The Melodic Journey of “Simple Gifts”: From Shaker Communities to Modern Culture
Few melodies capture a sense of calm, clarity, and groundedness quite like “Simple Gifts.” With its instantly recognizable opening lines—“’Tis the gift to be simple, ’tis the gift to be free”—the tune feels ancient and timeless. Though it is often mistaken for a traditional folk hymn or a Celtic tune, this beloved piece actually has a fascinating history rooted in a unique American religious movement.
The Origins: Who Were the Shakers?
The Shakers, formally known as the United Society of Believers in Christ’s Second Appearing, were a religious group that originated in 18th-century England before finding a home in the United States. They practiced communal living, pacifism, gender equality, and absolute celibacy. True to their name, expressive physical movement—including shaking, dancing, and marching—was a central part of their religious worship.
Because the Shakers valued modesty, hard work, and humility, they rejected elaborate ornamentation. This philosophy heavily influenced their music. They preferred clean, clear, and uncomplicated melodies that entire communities could sing together a cappella, without the accompaniment of instruments.
Written for Movement
“Simple Gifts” was composed in 1848 by Elder Joseph Brackett of the Shaker community in Alfred, Maine. Rather than being written as a quiet Sunday hymn, it was created as a quick dance song for worship.
The lyrics are packed with physical instructions disguised as spiritual metaphors:
- “To bow and to bend we shan’t be ashamed”
- “To turn, turn will be our delight”
When the Shakers performed the traditional dance associated with the song, these lines were literal choreography. Dancers would physically bow, bend, and spin, with the ultimate goal that “by turning, turning we come ’round right”—meaning that when the dance was executed correctly, every participant would end up smoothly back in their proper place.
How the Tune Reached the World
For nearly a century, “Simple Gifts” remained largely confined to Shaker communities. That changed dramatically in 1944, when legendary American composer Aaron Copland incorporated the melody into his score for Martha Graham’s landmark ballet, Appalachian Spring.
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