Of
all the announcement carols Go Tell It On the Mountain is unusual
for a number of reasons. It is not European but rooted in the American Black Community and dated to
the era when the end of slavery was
being celebrated. It is not an
announcement by the Heavenly Hosts,
but an instruction to a whole people to spread the good word. And because of its connections to the Civil Rights Movement, it doubles as a Christmas carol and a liberation
anthem.
Go Tell it on the Mountain.
It
has been dated to 1865 and may reflect the widely celebrated moment when
the 13th Amendment to the Constitution that abolished slavery went into effect or even earlier to the Watch Night celebrations on New Year’s Eve 1863 of Lincoln’s war-time Emancipation
Proclamation.
During
the Civil Rights Movement of the ‘50’s and ‘60’s activist/singer Fannie Lou Hamer and perhaps others borrowed the
line to “Let my people go!” from the older spiritual
Go
Down Moses to substitute from the original line “That Jesus Christ is
Born!” Drawing on that inspiration Peter, Paul and Mary, who had been
active themselves in Southern Civil
Rights protests, recorded the song with the Exodus references in 1963
and it became a mid-level single hit for
them in 1964.
Today
Go Tell It On the Mountain is widely
sung as Christmas Carol in both Black and White churches and has been often
recorded on holiday albums. It is particularly popular with county music artists including Dolly Parton, Garth Brooks,
and even Toby Keith. On the other hand, the “let my people go”
versions remain popular with Black
performers. People who first hear
one or the other are sometimes surprised or shocked to discover
the different use. In many Black churches,
however, both versions are combined, especially on Watch Night.
Today
we will hear the song as a powerful spiritual performed by Billy Porter with
the Howard University Gospel Choir on this season’s broadcast of the National
Tree Lighting Ceremony. Porter, the Broadway
star of Kinky Boots, Emmy winner for Pose on
FX, recording artist, and flamboyant cross-dressing fashion
icon, represented yet another layer of liberation subtext to
the song.
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