Dona vs. Dana

[Lori Cahan-Simon <l_cahan...>]

So, then, what about the "Dana, dana" (as compared to "Dona") aspect, which is
how it is titled in the old sheet music I have?
Lorele

Robert Cohen wrote:

> I think I can shed light on a few of the points (I'm catching up) raised in
> connection with this song (which was indeed written by Aaron Zeitlin with
> music by Secunda).
>
> Teddi Schwartz was (indeed) the co-composer (with Arthur Kevess; I think I
> have the spelling right) of the most well-known translation--i.e. (see
> below), the one sung by Joan Baez.  I *think* it was from her--I met her
> once and asked her about the song--that I learned:
>
> *that Zeitlin (not Secunda, who just wrote the music) appropriated the
> syllable "Dona"--which I believe she told me he intended should be
> pronounced "Dunna," as in "gonna"--to resemble the sound (i.e., vocable) of
> Polish peasants dancing.  That matches what Reyzl was told by her own
> excellent informant; and
>
> *that he--Zeitlin--was amused at all the speculation (beginning, I gather,
> some time ago) regarding the "meaning" of the vocable--esp. in re the
> resemblance/allusion to a name of G*d.  It had no (such) "meaning" at
> all--at least, none that Zeitlin intended.
>
> Now:  How come the whole world--other than on knowledgeable Yiddish
> recordings--sings it "Doe-na Doe-na"?  ("Doe" as in a female deer, etc.)
>
> Well, this *is* the "folk process" at work--but as modifed, substantially,
> by commercial media:  specifically, the phonograph.
>
> When Joan Baez was shown the song--I am almost certain in a printed
> version--by a Boston-area folkie, she evidently decided it should be
> pronounced "Doe-na"--and that's how she said it.
>
> Her first album, on which "Donna Donna" appeared, was the largest-selling LP
> by a woman singer in history to that date (since exceeded by Carole King and
> subsequently by Madonna and who knows now).  Solely, I think, as a result of
> that record--I don't think Bikel really had much to do with it--the song
> went around the world, appearing in countless songsters and collections,
> sung in coffeehouses, at camps and campfires, among adults and teens, etc.,
> etc., etc.  (Teddi Schwartz showed me a letter from Joan's office thanking
> her for the translation and advising her that the song was the single most
> requested song of Joan's [!] in Europe.)
>
> So people (other than knowledgeable Yiddishists, mind you, but including a
> lot of them too, when they're singing in adult camps and other
> settings--I've heard them) sing "Doe-na" because that's the way Joan sang
> it.  Purely and simply.
>
> Hope that's illuminating and ties up some loose ends.
>
> --Robert Cohen
>
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