Mardi Gras Indian Chants
Mardi Gras Indians are African American men from New Orleans area who belong to specific competing groups {referred to as "tribes" and gangs}. During a few specific times a year, the tradition is {was ?} for members to "masks up" {put on usually hand sown intricately feathered and beaded suits} and chant while promenading throughout certain streets of New Orleans, Louisiana.
The devastation of Hurricane Katrina & Hurricane Rita in August/ September 2005 [not to mention the abysmal government recovery effort] has resulted in massive relocations of African Americans and other people from New Orleans to other cities within the United States. One perhaps not so minor cultural consequence of this relocation is that there is likely to be significant changes to {if not the complete end of} the pre-Katrina New Orleans Mardi Gras Indian culture.
This Cocojams page contains examples of & commentary about Mardi Gras chants. This page as well as the Cocojams page on Mardi Gras Indian culture is dedicated to the memories of all those persons {members of Mardi Gras Indian nations or not} who lost their lives as a result of Hurricane Katrina/Rita and the US government's lack of recovery efforts.
Special thanks to all the online sources featured on this page. My purpose for doing so is to share information about this unique & creative African American cultural tradition.
click here to submit examples of & comments about Mardi Gras Indian chants & songs.
CHANTS & COMMENTS
A,B
C,D
E,F
G,H
I,J
Iko Iko {Example #2}
[Editor: I have a CD performed by "various artist" entitled "New Orleans Party Classics" {1992 Rhino Records} that has an Iko Iko version that is very similar to the lyrics Bob Coltman lyrics posted. Unfortunately, I can't find the CD package to identify who sung this {or other songs} on the CD.
The singer's enunciation isn't clear {to me}. But here's my take of the verses]:
Chorus:
Iko Iko
Iko Iko ah day
Jockomo feeno ah na nay
Jockomo feena nay
Hey now (hey now)
Hey now (hey now)
Iko iko ah day
Jockomo feeno ah na nay
Jockomo feena nay
My spy boy and your spy boy
sittin on the bayo
My spy boy told your spy boy
I'm gonna set your tail on fiyo
My ma reine and your ma reine
sittin on the bayo
My ma reine told your ma reine
I'm gonna set your thing on fiyo
We gone down to Bollashon [?]
We don't care till the whole don [damn?] mornin
See mah ree [??] down the railroad track
Put his head in ah chicken sack
My little boy told your little boy
put your head on miyo
My little girl told your little boy
we gonna get your chicken wiyo
We gone down to Becca town
We don't care if you mess around [?]
Call us what you tell them to [?]
Cause we don't aint do what you tell us to
-snip-
It should be noted that the performer sings the line "Iko Iko ah day" or "Jockomo feeno ah na nay/Jockomo feena nay" sometimes after each line, and sometimes after two lines.
- Azizi, 1/20/06; repost from http://www.mudcat.org/thread.cfm?threadid=88125
To order this CD, go to http://www.cduniverse.com/search/xx/music/pid/1117117/a/New+Orleans+Party+Classics.htm
****
Iko Iko {Example #1}
Lyrics to The Dixie Cup's version of Iko Iko:
- drumstick solo -
My grandma and your grandma, were sittin by the fire,
My grandma told your grandma, I'm going to set your flag on fire,
chorus -
Takin bout hey now, hey now
Iko! Iko! an de'
Jackomo fe no nan e' , Jackomo fe nan e'
Look at my King all dressed in red
Iko! Iko! an de'
I bet you 5 dollars, he kill you dead!
Jackomo fe nan e'
Takin bout ..... hey now, hey now
Iko! Iko! an de'
Jackomo fe no an e' , Jackomo fe nan e'
My flagboy and your flagboy, sittin by the fire,
My flagboy told your flagboy, I'm going to set your flag on fire,
Takin bout ..... hey now, hey now
Iko! Iko! an de'
Jackomo fe no an e' , Jackomo fe nan e'
See that guy all dressed in green, Iko! Iko! an de'
He's not a man, he's a lovin machine!
