Here's some information about Jonkanoo, a custom that was celebrated by enslaved African Americans [19th century and probably earlier] which is still celebrated in the Caribbean.

Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl - Critical Essay
MELUS, Spring, 1999 by Karen E. Beardslee

In his work Slave Culture, Stuckey, too, maintains "John Kunuering's" African origins. Yet he elaborates on Linda's, Cassidy's, and Prigg's discussions when he explains the import of the tradition in West Africa as well as the underlying motives behind the slaves' practice of it in the new world.

In terms of its African origins Stuckey tells us, "a Nigerian ritual that closely resembles John Kunering," traditionally took place in early summer as a spiritual aid in crop production. Although "Europeans thought the John Kunering to be mainly for children, the ceremony "had a deeper significance" as it was also performed "to honor the ancestors" (Stuckey 68). And where the slave's employment of the tradition is concerned, Stuckey asserts,

Knowing that in North America Christmas was the main religious period for the dominant group when families gathered, exchanged gifts, worshipped, and enjoyed the festivities of the occasion, the slaves took advantage of that time to revive African cultural expression along somewhat similar lines, since in Africa exchanges of gifts at reunions of family and friends on holidays were not uncommon, especially on important religious occasions.

Exchanges of gifts, such as they were, among slaves were often accompanied by the receipt of gifts from the master and, in the context of John Kunering, "presents" in the form of donations after performances. (69-70)

In other words, in practicing the "John Kunering" tradition on Southern plantations, such as Linda's, the slaves were able to mold African customs to accommodate and take advantage of a Euro-American holiday. Such blendings may have also served to satisfy an ancient need--honoring their ancestors and each other--as well as a new one--collecting much needed money and/or food.

Linda's account of the slaves' Johnkannaus practice implicitly validates Stuckey's assertions. But she explicitly concurs with Stuckey about the slaves' expecting gifts from their masters following their performances. For as she tells us, "It is seldom that any white man or child refuses to give them a trifle" (119). Yet, she also alludes to another aspect of both African and slave culture, the secular song, when she writes, "For a month previous they are composing songs, which are sung on this occasion, "especially when a white man, or master, refuses to give a donation. "If he does," Linda explains, "they regale his ears with the following song:--

   Poor massa, so dey say;
   Down in de heel, so dey say;
   Got no money, so dey say;
   Not one shillin, so dey say;
   God A'mighty bress you, so dey say. (119)

Secular songs, like this one, were spontaneous compositions solely of the slaves' creation, differing in perhaps both content and meaning, depending on the author or authors. Frequently sung (in the African tradition) during work hours to ease the burden, such songs more often than not "told of the slave's loves, work, floggings, and expressed his moods and the reality of his oppression" (Blassingame 50)."

http://www.findarticles.com/p/articles/mi_m2278/is_1_24/ai_58411663/pg_6