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The Dozens is a game of spoken words between two contestants, common in black communities of the United States, where participants insult each other until one gives up. It is customary for the Dozens to be played in front of an audience of bystanders, who encourage the participants to reply with increasingly egregious insults in order to heighten the tension and, consequently, make the contest more interesting to watch. It is also known as "blazing", "hiking", "roasting", "capping", "clowning", "ranking", "ragging", "rekking", "crumming", "sounding", "checkin", "joning", "woofing", "wolfing", "sigging", or "signifying",^[1][2] while the insults themselves are known as "snaps".^[3][4]

Comments in the game focus on the opposite player's intelligence, appearance, competency, social status, and financial situation. Disparaging remarks about the other player's family members are common: especially mothers ("yo′ mama...")—to the extent that those outside the African-American community often use the specific term "yo momma jokes" incorrectly to refer to the Dozens.

Commentary is often related to sexual issues, where the game is then referred to as the "Dirty Dozens".^[5]

According to sociologist Harry Lefever and journalist John Leland, the game is almost exclusive to African Americans; other ethnic groups often fail to understand how to play the game and can take remarks in the Dozens seriously.^{[note 1]} Both males and females participate, but the game is more commonly played among males of varying social status.^[1]

The importance of mothers in African and African-American families is at the heart of the game: insulting someone else's mother is sure to inflame the passions of the other player.

Origins

The first academic treatment of the Dozens was made in 1939 by Yale-based psychologist and social theorist John Dollard, who described the importance of the game among African-American males, and how it is generally played. Dollard's description is considered pioneering and accurate.^[6] The Dozens is a "pattern of interactive insult" evident among all classes of African Americans, among males and females, children and adults.^[7]

Usually two participants engage in banter, but always in front of others, who instigate the participants to continue the game by making the insults worse. Frequently used topics among players who "play the Dozens" or are "put in the Dozens" are one's opponent's lack of intelligence, ugliness, alleged homosexuality, alleged incest, cowardice, poor hygiene, and exaggerations of physical defects, such as crossed eyes.^[7]

Dollard originally wrote that he was unaware of how the term "Dozens" developed, although he suggested a popular twelve-part rhyme may have been the reason for its name. He only speculated on how the game itself grew to such prominence. Other authors following Dollard have added their theories. Author John Leland describes an etymology, writing that the term is a modern survival of an English verb—"to dozen"—dating back at least to the fourteenth century and meaning "to stun, stupefy, daze" or "to make insensible, torpid, powerless".^[8]

Amuzie Chimezie, writing in the Journal of Black Studies in 1976, connects the Dozens to a Nigerian game called Ikocha Nkocha, literally translated as "making disparaging remarks". This form of the game is played by children and adolescents, and takes place in the evening, in the presence of parents and siblings. Commentary among the Igbo is more restrained: remarks about family members are rare, and are based more in fanciful imaginings than participants' actual traits. In contrast, during the game in Ghana, which is also commonly played in the evenings, insults are frequently directed at family members.^[5]Amiri Baraka independently concluded that the Dozens originated in Africa and states that they are a surviving adaptation of "African songs of recrimination."^[9]

Author and professor Mona Lisa Saloy posits a different theory, stating in "African American Oral Traditions in Louisiana" (1998): "The dozens has its origins in the slave trade of New Orleans where deformed slaves—generally slaves punished with dismemberment for disobedience—were grouped in lots of a 'cheap dozen' for sale to slave owners. For a Black to be sold as part of the 'dozens' was the lowest blow possible."^[10]

Purpose and practice

Participants in the Dozens are required to exhibit mental acuity and proficiency with words. In his memoir Die Nigger Die! (1969), H. Rap Brown writes that the children he grew up with employed the Dozens to kill time and stave off boredom, in the way that whites might play Scrabble. Brown asserts playing the game is a form of mental exercise. Sociologist Harry Lefever states that verbal skill and wit is just as valued among African Americans as physical strength: "Verbal facility is thus a criterion that is used to separate the men from the boys".^[1]

According to author John Leland, the object of the game is to stupefy and daze one's opponents with swift and skillful speech. The meaning of the words, however, is lost in the game. The object of the game is the performance.^[8]

Remarks in the Dozens can be expressed in rhyme or general language. More simplistic forms are found among younger children:

Participant 1: "I hear your mother plays third base for the Phillies."

Participant 2: "Your mother is a bricklayer and stronger than your father."

Participant 1: "Your mother eats shit."

