Edited by Azizi Powell
This post provides a transcript of a YouTube video of an interview of a female Baptist pastor on the subject of women wearing pants in church. Both the interviewer and the pastor being interviewed are middle aged African Americans. The interviewee, who is the senior pastor of in Memphis, Tennessee, is wearing what I consider to be a stylish pants suit.
This transcript is provided for its historical, sociological, and educational values. While I generally agree with the pastor's position on this subject,* I recognize that other people-both inside and outside of the Baptist church and other Christain churches, disagree with that position.
* My position is that females & males should have the right to wear informal clothing including slacks in church. However, I prefer females & males wearing more formal attire in church. That said, I recognize that all too often churches have become fashion shows-for males and particularly for females. To relax the dress code for church to include even jeans & t-shirts might alleviate that fashion competition (Btw, this point wasn't made in this interview, but given her other remarks, I think the pastor being interviewed would agree with it.)
VIDEO
Pastor Gina Stewart - Woman Wearing Pants in Church - AmericaPreachers.com
Uploaded by americapreachers on Jan 27, 2009
AmericaPreachers.com - During a interview with Dr. Gina Stewart, Minister Rashad D.L. Cartwright asked for her views on women wearing pants in church. Log on to www.AmericaPreachers.com to view the entire interview. God Bless.
****
TRANSCRIPT
Interviewer (Minister Rashad D.L. Cartwright, President/Founder of www.AmericaPreachers.com) - ...I want to hit on a couple of questions that I know that a lot of the women preachers, and just a lot of the women viewers are watching probably would like to know your views on, ah, you know tradition
Pastor Stewart -um hum
Interviewer- when you look at women wearing pants... in the church.
Pastor Stewart [chuckles]
Interviewer- What are your views on that?
Pastor Stewart (Senior Pastor, Christ Missionary Church in Memphis, Tennessee)-Well I’ll tell you this. If you came to Christ Missionary in Memphis some people would probably be in culture shock because [chuckles along with interviewer]. I mean our congregation is a very relaxed atmosphere.
Interviewer- Okay.
Pastor Stewart-Um I personally don’t have any hang-ups one way or the other about whether women wear pants to church. Um, there are some, though, who hold very strictly to their tradition that women should not wear pants in and some of them take it from their scripture where they talk about ah women should not wear that which pertains to a man.
Interviewer-Um hum.
Pastor Stewart-Um, however, we have to... I think...Jesus talked about strainin at a knat and swallowin a camel. And what I found is that if the pants...if it becomes that much of a barrier to somebody’s salvation then we’re in trouble. Because I can teach a person how to change their dress [briefly laughs]
Interviewer-Um
Pastor Stewart-but if I miss the opportunity to tell them about Jesus...because they have on pants...they’ve missed out on the opportunity of a lifetime... and I have too. So I think that sometimes we put the cart before the horse. We try to teach people the practice before we even get people in a relationship with God. Consequently, people know how to do church real well but they don’t have a relationship with God. But if we get people into a relationship with God when they begin to love God and respond to God, ah, in a way that is...ah, that corresponds to God’s love for them, there’s some things you don’t even have to tell people to do.
Interviewer-Um
Pastor Stewart- They just do it automatically. Now I think that for each church, every house is different. You know and whoever that pastor is, ah, they set the vision for that particular house. Now, ah, in our church, I might preach in blue jeans and ah ah t-shirt.
Interviewer-[Really]
Pastor Stewart- Ah this summer, um, we had casual ah ah
Interviewer - indecipherable [maybe "Is that right?"
Pastor Stewart-Yeah yeah we had casual for the summer. Yeah we wear casually dressed.
Interviewer-Um hum
Pastor Stewart- Yeah so the deacons, myself, and the preachers, we all preached-Well they didn’t preach, but I did
Interviewer [brief chuckle] Right.
Pastor Stewart- in blue jeans and t-shirts, but now that the weather is changing, I’m back in something that’s more-that looks.. I don’t really preach in robes per se anymore but I preach in something that looks more like a robe , some of these African type garments. But I think a lot of it too has to do with your demographics. We have...the average age in our church is about 37. Ah..and they have a lot of small children. And so, and then you have to look at the time that we’re in as well. I did an ah ah a conference call online on ah old time religion that just looks at the different generations. Our churches are multigenerational. You got baby boomers, you got millennials, you got generation x, you have generation y, and many of them don’t even think the church is relevant., you know. So while we worryin about wearin pants, we, we really have an opportunity or we’re at risk for losin ah generation…that needs to know who Jesus is.[brief chuckles].So for me, pants aren’t that big of a deal.
Interviewer- Right
Pastor Stewart- What I say ah to our preachers is if you must, if you’re gonna wear slacks…just make sure they not to tight.
Interviewer-[Laughs]
Pastor Stewart-Yeah, if you don’t have anything but tight pants, wear a dress.
Interviewer--[Laughs]
Pastor Stewart - [Chuckles] But other than that, I don’t make a big deal about it because I believe that, that it’s more of a tradition than it is a commandment…. And I think that sometimes we make more of a commandment out of our tradition...then we do out of what the kingdom’s principles are.
Click http://www.youtube.com/all_comments?v=jGXrb17a1Ek to read this video's viewer comment thread.
-snip-
Here's a video of informally attired female members in concert at another African American church. I'm also sharing this video because I love this Gospel song & this group's rendition of that song.
I've Decided to Make Jesus My Choice
Uploaded by Anthea11 on Jan 17, 2009
Alisa Shanta Gray debut concert, singing I've decided to make Jesus my choice with some of her siblings (McSwain Family). November 2008
Editor: From the uploader's comment, it appears that this video wasn't filmed at a Sunday service. However, according to traditional African American church customs, that wouldn't (doesn't) matter. Females, especially teens and women, were (are) always supposed to wear dresses, or modest skirts and blouses in the church building. They were also supposed to cover their hair with a hat, scarf or some other covering, and cover their hands with white gloves. However, in most Black Baptist churches in the USA, it appears to me that few congregations continue to adhere to the tradition of women covering their hair and wearing gloves.
****
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Wednesday, November 30, 2011
Monday, November 28, 2011
References To Astrology In Children's Cheers
Edited by Azizi Powell
This is the first post in an ongoing series of posts on English language children's playground rhymes & cheers. Most of the examples featured in these posts are from African American playground rhymes from the 1980s - 2006.
This post reflects my interest in children's playground rhymes & cheers and my interest in astrology. This is only a very small sample of examples of children's cheers that I've collected which include references to astrology. I've limited this post to a few examples of a sub-set of children's cheers that I refer to as "foot stomping cheers", and I've included some general information about that relatively recent form of children's recreational activity.
GENERAL OVERVIEW OF FOOT STOMPING CHEERS
"Foot stomping cheers" is my term for a sub-set of children's cheerleader cheers which appears to have originated among African American school girls in the mid 1970s. Briefly put, foot stomping cheers are formulaic compositions which have a modified call & response structure that I refer to as "group/consecutive soloist". What "group/consecutive soloist" means is that the group voice is the first voice that is heard in those cheers. A designated soloist responds to the rest of the group's words and those voices alternate until that rendition ends (usually with the soloist's voice or the soloist & the rest of the group's voice). However, the cheer immediately begins again with the next designated soloist and this pattern continues until every member of the group has had a turn as the soloist.
Foot stomping cheers are chanted while their performers execute choreographed, syncopated, percussive movement routines that are very similar to African American originated Greek lettered fraternity & sorority stepping (steppin). Most foot stomping cheers use this beat pattern: "stomp clap/ stomp stomp/ clap". Another beat pattern is "stomp stomp clap/ stomp stomp clap." Those two standard beat patterns appear to be used for all foot stomping cheers. Moderate tempo 4/4 beats created by those foot stomps alternate with the chanters'(individual) hand claps, body pats (especially thigh pats), and less frequently, finger snaps. Because these 4/4 beats are omnipresent in R&B, Hip-Hop, Rock, Gospel, and other forms of music, foot stomping cheer routines aren't that difficult for many African Americans (and others) to learn. The well known 1977 record "We Will Rock You" by Queen is an excellent example of a Rock song that has a 4/4 beat and therefore could serve as a backdrop for a foot stomping routine (recognizing, of course, that foot stomping chants aren't meant to be performed to recorded music). For more information on & additional examples of foot stomping cheers other than those found on this post, click http://www.cocojams.com/content/foot-stomping-cheers-0 (hereafter given as "Cocojams:FSC"). Also, click http://www.cocojams.com/content/fraternity-sorority-step-stroll-related-videos for video examples of the related movement art of stepping.
WHY THERE ARE REFERENCES TO ASTROLOGY IN CHILDREN'S CHEERS
I've no doubt that the reason for references to sun sign astrology in those children's cheers is that sun sign astrology is mentioned in a number of R&B songs. Some of those song are the direct source for specific children's cheers. Other R&B songs which mention/ed sun sign astrology just help/ed to familiarize children with that form of astrology. Here's an excerpt from http://en.wikipedia.org/wiki/Sun_sign_astrology:
-snip-
Without further prefacing comments, here are five examples of foot stomping cheers that mention astrology. The astrological references are given in italic to highlight them:
SUPER SUPERSTAR
Super Superstar
Hey
Akira is my name
Superstar
Kickball is my game
Winning on my mind
Hey
Scorpio is my number one sign
Super Superstar
Hey
Super Superstar
Hey
Nathalee is my name
Basketball is my game
Winning on my mind
Hey
Leo is my number one sign
Super Superstar
Hey
- Barbara Mitchells & Bettye White, Apples On A Stick, The Folklore of Black Children(New York, Coward -McCann, Inc, 1983, p. 12)
****
HOLLYWOOD SWINGING
All: Hollywood goes swinging.
Swinging for the good times.
Swinging for the bad times
Soloist #1: My name is Ebony.
(And) I’m cool and the gang.
You mess with me
and I’ll do my thang.
My sign is Libra
and that’s alright
cause all Libra’s
are out of sight.
All:
Hey you,
check it out!
You! You!
Check it out!
-T. M. P., (African American female);Pittsburgh, Pennsylvania, mid 1980s; transcribed from audio tape by Azizi Powell, 1996; Cocojams:FSC
Editor: The line "I'm cool and the gang" is rather interesting because Kool & The Gang was the Pop group that recorded the hit song "Hollywood Swinging" in 1973. However, those chanting that line may think that phrase means the slang definition of "cool" (hip, up to date with the latest street culture).
It also should be noted that the tune of foot stomping cheers (and other playground cheers & rhymes) that are based on Pop recordings, R&B recordings, or songs from other genres, are usually similar to the tune of those recordings/songs.
****
CHEERLEADER
All: Cheer.
Leader.
Roll.
Call.
Are you ready?
Soloist #1: Shayla.
They call me Rosa.
Soloist #2: Shana.
They call me Poo.
Soloist #3: Shana.
They call me Shay.
Soloist #4: Jamie.
They call me Jay Jay.
Soloist #5: Jackie.
They call me HaJack (HighJack?).
All: Cheer.
Leader.
Zodiac signs.
Soloist #1: Aquarius.
That’s a dog.
Soloist #2: Cancer.
That’s a crab.
Soloist #3: Leo.
That’s a lion.
Soloist #4: Scorpio.
That’s a spider.
Soloist #5: Scorpio.
That’s a spider.
All: Cheer.
Leader.
Phone.
Numbers.
Are you ready?
Soloist #1: 348-5110.
Group: Always busy.
Soloist #2: 348-4554.
Group: Always busy.
Soloist #3 348-3322
Group: Always busy.
Soloist #4: 348-5779
Group: Always busy.
Soloist #5 348-4285
Group: Always busy.
-Shayla, Shana, Shana, Jamie, and Jackie {African American females about 10 years-12 years old}, Braddock, PA; 1985; collected by Azizi Powell, 1985 (transcription of audio tape recording)
Editor: Note that the symbols for Aquarius and Scorpio are incorrect.
****
ROCK THE BOAT
Rock the boat,
Rock, rock the boat
repeat
My name is Yasmin (rock the boat)
I know I'm fine (rock the boat)
Just like my sign (rock the boat)
My sign is Leo
I go bang-bang choo choo train
Wind me up and I do my thing
Reeses pieces butter cup
Don't mess with me, cause I'll mess you up,
Rock the boat, rock rock the boat...
-Yasmin H., (Latina; East New York, New York in the late 1980s); from email to Cocojams.com
****
REALLY
All: Really ah hah!
Really ah hah!
Soloist #1: Really my name is Lisa.
Really my sign is Aries.
Group except for soloist: Say what?
Soloist #1: Ah Aries.
Group: Say what?
Soloist #1: Cause I’m F-I-N-E fine.
Like a D-I-M-E. dime.
Don’t waste my T-I-M-E. time.
I'll blow your M-I-N-D mind.
Cause I’m a pro.
Group: Say what?
Soloist #1: A P-R-O.
Group: Say what?
Soloist #1: Cause I’m a triple P.
Triple R.
Triple O.
Sexy pro.
(Repeat entire cheer from the beginning with the next soloist. That soloist says her name or nickname, and gives her astrological sign. Continue in this pattern until every member of the informal group has had one turn as the soloist)
-African American girls ages 7-12 years attending Lillian Taylor summer camp, Pittsburgh, PA 1991-1992, collected by T.M.P., camp counselor, 1992
****
Update: I just found this segment of an "astrology" children's cheer in http://www.greekchat.com/gcforums/showthread.php?t=4123&page=3 posted by tickledpink 12-30-2000
...what about just standing in the school yard @ recess time saying cheers:
Scorpio, sco scorpio...
My name is _______ "scorpiooo, sco scorpio.."
And I'm a Taurus "scorpio..." (why we called it scorpio, I'll never know...)
-snip-
Editor: More examples & information about children's cheers that mention astrology & more examples of other types of foot stomping cheers can be found on this page of my website: http://www.cocojams.com/content/foot-stomping-cheers-0
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This is the first post in an ongoing series of posts on English language children's playground rhymes & cheers. Most of the examples featured in these posts are from African American playground rhymes from the 1980s - 2006.
This post reflects my interest in children's playground rhymes & cheers and my interest in astrology. This is only a very small sample of examples of children's cheers that I've collected which include references to astrology. I've limited this post to a few examples of a sub-set of children's cheers that I refer to as "foot stomping cheers", and I've included some general information about that relatively recent form of children's recreational activity.
GENERAL OVERVIEW OF FOOT STOMPING CHEERS
"Foot stomping cheers" is my term for a sub-set of children's cheerleader cheers which appears to have originated among African American school girls in the mid 1970s. Briefly put, foot stomping cheers are formulaic compositions which have a modified call & response structure that I refer to as "group/consecutive soloist". What "group/consecutive soloist" means is that the group voice is the first voice that is heard in those cheers. A designated soloist responds to the rest of the group's words and those voices alternate until that rendition ends (usually with the soloist's voice or the soloist & the rest of the group's voice). However, the cheer immediately begins again with the next designated soloist and this pattern continues until every member of the group has had a turn as the soloist.
Foot stomping cheers are chanted while their performers execute choreographed, syncopated, percussive movement routines that are very similar to African American originated Greek lettered fraternity & sorority stepping (steppin). Most foot stomping cheers use this beat pattern: "stomp clap/ stomp stomp/ clap". Another beat pattern is "stomp stomp clap/ stomp stomp clap." Those two standard beat patterns appear to be used for all foot stomping cheers. Moderate tempo 4/4 beats created by those foot stomps alternate with the chanters'(individual) hand claps, body pats (especially thigh pats), and less frequently, finger snaps. Because these 4/4 beats are omnipresent in R&B, Hip-Hop, Rock, Gospel, and other forms of music, foot stomping cheer routines aren't that difficult for many African Americans (and others) to learn. The well known 1977 record "We Will Rock You" by Queen is an excellent example of a Rock song that has a 4/4 beat and therefore could serve as a backdrop for a foot stomping routine (recognizing, of course, that foot stomping chants aren't meant to be performed to recorded music). For more information on & additional examples of foot stomping cheers other than those found on this post, click http://www.cocojams.com/content/foot-stomping-cheers-0 (hereafter given as "Cocojams:FSC"). Also, click http://www.cocojams.com/content/fraternity-sorority-step-stroll-related-videos for video examples of the related movement art of stepping.
