Categories
1880s Food Native American Poem Song, Ballad

The Eating of the Poi

The Eating of the Poi

Traditional Hawaiian song
Annotations by JEssica Cory
Photographer unknown. Taro patch, a plant whose root when made into poi forms the principal food of the natives of Hawaiian Islands. Photograph on stereograph card, 1902, Library of Congress Prints and Photographs Division. Thanks to Maggie Murphy for locating this image.  
Oh dear! Oh dear! a very queer
And curious thing I’ve seen,
Which takes the shine completely off,
The wearing of the green;
Potatoes constitute a dish
That Irishmen enjoy,
But it can’t hold a candle to
The eating of the poi. [1]
   
I met a fat kanaka, and he [2]
Asked me to his hale [3]
He wore no clothes to speak of,
But a pa-u and papale.[4]
Upon a mat cross-legged we sat,
And there, and then, my boy,
I was initiated in
The eating of the poi.

A calabash before us stood,
Tutui in a dish, [5]
And in another one, some
Animated shrimps and fish;
We pitched in, and did
No cutlery employ,
The finger is the instrument
For the eating of the poi.

You dip it in, and stir it round,
‘Tis difficult to learn,
And harder to describe the
Proper scientific turn,
Sometimes one finger, sometimes two,
And sometimes three employ,
According to your appetite
When eating of the poi.

To unaccustomed lips, it has,
A most peculiar taste,
A strong similarity
To very ancient paste.
But when you’ve clean’d the calabash,
You’ll want to hiamoe [6]
And soon get fat as butter, just
From eating of the poi.
“The eating of the poi.” In ka buke o na leo mele hawaii no ka pono a me ka pomaikai o na home hawaii na anaina hoolaulea a me na aha mele hoonanea (book of hawaiian songs for the good and the happiness of hawaiian homes for friendly gatherings and for musical assemblies) edited by keakaokalani and j.m. bright, 96.

[1] Poi is a common food in traditional Native Hawaiian cuisine. It is made from pounding or mashing cooked taro root.

[2] Kanaka is short for Kānaka Maoli, the people Indigenous to Hawai’i.

[3] Hale means home or house.

[4] A pa-u is a skirt and papale is a hat, especially a hat made on coconut fronds.

[5] Tutui is candlenut, the seed of the fruit bearing candlenut tree, Aleurites moluccanus.

[6] Hiamoe means to doze or nap.

Contexts

This song does not appear to have an author and, in the publication by Keakaokalani and Bright, did not include any sheet music or other indication of accompaniment. As a traditional song though, it is likely that the publication’s audience would have been familiar with how to perform the tune. Because “The Eating of the Poi” is a traditional song, it has certainly been performed by countless people, including The Waialea Trio. Some sources also note that “The Eating of the Poi” is the first hapa-haole (literally half-white) song, meaning the first song “with lyrics being a combination of English and Hawaiian (or wholly English).”

Resources for Further Study
  • To learn more about traditional Hawaiian foods, check out Kathryn Orr’s presentation, which also includes recipes.A Hawaiian tourism page also includes a glossary of Hawaiian food terms that also might be helpful.
  • For further information about Hawaiian music, the Smithsonian details some of the elements found in a variety of Hawaiian music styles. This wiki by hosted by McGill University provides more in-depth discussion of the evolution of musical styles in Hawai’i.
Pedagogy

When teaching about aspects of Native Hawaiian culture, including music and food, it’s also important to keep in mind the power dynamics that exist between Native Hawaiians and white settlers, both in historical and contemporary times, as well as the power dynamics involved in research. In teaching early Native Hawaiian texts, the dynamics between pro-annexationists and those opposed to annexation are also important to include, particularly in discussions of Native sovereignty.

  • Just as you wouldn’t (hopefully) encourage students to make feathered headdresses as part of a lesson, don’t have them don hula skirts either. Kumu Leilehua explains why both are a problem.
  • For more advanced classrooms, it would be helpful to delve into Indigenous food sovereignty and how U.S. policies (particularly environmental policies) affect the ability to procure some traditional foods. Jeremy Miller provides a good introduction on this issue for The Sierra Club, and Don Heacock, a kalo (taro) farmer, explores the links between agriculture and food sovereignty in Hawai’i.

Categories
1850s Song, Ballad

Dixie’s Land

Dixie [1]

By Daniel Decatur Emmett
Annotations by Celia Hawley
Landscape by R.D. Wilson, not dated, oil on canvas

I wish I was in de land ob cotton;
Old times dar am not forgotten,
Look away! Look away! Look away! Dixie Land.
In Dixie Land whar’ I was born in,[2]
Early on one frosty mornin’,
Look away! Look away! Look away! Dixie Land.


CHORUS:
Den I wish I was in Dixie, Hoo-ray! Hoo-ray!
In Dixie land, I’ll take my stand to live and die in Dixie;
Away, away, away down south in Dixie,
Away, away, away down south in Dixie.

Old Missus marry Will-de-weaber [3]
Willium was a gay deceaber;
Look away! Look away! Look away! Dixie Land.
But when he put his arms around ‘er
Smiled as fierce as a forty-pounder,
Look away! Look away! Look away! Dixie Land.

CHORUS

His face was sharp as a butcher’s cleaver,
But dat did not seem to greab ‘er;
Look away! Look away! Look away! Dixie Land.
Old Missues acted the foolish part,
And died for a man dat broke her heart,
Look away! Look away! Look away! Dixie Land.

CHORUS

Music for Dixie’s Land as performed by the 2nd South Carolina String Band, a contemporary group playing music as it would have sounded during the Civil War.

