How to Use This Book
Anatomy Trains is designed to allow the reader to gather the general idea quickly or to allow a more detailed reading in any given area. The book includes frequent forays into several related areas, designated in the margins next to the headings by icons:
Manual techniques or notes for the manual therapist
Movement techniques or notes for the movement teacher
Visual assessment tools
Ideas and concepts related to kinesthetic education
Video material integrated in the accompanying eBook at www.expertconsult.com (numbers indicate specific videos)
Video material available at www.anatomytrains.com
Return to main text
The chapters are color-coded. The first two chapters explain the ‘Anatomy Trains’ approach to the body’s anatomical structures. Chapters 3–9 elaborate on each of the 12 mapped ‘lines’ of the body commonly observed in postural and movement patterns. Each of the ‘lines’ chapters opens with summary illustrations, descriptions, diagrams and tables for the reader who wants to grasp the scope of the concept quickly. The final two chapters apply the
‘Anatomy Trains’ concept to some common types of movement and provide a method of analyzing posture.
Five appendices appear at the end. The new Appendix 1 examines fascia and the myofascial meridians concept, and the new Appendix 5 adds information about Anatomy Trains in quadrupeds. The others include a discussion of the latitudinal meridians of Dr Louis Schultz, an explanation of how the Anatomy Trains schema can be applied to Ida Rolf’s Structural Integration protocol, and a correlation between the meridians of acupuncture and these myofascial meridians.
Because individual muscles and other structures can make an appearance in different lines, use the index to find all mentions of any particular structure. A glossary of ‘Anatomy Trains’ terms is also included. The full Bibliography is available in the eBook.
The accompanying eBook at www.expertconsult.com includes a large number of videos, podcasts, and animations useful to the interested reader, teacher, or presenter. While many of the videos are referred to in the book, readers will be pleased to find additional items present in the eBook, with overall video footage running into several hours.
Bonus content:
•Video B1: Introduction to fascia and biotensegrity
•Video B2: Anatomy Trains Lines overview
•Video B3: Feeling the Anatomy Trains Lines (palpation guide)
•Video B4: How fascia moves (fascial properties webinar)
•Video B5: Interview clips with Tom Myers discussing fascia
Videos
Introductory Concepts
1-1
Fascial Embryology
1-2 Fascial Tensegrity: Part 1
1-3 Shoulders and Arms Introduction
1-4 Anatomy Trains Concept Review
1-5 Kinesthetic Intelligence
6-9 Superficial Front Line Belly
6-11
6-15
Fascial Tensegrity: Part 2
SBL: Application of Anatomy Trains Concept
B1 Introduction to Fascia and Biotensegrity
B2 Anatomy Trains Lines Overview
B3 Feeling the Anatomy Trains Lines (Palpation Guide)
B4 How Fascia Moves (Fascial Properties Webinar)
B5 Interview Clips With Tom Myers Discussing Fascia
Fascial Release Techniques
3-1
SFL Neck Technique
3-2 SFL Ankle Retinaculum
3-3 SFL Pectoral Fascia
3-4 SBL Plantar Fascia
3-5 SBL Plantar Technique 2
3-6 SBL Neck Work
3-7 SBL Pelvic Lift
3-8 Lateral Line Iliac Crest
3-9 LL Iliotibial Tract
3-10 LL Lateral Abdominal Obliques
3-11 SL Foot Arch Sling
3-12 SL Serratus Anterior Release
3-13 Arms SBAL Integrating Move
3-14 Arms DFAL Brachialis Release
3-15 Latissimus Dorsi
3-16 BFL–FFL Spiral Sequencing
3-17 DFL Balancing the Psoas
3-18 DFL Quadratus Femoris
6-1 Abdominal Spiral Line
6-2 Arm Lines Trap Peel
6-3 DFL Inner Leg
6-4 Functional Line Rotation Assessment
6-5 Lateral Line Breathing X
6-6 Pelvic Ligaments in Walking
6-7 Superficial Back Line Heel
6-8 Scalp
6-10 SFL Retinaculum
Evidence from Dissections and in Vivo
Observation
4-1
4-2
4-3
Fascial Microscopy 1: Latissimus
Fascial Microscopy 2: Subscapularis
Superficial Back Line
4-4 Spiral Line
4-5 Upper Spiral Line: Fresh Tissue
4-6 Shoulder: Fresh Tissue
4-7 Deep Front Arm Line
4-8
4-9
Superficial Front Arm Line
Ipsilateral Function Line
4-10 Deep Front Line
4-11 Deep Front Line With Jaw
4-12 Tom’s Thoughts
6-12
Living Fascia 1: Surrounding Tendon
6-13 Living Fascia 2: Milieu of Body
6-14
Superficial Front Line