WHY THERE ARE REFERENCES TO ASTROLOGY IN CHILDREN'S CHEERS
I've no doubt that the reason for references to sun sign astrology in those children's cheers is that sun sign astrology is mentioned in a number of R&B songs. Some of those song are the direct source for specific children's cheers. Other R&B songs which mention/ed sun sign astrology just help/ed to familiarize children with that form of astrology. Here's an excerpt from http://en.wikipedia.org/wiki/Sun_sign_astrology:
Sun sign astrology is the form of astrology most commonly found in many newspaper and magazine columns. It is a simplified system of astrology which considers only the position of the Sun, which is said to be placed within one of the twelve zodiac signs depending on the month of birth. This sign is then called the sun sign or star sign of the person born that month.Click http://pancocojams.blogspot.com/2011/10/six-african-american-records-that.html to find a post about Astrology In African American Records.
-snip-
Without further prefacing comments, here are five examples of foot stomping cheers that mention astrology. The astrological references are given in italic to highlight them:
SUPER SUPERSTAR
Super Superstar
Hey
Akira is my name
Superstar
Kickball is my game
Winning on my mind
Hey
Scorpio is my number one sign
Super Superstar
Hey
Super Superstar
Hey
Nathalee is my name
Basketball is my game
Winning on my mind
Hey
Leo is my number one sign
Super Superstar
Hey
- Barbara Mitchells & Bettye White, Apples On A Stick, The Folklore of Black Children(New York, Coward -McCann, Inc, 1983, p. 12)
****
HOLLYWOOD SWINGING
All: Hollywood goes swinging.
Swinging for the good times.
Swinging for the bad times
Soloist #1: My name is Ebony.
(And) I’m cool and the gang.
You mess with me
and I’ll do my thang.
My sign is Libra
and that’s alright
cause all Libra’s
are out of sight.
All:
Hey you,
check it out!
You! You!
Check it out!
-T. M. P., (African American female);Pittsburgh, Pennsylvania, mid 1980s; transcribed from audio tape by Azizi Powell, 1996; Cocojams:FSC
Editor: The line "I'm cool and the gang" is rather interesting because Kool & The Gang was the Pop group that recorded the hit song "Hollywood Swinging" in 1973. However, those chanting that line may think that phrase means the slang definition of "cool" (hip, up to date with the latest street culture).
It also should be noted that the tune of foot stomping cheers (and other playground cheers & rhymes) that are based on Pop recordings, R&B recordings, or songs from other genres, are usually similar to the tune of those recordings/songs.
****
CHEERLEADER
All: Cheer.
Leader.
Roll.
Call.
Are you ready?
Soloist #1: Shayla.
They call me Rosa.
Soloist #2: Shana.
They call me Poo.
Soloist #3: Shana.
They call me Shay.
Soloist #4: Jamie.
They call me Jay Jay.
Soloist #5: Jackie.
They call me HaJack (HighJack?).
All: Cheer.
Leader.
Zodiac signs.
Soloist #1: Aquarius.
That’s a dog.
Soloist #2: Cancer.
That’s a crab.
Soloist #3: Leo.
That’s a lion.
Soloist #4: Scorpio.
That’s a spider.
Soloist #5: Scorpio.
That’s a spider.
All: Cheer.
Leader.
Phone.
Numbers.
Are you ready?
Soloist #1: 348-5110.
Group: Always busy.
Soloist #2: 348-4554.
Group: Always busy.
Soloist #3 348-3322
Group: Always busy.
Soloist #4: 348-5779
Group: Always busy.
Soloist #5 348-4285
Group: Always busy.
-Shayla, Shana, Shana, Jamie, and Jackie {African American females about 10 years-12 years old}, Braddock, PA; 1985; collected by Azizi Powell, 1985 (transcription of audio tape recording)
Editor: Note that the symbols for Aquarius and Scorpio are incorrect.
****
ROCK THE BOAT
Rock the boat,
Rock, rock the boat
repeat
My name is Yasmin (rock the boat)
I know I'm fine (rock the boat)
Just like my sign (rock the boat)
My sign is Leo
I go bang-bang choo choo train
Wind me up and I do my thing
Reeses pieces butter cup
Don't mess with me, cause I'll mess you up,
Rock the boat, rock rock the boat...
-Yasmin H., (Latina; East New York, New York in the late 1980s); from email to Cocojams.com
****
REALLY
All: Really ah hah!
Really ah hah!
Soloist #1: Really my name is Lisa.
Really my sign is Aries.
Group except for soloist: Say what?
Soloist #1: Ah Aries.
Group: Say what?
Soloist #1: Cause I’m F-I-N-E fine.
Like a D-I-M-E. dime.
Don’t waste my T-I-M-E. time.
I'll blow your M-I-N-D mind.
Cause I’m a pro.
Group: Say what?
Soloist #1: A P-R-O.
Group: Say what?
Soloist #1: Cause I’m a triple P.
Triple R.
Triple O.
Sexy pro.
(Repeat entire cheer from the beginning with the next soloist. That soloist says her name or nickname, and gives her astrological sign. Continue in this pattern until every member of the informal group has had one turn as the soloist)
-African American girls ages 7-12 years attending Lillian Taylor summer camp, Pittsburgh, PA 1991-1992, collected by T.M.P., camp counselor, 1992
****
Update: I just found this segment of an "astrology" children's cheer in http://www.greekchat.com/gcforums/showthread.php?t=4123&page=3 posted by tickledpink 12-30-2000
...what about just standing in the school yard @ recess time saying cheers:
Scorpio, sco scorpio...
My name is _______ "scorpiooo, sco scorpio.."
And I'm a Taurus "scorpio..." (why we called it scorpio, I'll never know...)
-snip-
Editor: More examples & information about children's cheers that mention astrology & more examples of other types of foot stomping cheers can be found on this page of my website: http://www.cocojams.com/content/foot-stomping-cheers-0
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Friday, November 25, 2011
The Changing Meaning Of "European"
Written by Azizi Powell
Crossposted as a comment on http://afroeurope.blogspot.com/2011/05/black-people-in-sweden-demonstrated-for.html?showComment=1322257531863#c6123864890581774348
As an African American who is 60+ years old, I have the benefit of experiencing how racial & national definitions and racial referents can change over time.
Throughout my life Black Americans were formally referred to as "Negro", "Colored (people) and "Afro-American". But those referents have been retired and replaced with the formal terms "Black Americans" & "African Americans", and the more informal referent "Black".
Furthermore, I believe that in the United States, "Black" can also refer to people from Africa and other African Disapora populations such as Black people from the Caribbean & Europe. That said, any of those persons who live in the USA could (also) self-identify as African American, though they might add the specific information that they were born and raised in Nigeria, or Guyana, or the UK. I also believe that rightly or wrongly, most Black Americans are likely to assume that any person who "looks Black" (which remember is a wide range of physical appearances) is Black-meaning that person is usually assumed by Black Americans to be African American. My sense is that most White people "lump" all Black people in the USA as African Americans just because those persons' visually appear to be "Black".
But the United States' "one drop of Black blood makes a person Black" social rule may be slowly undergoing change. As evidence, some Americans (in the United States) of mixed Black/ non-Black ancestry refer to themselves as biracial or mixed race. I have also recently read a few articles in which some White Americans claim to have some Black ancestry. That would be unheard of even one decade ago as a "USAer" couldn't claim Black ancestry and still be considered White.
Admittedly from the outside looking in, with regard to European referents, I believe that we are living in a period of "national referent changes" similar to that which occurred in with Black Americans in the 1960s to the early 1980s.
I believe that the meanings of the referent "European" is changing right before our eyes. I also believe who people assume might be from a European nation is undergoing change to fit the realities of these times. There was a time that the referents "European", "Swedish", "British", "French",
"Italian", and "German" all automatically meant "White". However, I believe now just like "American" doesn't or shouldn't automatically mean "White", "European" doesn't or shouldn't automatically mean "White".
I support the use of "Black European" or "Afro European" and "Afro Swede", "Black Briton", "Black French", "Black Italian", etc for specificity. However, I believe that a Black Swede, Black Briton, Black Italian etc are just as much a citizen of his or her nation as a White (or any other race) Swede, Briton, or Italian.
More power to those positive changes! And, to use an African American saying, "Keep on keeping on!"
****
To read a related pancocojams blog post, click http://pancocojams.blogspot.com/2011/10/are-black-immigrants-to-usa-african.html Are Black Immigrants To The USA African Americans?
****
Here's an interesting video that I happened upon about the changing faces of Europe (Warning- this video includes the full spelling of the "n word" racial slur)
Schwarzfahrer (with English Subtitles)
Uploaded by PineTreePictures on Feb 21, 2007
Pepe Danquart's Oscar-winning short film (Germany), presented here with English subtitles.
****
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Crossposted as a comment on http://afroeurope.blogspot.com/2011/05/black-people-in-sweden-demonstrated-for.html?showComment=1322257531863#c6123864890581774348
As an African American who is 60+ years old, I have the benefit of experiencing how racial & national definitions and racial referents can change over time.
Throughout my life Black Americans were formally referred to as "Negro", "Colored (people) and "Afro-American". But those referents have been retired and replaced with the formal terms "Black Americans" & "African Americans", and the more informal referent "Black".
Furthermore, I believe that in the United States, "Black" can also refer to people from Africa and other African Disapora populations such as Black people from the Caribbean & Europe. That said, any of those persons who live in the USA could (also) self-identify as African American, though they might add the specific information that they were born and raised in Nigeria, or Guyana, or the UK. I also believe that rightly or wrongly, most Black Americans are likely to assume that any person who "looks Black" (which remember is a wide range of physical appearances) is Black-meaning that person is usually assumed by Black Americans to be African American. My sense is that most White people "lump" all Black people in the USA as African Americans just because those persons' visually appear to be "Black".
But the United States' "one drop of Black blood makes a person Black" social rule may be slowly undergoing change. As evidence, some Americans (in the United States) of mixed Black/ non-Black ancestry refer to themselves as biracial or mixed race. I have also recently read a few articles in which some White Americans claim to have some Black ancestry. That would be unheard of even one decade ago as a "USAer" couldn't claim Black ancestry and still be considered White.
Admittedly from the outside looking in, with regard to European referents, I believe that we are living in a period of "national referent changes" similar to that which occurred in with Black Americans in the 1960s to the early 1980s.
I believe that the meanings of the referent "European" is changing right before our eyes. I also believe who people assume might be from a European nation is undergoing change to fit the realities of these times. There was a time that the referents "European", "Swedish", "British", "French",
"Italian", and "German" all automatically meant "White". However, I believe now just like "American" doesn't or shouldn't automatically mean "White", "European" doesn't or shouldn't automatically mean "White".
I support the use of "Black European" or "Afro European" and "Afro Swede", "Black Briton", "Black French", "Black Italian", etc for specificity. However, I believe that a Black Swede, Black Briton, Black Italian etc are just as much a citizen of his or her nation as a White (or any other race) Swede, Briton, or Italian.
More power to those positive changes! And, to use an African American saying, "Keep on keeping on!"
****
To read a related pancocojams blog post, click http://pancocojams.blogspot.com/2011/10/are-black-immigrants-to-usa-african.html Are Black Immigrants To The USA African Americans?
****
Here's an interesting video that I happened upon about the changing faces of Europe (Warning- this video includes the full spelling of the "n word" racial slur)
Schwarzfahrer (with English Subtitles)
Uploaded by PineTreePictures on Feb 21, 2007
Pepe Danquart's Oscar-winning short film (Germany), presented here with English subtitles.
****
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Scroll down the page to read comments, to find the comment box, and/or to add comments. If you don’t see the comment box, click on the post’s title to visit that post’s page.
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Monday, November 21, 2011
Black Jews Around The World
Edited by Azizi Powell
Update: 1/29/2012
Jewish Community in Gondar, Ethiopia
Uploaded by josephfinkelstein on Oct 25, 2009
Picture and videos of the struggles and hardships of the vibrant Jewish community in Gondar.
****
This post provides information about three populations of Black Jews. The information presented is excerpted from hyperlinked articles. A YouTube video of each featured population is provided at the end of the post.
My thanks to the writers/editors of those articles and my thanks also to the uploaders of those videos.
This post is presented for its historical, educational, and sociological value.
However, this post isn't meant to be a comprehensive listing of or information about Black Jews. I'm using the term "Black Jews" as a referent for all of these populations. However, that referent may not be used and might be disliked by those populations. I mean no disrepect by my use of that referent.
****
BETA ISREAL (Ethiopia/Israel)
http://en.wikipedia.org/wiki/Beta_Israel
****
LEMBA (South Africa (especially Limpopo Province), Zimbabwe, Malawi, Mozambique)
From http://en.wikipedia.org/wiki/Lemba_people
**
AFRICAN AMERICAN JEWS (United States; Israel)
Most African American Jews weren't born into families who practiced Judaism, but instead were Christains who converted to that religion. One famous American Jew was entertainer Sammy Davis Jr. Here's an excerpt from his Wikipedia page http://en.wikipedia.org/wiki/Sammy_Davis,_Jr.
-snip-
Most African American Jews are members of Black Hebrew Israelite congregations. Here's information about Black Hebrew Israelites:
From http://en.wikipedia.org/wiki/Black_Hebrew_Israelites
****
Other Featured videos:
The Jews are Black pt 2 The Lemba migration from Jerusalem 70 AD
Uploaded by GADAYAWAN on Aug 15, 2009
Some of the tribe of Judah fled into Africa and some into South Africa in 70.AD
**
WTTW Beth Shalom B'nai Zaken Ethiopian Hebrew Congregation
loaded by BethShalomBZ on May 12, 2007
WTTW Chicago Tonight profile of our synagogue located on the south side of Chicago.Please visit us at http://www.bethshalombz.org for more Information. Thank You.
-snip-
This synagogue has been in existance since 1918. According to a comment in this video's viewer comment thread, most of the congregation converted to Judaism.
In 1997, the Rabbi of this congregation, who converted from African Methodist Episcopal demonination of Christainity, was the first African American to be elected to the Chicago Board of Rabbis. This video also mentions that Rabbi's visit to Black Jewish people in Nigeria.
**
Also, click http://www.youtube.com/watch?v=RDu1U0EPImE&feature=relmfu Black Hebrews - Israel
Embedding disabled by request
****
Here's a link to a related post:
http://afroeurope.blogspot.com/2012/01/report-being-black-in-israel.html Report: Being Black in Israel January 6, 2012
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Share! Learn! Enjoy!
Update: 1/29/2012
Jewish Community in Gondar, Ethiopia
Uploaded by josephfinkelstein on Oct 25, 2009
Picture and videos of the struggles and hardships of the vibrant Jewish community in Gondar.
****
This post provides information about three populations of Black Jews. The information presented is excerpted from hyperlinked articles. A YouTube video of each featured population is provided at the end of the post.
My thanks to the writers/editors of those articles and my thanks also to the uploaders of those videos.
This post is presented for its historical, educational, and sociological value.
However, this post isn't meant to be a comprehensive listing of or information about Black Jews. I'm using the term "Black Jews" as a referent for all of these populations. However, that referent may not be used and might be disliked by those populations. I mean no disrepect by my use of that referent.
****
BETA ISREAL (Ethiopia/Israel)
http://en.wikipedia.org/wiki/Beta_Israel
Beta Israel also known as Ethiopian Jews are the names of Jewish communities which lived in the area of Aksumite and Ethiopian Empires (Habesh or Abyssinia), nowadays divided between Amhara and Tigray Regions...
Nearly all of the Ethiopian Beta Israel community, more than 120,000 people, reside in Israel under its Law of Return, which gives Jews and those with Jewish parents or grandparents, and all of their spouses, the right to settle in Israel and obtain citizenship. The Israeli government has mounted rescue operations, most notably during Operation Moses (1984), Operation Sheba (1985) and Operation Solomon (1991) for their migration. Some immigration has continued up through present day. Today 81,000 Ethiopian Israelis were born in Ethiopia, while 38,500 or 32% of the community are native born Israelis.
