Louisiana dance 1848

Northup, Solomon; Twelve Years a Slave; Derby, Orton, and Mulligan, Buffalo, 1853; pp. 213-220

https://archive.org/stream/twelveyearsslavenort#page/213/mode/1up

The only respite from constant labor the slave has through the whole year, is during the Christmas holidays. Epps allowed us three — others allow four, five and six days, according to the measure of their generosity. It is the only time to which they look forward with any interest or pleasure. They are glad when night comes, not only because it brings them a few hours repose, but because it brings them one day nearer Christmas. It is hailed with equal delight by the old and the young; even Uncle Abram ceases to glorify Andrew Jackson, and Patsey forgets her many sorrows, amid the general hilarity of the holidays. It is the time of feasting, and frolicking, and fiddling — the carnival season with the children of bondage. They are the only days when they are allowed a little restricted liberty, and heartily indeed do they enjoy it.

It is the custom for one planter to give a “Christmas supper,” inviting the slaves from neighboring plantations to join his own on the occasion; for instance, one year it is given by Epps, the next by Marshall, the next by Hawkins, and so on. Usually from three to five hundred are assembled, coming together on foot, in carts, on horseback, on mules, riding double and triple, sometimes a boy and girl, at others a girl and two boys, and at others again a boy, a girl and an old woman. Uncle Abram astride a mule, with Aunt Phebe and Patsey behind him, trotting towards a Christmas supper, would be no uncommon sight on Bayou Boeuf.

Then, too, ”of all days i’ the year,” they array themselves in their best attire. The cotton coat has been washed clean, the stump of a tallow candle has been applied to the shoes, and if so fortunate as to possess a rimless or a crownless hat, it is placed jauntily on the head. They are welcomed with equal cordiality, however, if they come bare-headed and bare-footed to the feast. As a general thing, the women wear handkerchiefs tied about their heads, but if chance has thrown in their way a fiery red ribbon, or a cast-off bonnet of their mistress’ grandmother, it is sure to be worn on such occasions, Red — the deep blood red — is decidedly the favorite color among the enslaved damsels of my acquaintance. If a red ribbon does not encircle the neck, you will be certain to find all the hair of their woolly heads tied up with red strings of one sort or another.

The table is spread in the open air, and loaded with varieties of meat and piles of vegetables. Bacon and corn meal at such times are dispensed with. Sometimes the cooking is performed in the kitchen on the plantation, at others in the shade of wide branching trees. In the latter case, a ditch is dug in the ground, and wood laid in and burned until it is tilled with glowing coals, over which chickens, ducks, turkeys, pigs, and not unfrequently the entire body of a wild ox, are roasted. They are furnished also with flour, of which biscuits are made, and often with peach and other preserves, with tarts, and every manner and description of pies, except the mince, that being an article of pastry as yet unknown among them. Only the slave who has lived all the years on his scanty allowance of meal and bacon, can appreciate such suppers. White people in great numbers assemble to witness the gastronomical enjoyments.

They seat themselves at the rustic table — the males on one side, the females on the other. The two between whom there may have been an exchange of tenderness, invariably manage to sit opposite; for the omnipresent Cupid disdains not to hurl his arrows into the simple hearts of slaves. Unalloyed and exulting happiness lights up the dark faces of them all. The ivory teeth, contrasting with their black complexions, exhibit two long, white streaks the whole extent of the table. All round the bountiful board a multitude of eyes roll in ecstacy. Giggling and laughter and the clattering of cutlery and crockery succeed. Cuffee’s elbow hunches his neighbor’s side, impelled by an involuntary impulse of delight; Nelly shakes her finger at Sambo and laughs, she knows not why, and so the fun and merriment flows on.

“When the viands have disappeared, and the hungry maws of the children of toil are satisfied, then, next in the order of amusement, is the Christmas dance. My business on these gala days always was to play on the violin. The African race is a music-loving one, proverbially; and many there were among my fellow-bondsmen whose organs of tune were strikingly developed, and who could thumb the banjo with dexterity; but at the expense of appearing egotistical, I must, nevertheless, declare, that I was considered the Ole Bull of Bayou Boeuf. My master often received letters, sometimes from a distance of ten miles, requesting him to send me to play at a ball or festival of the whites, He received his compensation, and usually I also returned with many picayunes jingling in my pockets — the extra contributions of those to whose delight I had administered. In this manner I became more acquainted than I otherwise would, up and down the bayou. The young men and maidens of Holmesville always knew there was to be a jollification somewhere, whenever Platt Epps was seen passing through the town with his fiddle in his hand. “Where are you going now, Platt?” and “What is coming off tonight, Platt?” would be interrogatories issuing from every door and window, and many a time when there was no special hurry, yielding to pressing importunities, Platt would draw his bow, and sitting astride his mule, perhaps, discourse musically to a crowd of delighted children, gathered around him in the street.