6-16 Linea Alba Dissection
6-17
6-18
Glenohumeral Joint: Fresh Tissue
Glenohumeral Joint and Rotator Cuff: Fresh Tissue
6-19 Fascial Microscopy 3: Plantar
6-20
6-21
6-22
Fascial Microscopy 4: Erector
SFL Extra ‘Double Bagged’
DBAL: Fresh Tissue
Computer Graphics
2-1
Superficial Front Line
2-2 Superficial Back Line
2-3 Lateral Line
2-4 Spiral Line
2-5 Superficial Front Arm Line
2-6 Deep Front Arm Line
2-7
Superficial Back Arm Line
2-8 Deep Back Arm Line
2-9 Front Functional Line
2-10 Back Functional Line
2-11
Deep Front Line
Webinars
6-23
Introduction to Fascial Release
6-24 Balancing Feet and Legs
6-25
6-26
Introduction to Bodyreading
BodyReading the Spiral Line
Acknowledgments
Elsevier would like to offer sincere thanks to the people below for graciously allowing them to use the following material in the eBook at www.expertconsult.com:
Dr Jean-Claude Guimberteau MD, Plastic and Hand Surgeon, and Endovivo Productions for providing videos 6-12 (Living fascia 1: surrounding tendon) and 6-13 (Living fascia 2: milieu of the body). The original sources are:
Guimberteau JC (ed). New ideas in hand flexor tendon surgery. Aquitaine Domaine Forestier; 2001 (www .livres-medicaux.com)
Guimberteau JC. Promenades sous la peau. Strolling under the skin. Elsevier Masson; 2004. Language: French.
Eric Root for providing videos 4-1 (Fascial microscopy 1: latissimus), 4-2 (Fascial microscopy 2: subscapularis), 6-19 (Fascial microscopy 3: plantar) and 6-20 (Fascial microscopy 4: erector).
Michael Frenchman and Videograf for providing the computer graphic imagery.
The Laboratories of Anatomical Enlightenment, Inc. & Singing Cowboy Productions for providing video 4-4 (Spiral Line). Excerpt from Anatomy Trains Revealed: Early dissective evidence.
• Fig. 1.1 (A) A general Anatomy Trains ‘route map’ laid out on the surface of a familiar figure from Albinus. This was our initial way of showing the trains. (B) More recent computerized versions allow for more diversity in portraying the lines in action. (C) This amazingly detailed plastination of a cross-section of the lower leg holds many treasures and rewards continued study. Start with the blue tibia and fibula and see the thin, strong interosseous membrane pulled between them. On either side of the membrane, vessels cluster between the muscles in their adventitial tunics. Look at the filigreed extent of the fascial fabric into the muscle, looking for all the world like the veins of a leaf – and indeed these are the paths of nutrition and draining for the hungry mitochondria in the muscle. The intermuscular septa between the muscle groups lead from the edges of the bones out to the surrounding fascia profundis, which surrounds the whole leg and holds the otherwise floppy muscles tightly together. The fascia of the profundis is continuous with the fascia that runs through the fat layer, hooding the visible vessels and the invisible nerves, right out to the skin and its thin, tough, elastic backing adherent to the fat. Imagine taking away all the red to see the fascial net alone, a three-dimensional wet spider web holding everything in place, yet allowing it to move, bend, and adapt.
1 Laying the Railbed
The Philosophy
The heart of healing lies in our ability to listen, to see, to perceive, more than in our application of technique. That, at least, is the premise of this book (Video B1).
All therapeutic or training interventions of whatever sort are a conversation between two intelligent systems. It is not our job here to promote one technique over another, nor even to posit a mechanism for how any technique works. It matters not a whit to our argument whether the mechanism of myofascial change is due to simple muscle relaxation, release of a trigger point, a change in the sol/gel chemistry of ground substance, viscoelasticity among collagen fibers, resolution of central nervous system patterning, resetting of the muscle spindles or Golgi tendon organs, increase in stretch tolerance, a shift in energy, or a change in attitude (Fig. 1.1A). Use the Anatomy Trains map to comprehend the larger pattern of your client’s structural relationships, then apply whatever techniques you have at your disposal toward shaping change (Fig. 1.1B–C). Pattern recognition is the key skill, not the technique employed.