The related Falasha Mura are the descendants of Beta Israel who converted to Christianity. Some are returning to the practices of Judaism, living in Falash Mura communities and observing halakha. Beta Israel spiritual leaders, including Liqa Kahnet Raphael Hadane have argued for the acceptance of the Falasha Mura as Jews. This claim has been a matter of controversy within Israeli society.
****
LEMBA (South Africa (especially Limpopo Province), Zimbabwe, Malawi, Mozambique)
From http://en.wikipedia.org/wiki/Lemba_people
The Lemba or 'wa-Remba' are a southern African ethnic group to be found in Zimbabwe and South Africa with some little known branches in Mozambique and Malawi. According to Parfitt they are thought to number 70,000. Many of them claim a common descent to the Jewish people.
Although they are speakers of Bantu languages related to those spoken by their geographic neighbours, they have specific religious practices and beliefs similar to those in Judaism, which some...suggest were transmitted orally. Today, many Lemba are Christians (including Messianic Jews) or Muslim, and maintain several Jewish practices. Recent genetic analyses have established a partially Semitic (Middle-Eastern) origin for a significant portion of the Lemba population.
The name "Lemba" may originate in chilemba, a Swahili word for turbans worn by East Africans or lembi a Bantu word meaning "non-African" or "respected foreigner".
...According to some Lemba, they had male ancestors who were Jews who left Judea about 2,500 years ago and settled in a place called Senna, later migrating into East Africa. According to the findings of British researcher Tudor Parfitt, the location of Senna was more than likely in Yemen, specifically, in the village of Sanāw within the easternmost portion of the Wadi Hadhramaut. The city had a vibrant Jewish population since ancient times, but it dwindled to a few hundred people since the establishment of the State of Israel in 1948...
After entering Africa, the tribe is said...to have split off into two groups, with one staying in Ethiopia, and the other traveling farther south, along the east coast. The Lemba claim this second group settled in Tanzania and Kenya, and built what was referred to as "Sena II". Others were said to have settled in Malawi, where descendants reside today. Some settled in Mozambique, and eventually migrated to South Africa and Zimbabwe...
**
AFRICAN AMERICAN JEWS (United States; Israel)
Most African American Jews weren't born into families who practiced Judaism, but instead were Christains who converted to that religion. One famous American Jew was entertainer Sammy Davis Jr. Here's an excerpt from his Wikipedia page http://en.wikipedia.org/wiki/Sammy_Davis,_Jr.
Car accident and conversion to Judaism
Davis nearly died in an automobile accident on November 19, 1954 in San Bernardino, California, as he was making a return trip from Las Vegas to Los Angeles. The accident occurred at a fork in U.S. Highway 66 at Cajon Boulevard and Kendall Drive. Davis lost his left eye as a result; he wore an eye patch for at least six months following the accident. He appeared on What's My Line wearing the patch. Later, he was fitted for a glass eye, which he wore for the rest of his life.
While in the hospital, Davis' friend, performer Eddie Cantor, told him about the similarities between the Jewish and black cultures. Prompted by this conversation, Davis — who was born to a Catholic mother and Protestant father — began studying the history of Jews. He converted to Judaism several years later.One passage from his readings (from the book A History of The Jews by Abram L. Sachar), describing the endurance of the Jewish people, intrigued him in particular: "The Jews would not die. Three millennia of prophetic teaching had given them an unwavering spirit of resignation and had created in them a will to live which no disaster could crush". In many ways, the accident marked a turning point in Davis' career, taking him from a well-known entertainer to a national celebrity and icon.
-snip-
Most African American Jews are members of Black Hebrew Israelite congregations. Here's information about Black Hebrew Israelites:
From http://en.wikipedia.org/wiki/Black_Hebrew_Israelites
Black Hebrew Israelites (also Black Hebrews, African Hebrew Israelites, and Hebrew Israelites) are groups of people mostly of Black African ancestry situated mainly in the United States who believe they are descendants of the ancient Israelites. Black Hebrews adhere in varying degrees to the religious beliefs and practices of mainstream Judaism. They are generally not accepted as Jews by the greater Jewish community, and many Black Hebrews consider themselves — and not mainstream Jews — to be the only authentic descendants of the ancient Israelites. Many choose to self-identify as Hebrew Israelites or Black Hebrews rather than as Jews.
Dozens of Black Hebrew groups were founded during the late 19th and the early 20th centuries.In the mid-1980s, the number of Black Hebrews in the United States was between 25,000 and 40,000. In the 1990s, the Alliance of Black Jews estimated that there were 200,000 African-American Jews, including Black Hebrews and those recognized as Jews by mainstream Jewish organizations...
During the late 19th and early 20th centuries, dozens of Black Hebrew organizations were established. In Harlem alone, at least eight such groups were founded between 1919 and 1931. The Church of the Living God, the Pillar Ground of Truth for All Nations is the oldest known Black Hebrew group and the Church of God and Saints of Christ is one of the largest Black Hebrew organizations. The Commandment Keepers are noted for their adherence to traditional Judaism and the African Hebrew Israelites of Jerusalem are widely known for having moved from the United States to Israel.
****
Other Featured videos:
The Jews are Black pt 2 The Lemba migration from Jerusalem 70 AD
Uploaded by GADAYAWAN on Aug 15, 2009
Some of the tribe of Judah fled into Africa and some into South Africa in 70.AD
**
WTTW Beth Shalom B'nai Zaken Ethiopian Hebrew Congregation
loaded by BethShalomBZ on May 12, 2007
WTTW Chicago Tonight profile of our synagogue located on the south side of Chicago.Please visit us at http://www.bethshalombz.org for more Information. Thank You.
-snip-
This synagogue has been in existance since 1918. According to a comment in this video's viewer comment thread, most of the congregation converted to Judaism.
In 1997, the Rabbi of this congregation, who converted from African Methodist Episcopal demonination of Christainity, was the first African American to be elected to the Chicago Board of Rabbis. This video also mentions that Rabbi's visit to Black Jewish people in Nigeria.
**
Also, click http://www.youtube.com/watch?v=RDu1U0EPImE&feature=relmfu Black Hebrews - Israel
Embedding disabled by request
****
Here's a link to a related post:
http://afroeurope.blogspot.com/2012/01/report-being-black-in-israel.html Report: Being Black in Israel January 6, 2012
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Share! Learn! Enjoy!
Saturday, November 19, 2011
How Djembes Became The African Drum To Beat
Edited by Azizi Powell
If there was a competition among African drums as to which would become THE drum to beat, djembes have won that competition hands down. There are other many other African drums. There are Batá, Dun Dun (talking drum), Ashiko, & Sakara drums from Nigeria; Fontomfrom, Atumpan, & Apetia, and Kpanlogo drums from Ghana, Sabar drums from Senegal, Ngoma drums from Uganda, Doumbek drums from North Africa, and Dunun drums from the same Malinke/Bambara peoples of Guinea & Mali from which the djembe comes. So why is it that by the 1990s djembe drum had thrown the once popular conga drums & bongo drums to the curb and left other African drums in the dust to become ubiquitous in drum circles around the globe not only among Black people but also among non-Black people? Here's why I think djemes won the competition to be the most popular hand drum:
THE NATURE OF THE DRUM ITSELF
1. From http://en.wikipedia.org/wiki/Djembe
2. Djembes are easy for beginners to learn how to play
At least that's what countless numbers of "Easy to Learn DVDs, YouTube videos, and face to face workshops advertise. Actually, my personal experience with djembes (as a collector of African instruments which I include in hands-on school programs in between my African storytelling)-verifies that it's easy to produce the primary djembe "bass", "tone", and "slap" tones. However, by no means does that make me a drummer. Yet, I can see how people could probably fake being a drummer after several djembe lessons, especially if they think that all they have to do is produce some beats and not any specific traditional rhythm.
CULTURAL REASONS
1. Individual attention and status
The Ballet style (non-traditional staged productions) of Djembes conforms to Western cultures values of placing the individual over the group.
In ballet style ensembles, the emphasis is placed on a star (lead) djembe player (djembafola) or on several lead djembefolas. The showmanship of djembefola/s and vying for the position of the lead djembefola (and thus being the star of the show) appeal to the individualistic, competitive nature of Western cultures. This is in contrast to the traditional context of djembe playing where the attention during performances is equally on all the drummers (including the dunun players) as well as the other instrumentalists (such as the kora player, and the balafon player). Furthermore, (as I understand it), traditionally, the drummers and other instrumentalist serve as musical accompaniment, and perhaps most of the attention is on the dancers and the singers. However, the role of dancers and especially the role of singers are de-emphasized in most ballet style djembe performances.
Click http://www.african-music-safari.com/djembe-history.html to find more about the differences between the traditional village context for playing djembes and the ballet style(staged production) context.
The djembe confers status on those who play it, and status is particularly conferred on lead djembe drummer/s. Although I've lost its attribution, I recall reading one comment on a YouTube thread that referred to djembe players as "macho men". That commenter didn't mean that as a compliment, but in Western societies a lot of men strive to be "macho". Note that prior to 1988, females were traditionally prohibited from playing djembes in Guinea & Mali, the nations that are considered to be the birthplace of this drum. Because there were far less stringent cultural prohibitions against female drummers in Europe and the United States (particularly among White people) it's very likely that White females were playing djembes and other African drums before Black females in Africa and elsewhere. Click http://pancocojams.blogspot.com/2011/11/african-female-djembe-drummers.html for more information about African female djembe drummers).
2. The copycat effect
As an outsider (meaning a non-drummer, and non-African dancer), it's my sense that a number of people purchase & play djembes for recreational drumming because "everyone" else is. According to various blogs on that subject, djembes dominate drum circles to such an extent that usually they are the only drums present. Significantly, it appears from my reading comments on those blogs that djembes are usually not even accompanied in those drum circles by the three dunun drums (dununba, sangba, and kinkini) as is traditional in Guinea & Mali. Here's a comment from one such blog http://www.remo.com/forum/post/view?bid=4&id=207555&sty=1&tpg=2&age=0 Hereafter known as "remo:drum circle":
3. [Re] Claiming cultural ties to Africa; Romantizing African cultures
Among African Americans and other people of African descent who don't live in Africa, playing the djembe or other African musical instruments is a way to reconnect with our African roots. The popular adinkra symbol "sankofa" epitomizes this. One of the pictorial symbols for sankofa is a bird whose body is facing forward with its neck facing backwards. The proverb associated with sankofa is "It's never too late to reclaim that which you've left behind".
It also appears that a number of people start playing djembes not only because that African instrument is symbolical of African cultures, but also because those cultures are thought to be more "real" and more spiritual than Western cultures. My sense is that many people who play djembes for the latter reason are non-Black.
Another drummer from the above mentioned remo:drum circle thread identifies a number of reasons why some people play djembes:
-snip-
There are a number of online discussions about the efficacy of White people playing djembes. Six pages of comments on this topic can be found at http://djembefola.com/board/social/racial-predjudice-african-drum-and-dance-t2734-45.html.
Another interesting discussion on the subject of non-Black people playing djembe & other African drums can be found at drumpath@aztec.asu.edu "Integrating drum communities". I also recommend reading this article http://therioshamanism.com/2011/04/06/yes-white-americans-do-have-a-culture/. Written by a White man, that article focuses on some problematic reasons why some White people play African drums and/or engage in other "New Age" activities. Here's an excerpt from that article:
-snip-
I believe that both Black people and non-Black people can be guilty of appropriating & romantizing traditional African cultures. Playing djembe drums, and other African instruments is more than talent & skill. It helps to learn about the cultures from which those musical instruments and those African rhythms originate.
Click http://pancocojams.blogspot.com/2011/11/history-of-djembe-drumming-in-usa.html for one post from a three part series on djembe drums.
****
Here is a video of African drumming that is posted for aesthetic appreciation:
Foli "Rhythm"-There Is No Movement Without Rhythm
Uploaded by ThomasRoebers on Oct 25, 2010
dedicated to the people of baro.
Life has a rhythm, it's constantly moving.
The word for rhythm ( used by the Malinke tribes ) is FOLI.
It is a word that encompasses so much more than drumming, dancing or sound.
It's found in every part of daily life.
In this film you not only hear and feel rhythm but you see it.
It's an extraordinary blend of image and sound that
feeds the senses and reminds us all
how essential it is.
By the brothers Thomas Roebers
en Floris Leeuwenberg
****
Thanks for visiting pancocojams. Visitor comments are welcome!
Scroll down the page to read comments, to find the comment box, and/or to add comments. If you don’t see the comment box, click on the post’s title to visit that post’s page.
Comments can be posted anonymously or you can use your facebook address or another website address to sign in to comment. However, your address is never shown publicly or given to anyone.
If you aren't sure how to add comments on this blog, follow the instructions found on this page Adding Comments
Share! Learn! Enjoy!
If there was a competition among African drums as to which would become THE drum to beat, djembes have won that competition hands down. There are other many other African drums. There are Batá, Dun Dun (talking drum), Ashiko, & Sakara drums from Nigeria; Fontomfrom, Atumpan, & Apetia, and Kpanlogo drums from Ghana, Sabar drums from Senegal, Ngoma drums from Uganda, Doumbek drums from North Africa, and Dunun drums from the same Malinke/Bambara peoples of Guinea & Mali from which the djembe comes. So why is it that by the 1990s djembe drum had thrown the once popular conga drums & bongo drums to the curb and left other African drums in the dust to become ubiquitous in drum circles around the globe not only among Black people but also among non-Black people? Here's why I think djemes won the competition to be the most popular hand drum:
THE NATURE OF THE DRUM ITSELF
1. From http://en.wikipedia.org/wiki/Djembe
The djembe is very popular in drum circles, and in many circles is the primary instrument, most likely for its easily portable size, wide range of sounds, and its distinct tones.
2. Djembes are easy for beginners to learn how to play
At least that's what countless numbers of "Easy to Learn DVDs, YouTube videos, and face to face workshops advertise. Actually, my personal experience with djembes (as a collector of African instruments which I include in hands-on school programs in between my African storytelling)-verifies that it's easy to produce the primary djembe "bass", "tone", and "slap" tones. However, by no means does that make me a drummer. Yet, I can see how people could probably fake being a drummer after several djembe lessons, especially if they think that all they have to do is produce some beats and not any specific traditional rhythm.
CULTURAL REASONS
1. Individual attention and status
The Ballet style (non-traditional staged productions) of Djembes conforms to Western cultures values of placing the individual over the group.
In ballet style ensembles, the emphasis is placed on a star (lead) djembe player (djembafola) or on several lead djembefolas. The showmanship of djembefola/s and vying for the position of the lead djembefola (and thus being the star of the show) appeal to the individualistic, competitive nature of Western cultures. This is in contrast to the traditional context of djembe playing where the attention during performances is equally on all the drummers (including the dunun players) as well as the other instrumentalists (such as the kora player, and the balafon player). Furthermore, (as I understand it), traditionally, the drummers and other instrumentalist serve as musical accompaniment, and perhaps most of the attention is on the dancers and the singers. However, the role of dancers and especially the role of singers are de-emphasized in most ballet style djembe performances.
Click http://www.african-music-safari.com/djembe-history.html to find more about the differences between the traditional village context for playing djembes and the ballet style(staged production) context.
The djembe confers status on those who play it, and status is particularly conferred on lead djembe drummer/s. Although I've lost its attribution, I recall reading one comment on a YouTube thread that referred to djembe players as "macho men". That commenter didn't mean that as a compliment, but in Western societies a lot of men strive to be "macho". Note that prior to 1988, females were traditionally prohibited from playing djembes in Guinea & Mali, the nations that are considered to be the birthplace of this drum. Because there were far less stringent cultural prohibitions against female drummers in Europe and the United States (particularly among White people) it's very likely that White females were playing djembes and other African drums before Black females in Africa and elsewhere. Click http://pancocojams.blogspot.com/2011/11/african-female-djembe-drummers.html for more information about African female djembe drummers).
