Uw zoekacties: Shanties From The Seven Seas,

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049 Shanties From The Seven Seas
Erfgoedstuk
Bladmuziek
Shanties From The Seven Seas,
Titel:
Shanties From The Seven Seas
Naam uitgever:
MYSTIC SEAPORT MUSEUM
Jaar van uitgave:
First Published 1961
Taal:
Engels
Aantal pagina's:
430
Plaats van uitgave:
Connecticut
Auteur:
Collected by Stan Hugill
THE ART OF THE SHANTYMAN The songs sailors sang when off-watch—forebitters or, as the
Yanks called them, main-hatch songs—if they had a good chorus were often utilized for capstan and pump, in particular for the pumps. Then again, although in theory there was a strict division between the various types of shanty, in fact, one cannot be too dogmatic about the matter, as many halyard songs were sung at capstan and pump, many windlass and capstan songs were inter- changeable, and many pumping songs were used for anchor-heaving. One ruling however held—anchor songs were recognized as out- ward- and homeward-bounders, and very rarely were they used on the wrong passage. As well as the above shanty divisions there were also special
shanties for special trades. They weren't 'special' in the sense that they were only used in these trades, but in the sense that certain capstan and hauling songs, as used deep-sea, were often singled out for use when working special cargoes in different ports of the world. We have seen how certain shanties were used by the hoosiers—the cotton-stowers—of the American Gulf ports. Another important trade was that of carrying timber. Timber ships were known as 'droghers' (a term also used for sugar-carrying ships in the West Indian Trade) and nearly all these ships had large square ports in their bows through which lengthy logs could be launched. Capstans and tackles were used in the process of loading and discharging the logs and at the work both dockers and seamen (who in many ports in the days of sail had to work the cargo of their ship) raised shanties to lighten the labour. Many shanties, particularly those of the 'Hieland Laddie' family, were used by timber workers. Canadian and North American ports (of both seaboards) were centres of the timber trade, as well as West Indian and Central American ports. Also aboard the Baltic 'onkers', or sailing ships in the pit-prop trade, manned by Scandinavian seamen—Danes, Finns, Norwegians, and Swedes—many shanties and shore-songs were sung when working the cargo. It is quite possible that this close alliance of lumbermen, steve-
dores, and seamen did, in this trade, help to infuse new shore-songs, suitable for use at work, into the already extensive repertoire of the shantyman. As one writer puts it, 'a real seaman of the days of sail wouldn't
pick up a rope-yam without raising a song'. And Rex Clements, in his fine book A Gipsy of the Hom,^ writes:
There was even a shanty for doing nothing at all. It was like the others
with solo and chorus and was sometimes started by a discontented crowd who felt they were having their old iron worked up unnecessarily. One of the men would begin: 'I've got a sister nine foot high' and was taken up by the chorus, "Way down in Cuba!' but instead of heaving, the
' London (Heath Cranton Ltd.), 1924. 27
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Organisatie: Shanty Nederland
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