Pattern recognition in posture and movement is a central skill to what we could call ‘spatial medicine’, the study of how we develop, how we stand, handle loads, move through our environment and occupy space – as well as how we perceive our bodily selves. A lot of what we think we ‘know’ about human movement is up for revision in the coming decades. All manual therapy and movement education approaches are part of building this larger coherent conceptual framework of spatial medicine whether we realize it or not. Spatial medicine (or whatever it comes to be called) will formulate the new principles to make movement training coupled with hands-on work into a very powerful arm of healing and education. (For more on spatial medicine, see Appendix 1, p. 289.)
Manual therapy techniques for pain reduction, performance enhancement, and overall wellness include the traditional fields of physiotherapy, physiatry, and orthopedics, as well as osteopathic and chiropractic manipulations (Video 1.5). More recently, we are offered a wide variety of softtissue approaches from Rolfing to Reiki.
Movement training is an essential aspect of spatial medicine, and training methods abound from the most
meditative yoga across the perfect Pilates to the most scrappy martial arts. Personal trainers and athletic coaches of all stripes work to make movement ‘functional’. Spatial medicine in a wider sense could include all of what is now called physical education, dance, developmental movement, acupuncture, and somatically based psychotherapies. All of these fields have something to contribute to our library of pattern recognition and using movement to build health and combat the evolutionary mismatch of an increasingly sedentary lifestyle.1,2
New brand names sprout daily in these fields, many newly christened ‘fascial’, though in truth there is very little that is actually new under the sun of manipulation or movement. Our observation is that any number of angles of approach can be beneficial, regardless of whether the explanation offered for their efficacy ultimately prevails.
The current requirement is less for new techniques, and more for new premises that lead to new strategies for application. Unfortunately, useful new premises are a lot harder to come by than seemingly new techniques. Significant developments are often opened by the point of view assumed, the lens through which the body is seen.
Anatomy Trains is one such lens – a global way of looking at musculoskeletal patterns that lead to bodywide interconnected protocols (Fig. 1.2). What can we learn from looking at synergetic relationships – stringing our parts together rather than dissecting them further (Fig. 1.3)?
Much of the manipulative therapy of the last 100 years, like most of our thinking in the West for at least half a millennium, has been based on a mechanistic and reductionistic model – the microscopic lens (Fig. 1.4). We keep examining things by breaking them down into smaller and smaller parts, to examine each part’s role. Introduced by Aristotle, and epitomized by Isaac Newton and René Descartes, and applied to biomechanics most notably by Borelli, the reductive path has led, in the physical medicine field, to books filled with goniometric angles, levers, and force vectors based on drawing each individual muscle’s insertion closer to its origin (Fig. 1.5).3
While we have many researchers to thank for brilliant analysis and consequent therapies for specific muscles, individual joints, and particular impingements in the 20th century, the 21st is looking for a more integrated way of
Involvement of the Lines
SFL: Neck to Solar Plexus
Short and down
Rectus Abdominis
Long and down
Rectus Femoris
Short and down
Lower leg
Short and down
SBL: Occiput to C4
Short and down
Erectors C4 – T12
Long and wide
Erectors L1– Sacrum
Short and narrow
Hamstrings
Long and up
Calf and Plantar Fascia
Long and up
Strategies for the Lines
SFL: Neck to Solar Plexus
Lengthen and lift
Rectus Abdominis
Shorten
Rectus Femoris
Lengthen and lift
Lower leg
Lengthen and lift
SBL: Occiput to C4
Lengthen and lift
Erectors C4 – T12
Shorten and narrow
Erectors L1– Sacrum
Lengthen and widen
Hamstrings
Shorten and drop
Calf and Plantar Fascia
Shorten and drop
• Fig. 1.2 An analysis of shortness or weakness within any given myofascial meridian coupled with the relationship of that meridian to the others lead to whole-body strategies for improving posture and movement function. (A) A side view shows us the relationship between just the Superficial Back Line (pictured in C) and the Superficial Front Line (D). In A, a simple chart of the directionality in the fascial planes, and areas of likely hyper- and hypotonus in sagittal plane control. (B) A chart of the strategy to remedy the pattern via myofascial manipulation and movement education.
assessing movement.4–7 If you kick a ball, about the most interesting way you can analyze the result is in terms of the mechanical laws of force and motion. The coefficients of inertia, gravity, and friction are sufficient to determine its reaction to your kick and the ball’s final resting place. But if you should be so cruel as to kick a large dog, such a mechanical analysis of vectors and resultant forces may not prove as salient as the reaction of the dog as a whole. Analyzing individual muscles biomechanically likewise yields an incomplete picture of human movement experience (Fig. 1.6).