2. The copycat effect
As an outsider (meaning a non-drummer, and non-African dancer), it's my sense that a number of people purchase & play djembes for recreational drumming because "everyone" else is. According to various blogs on that subject, djembes dominate drum circles to such an extent that usually they are the only drums present. Significantly, it appears from my reading comments on those blogs that djembes are usually not even accompanied in those drum circles by the three dunun drums (dununba, sangba, and kinkini) as is traditional in Guinea & Mali. Here's a comment from one such blog http://www.remo.com/forum/post/view?bid=4&id=207555&sty=1&tpg=2&age=0 Hereafter known as "remo:drum circle":
posted by plaxy on Apr 28, 2009 12:41
It seems most people jump straight to the djembe simply because that's all they see and want to fit into the scene.
What I hate, though, is that it is so hard to find people who are actually interested in doing something different with a drum circle. They think that doing the same thing as every other drum circle is different and alternative enough. These people try to make a fashion statement rather than trying to make some good music and rhythms.
3. [Re] Claiming cultural ties to Africa; Romantizing African cultures
Among African Americans and other people of African descent who don't live in Africa, playing the djembe or other African musical instruments is a way to reconnect with our African roots. The popular adinkra symbol "sankofa" epitomizes this. One of the pictorial symbols for sankofa is a bird whose body is facing forward with its neck facing backwards. The proverb associated with sankofa is "It's never too late to reclaim that which you've left behind".
It also appears that a number of people start playing djembes not only because that African instrument is symbolical of African cultures, but also because those cultures are thought to be more "real" and more spiritual than Western cultures. My sense is that many people who play djembes for the latter reason are non-Black.
Another drummer from the above mentioned remo:drum circle thread identifies a number of reasons why some people play djembes:
Posted on Apr 16, 2009 7:06 PM
I believe drum circles can and should have interesting sounds, even when all djembe, but it seems participants are by far, novice, at best and have no real musical sense. Most of them just participate because they are on some spiritual journey, so they think, or they want to belong or they want someone that knows them to think there is more to them than meets the eye etc... in other words, a majority of people showing up in drum circles seem to be simply "making the scene". I find it disappointing as most of you have stated.
-snip-
There are a number of online discussions about the efficacy of White people playing djembes. Six pages of comments on this topic can be found at http://djembefola.com/board/social/racial-predjudice-african-drum-and-dance-t2734-45.html.
Another interesting discussion on the subject of non-Black people playing djembe & other African drums can be found at drumpath@aztec.asu.edu "Integrating drum communities". I also recommend reading this article http://therioshamanism.com/2011/04/06/yes-white-americans-do-have-a-culture/. Written by a White man, that article focuses on some problematic reasons why some White people play African drums and/or engage in other "New Age" activities. Here's an excerpt from that article:
I’m not condemning drumming, white Vodouisants, or non-Native people having good relationships with Native cultures. However, if you look at the “cultural appropriation” category of this blog, I think it’s clear that I have some issues with the way in which a lot of pagan-type folk “borrow” from cultures other than their own. Often it’s a surface treatment of the borrowed culture, with little to no awareness of the power differential between the culture of the borrower and that of the borrowed...
time and again I see pagans romanticizing collective cultures and demonizing individuality. In doing so, they ignore the conditioning they have as individuals and try to shoehorn themselves into some artificial community construct, or, alternately, attempt to join up with a more collective culture while approaching it with a largely individualistic mindset (which they often deny they have!)...
Plus there’s the issue of intersectionality–we are not just our race, but our sex, gender identity, sexuality, socioeconomic status, ability, and numerous other things that make up our social location. We can’t ignore these influences and just say we’re “culturally neutral”. It’s impossible.
-snip-
I believe that both Black people and non-Black people can be guilty of appropriating & romantizing traditional African cultures. Playing djembe drums, and other African instruments is more than talent & skill. It helps to learn about the cultures from which those musical instruments and those African rhythms originate.
Click http://pancocojams.blogspot.com/2011/11/history-of-djembe-drumming-in-usa.html for one post from a three part series on djembe drums.
****
Here is a video of African drumming that is posted for aesthetic appreciation:
Foli "Rhythm"-There Is No Movement Without Rhythm
Uploaded by ThomasRoebers on Oct 25, 2010
dedicated to the people of baro.
Life has a rhythm, it's constantly moving.
The word for rhythm ( used by the Malinke tribes ) is FOLI.
It is a word that encompasses so much more than drumming, dancing or sound.
It's found in every part of daily life.
In this film you not only hear and feel rhythm but you see it.
It's an extraordinary blend of image and sound that
feeds the senses and reminds us all
how essential it is.
By the brothers Thomas Roebers
en Floris Leeuwenberg
****
Thanks for visiting pancocojams. Visitor comments are welcome!
Scroll down the page to read comments, to find the comment box, and/or to add comments. If you don’t see the comment box, click on the post’s title to visit that post’s page.
Comments can be posted anonymously or you can use your facebook address or another website address to sign in to comment. However, your address is never shown publicly or given to anyone.
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Friday, November 18, 2011
West African Female Singers
Edited by Azizi Powell
This post showcases videos of & information about four female song traditions or female vocalists from various West African nations. This post is not meant to a comprehensive review of West African female vocalists.
These videos & comments are presented for their aesthetic, educational, historical, folkloric, sociological, and entertainment values. Videos are presented in random order with the nation of the singer/s' given in parenthesis after the video title.
The content of this post is given for folkloric, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
FEATURED VIDEOS
Video #1: Nnwonkoro - A Female Song Tradition of the Akan of Ghana - Part 1 (Ghana)
Uploaded by africanbushdoctor on Feb 16, 2011
Here's an excerpt of the uploader's comment http://www.youtube.com/watch?v=avVX_Xfb0Ok:
"Nnwonkoro is a female song tradition of the Akan of Ghana. "Abre" which is the beginning where the lead singer recites a long text without instrumental accompaniment or hand claps, sets the stage in this excerpt of Nnwonkoro performed by Onyame Akwan Nnwonkoro. According to the research and many conversations that I have conducted over the years, Nnwonkoro is an important music on the highest of levels with a poetic depth that some say are unparalleled. Only females sing these songs with men playing the accompanying musical instruments. Both male and female may dance to it's music.
Now, a very brief background:
There are several female song traditions of the Akan.
Mmobomme songs were sang to Nyame (the supreme being) and the Abosum (deities)during war time, asking thus praying [asking their prayers] for the safe return from war of their men. Ose songs were sang when the men returned victorious from their battles. There are many other occasions in which women sing ose songs as they are songs of jubilation.
Nsaa Dwom songs of praise, were sang usually in the evening after a hard days work when some of the women gathered together. In the 1920's Mmobomme declined due to the fact that hostilities between the British and the Asante had reached an end (in 1905 Yaa Asantewaa was captured). Nnwonkoro was still primarily a recreational music with occasional use at funerals with Adowa at that time period being a primary music and dance form for funerary celebrations of Akan. Today it is one of the primary forms of music expression found in funerary celebrations and in other festivals in various Akan communities...
The primary instruments used in Nnwonkoro vary from group to group, some of the instruments used are; Apreprensua (a large finger piano that is sat on while being played), Afirikyewa (a finger bell), Dawuruta (a double bell - idiophone), Adawura (a boat shaped bell) Notorowa (gourd rattles), Atumpan (male and female principal talking drums of the Akan) Apentema drum, and Kwadum drum which was added by Manhyia Tete Nnwonkoro at the request of the Asantehene."
****
Video #2: Oumou Sangaré - Seya (Mali)
uploaded by maliwood223 on Feb 11, 2009
Editor: Here's a viewer comment about this song:
"Oluwaluvlee She is basically talking about how she make herself beautiful for her man, in her African dress..."
-konepkone; 2011
Here's some information about this vocalist:
From http://www.myspace.com/oumousangare:
"Oumou Sangare was born in Bamako, Mali in 1969... Oumou's mother was a singer and her main source of income was the ‘sumu’ (wedding and baptism celebrations organised by women) or 'street parties' as Oumou calls them...
Oumou's mother is from Wassoulou, the remote forest region in the south of Mali which boasts a rich and distinctive culture. For hundreds of years, until the beginning of the 20th century with French colonial rule, it was Mali’s Wassoulou hunters who were the protectors of the villages, the providers of food, and the healers. Still today they occupy a special place deep in the Malian psyche. Their music, played on a special six string harp, is believed to have magic powers that can protect hunters and tame even the most dangerous of animals. Wassoulou hunters’ music was very different from the prevailing griot-based music of the dance bands. It had strong, hypnotic dance rhythms and in contrast to the Mandé griots, whose lyrics focus more on the wealthy and the powerful, Wassoulou the lyrics talk about more general aspects of life. Oumou’s vision from the outset was to bring the power and charm of this music into her own songs...
In 1989, after some persuasion – wary of the pitfalls that could await her if the album was not successful -, she recorded her first album Moussoulou (‘Women’). It was recorded in Abidjan with arrangements by Ahmadou Ba Guindo and released on the 4th of January 1990, and it took West Africa by storm. She was 21 years old. Her songs talked openly about subjects that no one had dared express before in public in this fundamentally conservative society and caused endless debate amongst the Malian population. The album's messages were powerful - encouraging women to seek personal freedom to be themselves and have dignity, warning against the wrongs of polygamy and forced marriage and even covered the taboo subject of female sensuality, such as in her stunning hit song “Diaraby Nene” (the Shivers of Passion).
This was all the more remarkable because of her chosen idiom - a slightly modernized version of the traditional, rural music of the enigmatic and and mysterious Wassoulou hunters, delivered with a funk-driven pulse. The true impact of ‘Moussoulou’ is still hard to gauge."
****
Video #3: Sayon Camara - Asmaou* (Guinea)
Uploaded by liberte58 on Dec 24, 2007
-snip-
I couldn't find any information online about Sayon Camara.
Asmaou is the first name of the woman in white in this video who is the vocalist sings to. I googled the name "Asmaou Conte" which was found in a comment in this video's viewer comment thread. As a result I found information for "Asmaou Bah Conte". She is the wife of (deceased) second President of Guinea, Lasana Conte. Unfortunately, that infornation was located on an anti-fraud website for scam emails. It's a shame that there's no other information about her, not even on Lasana Conte's Wikipedia page.
****
Video #4: Angelique Kidjo in Concert 7 - "Koro-Koro" from the album "Fifa". (Benin)
Uploaded by idamawatu on Aug 5, 2007
From http://en.wikipedia.org/wiki/Ang%C3%A9lique_Kidjo
"Angélique Kidjo is a Grammy Award–winning Beninoise singer-songwriter and activist, noted for her diverse musical influences and creative music videos...
Her musical influences include the Afropop, Caribbean zouk, Congolese rumba, jazz, gospel, and Latin styles...
Kidjo is fluent in Fon, French, Yorùbá, and English and sings in all four languages; she also has her own personal language which includes words that serve as song titles such as "Batonga". Malaika is a song sung in Swahili language. She often utilizes Benin's traditional Zilin vocal technique and jazz vocalese. She now resides in New York City, New York, United States."
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This post showcases videos of & information about four female song traditions or female vocalists from various West African nations. This post is not meant to a comprehensive review of West African female vocalists.
These videos & comments are presented for their aesthetic, educational, historical, folkloric, sociological, and entertainment values. Videos are presented in random order with the nation of the singer/s' given in parenthesis after the video title.
The content of this post is given for folkloric, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
FEATURED VIDEOS
Video #1: Nnwonkoro - A Female Song Tradition of the Akan of Ghana - Part 1 (Ghana)
Uploaded by africanbushdoctor on Feb 16, 2011
Here's an excerpt of the uploader's comment http://www.youtube.com/watch?v=avVX_Xfb0Ok:
"Nnwonkoro is a female song tradition of the Akan of Ghana. "Abre" which is the beginning where the lead singer recites a long text without instrumental accompaniment or hand claps, sets the stage in this excerpt of Nnwonkoro performed by Onyame Akwan Nnwonkoro. According to the research and many conversations that I have conducted over the years, Nnwonkoro is an important music on the highest of levels with a poetic depth that some say are unparalleled. Only females sing these songs with men playing the accompanying musical instruments. Both male and female may dance to it's music.
Now, a very brief background:
There are several female song traditions of the Akan.
Mmobomme songs were sang to Nyame (the supreme being) and the Abosum (deities)during war time, asking thus praying [asking their prayers] for the safe return from war of their men. Ose songs were sang when the men returned victorious from their battles. There are many other occasions in which women sing ose songs as they are songs of jubilation.
Nsaa Dwom songs of praise, were sang usually in the evening after a hard days work when some of the women gathered together. In the 1920's Mmobomme declined due to the fact that hostilities between the British and the Asante had reached an end (in 1905 Yaa Asantewaa was captured). Nnwonkoro was still primarily a recreational music with occasional use at funerals with Adowa at that time period being a primary music and dance form for funerary celebrations of Akan. Today it is one of the primary forms of music expression found in funerary celebrations and in other festivals in various Akan communities...
The primary instruments used in Nnwonkoro vary from group to group, some of the instruments used are; Apreprensua (a large finger piano that is sat on while being played), Afirikyewa (a finger bell), Dawuruta (a double bell - idiophone), Adawura (a boat shaped bell) Notorowa (gourd rattles), Atumpan (male and female principal talking drums of the Akan) Apentema drum, and Kwadum drum which was added by Manhyia Tete Nnwonkoro at the request of the Asantehene."
****
Video #2: Oumou Sangaré - Seya (Mali)
uploaded by maliwood223 on Feb 11, 2009
Editor: Here's a viewer comment about this song:
"Oluwaluvlee She is basically talking about how she make herself beautiful for her man, in her African dress..."
-konepkone; 2011
Here's some information about this vocalist:
From http://www.myspace.com/oumousangare:
"Oumou Sangare was born in Bamako, Mali in 1969... Oumou's mother was a singer and her main source of income was the ‘sumu’ (wedding and baptism celebrations organised by women) or 'street parties' as Oumou calls them...
Oumou's mother is from Wassoulou, the remote forest region in the south of Mali which boasts a rich and distinctive culture. For hundreds of years, until the beginning of the 20th century with French colonial rule, it was Mali’s Wassoulou hunters who were the protectors of the villages, the providers of food, and the healers. Still today they occupy a special place deep in the Malian psyche. Their music, played on a special six string harp, is believed to have magic powers that can protect hunters and tame even the most dangerous of animals. Wassoulou hunters’ music was very different from the prevailing griot-based music of the dance bands. It had strong, hypnotic dance rhythms and in contrast to the Mandé griots, whose lyrics focus more on the wealthy and the powerful, Wassoulou the lyrics talk about more general aspects of life. Oumou’s vision from the outset was to bring the power and charm of this music into her own songs...
In 1989, after some persuasion – wary of the pitfalls that could await her if the album was not successful -, she recorded her first album Moussoulou (‘Women’). It was recorded in Abidjan with arrangements by Ahmadou Ba Guindo and released on the 4th of January 1990, and it took West Africa by storm. She was 21 years old. Her songs talked openly about subjects that no one had dared express before in public in this fundamentally conservative society and caused endless debate amongst the Malian population. The album's messages were powerful - encouraging women to seek personal freedom to be themselves and have dignity, warning against the wrongs of polygamy and forced marriage and even covered the taboo subject of female sensuality, such as in her stunning hit song “Diaraby Nene” (the Shivers of Passion).
This was all the more remarkable because of her chosen idiom - a slightly modernized version of the traditional, rural music of the enigmatic and and mysterious Wassoulou hunters, delivered with a funk-driven pulse. The true impact of ‘Moussoulou’ is still hard to gauge."
****
Video #3: Sayon Camara - Asmaou* (Guinea)
Uploaded by liberte58 on Dec 24, 2007
-snip-
I couldn't find any information online about Sayon Camara.
Asmaou is the first name of the woman in white in this video who is the vocalist sings to. I googled the name "Asmaou Conte" which was found in a comment in this video's viewer comment thread. As a result I found information for "Asmaou Bah Conte". She is the wife of (deceased) second President of Guinea, Lasana Conte. Unfortunately, that infornation was located on an anti-fraud website for scam emails. It's a shame that there's no other information about her, not even on Lasana Conte's Wikipedia page.