Jackomo fe nan e'
Takin bout hey now, hey now
Iko! Iko! an de'
Jackomo fe no nane' , Jackomo fe nan e'
- instrumental solo -
Source: Mardi Gras music; The Dixie Cups
http://www.mardigrasdigest.com/Media/Radio/Iko_Iko.htm ; posted here by Azizi; 1/21/06
****
Iko Iko {Comment #5}
Regarding the lyrics to "Iko Iko," specifically Dr. John's 1972 recording: I'm not sure whether anyone has yet pointed out that the phrase referred to above as "Becca Town" is actually "back'o'town," literally the back of town, which in the way-back old days was anything on the lake side of Rampart Street. It most likely refers to the neighborhood now known as Tremé (truh-MAY), in which the Storyville District was situated until 1917. Faubourg Tremé, about ten blocks north-to-south and sixteen blocks east-to-west, officially became part of New Orleans in 1812; the area surrounding North Claiborne Avenue in particular is still the most active locale for Mardi Gras Indian festivities on Fat Tuesday. Also, since North Dorgenois Street runs through the western side of that neighborhood, about a mile away from Tremé Street, the phrase cited as "Dorgenois right near Tremaine" must be either "...right near Tremé" or "...right near Dumaine." Dumaine Street runs from the French Quarter to Mid-City, intersecting North Dorgenois in the Tremé neighborhood. (Interestingly, we have no problem pronouncing the street named "Dorgenois" in nearly correct French (DER-zhen-wä), but most people here still refer to the street named "Genois" (about ten blocks lakeward from Dorgenois) as "juh-NOYSE." If you ask someone for directions to "Zhen-wä" street, they're likely to tell you they've never heard of it.) An entertaining read as well as a wealth of information on the etymology of New Orleans neighborhoods and street names can be found in "Frenchmen Desire Good Children," a book written in the late 1940s by journalist/historian John Churchill Chase, who now has a street named after him in the Warehouse District. I hope some of this has been helpful. It always makes me happy to know that people from all over the world are interested in the language and culture of my home town. many thanks,
-Neil; 9/11/2008
Editor:
Thanks, Neil for that interesting information! I have taken the liberty of reposting your comment on this Mudcat Discussion Forum page about the song "Iko Iko": http://www.mudcat.org/thread.cfm?threadid=88125#1650507.
Neil, I intend to look up the book you recommended. It sounds like it will be interesting reading!
****
Iko Iko {Comment #4}
Just to comment, I noticed something in the comments I'd like to correct on the page about the Mardi Gras Indians. Marainne and Parainne (don't know the correct French spelling), which we often would say it Maran and Paran and pronounce it "Mah-ran" and "Pah-ran" means godmother and godfather, not grandmother/grandfather. One example. I just set up a savings account for my god child and it is called the "peran fund." Just letting you know!
-Craig; 12/23/2007
Editor:
Craig's comments are in response to the information posted in Iko Iko, Comments #2 from NOLA/NYC: "On another point, you are correct: "Marraine" (pronounced ma-rane) is a Cajun-French term for "Grandmother". Similarly, "Parraine" for Grandfather. "Thanks for that information, Craig!
****
Iko Iko {Comment #3}
Hi! I was wondering If the mardi grass indians chant Iko-Iko is the same as Zap mamas song Iko-Iko??? Thank you!
-Yaya Atwa ; 10/18/2006
Editor:
Yaya, thanks for your question. I had to look up the Zap Mama lyrics, and haven't heard the song sung by this group.
http://www.lyricskeeper.com/zap_mama-lyrics/227758-iko_iko-lyrics.htm has this version of the lyrics to Zap Mama's Iko Iko {from the album Mission Impossible 2}:
Iko Iko
Hey , mister see the sister
Don't you let them feel you
Sticks and stones may break your bones
But now her looks could kill you
Hey , come away
Souca souca na na
Come on , come on , miss
allez , allez ,
With a souca souca mama
Oh , hey , come away
Souca souca na na
Come on , come on , miss
allze , allez .
With a souca souca maman
On , hey , come away
Souca souca na na
Come on , come on , miss
allze , allze
With a souca souca mama
Come on , come on miss ,
allze , allze
With a souca souca mama.
-snip
http://www.morgud.com/stela5/lyrics/fd4t5.asp has this version of that Zap Mama song:
Iko Iko
{Voice): "Erurunti sacamona!"
(Group):
Hey now!
Hey now!
Hey now! (x2)
Hey mister, see that sister
Don't you let her thrill you.
Sticks and stones may break your bones,
But man, her looks could kill you.
ho, ho
Hey, come my way
Azucar* azucar mama
Come a come a nay sa le a le
With a azucar azucar mama
(Group):
Hey now!