In the early 20th century, physics by means of Einstein and Bohr moved into a relativistic universe, a language of relationship rather than linear cause and effect, which Jung in turn applied to psychology, and many others applied to diverse areas. However, it took that entire century for this point of view to spread out and reach physical medicine. This book is one modest step in this direction – general systems thinking applied to postural and movement analysis (Fig. 1.7).
It is not very useful merely to say ‘everything is connected to everything else’, and leave it at that. Even though
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131. DANCING TO ANANSI’S FIDDLE. [NOTE]
SarahVassel,Bog,Westmoreland.
Assono a run a gang. Assono sen’ one of de men for water. When he go a take water, him couldn’t take it; Anansi play fiddle into de waterhole—
“Zing a little ting!”
T’row down de gourd an’ begin to dance. Assono a come to look fe de man. When he come, (Anansi stop playing). He call to him say, “Massa, no quarrel!” Him come give de massa de gourd a go fill it. Anansi begin playing. De Massa t’row down de gourd, begin dance. Assono dance till him drop. Anansi cut off him head an’ tek de head make a water-cup. [163]
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132. ANANSI CLAIMS THE DINNER. [NOTE]
EdwardDaley,Mandeville.
Anansi an’ certain number of men was going to a certain place. Certain men give dey own names; Anansi start to give his name now, said, “Mine is ‘Dem-men-came-here-las’-night’.” When deh get where deh go to, deh bring out dinner. Deh say it is for ‘de-men-came-here-las’-night’. Anansi claim de dinner, an’ nobody else get any.
[Contents]
133. ANANSI SEEKS HIS FORTUNE. [NOTE]
StanleyJones,Claremont,St.Ann.
Anansi was very poor and he went out to seek his fortune, but he had no intention of working. He clad himself in a white gown. And he met a woman. She said to him, “Who are you, sah? an’ whe’ you from?”—“I am jus’ from heaven.” The woman said, “Did you see my husban’ dere?” He said, “Well, my dear woman, heaven is a large place; you will have to tell me his name, for perhaps I never met him.” She said his name was James Thomas. Anansi said, “Oh, he is a good friend of mine! I know him well. He is a big boss up there and he’s carrying a gang. But one trouble, he has no Sunday clo’es.” The woman ran away and got what money she could together and gave it to Anansi to take to her husband.
But he wasn’t satisfied with that amount; he wanted some more. He went on a little further and saw a man giving a woman some money and telling her to put it up for ‘rainy day’. After the man had left, Anansi went up to the woman and told her he was “Mr. Rainy Day.” She said, “Well, it’s you, sah? My husband been putting up money for you for ten years now. He has quite a bag of it, and I’m so afraid of robbers I’m glad you come!” So Anansi took the money and returned home and lived contentedly for the rest of his days.
[Contents]
134. THE PANNIER-JAR. [NOTE]
VasselEdwards,Retirement,Cock-pitcountry.
There was a man at slave time had a wife, and the wife kept two other men. The husband of that wife was working out. One night, one came first and then the house-master came home. And they had a big jar called a pannier-jar, and the wife took the man and put him into the pannier-jar. Afterward the other man came [164]in, and when he saw the house-master was frightened and he told the house-master he had come to borrow the pannier-jar. The house-master told him he could take it, and the woman helped him up with the pannier-jar. And when he got part of the way, he said, “Poor me bwoy! if it wasn’t for this pannier-jar, I would be dead tonight!” The other man in the pannier-jar said, “Brar, same meself!” And he got frightened and heaved down the pannier-jar, mashed it up and killed the man in there.
[Contents]
135. ANANSI KILLS HIS GRANDMOTHER. [NOTE]
WilliamCooper,Mandeville.