****
Video #4: Angelique Kidjo in Concert 7 - "Koro-Koro" from the album "Fifa". (Benin)
Uploaded by idamawatu on Aug 5, 2007
From http://en.wikipedia.org/wiki/Ang%C3%A9lique_Kidjo
"Angélique Kidjo is a Grammy Award–winning Beninoise singer-songwriter and activist, noted for her diverse musical influences and creative music videos...
Her musical influences include the Afropop, Caribbean zouk, Congolese rumba, jazz, gospel, and Latin styles...
Kidjo is fluent in Fon, French, Yorùbá, and English and sings in all four languages; she also has her own personal language which includes words that serve as song titles such as "Batonga". Malaika is a song sung in Swahili language. She often utilizes Benin's traditional Zilin vocal technique and jazz vocalese. She now resides in New York City, New York, United States."
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Thursday, November 17, 2011
The History Of Djembe Drumming In The USA
Edited by Azizi Powell
This post is a continuation of other posts on this blog on djembe (jembe) drums. Click http://pancocojams.blogspot.com/2011/11/african-female-djembe-drummers.html
and
http://pancocojams.blogspot.com/2011/11/more-african-female-drummers.html to read those posts.
GENERAL INFORMATION ABOUT JEMBE DRUMS
From http://www.rebirth.co.za/african_drum_history_djembe_drum.htm
"The Djembe is the drum of the Mandinka people, and its origins dates back to the great Mali Empire of the 12th century. The djembe is also known as djenbe, jembe, sanbanyi, jymbe or yembe. It is made from an single piece of wood and carved into the shape of a goblet that is hollow throughout with a skin covering over the top. The drum is played with bare hands."
I searched online to find out when and how djembes (pronounced "gym-bays") were introduced within the United States and elsewhere. Here is what I found:
WHEN JEMBES WERE INTRODUCED TO THE WESTERN WORLD
From http://www.drumdojo.com/djhistory.htm Hereafter known as "djembe history: Percussive Notes
"An unedited expanded version of the article published in Percussive Notes, vol. 34, no. 2, April 1996, pages 66-72. Portions reprinted by permission of the Percussive Arts Society.
A history of the djembe by Eric Charry
"The jembe (spelled djembe in French writing) is on the verge of achieving world status as a percussion instrument,rivaled in popularity perhaps only by the conga and steel pan. It first made an impact outside West Africa in the 1950s due to the world tours of Les Ballets Africains led by the Guinean Fodeba Keita. In the few decades succeeding this initial exposure the jembe was known internationally only to a small coterie of musicians and devotees of African music and dance. In the U.S. interest in the jembe centered around Ladji Camara, a member of Les Ballets Africains in the 1950s, who since the 1960s has trained a generation of American players. Worldwide, a mere handful of LP recordings were released up to the mid-1980s, most containing just a few selections of jembe playing.
Since the late 1980s international interest in the jembe has taken an unprecedented turn. Well over a dozen CD recordings exclusively featuring jembe ensembles have been released in addition to as many recordings featuring the jembe in mixed ensembles. Tours of national ballet troupes from Guinea, Mali, and Senegal, and former drummers from these troupes are playing to swelling crowds. Jembe teachers are proliferating, with some of them leading study tours to Africa, and major drum manufacturers have recently found a market for industrially produced jembes."
-snip-
I also happened upon this passage which mentions the performance of a djembe group in Harlem in 1972. This excerpt is from a website which provides information about the availability in the United States of a West African djembefola (djembe drummer)for drum instruction and performances:
From http://www.abubakr.info
Abubakr Sory Kouyate
West African Djembe Drum Master & Teacher
"As empresario he brought the Ballets Djoliba, one of the two national ballet companies of Guinea, to the United States for the first time to perform at the Apollo Theatre in 1972."
Here's another post from "djembe history: Percussive Notes" which gives some reasons why it took so long for the United States and other Western nations to become acquainted with jembe drumming:
"Reasons for the delayed international impact of the jembe are varied. Weak ties and language differences between the U.S. and the former French colonies in which the jembe is indigenous are responsible for the late migration of Francophone West Africans to North America in significant numbers. The death of Guinean President Sekou Toure in 1984, after two and a half decades of strong patronage of the arts and increasingly severe repression and international alienation, opened the doors for foreigners to visit, and also forced some Guineans to look abroad to fill the void left by sharply reduced patronage. Shortly after the Sekou Toure era, Guinean drummers Mamady Keita and Famoudou Konate had established themselves in Europe. Les Ballets Africains (which became the national ballet of Guinea after independence in 1958) began releasing CDs through European management. A group of drummers primarily drawn from Ballet Djoliba (established in 1965 as a second national ballet in Guinea) began touring and releasing CDs as Percussions de Guinee (established in 1988 as a national ensemble), also under European management. The world music boom, begun in the late 1980s and showing no signs of letting up, is also a significant factor, with organizations such as WOMAD in England producing tours including jembe -based groups such as Fatala from Guinea and Farafina from Burkina Faso."
The following excerpt from https://ehousedrums.com/Djembe_History.html provides additional indication that Europeans were introduced to djembe drumming before people in the United States:
"Djembe playing by non-African people has a much longer history in Europe than it does in the USA and other parts of the world, as the French-speaking members of Les Ballets Africains first settled in France, Belgium, Germany, and other parts of Europe when they left the touring company to seek personal opportunities. Because of this history, and the education that Europeans received from traditional Manding teachers like Mamady Keita and Famoudou Konate, Europe has mostly avoided the large number of softwood djembes arriving in the American marketplace. While these drums may look nice, their sound leaves much to be desired for serious djembe players."
I'm sure I'm not alone in being thankful for the music and power of the djembe drums and their accompanying instruments, dances, and songs.
****
Here's a video of Les Ballets Africains:
1968 video of Les Ballets Africains featuring Famoudou Konaté
Uploaded by MrAlphamamoudou on Feb 21, 2011
****
Here are three videos of Djembefolas who are widely considered to be grandmasters of that drum:
Mamady Keita Djembe Fola
Uploaded by fasissoko on Jul 15, 2011
Mamady. Sougalo. Famadou. Doudou Ndiaye
**
Famoudou Konaté , Mamady Keita and others
Uploaded by AfricaRoots on Jul 4, 2007
Famoudou Konaté , Mamady Keita and others, another rare video filmed in Guinea in the 90´s
Uploaded by AfricaRoots on Jul 4, 2007
**
Harouna Dembele et Parisi - Djiodji
Uploaded by fababobo on Nov 20, 2008
Concert à Nice organisé par les voies du monde
****
Thanks for visiting pancocojams. Visitor comments are welcome!
Scroll down the page to read comments, to find the comment box, and/or to add comments. If you don’t see the comment box, click on the post’s title to visit that post’s page.
Comments can be posted anonymously or you can use your facebook address or another website address to sign in to comment. However, your address is never shown publicly or given to anyone.
If you aren't sure how to add comments on this blog, follow the instructions found on this page Adding Comments
Share! Learn! Enjoy!
This post is a continuation of other posts on this blog on djembe (jembe) drums. Click http://pancocojams.blogspot.com/2011/11/african-female-djembe-drummers.html
and
http://pancocojams.blogspot.com/2011/11/more-african-female-drummers.html to read those posts.
GENERAL INFORMATION ABOUT JEMBE DRUMS
From http://www.rebirth.co.za/african_drum_history_djembe_drum.htm
"The Djembe is the drum of the Mandinka people, and its origins dates back to the great Mali Empire of the 12th century. The djembe is also known as djenbe, jembe, sanbanyi, jymbe or yembe. It is made from an single piece of wood and carved into the shape of a goblet that is hollow throughout with a skin covering over the top. The drum is played with bare hands."
I searched online to find out when and how djembes (pronounced "gym-bays") were introduced within the United States and elsewhere. Here is what I found:
WHEN JEMBES WERE INTRODUCED TO THE WESTERN WORLD
From http://www.drumdojo.com/djhistory.htm Hereafter known as "djembe history: Percussive Notes
"An unedited expanded version of the article published in Percussive Notes, vol. 34, no. 2, April 1996, pages 66-72. Portions reprinted by permission of the Percussive Arts Society.
A history of the djembe by Eric Charry
"The jembe (spelled djembe in French writing) is on the verge of achieving world status as a percussion instrument,rivaled in popularity perhaps only by the conga and steel pan. It first made an impact outside West Africa in the 1950s due to the world tours of Les Ballets Africains led by the Guinean Fodeba Keita. In the few decades succeeding this initial exposure the jembe was known internationally only to a small coterie of musicians and devotees of African music and dance. In the U.S. interest in the jembe centered around Ladji Camara, a member of Les Ballets Africains in the 1950s, who since the 1960s has trained a generation of American players. Worldwide, a mere handful of LP recordings were released up to the mid-1980s, most containing just a few selections of jembe playing.
Since the late 1980s international interest in the jembe has taken an unprecedented turn. Well over a dozen CD recordings exclusively featuring jembe ensembles have been released in addition to as many recordings featuring the jembe in mixed ensembles. Tours of national ballet troupes from Guinea, Mali, and Senegal, and former drummers from these troupes are playing to swelling crowds. Jembe teachers are proliferating, with some of them leading study tours to Africa, and major drum manufacturers have recently found a market for industrially produced jembes."
-snip-
I also happened upon this passage which mentions the performance of a djembe group in Harlem in 1972. This excerpt is from a website which provides information about the availability in the United States of a West African djembefola (djembe drummer)for drum instruction and performances:
From http://www.abubakr.info
Abubakr Sory Kouyate
West African Djembe Drum Master & Teacher
"As empresario he brought the Ballets Djoliba, one of the two national ballet companies of Guinea, to the United States for the first time to perform at the Apollo Theatre in 1972."
Here's another post from "djembe history: Percussive Notes" which gives some reasons why it took so long for the United States and other Western nations to become acquainted with jembe drumming:
"Reasons for the delayed international impact of the jembe are varied. Weak ties and language differences between the U.S. and the former French colonies in which the jembe is indigenous are responsible for the late migration of Francophone West Africans to North America in significant numbers. The death of Guinean President Sekou Toure in 1984, after two and a half decades of strong patronage of the arts and increasingly severe repression and international alienation, opened the doors for foreigners to visit, and also forced some Guineans to look abroad to fill the void left by sharply reduced patronage. Shortly after the Sekou Toure era, Guinean drummers Mamady Keita and Famoudou Konate had established themselves in Europe. Les Ballets Africains (which became the national ballet of Guinea after independence in 1958) began releasing CDs through European management. A group of drummers primarily drawn from Ballet Djoliba (established in 1965 as a second national ballet in Guinea) began touring and releasing CDs as Percussions de Guinee (established in 1988 as a national ensemble), also under European management. The world music boom, begun in the late 1980s and showing no signs of letting up, is also a significant factor, with organizations such as WOMAD in England producing tours including jembe -based groups such as Fatala from Guinea and Farafina from Burkina Faso."
The following excerpt from https://ehousedrums.com/Djembe_History.html provides additional indication that Europeans were introduced to djembe drumming before people in the United States:
"Djembe playing by non-African people has a much longer history in Europe than it does in the USA and other parts of the world, as the French-speaking members of Les Ballets Africains first settled in France, Belgium, Germany, and other parts of Europe when they left the touring company to seek personal opportunities. Because of this history, and the education that Europeans received from traditional Manding teachers like Mamady Keita and Famoudou Konate, Europe has mostly avoided the large number of softwood djembes arriving in the American marketplace. While these drums may look nice, their sound leaves much to be desired for serious djembe players."
I'm sure I'm not alone in being thankful for the music and power of the djembe drums and their accompanying instruments, dances, and songs.
****
Here's a video of Les Ballets Africains:
1968 video of Les Ballets Africains featuring Famoudou Konaté
Uploaded by MrAlphamamoudou on Feb 21, 2011
****
Here are three videos of Djembefolas who are widely considered to be grandmasters of that drum:
Mamady Keita Djembe Fola
Uploaded by fasissoko on Jul 15, 2011
Mamady. Sougalo. Famadou. Doudou Ndiaye
**
Famoudou Konaté , Mamady Keita and others
Uploaded by AfricaRoots on Jul 4, 2007
Famoudou Konaté , Mamady Keita and others, another rare video filmed in Guinea in the 90´s
Uploaded by AfricaRoots on Jul 4, 2007
**
Harouna Dembele et Parisi - Djiodji
Uploaded by fababobo on Nov 20, 2008
Concert à Nice organisé par les voies du monde
****
Thanks for visiting pancocojams. Visitor comments are welcome!
Scroll down the page to read comments, to find the comment box, and/or to add comments. If you don’t see the comment box, click on the post’s title to visit that post’s page.
Comments can be posted anonymously or you can use your facebook address or another website address to sign in to comment. However, your address is never shown publicly or given to anyone.
If you aren't sure how to add comments on this blog, follow the instructions found on this page Adding Comments
Share! Learn! Enjoy!
Tuesday, November 15, 2011
African Female Drummers (Senegal, Rwanda, & Guinea)
Edited by Azizi Powell
This is the third post of an ongoing pancocojams series on female drummers. This post showcases videos of female drummers from West Africa, and from the United States of America. [update 5/1/2013]
Click http://pancocojams.blogspot.com/2011/11/african-female-djembe-drummers.html for the first post in this series.
Click http://pancocojams.blogspot.com/2011/11/new-traditions-various-female-drum.html for the second post in this series.
This post is presented for its folkloric, cultural, entertainment, and aesthetic purposes.
****
Example #1: Doudou N'Diaye Rose - Rose Rhythm
Uploaded by EsbjornRasmussen on Jan 8, 2010
Very few music has grabbed me be the throat. This one did.
In honor of the best contemporary African drummer. Taken from a French TV documentary. Shot at the Senegalese Island of Goree. Enjoy and share. Make sure you buy his scarce material.A CD with the name Djabote, which is still in my top 10 all time.
Just watch these people route the earths energy into the drums. The sheer joy of primordial calling.
-snip-
From http://en.wikipedia.org/wiki/Doudou_N'Diaye_Rose
"Doudou N'Diaye Rose (28 July 1930), born Mamadou N'Diaye in Dakar, is Senegalese drummer composer and band leader, and is the recognized modern master of Senegal's traditional drum, the sabar. He is—literally—the father of a musical dynasty which includes some of the most successful traditional musicians of contemporary West Africa...
N'Diaye Rose is one of the most renowned African musicians of the 20th century. While he specializes in the sabar, he also plays many other types of drum such as saourouba, assicot, bougarabou, meung meung, lamb, n'der, gorom babass, and khine.">
****
Example #2: Female African Dancers Drum and Solo w/ djembe master Bolokada
Uploaded by michaelpluznick on Mar 19, 2009
-snip-
http://www.michaelpluznick.com
From http://en.wikipedia.org/wiki/Bolokada_Conde
"Moussa Bolokada Conde is a master drummer, expert of Malinke rhythms, and one of the world's best djembe players. He joined the Les Percussion du Guinee to replace the legendary Momoudy Keita as their lead drummer. He has traveled and performed in major venues all over the world since 1996 and was featured in the IMAX movie PULSE: a Stomp Odyssey. Since 2004, he has been performing and teaching in the United States."
**
Example #3: Female Drummers from Rwanda
Published on Aug 2, 2012
Dondadaworldwide, Group of female drummers performing at Kigali Up festival 2012 in Kigali, Rwanda
****
Example #4: Nimbaya! Women Drummers of Guinea: Boston 2012
Alan Tauber,·Uploaded on Feb 19, 2012
A daring response to the taboo of women playing the djembe in West Africa, Nimbaya! is the first all-women's percussion and dance troupe from Guinea. The group, formerly known as Amazones Women Master Drummers of Guinea, was created in 1998 by Mamoudou Condé of Les Ballets Africains fame. Presenting spectacular performances, Nimbaya! "plays with a fury, pounding out heart-racing rhythms and dancing into near frenzies."—The Boston Globe.