Now here’s health to the next old Missus,
And all the gals dat want to kiss us:
Look away! Look away! Look away! Dixie Land.
But if you want to drive ‘way sorrow,
Come and hear dis song tomorrow,
Look away! Look away! Look away! Dixie Land.

CHORUS

Dar’s buckwheat cakes an Injun batter,
Makes you fat or a little fatter;
Look away! Look away! Look away! Dixie Land.
Den hoe it down and scratch your grabble,
To Dixie’s land I’m bound to trabble,
Look away! Look away! Look away! Dixie Land.

Dixie’s Land, The Library of Congress, original notated sheet music

Away down South in de fields of cotton, [4]
Cinnamon seed and sandy bottom;
Look away, look away,
Look away, look away.
Den ‘way down South in de fields of cotton,
Vinegar shoes and paper stockings;
Look away, look away,
Look away, look away.
Den I wish I was in Dixie’s Land,
Oh- oh! Oh – oh!
In Dixie’s land I’ll take my stand,
And live and die in Dixie’s Land,
Away, away, away,
Away down South in Dixie.

From Southern War Songs: Camp-Fire, Patriotic and Sentimental, Collected and Arranged by W.L. Fagan, 1890


Pork and cabbage in de pot,
It goes in cold and comes out hot;
Look away, look away,
Look away, look away.
Vinegar put right on red beet,
It makes them always fit to eat;
Look away, look away,
Look away, look away.
Den I wish I was in Dixie’s Land,
Oh -oh! Oh – oh!
In Dixie’s land I’ll take my stand,
And live and die in Dixie’s Land,
Away, away, away,
Away down South in Dixie.

News from the War, from Harper’s Weekly, June 14, 1862 by Winslow Homer, graphic arts-print
Dixie’s Land by Daniel Decatur Emmett, 1859
Dixie as sung by Confederate SOldiers

[1] Composed in 1859 in New York City and titled “Dixie’s Land”, this instantly recognizable song is now more commonly known as “Dixie”. The first set of lyrics shown is the original composition.

[2] The lyrics, by a white male northerner, are written in an unflattering and exaggerated idiom imagining how a black southern slave might speak.

[3] Watch for multiple instances of the letter ‘b‘ used in place of the what should be understood as the letter ‘v.

[4] Lyrics as sung by the Confederate soldier, according to the book Southern War Songs.

Contexts

Although known as a Southern anthem, “Dixie’s Land,” aka “Dixie” was written in the north for the minstrel stage. The song was so popular in the South that it became generally accepted as the rallying song of the Confederacy.

Blackface: the Sad History of Minstrel Shows The ghosts of our past that are still with us.

Abraham Lincoln first heard the song at a Minstrels show in Chicago in 1860. According to a fellow attorney who attended the show with him, after “Dixie’s Land” was played, Lincoln clapped and shouted “Let’s have it again! Let’s have it again!” About the Song – Ballad of America

Where does the name Dixie come from? “Dixie” became associated so quickly with the South that many Americans attributed its very name to the region. In fact, the precise origin of the word “Dixie” remains unknown, though three competing theories persist. It either references a benevolent New York slaveholder named Dix, (“Dix’s Land”); the issue in Louisiana of $10 notes ( ‘dix’ is the number 10 in French); or — and most likely — the land below the Mason and Dixon line (the slaveholding South). During the Civil War, soldiers, civilians and slaves frequently referred to the South as Dixie and considered Emmett’s ditty the region’s anthem. (This information gathered from the articles on this page.)

The word Dixie takes on a different meaning for different people. Most commonly, it’s associated with the old South and Confederate states. Dixie was considered the land south of the Mason-Dixon line, where slavery was legal. But once the term was used in a minstrel song, its correlation with racist ideologies became crystal clear, according to Ingram. “Most historians would agree that Dixie is a word people understand as obviously a reference not just to a place, but a certain kind of ideology,” said Ingram, a history professor at College of Charleston in South Carolina. “There’s no mystery around all this,” she said. “People’s instincts about this being a problematic term is definitely correct. It’s correlated with something a lot darker than just history.” She added: “By the time Dixie made it into minstrel shows, it was clearly understood to be more than just a place name. ‘Dixie’ was the antebellum South, and the lyrics evoke a very nostalgic and romanticized view of slavery.”

Pedagogy

The song “Dixie” is an example of why knowing the history, the backstory, of a piece of iconic culture is critical to genuine understanding. From one of the most famous minstrel songs performed as theater to the recognized tune we know today, “Dixie’s” roots were planted in the ground of race, class struggle, and misogyny. Written by a white man, ostensibly from the perspective of a loyal slave, its trajectory into the present traces the history of black oppression in America. It has been embraced by the Dixiecrat party of the 1940’s, sung by white women protesting integration of schools in Arkansas and elsewhere, and is part of the score of the film Birth of a Nation, a movie that helped revive the Ku Klux Klan.

Many cruel stereotypes about the character of black people originated in the 19th century. Discuss why the practice of stereotyping can be so misleading and harmful. Give examples.

The Minstrel Song that Forever Changed the American South

How “Dixie” Became and Endured as an Anthem Interview from National Public Radio, 2019, includes sound clips

Contemporary Connections

What Dixie Really Means, from the Atlantic Magazine; a popular culture example from 2020

The Anthemic Allure of ‘Dixie,’ An Enduring Confederate Monument from NPR

R.D. Wilson is a contemporary visual artist whose work is professionally acclaimed and has popular appeal.

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