Anansi an’ Tiger were travelling. Anansi kill him old grandmother, him put him into a little hand-cart was shoving him t’ru de town. After him catch to a shop jes’ like out here, de shop-keeper was a very hastytemper man; an’ went in de shop an’ call fe some whiskey an’ give it to one of de shopkeeper carry it to his grandmother. An’ said he mus’ go up to de han’-cart an’ call twice. An’ de ol’ lady did not hear. So Anansi said to de shop-keeper him mus’ holla out to de ol’ lady; him sleeping. So de ol’ lady didn’t hear, he fire de glass in de ol’ lady face, an’ de ol’ lady fell right over. Then the shop-keeper get so frighten he cry out to Anansi, say Anansi mustn’t mek no alarm in de town; he will give him a bushel of money to mek him keep quiet.
So dem was going along an’ borrow a quart can from Tiger an’ was measuring dis money. Tiger said, “Where you get all dat money?”
Anansi say, “I kill my ol’ grandmother.” Tiger, him went home an’ kill his grandmother an’ put her up in a little hand-cart an’ was goin’ along t’ru de town hollerin’ out to all de people, “Who want a dead body to buy?” So Anansi said to Tiger he shouldn’t do anyt’ing like dat; too foolish!
[Contents]
136. WHITE BELLY AND ANANSI. [NOTE]
RichardMorgan,SantaCruzMountains.
White Belly plant some peas. Hanansi come a White Belly yard and say, “Brer White Belly, dem peas not fat an’ you know what you do? if you want ’em to be fat, mek up little fire at de root.” Tomorrow morning when White Belly were come, every peas dead!
White Belly is a carpenter. He mek a box. He mek bargain wid de mudder; he say, “Ma, I gwine put you in dis ’ere box, [165]put some money in de box; den I will holla out “Me mudder died!” White Belly put de han’ ’pon de head, say, “Me mamma dead o-o-o!” Hanansi run come. White Belly say, “Ma, what you have to give me? Let good an’ bad see!” De box turn up an’ t’row out all de money. Hanansi go back home an’ say, “Ma, I wan’ a little water to wash me foot.” Mother carried the water come. He dip him feet in dere, say, “Good Lord, ol’ lady, you give cramp me!” Tek de mortar stick, lick ’im in de head. An’ cobb’e one box an’ put his mudder in an’ call out, “Me mudder dead!” White belly come. Hanansi said, “Ma, what you have to give me? Give me back good an’ bad see!” De box raise up an’ ’tamp him down flat. So Hanansi kill him ma, an’ White Belly mudder save.
[Contents]
137. MONKEY HUNTS ANANSI. [NOTE]
RichardMorgan,SantaCruzMountains.
Hanansi borrow Monkey money, so him tell Monkey fe come Wednesday. When Monkey come, Hanansi knock in ’tomach, say, “Broad enough you can knock, oh!” Monkey ketch him, beat him. Nex’ day when Monkey come he say, “Mudder Hanansi, whe’ you son?” Him say, “Brer Monkey, fe you murder him yesterday, don’ know if you him dead!” Monkey call one roos’ cock an’ cut de craw an’ tek out Hanansi an’ beat him.
When him gone, Hanansi say, “Ma, you goin’ mek Brer Monkey kill me? You know wha’ you do, Ma? Put on yo’ pot, dig de fire ashes, put me in deh, mek up de fire, put on de pot. I will see if dat fellah, Monkey, wi’ fin’ me when him come!” Nobody knew Monkey was a Obeah man. When Monkey come he say, “Mo’nin’, Mudder Hanansi; wha you son?” Mudder Hanansi said, “Massa, dis two day you beat him, an’ don’ know wha’ he do?” Monkey gwine a kitchen, tek off de pot an’ dig out de fire-ashes an’ tek out Hanansi an’ beat him.
Anodder Obeah woman tell Mudder Hanansi said, “You gwine to let Monkey kill yo’ son? Yo’ can twis’ rope?” De ol’ woman said, “No me trade?”1 She said, “Twis’ one rope. When you look out o’ one en’, you see horse you t’ink o’ ants.” Put Hanansi upon it. When Monkey come, Hanansi deh ’pon de rope. When Monkey go up ’pon de rope, holla till Hanansi cut de rope. Me’while de rope cut, Monkey tumble down broke hi’ neck. So Hanansi come down, clean up Monkey. [166]
It is my trade. ↑
138. ANANSI AND THE PIG COMING FROM MARKET. [NOTE]
MosesHendricks,Mandeville.
Anansi took the job to sweep the market. After he swept the market and got the pay, he bought a pig called ‘wee pig’. On his way home he had to cross a stream. He couldn’t get the pig across. He wouldn’t carry it himself and he wouldn’t pay anyone to assist him,—wanted free help. So he saw a dog coming along. He said, “Br’er Dog, I beg you bite this pig, make this pig jump over the river, make Anansi get home.”
