got a right
You got a right to the tree of life.
I come to tell you, you got a right,
You got a right to the tree of life.
The voice is heavy but you got a right,
You got a right to the tree of life.
Ups and down but you got a right,
You got a right to the tree of life.
True hard born, but you got a right,
You got a right to the tree of life.
You got a right, you got a right,
You got a right to the tree of life.
You got a right, you got a right,
You got a right to the tree of life.
You got a right, you got a right,
You got a right to the tree of life.
Oh Weepin’ Mary,
You got a right to the tree of life.
Oh Weepin’ Mary,
You got a right to the tree of life.
I come to tell you, you got a right,
You got a right to the tree of life.
I come to tell you, you got a right,
You got a right to the tree of life.
You got a right, you got a right,
You got a right to the tree of life.
Ups and down, but you got a right,
You got a right to the tree of life.
Ups and down, but you got a right,
You got a right to the tree of life.
Run, Mary, run,
Run, Martha, run,
Tell, Mary, run, I say,
You got a right to the tree of life.
Run, Mary, run, I say,
You got a right to the tree of life.
Run, Mary, run, I say,
You got a right to the tree of life.
You got a right, you got a right,
You got a right to the tree of life.
You got a right, you got a right,
You got a right to the tree of life.
You got a right, you got a right,
You got a right to the tree of life.
Mary and Martha got a right,
You got a right to the tree of life.
Mary and Martha, you got a right,
You got a right to the tree of life.
Life!