If
you’ve never sat in or marched or occupied some place against orders to
evacuate, singing may seem irrelevant to you. On the other hand, if you’ve
participated in a mass movement that included singing, you know the power of
joining your voice to the voices of your comrades in arms. Singing creates a
sense of transcendence, of a unity so intense, police batons can’t shatter it.
As
Americans, we tend to individualism. Our individualism has been nurtured,
praised, and enthroned—not for the purposes of teaching us to think for
ourselves but for the purposes of separating us from those who shoulder the
same burdens we shoulder. We are deluded into thinking that through the lottery
or some magical manna from heaven we will become individuals in need of wealth
management services. For this reason, we refuse to raise taxes on the rich,
even as our lower income and middle class income taxes mushroom. The only
transcendence we know is the transcendence of money—the only class interests
are the class interests of the wealthy.
Yet
lately, thanks to Occupy Wall Street, Americans are beginning to suspect
they’ve been had. Big time. While they had imagined themselves members of a
classless society since the end of the Great Depression, the past thirty years have
finally awakened them, thirty years of shrinking income, of watching the rich
increase their share of the pie—not splurging on the creation of jobs, as
Republicrats claim, but on ludicrously expensive clothes, watches, shoes, champagne—in
other words, luxuries.
But
how to create unity among people so disparate, the so-called 99%? Citizens so
enamored of their particularity, they mindlessly signed on to a crap slogan like
“American Exceptionalism”?
Remember
when conventional wisdom for the depressed involved smiling through your tears?
The idea was that change could begin outside your skin and sink through into
your psyche. Sounded weird because Western civilization perpetuates the belief
that our minds and our bodies have little or no relationship to one another. Hey,
over here’s the physical end of things, the part of us that operates on stuff.
But over here’s the mental part, and that just floats around in the ether,
doing nothing more than giving us something to do with our thoughts between
television and focusing on work or school.
Surprise.
Turns out that if you’re a bit down and you make yourself smile, you don’t feel
quite as down after a few minutes of pulling the corners of your mouth toward
your ears. True, smiling will not un-repossess your home or zip you back into
the driver’s seat at your lost job or even cure cancer (sorry, Norman Cousins).
Nevertheless, our physical being is far less stable than we like to imagine. It
may be a thing but our mind is a thing as well. And the body may be amorphous
but the mind is amorphous too. Turns out they share the same energy, occupy the
same space, and draw on the same electrons and neutrons.
Take
singing, for instance. Group singing.
In
the Civil Rights Movement, the demonstrators sang—constantly. They sang on the
picket line, on the bus, in the jails, during demonstrations. Wherever they
were, they sang. Why? Because singing transformed them from a bunch of scared
individuals into a powerful unit, a body of resistance more powerful than the
law and all who carried it out.
The
most powerful moment for me—one I included in my novel Bridge of the Single Hair—involved the force I’m talking about. I’m
not the kind of person who finds it easy to “group sing.” Group chanting tends
to make me clamp my teeth together. Admittedly, I’m an obnoxious individualist—American
through and through. I don’t relinquish my separate identity without a fight.
But, like all difficult things to do, this one turns out to be unbelievably
worthwhile.
Back
to 1961: The captain of Parchman Penitentiary, Mississippi’s State Prison farm,
came into maximum security where the female Freedom Riders were housed. He
brought his trusties and buckets and mops, instructing us to swab our floors
and wash out our sinks and toilets. We took the cleaning supplies and set to
work.
And
we started to sing.
There
wasn’t much to do at Parchman in maximum security. We never got out, except
once a week to shower. We had no books, unless you count the single Bible
shared by the entire block, which was reserved for the devout to read and for
the non-devout to use as a bug killer. After all, we had no shoes. We couldn’t
write, unless we borrowed the single stubby pencil, using toilet paper as our stationery.
Letters were few and heavily censored. The most innocuous statements, such as
“the weather remains warm” were blacked out to annoy us. Of course, if you were
that easily annoyed, you didn’t belong in Parchman, that’s for sure.
In
the evening, we’d all climb up into the top bunk, squint against the eternally
burning lights and try to peer through the narrow windows at the night sky, on
the off chance we might glimpse a star or two. We’d tell each other stories and
we’d sing. The point of the singing was two-fold: entertainment and comfort,
the kind of comfort that might’ve come from our mothers via macaroni and cheese
or chicken soup and matzo balls or fried chitterlings. Whatever. Thick,
nourishing (if fattening), warming and filling.
As
we swabbed the floor and sang, Captain Tyson marched in front of our cells,
coming to a stop directly in front of the cell I occupied. “Shut up!” he
screeched. “Shut up!”
We
had an elected spokeswoman. She was a nice person, too nice in my opinion. Far
too accommodationist. She echoed the captain’s demand, albeit far more sweetly,
and the Freedom Riders fell silent. If Captain Tyson had stood in front of any
other cell, I believe that probably would’ve been the end of it. He happened to
stand facing me and I looked in his eyes and he looked back in mine. I saw it.
Triumph.
I
was eighteen and knew very little but I did know a man like Captain Tyson
should never have the satisfaction of triumphing over a group of women who
voluntarily entered prison as a way to demonstrate their commitment to justice.
Although I cannot sing a note without croaking like a frog, I opened my mouth,
looking straight at him.
Ain’t
gonna let nobody, turn me round
Turn
me round, turn me round
Ain’t
gonna let nobody, turn me round
Walking
and a-talking, talking and a-walking
Walking
into freedom land
Before
I got all the way through a single phrase, no doubt to cover up the less than dulcet
sound of my voice, the other freedom riders joined in. The cell doors opened.
The trusties entered and began dragging our mattresses out, leaving us with
cold perforated steel plates on which to sleep. Captain Tyson’s last words were
“When y’all get ready to ‘pologize, I bring your mattresses back.”
Perhaps
it’s unnecessary to say we never did apologize.
My
point is that at the moment the other Freedom Riders joined their voices to
mine, I felt almost as if my skin had dissolved, as if instead of one lonely
silly girl standing before her cell door, I had melted into the larger body of
women and we were one—a singular powerful whole. It was a journey I’ve never
had the privilege of repeating. It was a journey the joy of which I’ve never
forgotten.
And
so I say OWS needs a body of music, rousing, unifying, thrilling. They couldn’t
make a mistake to turn to the music libraries of the Civil Rights Movement.