Dog said no, couldn’t do it.
He saw a stick coming along, said, “Do, Br’er Stick, I beg you lick this dog, make this dog bite this pig, make this pig jump over this river, make Anansi get home.”
Stick said no, couldn’t do it.
He see Fire, say, “Do, me good Fire, burn this stick, make this stick lick this dog, make this dog bite this pig, make this pig jump over this river, make Anansi get home.”
Fire says no.
He sees Water. “Do, me good Water, I beg you out this fire, make this fire burn this stick, make this stick lick this dog, make this dog bite this pig, make this pig jump over the river, make Anansi get home.”
Water said no.
He saw a cow coming. “Do, Br’er Cow, drink this Water, make this water out this fire, make this fire burn this stick, make this stick lick this
dog, make this dog bite this pig, make this pig jump over this river, make Anansi get to go home.”
Cow said no.
He saw a butcher coming. “Do, me good butcher, I beg you butcher this cow, make this cow drink this water, make this water out this fire, make this fire burn this stick, make this stick lick this dog, make this dog bite this pig, make this pig jump over this river, make Anansi get home!”
Butcher said no, wouldn’t do it.
He sees Rope coming along. “Do, Br’er Rope, I beg you hang this butcher, make this butcher kill this cow, make this cow drink this water, make this water out this fire, make this fire burn this stick, make this stick lick this dog, make this dog bite this pig, make this pig jump over the river, make Anansi get home!”
Rope said no.
Saw Grease coming along. “Do, me good Grease, grease this rope, make this rope hang this butcher, make this butcher kill this [167]cow, make this cow drink this water, make this water out this fire, make this fire burn this stick, make this stick lick this dog, make this dog bite this pig, make this pig jump over the river, make Anansi get home!”
Grease said no.
He saw a Rat. Said, “Do, me good Rat, gnaw this grease, make this grease grease this rope, make this rope hang this butcher, make this butcher kill this cow, make this cow drink this water, make this water out this fire, make this fire burn this stick, make this stick lick this dog, make this dog bite this pig, make this pig jump over this river, make Anansi get home!”
Rat says no.
Saw Puss coming along. “Do, Br’er Puss, I beg you kill this rat, make this rat gnaw this grease, make this grease grease this rope, make this rope hang this butcher, make this butcher kill this cow, make this cow drink this water, make this water out this fire, make this fire burn this stick, make this stick lick this dog, make this dog bite this pig, make this pig jump over this river, make Anansi get home!”
Puss says, “Yes, I will kill your rat!”
Rat says, “Before you kill me, I will gnaw the grease!”
Grease says, “Before you gnaw me, I will grease the rope!”
Rope says, “Before you grease me, I will hang the butcher!”
Butcher says, “Before you hang me, I will kill the cow!”
Cow says, “Before you kill me, I will drink the water!”
Water says, “Before you drink me, I will out the fire!”
Fire says, “Before you out me, I will burn the stick!”
Stick says, “Before you burn me, I will lick the dog!”
Dog says, “Before you lick me, I will bite the pig!”
Pig says, “Before you bite me, I will jump over the river!”
So away went the pig over the river; and him and Anansi went home safe and without expense.
[Contents]
DANCE AND SONG.
139. THE FIFER. [NOTE]
RichardRoe,MaroonTown,Cock-pitcountry.
There’s a boy once, mother got only the one boy an’ ’he love him so much that ’he give him a flute. So one day they go to far groun’ an’ coming back the boy leave the flute at the groun’. When he catch halfway, he remember it an’ he tell him papa. Papa say to go back for it, but he mus’ be careful not to blow it coming back because he got a lot of wil’ beasts to pass. So as he come home he begin to blow,1
[MP3 ↗ | MusicXML ↗]
♩ = 72
Minnie, Minnie, wa-yo da Lim-ba, Minnie, Minnie, wa-yo da Lim-ba. Minnie, Minnie, wa-yo da Lim-ba, Minnie, Minnie, wa-yo da Lim-ba.
Wild beast rush out, say, “Who’s dat blowing de pipe, sah?”—“Oh, no, not me blowing!” An’ go ’way, blow again. Wil’ beast rush out. “Ha! you?”—“No, grandpapa, not me blowing!”—“Den who blowing?”—“He gone on befo’, massa; not me blowing!”—“Blow, let me see.”—“Flee flitty flee, flee flitty flee.”
