Home Worship Planning Music Resources Black History Month: “O Mary, Don't You Weep”

Black History Month: “O Mary, Don't You Weep”

There are a number of characteristics of the spiritual "O Mary, Don't You Weep" (United Methodist Hymnal, 134) that some will find confusing. Why is Mary mourning? Perhaps it is a reference to Mary at the foot of the cross (John 19:25), witnessing the death of her son, Jesus. Perhaps it refers to Mary Magdalene weeping at the empty tomb (John 20:13, "Woman, why are you weeping?" . . . "They have taken away my Lord.") or to her meeting and not recognizing the resurrected Jesus in the garden immediately following (John 20:15, "Woman, why are you weeping?" "Sir, if you have taken him away, tell me where you have laid him . . .")

But what does the weeping New Testament Mary have to do with the drowning of Pharaoh's army in the Red Sea 1,400 years earlier (Exodus 14:26-31)? The answer lies in the secret or coded messages found in many of the spirituals, including this one. As the slaves lived and labored under the oppression of their owners and masters, they suffered -- as did Israel under the Egyptians. It was acceptable to the oppressors for the slaves to sing about Mary weeping and mourning and about the drowning of Pharaoh's army. These were, after all, biblical events. The slave owners may have even been amused by the obvious ignorance and confusion of the slaves, who somehow connected the two seemingly unrelated events of crucifixion and drowning. But the slaves understood the connection: It was the escape of the persecuted from death and bondage -- Jesus from the tomb; Israel from Egypt. It was the promise of their own future freedom and liberation from the misery of slavery. They could sing this spiritual with its secret message, unrecognized by their masters.

"O Mary, Don't You Weep" is usually sung in a quick tempo, a lively spirit, and with strong rhythmic emphasis. Take care with the rhythmic syncopations and anticipations. Add clapping, a drum and tambourine, and lots of physical movement. This is a celebration, not a wake! We may be oppressed, or we may suffer; but we will be free! It may be Good Friday, but Sunday's coming! You can make effective use of the call-and-response format with a soloist song leader and congregation, or choir and congregation.

Immediately following the drowning of Pharaoh's army in the Exodus story (Exodus 14), there is the Song of Moses and the Song of Miriam (Exodus 15). Moses leads the people in a song of celebration of their deliverance: "I will sing to the Lord, for he has triumphed gloriously; horse and rider he has thrown into the sea" (v.1). And after Moses' song, it is taken up by Miriam, Aaron's sister (v.20). Miriam picks up her tambourine and leads the women in a great song celebrating their liberation with dancing: "Sing to the Lord, for he has triumphed gloriously; horse and rider he has thrown into the sea" (v.21). What a great opportunity for liturgical dancers!

It is the Song of Moses and the Song of Miriam that make up the Cantemus Domino canticle at no. 135 in The United Methodist Hymnal. This canticle is presented to be read or sung in a manner similar to the Psalms. You might consider replacing the prescribed response with the refrain of "O Mary, Don't You Weep."


Scripture quotations, unless otherwise indicated, are from the New Revised Standard Version of the Bible, copyright 1989 by the Division of Christian Education of the National Council of the Churches of Christ in the USA. All rights reserved. Used by permission.

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