Participant 2: "Your mother eats shit and mustard."^[2]

Adolescents incorporate more sexual themes in their versions, often called the "Dirty Dozens". The language also becomes more playful, with participants including rhymes:

I was walking through the jungle

With my dick in my hand

I was the baddest motherfucker

In the jungle land

I looked up in the tree

And what did I see

Your little black mama

Trying to piss on me

I picked up a rock

And hit her in the cock

And knocked that bitch

About a half a block.^[5]

Many forms of the Dozens address sexual situations or body parts:

If you wanta play the Dozens

Play them fast.

I'll tell you how many bull-dogs

Your mammy had.

She didn't have one;

She didn't have two;

She had nine damned dozens

And then she had you.^[11]

The Dozens can be played "clean" or "dirty". In some examples, the insults can take the form of one-liners that rhyme, e.g.:

Your hair is so nappy 'cause King Kong's your pappy

In other instances, they appear as straight one-liners without any rhyme, thus:

Yo mom so stupid it takes her an hour to cook Minute Rice

I saw yo mom kicking a can down the street and asked her what she was doing, she said movin'!

Yo mom so fat she wears a phone booth for a beeper!

Yo mom so fat she bleed gravy!

Yo momma so fat the restaurant in her town have a sign: "Occupancy of this room limited to 120 persons—OR YO MOMMA."

Analysis of the Dozens

A variety of explanations have been offered for the popularity of the Dozens. Its development is intertwined with the oppression African Americans encountered, first as slaves and later as second-class citizens. John Dollard viewed the Dozens as a manifestation of frustration aggression theory, a theory that he helped develop. He hypothesized that African Americans, as victims of racism, have been unable to respond in kind towards their oppressors, and instead shifted their anger to friends and neighbors, as displayed in the strings of insults.^[12]

In 1962, folklorist Roger Abrahams explained the Dozens not only as a reaction to racism, but also as a mostly male behavior in a society dominated by women, hence the concentration on targeting opponents' mothers. Abrahams believed the Dozens to be exaggeratedly masculine behavior that is unable to be expressed except in short bursts where a participant attacks his opponent's mother in order to cause him to reply in kind and attack his own mother.^[2]

Both Dollard's and Abraham's views have been criticized for not properly considering the context in which the Dozens is used. Folklorist Alan Dundes asserts that by basing their approach on psychoanalytic theory, neither Dollard nor Abrahams considers that the Dozens may be native to Africa, although Dollard does not rule it out. Dundes points out that, in addition to similar forms of verbal combat found in Nigeria and Ghana, where many African Americans have ancestral roots, Bantu and Kisii boys have been observed dueling verbally by attacking each other's mothers.^[13]

The game is also viewed as a tool for preparing young African Americans to cope with verbal abuse without becoming enraged. The ability to remain composed during the Dozens is considered a hallmark of virtue among many African Americans. Two sociologists write, "In the deepest sense, the essence of the dozens lies not in the insults but in the response of the victim. To take umbrage is to be considered an infantile response. Maturity and sophistication bring the capability to suffer the vile talk with aplomb at least, and, hopefully, with grace and wit."^[1]

Nonetheless, many such contests do end in fights. Abrahams states that when African Americans reach a certain age, between 16 and 26, the game loses much of its appeal and attempts to enter into sparring contests often result in violence.^[2] John Leland writes that the loser of the Dozens is the one who takes his opponent's words at face value, therefore ending his own performance in the back-and-forth exchange.^[8]

See also

• Battle rap


• Black Twitter


• Call and response


• Diss track


• 
  Freestyle rap (Cipher)


• Mother insult


• Roast (comedy)


• Trash-talk

International:

• 
  Sanankuya - West Africa, especially Mande, Mandinka peoples


• 
  Extempo - Trinidad and Tobago


• 
  Flyting - Scotland (Mediaeval and Contemporary), Anglo-Saxon and Mediaeval England

Notes

References

Bibliography

• Dollard, John. "The Dozens: Dialectic of Insult", in Dundes, Alan (ed. and preface), Mother Wit from the Laughing Barrel, University Press of Mississippi, 1973.
  ISBN 978-0-87805-478-7. pp. 277–294.


• Leland, John (2005). Hip: The History, HarperCollins.
  ISBN 978-0-06-052818-8
  


• Wald, Elijah (2012). The Dozens: A History of Rap's Mama, Oxford University Press.
  ISBN 0-19-989540-6