Wil’ beast go away. He commence the right tune now,
“Minnie Minnie, wa-yo da lim-ba, Minnie Minnie, wa-yo da lim-ba, Minnie Minnie, wa-yo da lim-ba.”
(Wild beast rush out, catch him, compel him to play.)
“Ah, I catch you now, sah! Play de tune now, sah! blow, sah!”
Then he began to blow the right tune, both dance. Different [170]wil’ beasts Tiger, Asoonah, all the wil’ beasts come out an’ dance. An’ the father get frightened, come shoot all the wild beasts, all drop save him boy. An’ flog the boy.
1
The song was sung by Alfred Williams. ↑
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140. IN COME MURRAY.
WilliamForbes,DryRiver,Cock-pitcountry.
It was said when you go you see a man going to play dat Nansi story. Get anodder wid a pint a water, den him gwine to turn a drunkard, begin to totter, say, “Tiger, tiger, lie down”—
Zin come Murray. I take drink, lay down, Zin come Murray. Murray, ah, lay down, Zin come Murray. I take drink lay down, Zin come Murray. Oh, poor Murray. Zin come Murray. I take drink, lay down, Zin come Murray.
141. TACOOMAH MAKES A DANCE. [NOTE]
WilliamForbes,DryRiver,Cock-pitcountry.
Tacoomah make a dance, get Anansi for de fiddler, an’ Grass-quit was coming as a fiddler too. Robin Redbreast was to play de music, Monkey was to blow de bugle. Well, after de night de dance commence. Anansi gwine to play,
“Queena bunna, ring-ki-ting, You sen’ fe great Grass-quit, You don’ sen’ fe me!
Anansi draw bow so sweet, ring-ki-ting, Anansi draw bow so sweet, ring-ki-ting.”
Tacoomah say,
“You ya, you ya, so ya, me ya, Wid a fort tumba like a tenky bunna, Wid a jump, wid a jump, like a tenky bunna.”1
[171]
Robin Redbreast say,
“Jock, Jock, when you coming home?”
Jock said,
“Tomorrow evening.”
“What in your right?”
“Boot an’ spur.”
“What in your left?”
“Bow an’ arrow.2”
Jock3 said,
“Robin redbreast Was pretty well dressed, And he was into his nest, And a puppy went into his nest And broke his neck t’ru distress.”
Well, den, Turtle an’ Duck goin’ in de river fe go an’ swim, an’ dem is to run to a hill-side in de river. An’ Cock is de judge. Den Cock went to sing fe dem—
“Co co re co.”
Duck an’ Turtle swim—
“Shekey, shekey, shee-e-e.”
The tune is that of the Devil in the Cock and Corn story, number 85. ↑
The dialogue is taken from a popular game. ↑
I asked, “Who is Jock?” “Jock man dora.” ↑
[Contents]
142. ANANSI MAKES A DANCE. [NOTE]
WilliamForbes,DryRiver,Cock-pitcountry.
Again, Anansi make a dance. Him playing de fiddle,
Kelly bam bom ba, Kelly bam ya Morree! Kelly bam bom ba, Kelly bam ya Morree! Kelly bam bom ba, Kelly bam ya Morree! Dem dat kyan’ run, dey no hearie! etc.1
Kelly bam bom ba, Kelly bam ya Morree! Kelly bam bom ba, Kelly bam bom ba, Kelly bam bom ba, Kelly bam ya Morree! Kelly[172] bam bom ba, Kelly bam bom ba, Kelly bam ya Morree! Kelly bam bom ba, Kelly bam bom ba, Kelly bam bom ba, Kelly bam ya Morree!
Goat dere a dance, say,
“Me kyan’ run, but me cunnie do!”
Dog begin to sing,
“Na way you lie, Samedy, Pussy no dead at all!”
Den Puss an’ Rat begin to dance an’ say,
“Massa Puss an’ Massa Rat a jump shandelay,2
Oh, jump shandelay, jump shandelay, den a jump shandelay.
Oh, oh, jump shandelay Missa Rat a jump den a jump shandelay!
Oh, oh, jump shandelay. Jump shandelay, will you jump shandelay!
Oh, oh, jump shandelay, oh, Missa Rat a jump, will you jump, shandelay!
Den she went an’ jump it, den she went an’ jump it, den she went an’ jump it, den she went an’ jump it, den she went an’ jump it, den she went an’ jump it.
