Bringing it Home: Swing Low, Sweet Chariot

Negro Spirituals have an incredible history transcending the cotton fields–they were actually used as secretive means to communicate within an oppressive, dangerous environment.  NegroSpirituals.com posts:

The lyrics before 1865

In the early nineteenth century, African Americans were involved in the “Second Awakening”. They met in camp meetings and sang without any hymnbook. Spontaneous songs were composed on the spot. They were called “spiritual songs” and the term “sperichil” (spiritual) appeared for the first time in the book “Slave Songs of The United States” (by Allen, Ware, Garrison, 1867).

As negro spirituals are Christian songs, most of them concern what the Bible says and how to live with the Spirit of God. For example, the “dark days of bondage” were enlightened by the hope and faith that God will not leave slaves alone.

By the way, African Americans used to sing outside of churches. During slavery and afterwards, slaves and workers who were working at fields or elsewhere outdoors, were allowed to sing “work songs”. This was the case, when they had to coordinate their efforts for hauling a fallen tree or any heavy load. Even prisoners used to sing “chain gang” songs when they worked on the road or on some construction project.

But some “drivers” also allowed slaves to sing “quiet” songs, if they were not apparently against slaveholders. Such songs could be sung either by only one soloist or by several slaves. They were used for expressing personal feeling and for cheering one another. So, even at work, slaves could sing “secret messages”. This was the case of negro spirituals, which were sung at church, in meetings, at work and at home.

The meaning of these songs was most often covert. Therefore, only Christian slaves understood them, and even when ordinary words were used, they reflected personal relationship between the slave singer and God.

The codes of the first negro spirituals are often related with an escape to a free country. For example, a “home” is a safe place where everyone can live free. So, a “home” can mean Heaven, but it covertly means a sweet and free country, a haven for slaves.

The ways used by fugitives running to a free country were riding a “chariot” or a “train”.

The negro spirituals “The Gospel Train” and “Swing low, sweet chariot” which directly refer to the Underground Railroad, an informal organization who helped many slaves to flee.

The words of  “The Gospel train” are “She is coming… Get onboard… There’s room for many more”.  This is a direct call to go way, by riding a “train” which stops at “stations”.

Then, “Swing low, sweet chariot” refers to Ripley, a “station” of the Underground Railroad, where fugitive slaves were welcome. This town is atop a hill, by Ohio River, which is not easy to cross. So, to reach this place, fugitives had to wait for help coming from the hill. The words of this spirituals say,“I looked over Jordan and what did I see/ Coming for to carry me home/ A band of angels coming after me.”

 

Swing Low, Sweet Chariot

Chorus:

Swing low, sweet chariot,
Comin’ for to carry me home;
Swing low, sweet chariot,
Comin’ for to carry me home.

I looked over Jordan,
And WHAT did I see,
Comin’ for to carry me home,
A band of angels comin’ after me,
Comin’ for to carry me home.

Repeat chorus:

If you get there before I do,
Comin’ for to carry me home,
Tell all my friends I’m comin’ too,
Comin’ for to carry me home.

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