Edited by Azizi Powell
[update 10/1/2012]
Teaser Tufi Duek Sansa Kroma
Uploaded by dudaborges1000 on Oct 3, 2011
-snip-
"Sansa Kroma" begins at .047.
****
This is Part II of a two part pancocojams series on the Ghanaian song "Sansa Kroma". This post features selected videos of that song.
Part I of this series provides several text (lyric) examples of the song, information about the song's meaning/s, and information about how the song was traditionally performed in Ghana. Click http://pancocojams.blogspot.com/2012/03/lyrics-meanings-of-ghanaian-song-sansa.html for Part I of this series.
Comments about the pronunciation of specific words in these songs can be found in Part I of this series.
****
PART II
These videos are presented in no particular order of preference.
Video #1: Teaser Tufi Duek Sansa Kroma
This video is posted at the top of this page.
[Correction from 9/30/2012 email sent to me by Magda]
"The first sansa Kroma video that you posted has an audio recorded by Mawaca, a [Brazilian] band that I direct http://www.mawaca.com.br/. IT is written that is a Tufi Duek group, but it is not. Tufi Duek is a fashion stylist that used our version of Sansa kroma for his teaser."
-snip-
Thanks for correcting my information, Magda!
-snip-
The first song that is sung in this video is " Nkosi sikelel' iAfrika", the national anthemn for the nation of South Africa.
****
Video #2: NTUAC 2009 Concert - Sansa Kroma
Uploaded by annettenwen on Nov 20, 2009
-snip-
NTUAC = National Taiwan University Alumni Chorus of Northern California
****
Video #3: Con Anima - Sansa Kroma
Uploaded by spcbass on Nov 5, 2008
Con Anima performing Sansa Kroma, at the October Music Department Concert, under the direction of Roger Powdrell.
****
Video #4: EVHS Choir - Sansa Kroma
Uploaded by itinkleonyoo on Jan 30, 2008
period 2 and 3 December 2007
-snip-
Here's another comment from the same blogger who previously quoted and whose comments strongly suggest that she or he speaks Akan:
"Its too short and chopy but good. And your the ONLY ones who have sang it right. all the other people say wuu and its annoying."
-1iloveyoutoo, 2010, http://www.youtube.com/all_comments?v=HWI6J1Kqn9s
****
Video #5: Sansa Kroma
Uploaded by musikluvr922 on Dec 18, 2007
Sansa Kroma- Christmas 2007
****
Sansa Kroma
Catherine Barnes, Uploaded on Aug 26, 2011
directed by Lindsay Schwartz
performed at the CEMUCHCA final concert in Cap-Haitien, Haiti on 7/9/11
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RELATED VIDEO
"Sansa Kroma" is traditionally performed as a children's rock passing game song. Here's a video of Ghanaian children playing a rock passing game using flip flop sandals as the objects that are passed around:
Ghana, Ayenyah, children's game after school
Uploaded by Tetsublackstar on Jan 8, 2010
My friend Michi shot this children's (maybe especially girls) play in Ayenyah village, Ghana.I seriously loved watching thier playing and listening to their singing. I want to go back to Ghana sooner and see my students again.
*Michi is working for OrphanAid Africa, one of the Ghanian NGO as a sports
****
My thanks to all those choirs and children who are shown in this post's selected videos. Thanks also to the uploaders of these videos.
Thank you for visiting pancocojams.
Viewer comments are welcome.
Friday, March 30, 2012
Lyrics & Meanings Of The Ghanaian Song "Sansa Kroma"
Edited by Azizi Powell
This post is Part I of a two part series on the Ghanaian children's game song "Sansa Kroma". The title "Sansa Kroma" is also given as "Sansa Akroma".
Part 1 of this series provides several text (lyric) examples of that song, information about the song's meaning/s, and information about how the song was traditionally performed in Ghana.
Part II of this series features selected videos of choirs singing "Sansa Kroma". Click http://pancocojams.blogspot.com/2012/03/videos-of-ghanaian-song-sansa-kroma.html for Part II of this series.
****
PART I
LYRICS FOR "SANSA KROMA"
Example #1:
"Sansa Kroma" is an Akan language, children's game song. Here are the words to this song from Let Your Voice Be Heard! Songs from Ghana and Zimbabwe by Kobena Adzenyah, Dumisani Maraire and Judith Cook Tucker (World Music Press, 1967):
Sansa kroma
Ne na woo aw
Che che kokoma
-snip-
According to those authors, the correct pronunciation for those words are: "sah-sah kroh-mah nee nay woo aw-chay chay koh-koh mah"
-snip-
A blogger on the American education site http://www.menc.org/forums/viewtopic.php?id=1082 [Hereafter given as Menc.org/Sansa Kroma] shared the following information about "Sansa Kroma" from that above mentioned book:
"I think probably the most authentic source for the [Sansa Kroma] song is Let Your Voice Be Heard! Songs from Ghana and Zimbabwe by Adzenyah, Maraire, and Tucker (the first 2 authors were born in Africa, the 3rd one is an expert on world music). The words are in the Akan language (one of several languages spoken in Ghana) and the phonetic pronunciation given in this book is:
sah-sah kroh-mah nee nay woo aw-chay chay koh-koh mah
The "n" sound in Sansa is not pronounced. I have seen this song a couple other places and the pronunciation has been listed as the same.