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Thanks for visiting pancocojams.
Visitor comments are welcome.
This is the third post of an ongoing pancocojams series on female drummers. This post showcases videos of female drummers from West Africa, and from the United States of America. [update 5/1/2013]
Click http://pancocojams.blogspot.com/2011/11/african-female-djembe-drummers.html for the first post in this series.
Click http://pancocojams.blogspot.com/2011/11/new-traditions-various-female-drum.html for the second post in this series.
This post is presented for its folkloric, cultural, entertainment, and aesthetic purposes.
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Example #1: Doudou N'Diaye Rose - Rose Rhythm
Uploaded by EsbjornRasmussen on Jan 8, 2010
Very few music has grabbed me be the throat. This one did.
In honor of the best contemporary African drummer. Taken from a French TV documentary. Shot at the Senegalese Island of Goree. Enjoy and share. Make sure you buy his scarce material.A CD with the name Djabote, which is still in my top 10 all time.
Just watch these people route the earths energy into the drums. The sheer joy of primordial calling.
-snip-
From http://en.wikipedia.org/wiki/Doudou_N'Diaye_Rose
"Doudou N'Diaye Rose (28 July 1930), born Mamadou N'Diaye in Dakar, is Senegalese drummer composer and band leader, and is the recognized modern master of Senegal's traditional drum, the sabar. He is—literally—the father of a musical dynasty which includes some of the most successful traditional musicians of contemporary West Africa...
N'Diaye Rose is one of the most renowned African musicians of the 20th century. While he specializes in the sabar, he also plays many other types of drum such as saourouba, assicot, bougarabou, meung meung, lamb, n'der, gorom babass, and khine.">
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Example #2: Female African Dancers Drum and Solo w/ djembe master Bolokada
Uploaded by michaelpluznick on Mar 19, 2009
-snip-
http://www.michaelpluznick.com
From http://en.wikipedia.org/wiki/Bolokada_Conde
"Moussa Bolokada Conde is a master drummer, expert of Malinke rhythms, and one of the world's best djembe players. He joined the Les Percussion du Guinee to replace the legendary Momoudy Keita as their lead drummer. He has traveled and performed in major venues all over the world since 1996 and was featured in the IMAX movie PULSE: a Stomp Odyssey. Since 2004, he has been performing and teaching in the United States."
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Example #3: Female Drummers from Rwanda
Published on Aug 2, 2012
Dondadaworldwide, Group of female drummers performing at Kigali Up festival 2012 in Kigali, Rwanda
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Example #4: Nimbaya! Women Drummers of Guinea: Boston 2012
Alan Tauber,·Uploaded on Feb 19, 2012
A daring response to the taboo of women playing the djembe in West Africa, Nimbaya! is the first all-women's percussion and dance troupe from Guinea. The group, formerly known as Amazones Women Master Drummers of Guinea, was created in 1998 by Mamoudou Condé of Les Ballets Africains fame. Presenting spectacular performances, Nimbaya! "plays with a fury, pounding out heart-racing rhythms and dancing into near frenzies."—The Boston Globe.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Rwandan Female Drummers
Edited by Azizi Powell
This is the second post of an ongoing pancocojams series on female drummers. This post focuses on female drummers from Rwanda, Central & East Africa.
Click http://pancocojams.blogspot.com/2011/11/african-female-djembe-drummers.html for the first post in this series.
Click http://pancocojams.blogspot.com/2011/11/more-african-female-drummers.html for the third post in this series.
This post is presented for folkloric, entertaiment and aesthetic purposes.
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GENERAL OVERVIEW OF RWANDAN DRUMMING
From http://en.wikipedia.org/wiki/Rwanda#Culture
"Music and dance are an integral part of Rwandan ceremonies, festivals, social gatherings and storytelling. The most famous traditional dance is a highly-choreographed routine consisting of three components – the umushagiriro, or cow dance, performed by women; the Intore, or dance of heroes, performed by men; and the drumming, also traditionally performed by men, on drums known as Ingoma...
Traditionally, music is transmitted orally, with styles varying between the social groups. Drums are of great importance; the royal drummers enjoyed high status within the court of the King (Mwami). Drummers play together in groups of varying sizes, usually between seven and nine in number; the soprano drum leads, with others of various pitches providing back up."
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INFORMATION ABOUT NGOMA
From http://en.wikipedia.org/wiki/Ngoma_drums
"Ngoma drums are musical instruments used by certain Bantu-speaking peoples of East Africa; 'ngoma' is, simply, the Swahili word for 'drum'. Different regions of Africa have their own traditions of percussion, with different names for their instruments. In kiSwahili-speaking Kenya and Tanzania, 'ngoma' is used by extension to signify specific dances, social occasions and rhythms."
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NGOMA TRADITIONS
Editor: The following information is about ngoma traditions in Uganda. However, it may not apply to ngoma traditions in Rwanda.
From http://en.wikipedia.org/wiki/Ngoma_drums
"The Baganda people of Uganda have a special relationship with ngoma drums, so much so that it is thought by many people that theirs is the country where this type of drum actually originated. The Baganda are fondly thought of as the children of Ngoma. The ngoma is used for communication and celebration and is also a symbol of authority.
The Baganda ngoma are made of wood, which is covered with cow skin on both ends, although you’ll also find tourist versions of these drums covered with zebra skins. Typically, they are played in groups of seven drums, each drum having its own voice and function within the ensemble. Another popular configuration is made with at least four drums. Each of these drums are treated as individuals, thus they each have a specific name. The largest drum is known as bakisimba and makes a loud bass sound. The empuunya is a little smaller and also produces a higher-pitched bass sound. The nankasa is a small drum played with sticks and produces a very high-pitched sound. Last, but not least is the engalabi. The engalabi most closely resembles the original ngoma and is taller and more cylindrical than all the other drums in this set. It also has skin on only one side. All of the other drums are covered with cow skin on the top and bottom using an intricate lacing system, whereas the engalabi has a lizard-skin head attached with small wooden pegs. This drum makes the highest pitched sound in the ensemble.
All of the drums can be played with sticks or hands, except the Nankasa which is primarily played with sticks."
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FEMALE DRUMMERS FROM RWANDA
From http://www.powerofculture.nl/en/current/2007/november/drums_rwanda Rwandan women drum their way up [published in November 2007]
"We are the first female drummers in Rwanda," says Jackie Umubyeyi proudly. "It's a miracle. Whenever we perform there is always a lot of audience, because people want to see if women can really drum. Maybe the men are afraid that in the future we will play better than them."...
The goal of the drum group Women's Initiatives is not to create a breakthrough in the position of women in the country, eventually the goal of the group is to be profitable. "Some of the participants became widows during the 1994 genocide," explains director [Odile Gakire Katese]"
Odile: "We don't want to drum only old existing rhythms, but we try with the help of foreign influences also to create our own, new music style."
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FEATURED VIDEOS
Example #1: The Women of Ingoma Nshya
Uploaded by latasha1970 on Jul 25, 2009
These incredible women from Rwanda performed at Brooklyn Museum Saturday July 25, 2009.
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Example #2: Ingoma Nshya
Uploaded by Ta1an on Jun 27, 2010
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Example #3: Ingoma Nshya Women Drummers of Rwanda @ Bassline part 2
Uploaded by slaghuis03 on Oct 20, 2010
Ingoma Nshya women drummers of Rwanda performing @ Bassline in Johannesburg. The Group was Hosted by the Cultural Development Trust and supported by United Cultures for Development and Mundial Productions
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This is the second post of an ongoing pancocojams series on female drummers. This post focuses on female drummers from Rwanda, Central & East Africa.
Click http://pancocojams.blogspot.com/2011/11/african-female-djembe-drummers.html for the first post in this series.
Click http://pancocojams.blogspot.com/2011/11/more-african-female-drummers.html for the third post in this series.
This post is presented for folkloric, entertaiment and aesthetic purposes.
****
GENERAL OVERVIEW OF RWANDAN DRUMMING
From http://en.wikipedia.org/wiki/Rwanda#Culture
"Music and dance are an integral part of Rwandan ceremonies, festivals, social gatherings and storytelling. The most famous traditional dance is a highly-choreographed routine consisting of three components – the umushagiriro, or cow dance, performed by women; the Intore, or dance of heroes, performed by men; and the drumming, also traditionally performed by men, on drums known as Ingoma...
Traditionally, music is transmitted orally, with styles varying between the social groups. Drums are of great importance; the royal drummers enjoyed high status within the court of the King (Mwami). Drummers play together in groups of varying sizes, usually between seven and nine in number; the soprano drum leads, with others of various pitches providing back up."
****
INFORMATION ABOUT NGOMA
From http://en.wikipedia.org/wiki/Ngoma_drums
"Ngoma drums are musical instruments used by certain Bantu-speaking peoples of East Africa; 'ngoma' is, simply, the Swahili word for 'drum'. Different regions of Africa have their own traditions of percussion, with different names for their instruments. In kiSwahili-speaking Kenya and Tanzania, 'ngoma' is used by extension to signify specific dances, social occasions and rhythms."
****
NGOMA TRADITIONS
Editor: The following information is about ngoma traditions in Uganda. However, it may not apply to ngoma traditions in Rwanda.
From http://en.wikipedia.org/wiki/Ngoma_drums
"The Baganda people of Uganda have a special relationship with ngoma drums, so much so that it is thought by many people that theirs is the country where this type of drum actually originated. The Baganda are fondly thought of as the children of Ngoma. The ngoma is used for communication and celebration and is also a symbol of authority.
The Baganda ngoma are made of wood, which is covered with cow skin on both ends, although you’ll also find tourist versions of these drums covered with zebra skins. Typically, they are played in groups of seven drums, each drum having its own voice and function within the ensemble. Another popular configuration is made with at least four drums. Each of these drums are treated as individuals, thus they each have a specific name. The largest drum is known as bakisimba and makes a loud bass sound. The empuunya is a little smaller and also produces a higher-pitched bass sound. The nankasa is a small drum played with sticks and produces a very high-pitched sound. Last, but not least is the engalabi. The engalabi most closely resembles the original ngoma and is taller and more cylindrical than all the other drums in this set. It also has skin on only one side. All of the other drums are covered with cow skin on the top and bottom using an intricate lacing system, whereas the engalabi has a lizard-skin head attached with small wooden pegs. This drum makes the highest pitched sound in the ensemble.
All of the drums can be played with sticks or hands, except the Nankasa which is primarily played with sticks."
****
FEMALE DRUMMERS FROM RWANDA
From http://www.powerofculture.nl/en/current/2007/november/drums_rwanda Rwandan women drum their way up [published in November 2007]
"We are the first female drummers in Rwanda," says Jackie Umubyeyi proudly. "It's a miracle. Whenever we perform there is always a lot of audience, because people want to see if women can really drum. Maybe the men are afraid that in the future we will play better than them."...
The goal of the drum group Women's Initiatives is not to create a breakthrough in the position of women in the country, eventually the goal of the group is to be profitable. "Some of the participants became widows during the 1994 genocide," explains director [Odile Gakire Katese]"
Odile: "We don't want to drum only old existing rhythms, but we try with the help of foreign influences also to create our own, new music style."
****
FEATURED VIDEOS
Example #1: The Women of Ingoma Nshya
Uploaded by latasha1970 on Jul 25, 2009
These incredible women from Rwanda performed at Brooklyn Museum Saturday July 25, 2009.
****
Example #2: Ingoma Nshya
Uploaded by Ta1an on Jun 27, 2010
**
Example #3: Ingoma Nshya Women Drummers of Rwanda @ Bassline part 2
Uploaded by slaghuis03 on Oct 20, 2010
Ingoma Nshya women drummers of Rwanda performing @ Bassline in Johannesburg. The Group was Hosted by the Cultural Development Trust and supported by United Cultures for Development and Mundial Productions
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
African Female Djembe Drummers
Edited by Azizi Powell
This is the first post of an ongoing pancocojams series on female drummers. This post focuses on female djembe drummers of Guinea, West Africa. [revised 11/19/2011]
Click http://pancocojams.blogspot.com/2011/11/rwandan-female-drummers.html for the second post in this series.
Click http://pancocojams.blogspot.com/2011/11/more-african-female-drummers.html for the third post in this series.
This post is presented for its folkloric, aesthetic, and entertainment purposes.
All copyrights remain with their owners.
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INFORMATION ABOUT DJEMBES
From http://en.wikipedia.org/wiki/Djembe
"A djembe ... also known as jembe, jenbe, djbobimbe, jymbe, yembe, or jimbay, or sanbanyi in Susu; is a skin-covered drum meant to be played with bare hands...
It is a member of the membranophone family of musical instruments: a frame or shell (in the djembe's case it is a wood shell) covered by a membrane or drumhead made of rawhide or some other material...The primary notes are generally referred to as "bass", "tone", and "slap", though a variety of other tones can also be produced by advanced players. The slap has a high and sharp sound, the tone is more round and full, and the bass is low and deep...
Origin
There is general agreement that the origin of the djembe is associated with a class of Mandinka blacksmiths known as Numu. The wide dispersion of the djembe drums throughout West Africa may be due to Numu migrations."
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GUINEA FEMALE DJEMBE PLAYERS
From http://www.amazoneswomandrummers.com/press.html
"Nimbaya!, previously Amazones Women Master Drummers, welcomes in the new age, presenting West Africa’s traditional musical arts in a graceful proficiency that clearly differs from the masculine drumming style...
Before this group formed, no females in Guinea were permitted to learn the art of djembe drumming. In 1988, with the support of the Department of Culture of Guinea, group founder Mamoudou Conde brought together 15 women from the four different regions of Guinea. Some of these women faced disownment from their families by pushing the boundaries of tradition, but after training for years to become master drummers, the women began to tour the world…playing instruments that have traditionally been denied them."
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From http://www.amazoneswomandrummers.com/history.html
"...From The creation and realization of “NIMBAYA!” aims to address three objectives, all of which are both diachronic and synchronic.
From the point of view of rehabilitating musical culture through the djembe, “NIMBAYA!” constitutes a response of sorts to the age-old traditions, which have demeaned the Djembe vis-à-vis other instruments such as the princely Cora or the ancient mythical Bala. “NIMBAYA!” is also daring considering the <> imposed on women concerning the practice of the djembe. Never before has a woman played this instrument in Guinea.
From the point of view of the economic liberation, which took place in Guinea following the change of political regime in 1984, the women are engaged in a fight for survival through the development of a lucrative art-form, capable of supporting its members. Each ‘NIMBAYA!’ has chosen to break with the uncertainty and the precarious lifestyle imposed on her by her individual social situation - woman without education; woman with an ‘undesired pregnancy’, sent away from the family home; woman-victim of the duplicity of a ‘bad-man’; young woman from a family struck by poverty... In choosing to become a djembe-player, each of these categories of women shows her desire to dignify herself by dignifying her instrument.
But it is with NIMBAYA! That a brave new adventure is beginning - a socio-cultural and economic departure from tradition, which is fired by a fervent determination to attain the level of the great djembefola and to live by the sweat of their own brows. Hence the name ‘NIMBAYA’, recalling the bravura and courage of the intrepid warrior-women of the ancient kingdom of Dahomey (now called Benin). Equally daring is their goal to ‘demystify’ the djembe, an instrument historically reserved for male players and for many years, an instrument without nobility or notoriety. With ‘NIMBAYA!’ all these preconceptions melt away and what is left is a powerful, energetic and grandiose spectacle, which sends to the world, its message of peace, optimism and serenity.
-Saidou Dioubate, National Director of Culture of the Republic of Guinea, Conakry and edited by Nathalie Roy & Mamoudou Conde".
-snip-
Note: "Djembefola" means "djembe player.
"Bala" is a traditional name for "balafon".
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Example #1: African Women Djembefola
Uploaded by chicagodjembeproject on Oct 11, 2006
African women playing djembe in Guinea, West Africa
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Example #2: Amazones - Women Drummers of Guinea @ CCC 092007
Uploaded by rpmime on Sep 20, 2007
The Amazing "Amazones - Women Drummers of Guinea" performed at the 'One World Under One Roof', part of the World Music Festival (2007) last day here in Chicago.