Hey now!
Hey now! (x2)
Hey brother, there's another
Azucar mama turnin'
The sun will rise and blind your eyes
The fire keeps on burnin'
ho, ho
(Chorus):
Hey, (hey now) come my way
Azucar* azucar mama
Come a come a nay sa le a le
With a azucar azucar mama
(Chorus repeat)
(Group):
Hey now!
Hey now!
Hey now! (x2)
Hey, hey now, come on play now
Buy me 'smile' that's packin'
Better get it while you can
While the azucar mama's shakin'
ho, ho
(Chorus X 2)
(Group):
Hey now!
Hey now!
Hey now! (x2)
(mouth voices and shouting/longing)
(Group):
Hey now!
Hey now!
Hey now!
Hey now!
Hey now!
If your baby, makes you crazy
Don't know where she's goin'
Eyes so messed up that they look
Which way the wind is blowin'
ho, ho
(Chorus X 2)
Azucar, oh me!
Azucar, oh me! Azucar, oh my!
Azucar oh my! Come my way! (x4)
(Chorus X 2)
-snip-
Here's some thoughts about these versions:
First off, I think that the introductory phrase "Erurunti sacamona!" in the http://www.morgud.com/stela5/lyrics/fd4t5.asp version is similar to the "Jacoma fe nan e" phrase found in most Iko Iko songs.
Also I found it interesting that the first version listed above had the line "with a souca souca mama" but that in the second version it is changed to "with a azucar azucar mama". The person who posted the lyrics in the morgud.com website second version noted that "azucar" means "sugar" in Spanish. I'm not sure if "a souca souca mama" is traditionally a part of the Iko Iko song. I know that the French language and Creole versions of that language were very a part of the New Orleans cultural mix, but I'm not sure if the Spanish language and culture was also a part of that mix.
I'm also wondering if this line is the same as "Ah Uhh! Awww, sookie sookie now! that is found in the 1970 R&B hit song "Groove me" . That song was recorded by a New Orleans African American named King Floyd The expression "Ah sookie sookie" was {and I believe may still be}used by African American {and other?} men to express appreciation for woman. For instance, if a man sees a woman who is "built" or who is dancing sensually, he might say "Ah sookie sookie now". I 've always thought that the word "sookie' came from one of the nickname for Susan {Sukie}. But that word might have come from the Spanish word "azucar". Then again, it might also come from the West African female day name "Akosua" {female born on Sunday}.
-snip-
I'm going to post your question {without sharing your name or any other information} on this Mudcat Discussion Forum thread on the song Iko Iko: http://www.mudcat.org/thread.cfm?threadid=88125
Perhaps others who post on that discussion forum will comment in that thread on the connection between the Zap Mama song and the Dixie Cup's version of Iko Iko.
I'd be interested if any folks here have any thoughts on my thoughts :o] or any other comments about Zap Mama Iko Iko's song.
Editor's Comment: 9/18/2008:
Providing that it's better late than never, I have recently become acquainted with the music of the Queen of Salsa music, Celia Cruz (October 21, 1925 – July 16, 2003).
In a number of her songs, Celia Cruz shouts the word "Azucar! {the Spanish word for "sugar"}. Shouting "Azucar!" became a signature feature of Celia Cruz's songs. Fans of Celia Cruz also adopted that custom, in a demonstration of their delight in this wonderful Latin vocalist, and in appreciation for her music. Celia Cruz's signature use of the word "azucar" can be interpreted to mean that the music is sweet {It's good to the ears, heart, and spirit}, and/or "life is sweet"}. Given this information, it now seems likely to me that Celia Cruz's use of this word was the source or at least one of the sources for the phrase "azucar azucar mama" in the Zap Mama version of "Iko Iko".
Information about Celia Cruz can be found on a number of different websites, including http://en.wikipedia.org/wiki/Celia_Cruz
Also, click on this hyperlink for a YouTube video of Celia Cruz: http://www.youtube.com/watch?v=lArGoRhFr4E&feature=related {"La Vida Es Un Carnaval"
translation-"Life is a carnival"}.