Alas! had it not been for my beloved violin, I scarcely can conceive how I could have endured the long years of bondage. It introduced me to great houses — relieved me of many days’ labor in the field — supplied me with conveniences for my cabin — with pipes and tobacco, and extra pairs of shoes, and often-times led me away from the presence of a hard master, to witness scenes of jollity and mirth. It was my companion — the friend of my bosom — triumphing loudly when I was joyful, and uttering its soft, melodious consolations when I was sad. Often, at midnight, when sleep had fled affrighted from the cabin, and my soul was disturbed and troubled with the contemplation of my fate, it would sing me a song of peace. On holy Sabbath days, when an hour or two of leisure was allowed, it would accompany me to some quiet place on the bayou bank, and, lifting up its voice, discourse kindly and pleasantly indeed. It heralded my name round the country — made me friends, who, otherwise would not have noticed me — gave me an honored seat at the yearly feasts, and secured the loudest and heartiest welcome of them all at the Christmas dance. The Christmas dance! Oh, ye pleasure-seeking sons and daughters of idleness, who move with measured step, listless and snail-like, through the slow-winding cotillon, if ye wish to look upon the celerity, if not the “poetry of motion” — upon genuine happiness, rampant and unrestrained — go down to Louisiana, and see the slaves dancing in the starlight of a Christmas night.

On that particular Christmas I have now in my mind, a description whereof will serve as a description of the day generally, Miss Lively and Mr. Sam, the first belonging to Stewart, the latter to Roberts, started the ball. It was well known that Sam cherished an ardent passion for Lively, as also did one of Marshall’s and another of Carey’s boys; for Lively was lively indeed, and a heart-breaking coquette withal. It was a victory for Sam Roberts, when, rising from the repast, she gave him her hand for the first “figure” in preference to either of his rivals. They were somewhat crest-fallen, and, shaking their heads angrily, rather intimated they would like to pitch into Mr. Sam and hurt him badly. But not an emotion of wrath ruffled the placid bosom of Samuel, as his legs flew like drum-sticks down the outside and up the middle, by the side of his bewitching partner. The whole company cheered them vociferously, and, excited with the applause, they continued “tearing down” after all the others had become exhausted and halted a moment to recover breath. But Sam’s superhuman exertions overcame him finally, leaving Lively alone, yet whirling like a top. Thereupon one of Sam’s rivals, Pete Marshall, dashed in, and, with might and main, leaped and shuffled and threw himself into every conceivable shape, as if determined to show Miss Lively and all the world that Sam Roberts was of no account.

Pete’s affection, however, was greater than his discretion. Such violent exercise took the breath out of him directly, and he dropped like an empty bag. Then was the time for Harry Carey to try his hand; but Lively also soon out-winded him, amidst hurrahs and shouts, fully sustaining her well-earned reputation of being the ” fastest gal” on the bayou.

One “set” off, another takes its place, he or she remaining longest on the floor receiving the most uproarious commendation, and so the dancing continues until broad daylight. It does not cease with the sound of the fiddle, but in that case they set up a music peculiar to themselves. This is called “patting,” accompanied with one of those unmeaning songs, composed rather for its adaptation to a certain tune or measure, than for the purpose of expressing any distinct idea. The patting is performed by striking the hands on the knees, then striking the hands together, then striking the right shoulder with one hand, the left with the other — all the while keeping time with the feet, and singing, perhaps, this song :

“Harper’s creek and roarin’ ribber, Thar, my dear, we’ll live forebber;
Den we’ll go to de Ingin nation, All I want in dis creation, Is pretty little wife and big plantation.
Chorus. Up dat oak and down dat ribber, Two overseers and one little nigger”

Or, if these words are not adapted to the tune called for, it may be that “Old Hog Eye” is — a rather solemn and startling specimen of versification, not, however, to be appreciated unless heard at the South. It runneth as follows :
“Who’s been here since I’ve been gone? Pretty liltle gal wid a josey on.
Hog Eye! Old Hog Eye! And Hosey too!”
Never see de like since I was born, Here come a little gal wid a josey on.
Hog Eye! Old Hog Eye! And Hosey too!”

Or, may be the following, perhaps, equally nonsensical, but full of melody, nevertheless, as it flows from the negro’s mouth :
“Ebo Dick and Jurdan’s Jo, Them two niggers stole my yo’.
Chorus. Hop Jim along, Walk Jim along, Talk Jim along,” &c.
Old black Dan, as black as tar, He dam glad he was not dar. Hop Jim along,” &c.