**
Example #3: NIMBAYA!
Uploaded by Nathalie Roy on Jan 18, 2010
THIS IS STUDIO RECORDING - Formerly named Amazones Women Master Drummers, NIMBAYA! Drum & Dance Company is the first professional all-female ensemble on traditional drums. they have toured USA, Canada, UAE, Brazil, Europe, South Korea...
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This is the first post of an ongoing pancocojams series on female drummers. This post focuses on female djembe drummers of Guinea, West Africa. [revised 11/19/2011]
Click http://pancocojams.blogspot.com/2011/11/rwandan-female-drummers.html for the second post in this series.
Click http://pancocojams.blogspot.com/2011/11/more-african-female-drummers.html for the third post in this series.
This post is presented for its folkloric, aesthetic, and entertainment purposes.
All copyrights remain with their owners.
****
INFORMATION ABOUT DJEMBES
From http://en.wikipedia.org/wiki/Djembe
"A djembe ... also known as jembe, jenbe, djbobimbe, jymbe, yembe, or jimbay, or sanbanyi in Susu; is a skin-covered drum meant to be played with bare hands...
It is a member of the membranophone family of musical instruments: a frame or shell (in the djembe's case it is a wood shell) covered by a membrane or drumhead made of rawhide or some other material...The primary notes are generally referred to as "bass", "tone", and "slap", though a variety of other tones can also be produced by advanced players. The slap has a high and sharp sound, the tone is more round and full, and the bass is low and deep...
Origin
There is general agreement that the origin of the djembe is associated with a class of Mandinka blacksmiths known as Numu. The wide dispersion of the djembe drums throughout West Africa may be due to Numu migrations."
****
GUINEA FEMALE DJEMBE PLAYERS
From http://www.amazoneswomandrummers.com/press.html
"Nimbaya!, previously Amazones Women Master Drummers, welcomes in the new age, presenting West Africa’s traditional musical arts in a graceful proficiency that clearly differs from the masculine drumming style...
Before this group formed, no females in Guinea were permitted to learn the art of djembe drumming. In 1988, with the support of the Department of Culture of Guinea, group founder Mamoudou Conde brought together 15 women from the four different regions of Guinea. Some of these women faced disownment from their families by pushing the boundaries of tradition, but after training for years to become master drummers, the women began to tour the world…playing instruments that have traditionally been denied them."
****
From http://www.amazoneswomandrummers.com/history.html
"...From The creation and realization of “NIMBAYA!” aims to address three objectives, all of which are both diachronic and synchronic.
From the point of view of rehabilitating musical culture through the djembe, “NIMBAYA!” constitutes a response of sorts to the age-old traditions, which have demeaned the Djembe vis-à-vis other instruments such as the princely Cora or the ancient mythical Bala. “NIMBAYA!” is also daring considering the <
From the point of view of the economic liberation, which took place in Guinea following the change of political regime in 1984, the women are engaged in a fight for survival through the development of a lucrative art-form, capable of supporting its members. Each ‘NIMBAYA!’ has chosen to break with the uncertainty and the precarious lifestyle imposed on her by her individual social situation - woman without education; woman with an ‘undesired pregnancy’, sent away from the family home; woman-victim of the duplicity of a ‘bad-man’; young woman from a family struck by poverty... In choosing to become a djembe-player, each of these categories of women shows her desire to dignify herself by dignifying her instrument.
But it is with NIMBAYA! That a brave new adventure is beginning - a socio-cultural and economic departure from tradition, which is fired by a fervent determination to attain the level of the great djembefola and to live by the sweat of their own brows. Hence the name ‘NIMBAYA’, recalling the bravura and courage of the intrepid warrior-women of the ancient kingdom of Dahomey (now called Benin). Equally daring is their goal to ‘demystify’ the djembe, an instrument historically reserved for male players and for many years, an instrument without nobility or notoriety. With ‘NIMBAYA!’ all these preconceptions melt away and what is left is a powerful, energetic and grandiose spectacle, which sends to the world, its message of peace, optimism and serenity.
-Saidou Dioubate, National Director of Culture of the Republic of Guinea, Conakry and edited by Nathalie Roy & Mamoudou Conde".
-snip-
Note: "Djembefola" means "djembe player.
"Bala" is a traditional name for "balafon".
****
Example #1: African Women Djembefola
Uploaded by chicagodjembeproject on Oct 11, 2006
African women playing djembe in Guinea, West Africa
**
Example #2: Amazones - Women Drummers of Guinea @ CCC 092007
Uploaded by rpmime on Sep 20, 2007
The Amazing "Amazones - Women Drummers of Guinea" performed at the 'One World Under One Roof', part of the World Music Festival (2007) last day here in Chicago.
**
Example #3: NIMBAYA!
Uploaded by Nathalie Roy on Jan 18, 2010
THIS IS STUDIO RECORDING - Formerly named Amazones Women Master Drummers, NIMBAYA! Drum & Dance Company is the first professional all-female ensemble on traditional drums. they have toured USA, Canada, UAE, Brazil, Europe, South Korea...
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Sunday, November 13, 2011
Concentration 64 Handclap Game
Edited by Azizi Powell
For no particular reason, I woke up this morning thinking about the children's handclap game "Concentration 64". I collect children's playground rhymes, so it's not unusual for me to think about that subject. But for some time I've wondered about the significance of the number "64" in that Concentration handclap game.
In case you're unfamilar with this handclap game, here's an example:
CONCENTRATION 64 (Example #1)
I used to play a game called concentration
all the girls played it
it was like this
concentration(clap clap clap)
64(clap clap clap)
no repeat(clap clap clap)
or hesitation(clap clap clap)
I'll go first(clap clap clap)
you go last(clap clap clap)
the category is(clap clap clap)
______________ (fill it in your self.)
you slapped each others hands while you were saying the words and after the category name the person had to say something in that category without repeating what someone had already said or hesitating or they were out.
-Guest, just visiting ,Origins: Concentration (kids' game); http://www.mudcat.org/thread.cfm?threadid=85915 ; 11/11/2011 (hereafter given as "Mudcat: Concentration game")
-snip-
For the record, "Concentration 64" isn't only a "girl's game", though it does appear that, like other handclap, it is mostly played by females. Judging from the examples posted on YouTube and on various other internet sites, including my website http://cocojams.com/,versions of "Concentration 64" are played in various nations throughout the world. Also judging from YouTube videos & websites of children's rhymes, "Concentration 64" is the most commonly used name for that handclap game in the United States. But that game has other names in the USA such as "Concentration", "Hands Up To (or "Hands For") 85", "Hands Up To One Eighty Five", and "Hands Down Vanilla Five". I've also collected an example which starts with the line "Nintendo 64" ("Nintendo" being the brand name of a very popular video game in the 1980s). An example with that name is found below.
In addition to it being a fun to play, "Concentration" helps children develop and reinforce memory skills, language development, and coordination. That mildly competitive hand game also helps children learn how to be team players. And it's not just kids who play it.
WHAT THE NAME "CONCENTRATION 64" MEANS
Contrary to some folks who "study" children's rhymes, chants & singing game songs and who are satisfied with the belief that most of the words in those rhymes don't have to mean anything, I think that children often want the rhymes that they recite or sing to make sense.
Here are two possible theories for the line "concentration 64".
Prefacing note about these theories:
I think that theory #1 explains the word "concentration" and may explain why there is a number in that game title, even if it doesn't explain why the number is "64". Theory #2 may also explain the use of a number in that game title, even if it doesn't quite explain why that number is "64". It's possible that both of these theories or neither of these theories are the source of the name "Concentration 64" and/or similar phrases.
Theory #1: A Card Game
The title of the children's playground hand game "Concentration 64" came from the deck of cards game "Concentration".
From http://en.wikipedia.org/wiki/Concentration_(game):
"Concentration, also known as Memory, Pelmanism, Shinkei-suijaku, Pexeso or simply Pairs, is a card game in which all of the cards are laid face down on a surface and two cards are flipped face up over each turn. The object of the game is to turn over pairs of matching cards. Concentration can be played with any number of players or as solitaire and is an especially good game for young children, though adults may find it challenging and stimulating as well. The scheme is often used in quiz shows and can be employed as an educational game...
Any deck of playing cards may be used, although there are special cards available, as shown in the picture above. The rules given here are for a standard deck of 52 cards, which are normally laid face down in 4 rows of 13 cards each. The two jokers may be included for a tableau of 6 rows of 9 cards each.
In turn each player chooses two cards and turns them face up. If they are of the same rank and color (e.g. 6 of hearts and 6 of diamonds, queen of clubs and queen of spades, or both jokers, if used) then that player wins the pair and plays again. If they are not of the same rank and color, they are turned face down again and play passes to the player on the left. The game ends when the last pair has been picked up. The winner is the person with the most pairs, and there may be a tie for first place."
Even if the source of the word "concentration" is the card game "Concentration", I believe that word also refers to what people playing this game are doing and what people playing that game need to have in order to play the game well. Having good concentration is the essence of this game. That's why the second line that is recited is usually "no repeats and no hesitations". That line sets up the rules to the game. Players can't repeat what has already been said and can't hesitate. They must say something in that particular category without hesitating. The prohibition against hesitating in this handclap game may also be because the players must remain "on beat". If a player repeats or hesitates than she (or he) is out of the game. The last person in the game is the winner.
Theory #2: Walkie Talkie or Ham Radio Jargon
The only walkie-talkie jargon I know is "10-4" which I think means "okay" or "I'm finish talking". However, I'm not sure if "64" means anything in walkie talkie jargon or ham radio jargon. If those numbers aren't from walkie talkie or ham radio cultures, it's possible that children may have thought that "64" meant the same as "10-4".
But, I'm very leery of the theory that the original name used for this game was "Concentration 10-4" and children changed that name to "Concentration 64". If that were so, you would think that a few people would still be using that old name. However, I've never heard or read of anyone saying "Concentration 10-4".
Click http://wiki.answers.com/Q/When_was_the_first_walkie_talkie_invented for information about hand-held portable, bi-directional radio transceivers called "walkie talkies".
"PROBABLE" EXAMPLES OF FOLK ETYMOLOGY IN THIS GAME
The earliest phrase that was used in these handclap games probable was "Concentration 64". But because of folk etymology, children (and people of other ages) playing this game started using referring to this game as "Concentration One Eighty Five", or "Hands Down Vanilla Five", or "Nintendo 64" or other similar names instead of the name "Concentration 64".
"Folk etymology" occurs when a person mishears or misremembers a word or words of a spoken or written composition. "Folk etymology" also occurs when a person repeats and passes on to others a word or that was "folk etymologized". Some "folk etymology words can be localized or personalized(substituting a local place name or another person's name for a word or words even if they don't sound the same.) Or a word or word can be updated. "Nintendo 64" is an example of this. "Nintendo" is a brand name of popular (or once popular) video game.
ADDITIONAL EXAMPLES OF CONCENTRATION 64
Here are a few more examples of this rhyme.
(Example #1 is posted above. These examples are given in no particular order.)
HANDS DOWN VANILLA FIVE (Concentration handclap game, Example #2)
How about this: remember this game that was played, usually with five or more people, and you have to name a certain number of things that was related to a particular subject? The chant went something like this:
Hands down vanilla five (Clap Clap)
Gonna get (Clap Clap)
One a-piece (Clap Clap)
To no a-piece (Clap Clap)
No Hesitation...(Clap Clap)
No Demonstration (Clap Clap)
Subject (Clap Clap)
Names of (Clap Clap) (enter subject name here)" Usually, the subject name was boys, or cars, or teachers....and after each round, the number of things you had to name went up....that used to be my FAVORITE GAME!! lol"
-PrettyPetite (African American woman; Atlanta, Georgia by way of Miami, Florida; http://www.greekchat.com/gcforums/showthread.php?t=4123&page=3; 12/29/2000
**
NINTENDO 64 (Concentration handclap game, Example #3)
Nintendo 64,
no repeats or hesitations
starting with the name of... (anything usually colors, boys, girls, cars, toys, tv shows, movies, etc) they keep up the hand beat and shouting names to someone messes up whoever is left at the end is the winner.
-Guest KLC, (East Harlem, New York, New York, http://www.mudcat.org/thread.cfm?threadid=63097 ; Folklore: Do kids still do clapping rhymes?; July 11, 2008
**
HANDS UP FOR ONE EIGHTY-FIVE (Concentration handclap game, Example #4)
Hands up for one eighty-five (clap-clap)
It's gonna be (clap-clap)
A big surprise (clap-clap)
No repeats (clap-clap)
No hesitations (clap-clap)
No demonstrations (clap-clap)
Starting with (clap-clap)
Names... (clap-clap)
Of... (clap-clap)
(colors, girls, boys, etc...) (clap-clap)... repeat names until someone loses.
The first person to repeat, hesitate, or demonstrate any word lost the game.
Multiple people stood in a circle and clapped hands with kids to the right and left of them. If only 2 people, they faced each other.
I now play this game with my kids. They love it!
-Guest, Melissa; "Mudcat: Concentration game"; 6/2/2010
***
CONCENTRATION 64 (Concentration handclap game, Example #5)
This is the concentration game I use to play when I was a kid...
1)One person chants concentration 64...no repeats or hesitations...i'll start by naming names
2)And then the person who was chanting names a name
3) Then this process continuing to alternate until someone hesitates or can"t name a name. A name can not be repeated.
NOTE: The beat that continues is like 2 double low fives (like in the game of slaps) and then 3 fast claps. This process continues until the end of the game.
-Guest, blank; "Mudcat: Concentration game"; Origins: Concentration (kids' game); 6/24/2010
****
ZING ZING ZING (Concentration handclap game, Example #6)
Zing-zing-zing, and away we go
To the Jackie Gleason studio.*
Calaree! Calarah!
One apiece,
No repeats
Or hesitations
Or demonstrations!
Name some...
Foods: "Ham." "Turkey." "Eggs." "Cheeseburger." "Bacon," "Sausage." "Hot dog." "Watermelon." "What?" "Watermelon." "Toast."
"Hamburger." "I said hamburger." "No you didn't," ALL: "Yes she did. You out!"
Cars: "Mustang. ""Pinto." "What!? What you all naming? Oh." "Mustang II." "Firebird." "Mercury." "Cutlass Supreme." "Cadillac."
"Mustang." "Supreme II." "Cutlass S." "Um ...F'irebird." "You out!"
-Washington, D.C., schoolgirls, vocals.
Old Mother Hippletoe: Rural and Urban Children's Songs (Recorded in 1976 at the Smithsonian Institution Festival of American Folklife, Washington, D.C.; New World NW 29); http://www.newworldrecords.org/linernotes/80291.pdf
-snip-
This is the earliest version of a Concentration handclap rhyme that I've collected (which doesn't mean that it's the earliest version).
Note that this example doesn't include the word "Concentration". Nor does it include the number "64" or any other number.
The lines "Zing Zing Zing and away we go/To the Jackie Gleason studio/Calaree! Calarah!" serve as an introduction to this rhyme. The "no repeats or hesitation or demonstration" line states the rules for playing this particular handclap game. The actual game begins with the "name of ___" phrase.
"Zing zing zing" is used as an introductory phrase for a number of other African American playground rhymes. For instance, that phrase is part of one possible introduction to the widely known "Tweeleelee" ("Rockin Robin") handclap rhyme:
"Zing zing zing
Like a washin machine
All the little birdies on jaybird street
Love to hear the robin sing
Tweet tweet tweet
Rockin robin"
-snip-
*Here's some information about "Jackie Gleason":
From http://en.wikipedia.org/wiki/The_Jackie_Gleason_Show:
"The Jackie Gleason Show is the name of a series of popular American network television shows that starred Jackie Gleason, which ran from 1952 to 1970."
-snip-
The reference to "The Jackie Gleason Show" may be explained by those schoolgirls learning that rhyme from older siblings who may have actually watched that television show. Or those schoolgirls could have watched reruns of that show. This example and other examples of "Concentration" demonstrate how culture is often captured in children's playground rhymes. For example, children, teens, or adults playing that same game in 2011 may still choose "names of cars" as a category. And those playing that game would still have to concentrate to make sure that they didn't repeat what was previously said. Also, when it was their turn to call out a name of a car, those players still would have to do so "on beat" with "no hesitation". However, in 2011 the names of cars would be very different than those names given in 1976.