Other Celia Cruz videos can be found on YouTube, including this Spanish interview and brief videotape of a concert in which Celia Cruz and various fans are shown shouting "Azucar!": http://www.youtube.com/watch?v=L39F3w0oVZ8&feature=related
****
Iko Iko {Comment #2 }
"There was indeed a Mardi Gras this year, with Indians, maskers and more, although somewhat smaller than prior to Katrina. But the people there are amazingly resilient and although their spirit has been tested, as you can see, it has not been broken".
"Iko Iko" is a loose collection of phrases from Mardi Gras "Indian" street chants, Afro-Caribbean patois, the African-American cultural phenomenon known as "the dozens", and jump-rope rhymes. It was first recorded by Sugar Boy Crawford, and later, more successfully, covered by the Dixie Cups among others. Dr. John also later covered the song on the album Gumbo (which by the way comes from the African word "gombo", which means okra), and that, I believe is the version which serves as the source for the lyrics you had questioned.
It's been my interpretation, given what I know about New Orleans culture--Dr. John in particular, from growing up in the South, and from talking with my fellow musician friends, that the verse in question is: "We gon' down (to) Labeaux-Lashaune." ...which I can't swear to, but the good Doctor and his fellow NOLA songwriters often refer to certain streets or districts, either officially or unofficially designated, e.g., "Dourgenois, right near Tremaine", "Meet my gang on the Melpomene", "Girt town", and "The Ponderosa" (meaning Angola prison). However Googling the French proper names "Labeaux" and "Lashaune" brought no evidence that there actually are such places. When I perform the tune though, that is how I interpret that line. I would be very interested, however, in your source for "Bollashon", as I've been unable to find that word myself.
Another feature in several New Orleans tunes is occasional references to street drugs, especially marijuana and heroin. One of the common street names for heroin is "horse". So I believe the next line, "We gon' catch a li'l ho'se-amaune" is a reference to "copping" or buying heroin, sung with a good dose of "Nawlins" accent plus a couple of nonsense syllables thrown in at the end to make the line rhyme with the previous one, much in the same way as jazz musicians in the 40s and 50s used nonsense syllables like "a-roonie" to somewhat obscure or disguise certain words or phrases to keep them from being understood by the "squares". Today's equivalent is Snoop Dogg's "That's the shizzle." So the general sense of that stanza is "We're going down to (wherever) to cop (buy heroin)." Incidentally the word "cop" as you may know comes from another French word, "carpe" which means to seize.
In another tune from Gumbo, "Junko Partner", which is another often-covered New Orleans folk song about a heroin addict (or "junkie", from another street name for heroin: "junk"), Dr. John makes yet another sly reference to heroin using the Southern black pronunciation, "heavon" (sounds similar to "heaven"): "Give me whiskey, when I feel a little frisky ... but give me heavon (sic) before I die."
On another point, you are correct: "Marraine" (pronounced ma-rane) is a Cajun-French term for "Grandmother". Similarly, "Parraine" for Grandfather, "cousin" (pronounced koo-zan) for cousin, etc. This is why when the Dixie Cups covered the song Iko Iko, they changed the lyric to "Grandma". However, in Spanish, "reina" means queen, and "mi reina" is "my queen." Conflating the French "ma", or "my" and the Spanish "reina", therefore, seems to be the origin for the cajun "Marraine". However it's not much of a stretch to assume it could also mean a consort. In the Italian slang, "goomadre" is a "code" word which on the surface would seem to mean grandmother, but whose hidden meaning is mistress, as in "I'm going to see my goomadre". See also the term "goombah" which is the masculine form of the same word, and which is a phonetic spelling of the Italian word "compare", which is similar to the Spanish "compadre", meaning old (male) friend...
The "chicken sack" line is another example of a phrase being somewhat obscured by the heavy "Nawlins" accent, which Dr. John has in spades. The actual line is: "She put it here in a chicken sack." This probably refers to something--drugs, whiskey or even a weapon--left hidden for a specific person to find "down the railroad track"--usually a deserted area away from prying eyes. The "fix yo' chicken wiyo" line elsewhere in the song is a threat to damage a person's chicken wire, which is the foundation on which many of the Mardi Gras costumes are built and is in keeping with the general theme of rivalry between the various Mardi Gras "tribes".
Googling such terms as "New Orleans", "Mardi Gras", "cajun", "patois", "culture", etc. should give you lots of good sources for further study. I would also recommend picking up some recordings by The Wild Tchoupitoulas, the Neville brothers, Clifton Chenier, The Wild Magnolias, Professor Longhair, and of course Dr. John.