Well, Anansi boy was blowing de fife, “Ti-li-harry-ham, handsome ben-in-ben!”
Den de bull was coming along, hear dem, say,
♩ = 63
Oh who dey ca’ me Timmo Limmo? Timmo Limmo, oh? Zin kuma Ya ya ya, oh, Zin kuma.
♩ = 69
Timmo Limmo, oh, Timmo Limmo oh, Zin kuma. Ya, ya, ya, oh, Zin kuma. Ah, who dey ca’ me Timmo Limmo?
Ah, who dey ca’ me Timmo Limmo, oh, Zin kuma. Ya, ya, ya oh, Zin kuma Timmo Limmo, oh, Zin kuma. Ah who dey ca’ me Timmo Limmo? Ah, who dey ca’ me, Timmo Limmo, Timmo Limmo, oh, Zin kuma. Ya, ya, ya, oh, Zin kuma.
The record was faulty. ↑
Part of the first of the song is missing; phonograph needle was put down too late. ↑
[Contents]
143. RED YAM. [NOTE]
MaryJaneRoden,Brownstown,St.Ann.
Anansi and Tacoomah have two little boy. So Anansi go to him ground, he have a yam name of ‘red yam’. So when he carry home de yam, if de two little boy don’ tell him de name of de yam, don’ give ’em no dinner. So one night de little boy say, (dance to the fiddle and drum),
“Poor me bwoy, papa no gi’ me no dinner! If I don’ know de yam name, papa no gi’ me no dinner!
Poor me bwoy, me go fe dead fe hungry, da la!”
[174]
Another day papa go to ground. So the little boy follow him go right outside a bush, go set for him. When him coming back he fall down, say, “Now me little red yam mash up!” So when him come home an’ said to the little boy, “Come, me pickney, pupa come an’ if you tell me de name of dis yam to-night, I goin’ to give you a good supper,” the little boy say,
“T’ank God, me know him name,
T’ank God, me know him name,
T’ank God, me know him name!”
“Come, now, tell me!”
“Ai! red yam, t’ank God a red yam!”
(dance and play the fiddle and drum).
When the papa boil the dinner, give him a big dinner fe him call the name. When he eat the big dinner the papa gi’ him the night, boy sing,
Pupa, de yam name red e yam? Yes, ma bwa, name red e yam. Chorus.
Belly full to-night wid me red yam. Eat, ma bwa, eat, ma bwa, Eat, ma bwa, de yam name red e yam Sing, ma bwa, Sing, ma bwa, Sing, ma bwa, de yam name red e yam. Laugh, ma bwa, laugh, ma bwa, 2ndVerse. laugh, ma bwa, de yam name red e yam. Pupa ma belly full wid de red yam, Pupa ma belly full wid red yam. Laugh, ma bwa,[175] laugh, ma bwa, laugh, ma bwa, yo’ belly full wid de red yam. Sing, ma bwa, sing, ma bwa, sing, ma
The narrator continued with the following which, she insisted, belongs with the song:
but
This last measure may be repeated at will, or the whole three about Tom. The oftener it is sung, the sweeter the song, in Mother Roden’s opinion and in that of many others.
This singer was most uncertain; in intonation, repetitions, etc. she varied exceedingly and agreed that any way the song was repeated to her by the transcriber was correct, no matter how it was sung. The transcriber, therefore, will not vouch for these three tunes. The old woman is a cripple and can neither read nor write. H. R. ↑
[MP3 ↗ | MusicXML ↗]
Tom drunk,
Tom no fool, Tom drunk, but Tom no fool, Trala-la-la-la-la-la.
144. GUZZAH MAN.
MaryJaneRoden,Brownstown,St.Ann.
One day Tacoomah, Monkey and Baboon were driving a truck with rum to the wharf fe master. When they were going, Anansi said to Tacoomah they have a dance an’ they invite Monkey an’ Baboon to the dance. An’ while they was dancing, Anansi an’ Tacoomah go t’ief t’ree puncheon of rum from Monkey an’ Baboon, come back to the dance, see Monkey an’ Baboon was dancing. Anansi say,
Guzza man, Guzza man, Brudder Nansi drink rum. Oh, Guzza man, Guzza man, Guzza man. So Anansi tie Tiger, tie him ’til he jump, Tiger.
Guzza man, Guzza man, Guzza man. Tom drunk, but Tom no fool,[176] Tom drunk, but Tom no fool, la-la-la-la-la-la-la.
[Contents]