****
FEATURED VIDEOS
Here are two video examples of "Concentration 64" rhymes:
Video #1: Concentration 64
uploaded by sbgal8; July 14, 2007
****
Video #2: Concentration 64
Uploaded by tianshiangel on Feb 12, 2008
Editor's Note: At the end of this video one of the player's asked about the meaning of the number "64". The girl who was doing the chanting answered that it just rhymed. However, "64" doesn't rhyme with the word "concentration" or anything else that was said in that rhyme.
****
Also, here's a video from Haiti of school girls playing a handclap game. I'm not sure what the girls are saying but the game has the same beat as "Concentration" and it appears that the game is played the same way.
Haitian Children playing in Santos Schoolyard
Uploaded by steveappleg8 on Jul 26, 2010
MVI 3758, recorded July 21 2010. Mission trip to Port au Prince Haiti, St. Andrew Baptist Church.
-snip-
Notice that the publisher of this video indicates that the video was taken during a mission trip to Haiti. It's likely that this is an example of a game that Americans (or people from another nation) taught children from the nation that they were visiting. That is one way that games become known throughout the world.
However, notice how the girls put their hands on their hips after they clap their hands. I've not seen that style of playing Concentration in the USA.
****
RELATED LINKS
Click this link for more video examples of Concentration 64:
http://pancocojams.blogspot.com/2013/05/more-videos-of-concentration-64-hand.html
**
For more more text examples & videos of this handclap game, click this page of my Cocojams website http://www.cocojams.com/content/handclap-jump-rope-and-elastics-rhymes.
Examples of "Tweeleelee" ("Rockin Robin") are posted on this page of my Cocojams website http://cocojams.com/content/handclap-jump-rope-and-elastics-rhymes-2.
Click http://zumalayah.blogspot.com/2013/04/classic-sesame-street-television-clips.html "Sesame Street Hand Clap Rhymes & Children's Stepping Routines" for other examples of children's hand clap games.
NOTE: There's another handclap game called "Concentration" (children are dying), but's that not the game I'm talking about. For examples of that game, click the Mudcat: Concentration game link that was previously given.
****
ACKNOWLEDGEMENT AND THANKS
Thanks to all those who contributed rhyme examples to this post. Thanks also to the video uploaders.
Thanks for visiting pancocojams.
Visitor comments are welcome!
For no particular reason, I woke up this morning thinking about the children's handclap game "Concentration 64". I collect children's playground rhymes, so it's not unusual for me to think about that subject. But for some time I've wondered about the significance of the number "64" in that Concentration handclap game.
In case you're unfamilar with this handclap game, here's an example:
CONCENTRATION 64 (Example #1)
I used to play a game called concentration
all the girls played it
it was like this
concentration(clap clap clap)
64(clap clap clap)
no repeat(clap clap clap)
or hesitation(clap clap clap)
I'll go first(clap clap clap)
you go last(clap clap clap)
the category is(clap clap clap)
______________ (fill it in your self.)
you slapped each others hands while you were saying the words and after the category name the person had to say something in that category without repeating what someone had already said or hesitating or they were out.
-Guest, just visiting ,Origins: Concentration (kids' game); http://www.mudcat.org/thread.cfm?threadid=85915 ; 11/11/2011 (hereafter given as "Mudcat: Concentration game")
-snip-
For the record, "Concentration 64" isn't only a "girl's game", though it does appear that, like other handclap, it is mostly played by females. Judging from the examples posted on YouTube and on various other internet sites, including my website http://cocojams.com/,versions of "Concentration 64" are played in various nations throughout the world. Also judging from YouTube videos & websites of children's rhymes, "Concentration 64" is the most commonly used name for that handclap game in the United States. But that game has other names in the USA such as "Concentration", "Hands Up To (or "Hands For") 85", "Hands Up To One Eighty Five", and "Hands Down Vanilla Five". I've also collected an example which starts with the line "Nintendo 64" ("Nintendo" being the brand name of a very popular video game in the 1980s). An example with that name is found below.
In addition to it being a fun to play, "Concentration" helps children develop and reinforce memory skills, language development, and coordination. That mildly competitive hand game also helps children learn how to be team players. And it's not just kids who play it.
WHAT THE NAME "CONCENTRATION 64" MEANS
Contrary to some folks who "study" children's rhymes, chants & singing game songs and who are satisfied with the belief that most of the words in those rhymes don't have to mean anything, I think that children often want the rhymes that they recite or sing to make sense.
Here are two possible theories for the line "concentration 64".
Prefacing note about these theories:
I think that theory #1 explains the word "concentration" and may explain why there is a number in that game title, even if it doesn't explain why the number is "64". Theory #2 may also explain the use of a number in that game title, even if it doesn't quite explain why that number is "64". It's possible that both of these theories or neither of these theories are the source of the name "Concentration 64" and/or similar phrases.
Theory #1: A Card Game
The title of the children's playground hand game "Concentration 64" came from the deck of cards game "Concentration".
From http://en.wikipedia.org/wiki/Concentration_(game):
"Concentration, also known as Memory, Pelmanism, Shinkei-suijaku, Pexeso or simply Pairs, is a card game in which all of the cards are laid face down on a surface and two cards are flipped face up over each turn. The object of the game is to turn over pairs of matching cards. Concentration can be played with any number of players or as solitaire and is an especially good game for young children, though adults may find it challenging and stimulating as well. The scheme is often used in quiz shows and can be employed as an educational game...
Any deck of playing cards may be used, although there are special cards available, as shown in the picture above. The rules given here are for a standard deck of 52 cards, which are normally laid face down in 4 rows of 13 cards each. The two jokers may be included for a tableau of 6 rows of 9 cards each.
In turn each player chooses two cards and turns them face up. If they are of the same rank and color (e.g. 6 of hearts and 6 of diamonds, queen of clubs and queen of spades, or both jokers, if used) then that player wins the pair and plays again. If they are not of the same rank and color, they are turned face down again and play passes to the player on the left. The game ends when the last pair has been picked up. The winner is the person with the most pairs, and there may be a tie for first place."
Even if the source of the word "concentration" is the card game "Concentration", I believe that word also refers to what people playing this game are doing and what people playing that game need to have in order to play the game well. Having good concentration is the essence of this game. That's why the second line that is recited is usually "no repeats and no hesitations". That line sets up the rules to the game. Players can't repeat what has already been said and can't hesitate. They must say something in that particular category without hesitating. The prohibition against hesitating in this handclap game may also be because the players must remain "on beat". If a player repeats or hesitates than she (or he) is out of the game. The last person in the game is the winner.
Theory #2: Walkie Talkie or Ham Radio Jargon
The only walkie-talkie jargon I know is "10-4" which I think means "okay" or "I'm finish talking". However, I'm not sure if "64" means anything in walkie talkie jargon or ham radio jargon. If those numbers aren't from walkie talkie or ham radio cultures, it's possible that children may have thought that "64" meant the same as "10-4".
But, I'm very leery of the theory that the original name used for this game was "Concentration 10-4" and children changed that name to "Concentration 64". If that were so, you would think that a few people would still be using that old name. However, I've never heard or read of anyone saying "Concentration 10-4".
Click http://wiki.answers.com/Q/When_was_the_first_walkie_talkie_invented for information about hand-held portable, bi-directional radio transceivers called "walkie talkies".
"PROBABLE" EXAMPLES OF FOLK ETYMOLOGY IN THIS GAME
The earliest phrase that was used in these handclap games probable was "Concentration 64". But because of folk etymology, children (and people of other ages) playing this game started using referring to this game as "Concentration One Eighty Five", or "Hands Down Vanilla Five", or "Nintendo 64" or other similar names instead of the name "Concentration 64".
"Folk etymology" occurs when a person mishears or misremembers a word or words of a spoken or written composition. "Folk etymology" also occurs when a person repeats and passes on to others a word or that was "folk etymologized". Some "folk etymology words can be localized or personalized(substituting a local place name or another person's name for a word or words even if they don't sound the same.) Or a word or word can be updated. "Nintendo 64" is an example of this. "Nintendo" is a brand name of popular (or once popular) video game.
ADDITIONAL EXAMPLES OF CONCENTRATION 64
Here are a few more examples of this rhyme.
(Example #1 is posted above. These examples are given in no particular order.)
HANDS DOWN VANILLA FIVE (Concentration handclap game, Example #2)
How about this: remember this game that was played, usually with five or more people, and you have to name a certain number of things that was related to a particular subject? The chant went something like this:
Hands down vanilla five (Clap Clap)
Gonna get (Clap Clap)
One a-piece (Clap Clap)
To no a-piece (Clap Clap)
No Hesitation...(Clap Clap)
No Demonstration (Clap Clap)
Subject (Clap Clap)
Names of (Clap Clap) (enter subject name here)" Usually, the subject name was boys, or cars, or teachers....and after each round, the number of things you had to name went up....that used to be my FAVORITE GAME!! lol"
-PrettyPetite (African American woman; Atlanta, Georgia by way of Miami, Florida; http://www.greekchat.com/gcforums/showthread.php?t=4123&page=3; 12/29/2000
**
NINTENDO 64 (Concentration handclap game, Example #3)
Nintendo 64,
no repeats or hesitations
starting with the name of... (anything usually colors, boys, girls, cars, toys, tv shows, movies, etc) they keep up the hand beat and shouting names to someone messes up whoever is left at the end is the winner.
-Guest KLC, (East Harlem, New York, New York, http://www.mudcat.org/thread.cfm?threadid=63097 ; Folklore: Do kids still do clapping rhymes?; July 11, 2008
**
HANDS UP FOR ONE EIGHTY-FIVE (Concentration handclap game, Example #4)
Hands up for one eighty-five (clap-clap)
It's gonna be (clap-clap)
A big surprise (clap-clap)
No repeats (clap-clap)
No hesitations (clap-clap)
No demonstrations (clap-clap)
Starting with (clap-clap)
Names... (clap-clap)
Of... (clap-clap)
(colors, girls, boys, etc...) (clap-clap)... repeat names until someone loses.
The first person to repeat, hesitate, or demonstrate any word lost the game.
Multiple people stood in a circle and clapped hands with kids to the right and left of them. If only 2 people, they faced each other.
I now play this game with my kids. They love it!
-Guest, Melissa; "Mudcat: Concentration game"; 6/2/2010
***
CONCENTRATION 64 (Concentration handclap game, Example #5)
This is the concentration game I use to play when I was a kid...
1)One person chants concentration 64...no repeats or hesitations...i'll start by naming names
2)And then the person who was chanting names a name
3) Then this process continuing to alternate until someone hesitates or can"t name a name. A name can not be repeated.
NOTE: The beat that continues is like 2 double low fives (like in the game of slaps) and then 3 fast claps. This process continues until the end of the game.
-Guest, blank; "Mudcat: Concentration game"; Origins: Concentration (kids' game); 6/24/2010
****
ZING ZING ZING (Concentration handclap game, Example #6)
Zing-zing-zing, and away we go
To the Jackie Gleason studio.*
Calaree! Calarah!
One apiece,
No repeats
Or hesitations
Or demonstrations!
Name some...
Foods: "Ham." "Turkey." "Eggs." "Cheeseburger." "Bacon," "Sausage." "Hot dog." "Watermelon." "What?" "Watermelon." "Toast."
"Hamburger." "I said hamburger." "No you didn't," ALL: "Yes she did. You out!"
Cars: "Mustang. ""Pinto." "What!? What you all naming? Oh." "Mustang II." "Firebird." "Mercury." "Cutlass Supreme." "Cadillac."
"Mustang." "Supreme II." "Cutlass S." "Um ...F'irebird." "You out!"
-Washington, D.C., schoolgirls, vocals.
Old Mother Hippletoe: Rural and Urban Children's Songs (Recorded in 1976 at the Smithsonian Institution Festival of American Folklife, Washington, D.C.; New World NW 29); http://www.newworldrecords.org/linernotes/80291.pdf
-snip-
This is the earliest version of a Concentration handclap rhyme that I've collected (which doesn't mean that it's the earliest version).
Note that this example doesn't include the word "Concentration". Nor does it include the number "64" or any other number.
The lines "Zing Zing Zing and away we go/To the Jackie Gleason studio/Calaree! Calarah!" serve as an introduction to this rhyme. The "no repeats or hesitation or demonstration" line states the rules for playing this particular handclap game. The actual game begins with the "name of ___" phrase.
"Zing zing zing" is used as an introductory phrase for a number of other African American playground rhymes. For instance, that phrase is part of one possible introduction to the widely known "Tweeleelee" ("Rockin Robin") handclap rhyme:
"Zing zing zing
Like a washin machine
All the little birdies on jaybird street
Love to hear the robin sing
Tweet tweet tweet
Rockin robin"
-snip-
*Here's some information about "Jackie Gleason":
From http://en.wikipedia.org/wiki/The_Jackie_Gleason_Show:
"The Jackie Gleason Show is the name of a series of popular American network television shows that starred Jackie Gleason, which ran from 1952 to 1970."
-snip-
The reference to "The Jackie Gleason Show" may be explained by those schoolgirls learning that rhyme from older siblings who may have actually watched that television show. Or those schoolgirls could have watched reruns of that show. This example and other examples of "Concentration" demonstrate how culture is often captured in children's playground rhymes. For example, children, teens, or adults playing that same game in 2011 may still choose "names of cars" as a category. And those playing that game would still have to concentrate to make sure that they didn't repeat what was previously said. Also, when it was their turn to call out a name of a car, those players still would have to do so "on beat" with "no hesitation". However, in 2011 the names of cars would be very different than those names given in 1976.
****
FEATURED VIDEOS
Here are two video examples of "Concentration 64" rhymes:
Video #1: Concentration 64
uploaded by sbgal8; July 14, 2007
****
Video #2: Concentration 64
Uploaded by tianshiangel on Feb 12, 2008
Editor's Note: At the end of this video one of the player's asked about the meaning of the number "64". The girl who was doing the chanting answered that it just rhymed. However, "64" doesn't rhyme with the word "concentration" or anything else that was said in that rhyme.
****
Also, here's a video from Haiti of school girls playing a handclap game. I'm not sure what the girls are saying but the game has the same beat as "Concentration" and it appears that the game is played the same way.
Haitian Children playing in Santos Schoolyard
Uploaded by steveappleg8 on Jul 26, 2010
MVI 3758, recorded July 21 2010. Mission trip to Port au Prince Haiti, St. Andrew Baptist Church.
-snip-
Notice that the publisher of this video indicates that the video was taken during a mission trip to Haiti. It's likely that this is an example of a game that Americans (or people from another nation) taught children from the nation that they were visiting. That is one way that games become known throughout the world.
However, notice how the girls put their hands on their hips after they clap their hands. I've not seen that style of playing Concentration in the USA.
****
RELATED LINKS
Click this link for more video examples of Concentration 64:
http://pancocojams.blogspot.com/2013/05/more-videos-of-concentration-64-hand.html
**
For more more text examples & videos of this handclap game, click this page of my Cocojams website http://www.cocojams.com/content/handclap-jump-rope-and-elastics-rhymes.
Examples of "Tweeleelee" ("Rockin Robin") are posted on this page of my Cocojams website http://cocojams.com/content/handclap-jump-rope-and-elastics-rhymes-2.
Click http://zumalayah.blogspot.com/2013/04/classic-sesame-street-television-clips.html "Sesame Street Hand Clap Rhymes & Children's Stepping Routines" for other examples of children's hand clap games.
NOTE: There's another handclap game called "Concentration" (children are dying), but's that not the game I'm talking about. For examples of that game, click the Mudcat: Concentration game link that was previously given.
****
ACKNOWLEDGEMENT AND THANKS
Thanks to all those who contributed rhyme examples to this post. Thanks also to the video uploaders.
Thanks for visiting pancocojams.
Visitor comments are welcome!
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