Hope this proves helpful."
-NOLA/NYC; email to Cocojams on 4/3/2006 and other subsequent emails to Azizi Powell:
Editor
Thanks, NOLA/NYC for that information!!
****
Iko Iko {Comment #1}
"...Bravo to the Dixie Cups, who learned it from tradition, for smacking the country in the eye with New Orleans' best song.
"Iko Iko" has many more verses than the Dixies used, in fact it picks up verses from everywhere, such as the "Uncle John" portmanteau song. Here are some of the verse I sing, together with a few others I haven't resolved. My main source was a great record of New Orleans piano done years ago by Dr. John, but as you'll see I've picked up a number of verses from other sources as well.
By the way, a "Jockamo" = a jester, jokester.
First is a variant of the "flag" (correct, refers to marchers' roles and competitive practices) verse:
My ma reine to your ma reine [my queen]
Sittin' by the fire
Says my ma reine to your ma reine,
I'm gonna set your flag on fire.
A variant has "set yo' JAIL on fire" - sounds like Prisoner's Base, doesn't it.
Here's one I can't get some key words to -- help anyone?
We gone down to {? sounds like "Old a Shone"??}
Iko ...
We don't care till [?? sounds like "whole sa morn'n"??}
Iko...
Se ma reine down the railroad track...
She put it in a chicken shack...
My li'l boy to your li'l girl,
Get your head on higher,
My li'l girl to your li'l boy,
We gonna get yo' chicken wire [pron. wyo']
If you don't like w'at the doctor say
Iko ...
You come on down to Becca Town
Iko...
We gone talk about you messin' aroun'
Iko...
[Ain't no use you say what t'do??]
Iko ...
'Cause we ain't gone do what you tell us to
Iko ...
Me big chief, me [remainder not understood] [?? ... town???]
Iko ...
Well, ben' the knee when I walk around,
Iko ...
My ma reine all dress in red,
Iko ...
Injun feather all in e head,
Iko ...
I remember this mornin' I remember it well,
Iko ...
I 'member the day when Uncle John fell,
Iko ...
[end of lyrics]
"I remember it well" line is an echo of the one in the Bahamian "I Bid You Good Night" that was picked up by lots of us in the 60s, notably Mike Heron of the Incredible String Band.
Becca Town has huge connotations. It was the "inside name" for the downclass and dive district, overlapping Storyville to some extent, but perhaps excluding the kinds of nightclubs whites frequented. Becca Town belonged to the indigenous culture, the underclass, and when Mr. Man hove into view it was the signal for a variety of reactions from self-protective to hostile..."
-excerpt of a post by GUEST,Bob Coltman, originally posted in
Mudcat Discussion Forum thread RE: Cajun Music, 17 Jan 06
reposted on 17 Jan 06 by Azizi Powell in http://www.mudcat.org/thread.cfm?threadid=88125
**
I'm 52 Inches Across My Chest
I'm 52 inches across my chest
And I don't bow to nothin'
'Cept God and death
-- from a battle chant by Larry Bannock
Source: http://www.pulitzer.org/year/1996/feature-writing/works/mardigras.html
Editor:
This song excerpt and another posted below were included in the Pulitzer prize winning article {featured writing} by Rick Bragg: "Another Battle of New Orleans: Mardi Gras New Orleans", Feb. 18, 1996 {New York Times}
K,L
M,N
O,P
Q,R,S
Shoe Fly {Version #2}
BIGEASY MICHAEL a New Orleans Native Son, Native Son Treme Music Arranger/Producer. I remember a song we sang during the late 1960's, and throughout the 1970's.....Old Mardi Gras Indian Song...call shoefly..each Mardi Gras Indian Tribe have different versions of the song.... Shoe Fly Shoe Fly don't batter me, say na shoe fly don't batter me....Say its Mardi Gras day, and Am a Indian wearing grey... shoe fly don't batter me, shoe fly don't batter me....20/20 ma vision ah say, am the prettiest indian on Mardi Gras day... shoe fly don't batter me. shoe fly don't batter me.......... Thanks, and God Bless, Above is only a short version of the old Indian Mardi Gras Chant..call Shoe Fly Don't Batter Me.... The song is a Mardi Gras Indian Secret only a few New Orleanians know the true meaning of the song shoe fly... Thanks again .... BIGEASY MICHAEL COMING SOON....
-BIGEASY MICHAEL; 10/20/2006
Editor:
Thank you BigEasy Michael for sharing information and examples of the Mardi Gras Indian. It would be wonderful if you would send in more examples for posting on Cocojams! It's a shame that this vibrant, creative culture is so little known in this country and elsewhere. God bless you also.
****
Shoo Fly {Version #1}
Shoo fly, don't bother me
Shoo fly, don't bother me
If it wasn't for the warden and them lowdown hounds
I'd be in New Orleans 'fore the sun go down
-- Big Chief's battle chant, written by a chief while in the state prison in Angola
Source: http://www.pulitzer.org/year/1996/feature-writing/works/mardigras.html
Editor:
This song excerpt and another posted above were included in the Pulitzer prize winning article {featured writing} by Rick Bragg: "Another Battle of New Orleans: Mardi Gras New Orleans", Feb. 18, 1996 {New York Times}
T,U,V
Tu-way-pa-ka-way (Example #2, recorded in the1960)
Oh they comin’ and a jumpin’,
Tu-way-pa-ka-way!
Oh they comin’ and a runnin’
Tu-way-pa-ka-way!
Oh, they comin by the hundreds,
Tu-way-pa-ka-way!
Oh, the chief of the Mardi Grass
Tu-way-pa-ka-way!
Oh, down on the bayou,
Tu-way-pa-ka-way!"
-Harold Courlander: Negro Folk Music, U.S.A. {Columbia University Press, New York, 1966, pps 173-174}.
****
Tu Way Packa Way {Example #1; from 1930s}
Get out the dishes,
Tu-way-pa-ka-way!
Get out the pan,
Tu-way-pa-ka-way!
Here comes the Indian man,
Tu-way-pa-ka-way!
Oh the Red, White, and Blues!
Tu-way-pa-ka-way!
Bravest Indians in all the land,
Tu-way-pa-ka-way!
They are on the march today,
Tu-way-pa-ka-way!
If you should get in their way,
Tu-way-pa-ka-way!
Be prepared to die,
Tu-way-pa-ka-way!
Ooawa-a-a!
Ooawa-a-a!
-Harold Courlander: Negro Folk Music, U.S.A. {Columbia University Press, New York, 1966, pps 173-174}.
Editor:
See my comments below about the children's foot stomping cheer "Two Way Pass Away". The two chants presented above were included in the history of Black music chapter of Courlander's book. That author labeled these chants as songs.
It appears that some version of this chant is still 'sung' by Mardi Gras Indians. As luck (fate?) would have it, in 2001 I went scavenging in a used music shop and found a CD by Donald Harrison called “Indian Blues” {Donald Harrison: “Indian Blues”, CANDID CCD79514}. That CD Donald Harrison, Dr. John, and the Keeper of the Flame Mardi Gras Indians. When I read the listing of songs, I was excited to see that one of the songs on the CD was “Two-Way Pocky-Way”. Of course, I bought that CD. And of course, all I could say was “Thank you, God!”
****
Two Way Pass Away
Group: Two way pass away.
Two way pass away.
Soloist #1: Well, my name is Renee.
Group: Two way pass away.
Soloist #1: They call me “Nay Nay.”
Group: Two way pass away.
Soloist #1: And if you don’t like it.
Group: Two way pass away.
Soloist #1 You can kiss what I twist.
Group: Two way pass away.
Soloist #1: And I don’t mean my lips.
Group: Two way pass away.
- African American girls; {about 8-12 years old}; after-school children’s group,
Talbot Towers Housing Development, Braddock, Pennsylvania,1985,
collected by Azizi Powell, 1985)
{Repeat chant with the next soloist. Continue until everyone has
had one turn as the soloist}.
Editor:
In 1985 I went about 12 miles from my home in Pittsburgh to tell African stories to an after-school group of African American elementary & middle school girls and boys. As we were waiting for the formal program to begin, some of the girls entertained themselves by performing some foot stomping chants. One of the chants they performed was called “Two Way Pass Away”. {This is my spelling of the chant since the girls had never seen the chant in written form. The "Two" sound could also have been written “To" or "Too".
I had never heard this chant before, and I especially liked the part of this chant that said “you can kiss what I twist and I don’t mean my lips”. I knew what that meant, but what about the title and oft repeated “To Way Pass Away”. Unfortunately, neither the five 10-13 year old girls who performed this chant nor anyone else at the program didn’t know what it meant either. Years passed and I never did find out what “To-way-pass-away” meant. Until one day in 1998, I went to my local library and came across Harold Courlander’s book Negro Folk Music, U.S.A. I promptly signed that book out, went home to read it, and found this amazing passage in a chapter on the history of Black folk music:
“The New Orleans Mardi Gras have many of the characteristics of Mardi Gras in the French and Spanish speaking areas of the Caribbean. Just as Haiti, for example, has its Mardi Gras bands of “wild men”, “cannibals”, and “demons”. Negro New Orleans has its “Zulus”, its “wild men”, and its various “Indian tribes”, the Golden Blades, Cheyennes, Blue Eagles, Black Eagles, White Eagles, and Yellow Pocohantes.…the Zulus seem to have appeared on the scene about 1910, though some of the Indians were evident much earlier….The songs sung by the tribes appear to be largely ad libbed, with a standard Choral response –“Tu-way-pa-ka-way”-which is reminiscent of traditional Negro singing”
-snip-
What?! “Tu-way-pa-ka-way”?!! Well, I’m telling you I couldn’t believe my eyes. Could this be the answer to my question about the meaning of the “To Way Pass Away”? Finally, I believe I found the answer. Since a lot of Pittsburgh area Black families come from the South and still have southern relatives, it’s not hard to imagine that some would have first or second hand knowledge about the Mardi Gras Indians. Unfortunately, urban renewal did away with the housing project that was the site of that 1985 after-school program, so I have no way of discovering first hand if these young performers knew anything about the Mardi Gras Indians, or had family from New Orleans or thereabout. And, sad to say, from my {admittedly unscientific} surveys of African American children & youth in Braddock, and Pittsburgh are, it appears that this chant is not only not known now but also not even vaguely remembered.
I firmly believe that "Two Way Pass Away" {or some such phonetic spelling} comes from the Mardi Gras Indian chant "Tu Way Packa Way"
-Azizi Powell, written in 2004; posted on Cocojams on 1/22/06
****
Two Way Pock A Way
"The first known song to make use of an Indian phrase was Louis Dumaine's 1927 instrumental "To-Wa-Bac-A-Wa." Sadly this version's only resemblance to Indian music is in the title. The song that became known as Two Way Pock Y Way started out with specific dance steps accompaning the beat and lyrics according to former Big Chief of the Yellow Pocahontas, Allison "Tootie" Montana.."
Jelly Roll Morton's 1938 Library of Congress recordings gives some insight into what Mardi Gras Indian culture was like at the turn of the Twentieth Century. These recordings were never widely distributed nor even known by the general public, so they certainly did not contribute to spreading any influences of New Orleans Indian music. As to the recordings themselves, Morton reveals that he was once may have been a spyboy, though doesn't mention to which tribe he belonged. He does talk about the Spyboy's purpose in the tribe. He reveals that at that time in the city there were four or five tribes. He also gives examples of a couple of Indian chants and accompanying dances. The text from Allan Lomax's book MISTER JELLY ROLL reveals the Creole spelling as "T'ouwais, bas q'ouwais" and response "Ou tendais," though there have been other representations. One possible translation of the phrase is "I'll kill (tuez) you if you don't get out the way, " with the response "Entendez," or "I hear ya!"
Dave Bartholomew's 1950 Mardi Gras season Imperial release of Carnival Day appears to be the first popular song to make some use of Indian Chants. Bartholomew starts the song chanting about Big Chief Brother Tillman, a well known Chief of the Creole Wild West at that time and then includes the chant Two Way Pak E Way emphasized by the Hum Bah response. The music makes use of the complex rhythms one would associate with the Indians. In an interview Bartholomew talked of being aware of the Indians but never a member himself."
Source: http://www.jass.com/tom/next/indian.html; posted on Cocojams by Azizi on
1/22/2006
Editor:
Btw, jass.com and many other Mardi Gras Indian websites contain stunningly beautiful photos of the Mardi Gras Indian feathered and beaded suits.
W,X,Y,Z
see this Cocojams page for commentary on Mardi Gras Indian culture:
http://www.cocojams.com/mardi_gras_indian_chants.htm
click here to submit examples of & comments about Mardi Gras Indian chants & songs.