The translation for these words is "Sansa, the hawk. You are an orphan, and so you snatch up baby chicks." The book says:
"Akan children singing this song are reminded that if anything happend to their parents and they became orphans, they would not have to wander alone, frantically trying to provide for their own needs. They would be taken in by a relative or a family in their village."
This version is a playground song. The instructions for the game are:
"A rock is passed around the circle on the ground, according to one of two possible patterns. In the first pattern the rock is grabbed on the first beat and passed low to the ground to the right on the third beat of each measure. [grab, pass] In the second the child taps the rock on the ground on the first and third beat of the first measure. In the next measure the rock is passed on the first beat followed by a clap on the third beat. [tap, tap, pass, clap] This pattern is repeated." It also gives some instructions for clapping patterns, different ways to perform the song, and dancing to the song."
Here's another note from that book:
"Kwasi Aduonum includes a variant of Sansa Kroma called "Sansa Akroma" in his dissertation, a wonderful collection of Ghanian folktale songs. He classifies the song the song as a mmoguo song - a "song interlude" to be used by the audience or narrator at any point during the telling of a story which seems related in some way to the idea of thsi song. In his version, a baby male eagle chases fowl instead of attending his own mother's funeral, because he thought he had to eat before going to the funeral, if he hoped to eat at all. Aduonum writes "this is a teasing song referring to those who are truant and who do not give proper attention to events or duties which need to be given a priority."
As you can see, Let Your Voice Be Heard! is a very valuable resource if you are teaching about African music (this is just the info given for ONE song! and it has lots of great background info on Ghana and Zimbabwe and African music in general.)...
As for different versions... this is just the nature of folksongs in general. Usually the older a song is, the more variants on the song there are (a really old ballad or sea chantey might have a dozen different versions if you look hard enough), like a "whisper down the lane" effect because the songs are passed on through the aural tradition over sometimes hundreds of years in different areas of a country. Most of them weren't put into musical notation till sometime in the late 19th to early 20th century when folksong collectors like Childs, the Lomaxes, or the Seegers started to do this to preserve the music for posterity. Think of all the different versions of American folk songs and singing games like "Little Sally Water," "Tideo," or even "The Wheels on the Bus." One of the defining characterisitcs of a folk song is that it is mutable -the written versions we find are just ONE snapshot of the song collected by one folksong collector/musicologist in one place and time."
-Last edited by Christine Nowmos (2008-09-23 08:19:47)
****
Example #2
From http://wiki.answers.com/Q/What_does_sansa_kroma_ne_na_wou_o_kye_kyer_nko_ko_MBA_mean
"Sansa kroma is an African folk song. The lyrics mean:
Sansa : A name
Kroma : Hawk
Ne na wuo : You were orphaned
O kye kyer : Orphan
Nko ko MBA : To snatch up chicks
It is to be entrepretated [sic] as a children's song used to comfort the children from Ghana. It basically says, you're lucky you are not an orphan. And you are lucky someone feeds you, and you don't have to fend for yourself. It is a very lovely and entertaining song."
-snip-
[This information was not attributed to ID2926647834. No date was given for this comment.]
I believe that the lyrics given above are pronounced the same as those given in Example #1, but the spelling conforms more closely to the way those sounds are spelled in the Akan language. Click http://pancocojams.blogspot.com/2012/03/che-che-kule-origin-lyrics-videos.html for my post on the Akan children's song "Che Che Kule" for examples of same "Kye kye" spelling of the sounds "che che" (chay chay).
****
Example #3
Sansa Kroma
Nene yo keke kokomba (x3)
Sansa (4)
Sansa Kroma
Nene yo keke Kokomba
(Improvisational)
Translation
It's a playground song, which is sung back and forth when playing games like 'tag'.
The hawk chases the chick, but friends save the chick from the hawk.
-alisonleejones, http://www.youtube.com/all_comments?v=wS_tHDl6s4I , 2010 [Hereafter given as Sansa Kroma- Christmas 2007]
****
Example #4
[This was written in response to the lyrics given here as Example #3]:
No it's not! It's
Sansa Kroma
Nene who
a cha cha kokoma
-passionsinging101, 2010 [Sansa Kroma- Christmas 2007]
**
Reply to passionsinging101:
these are the traditional lyrics. Listening to the choir, yes - I see it matches what you have here.
-alisonleejones, 2010 Sansa Kroma- Christmas 2007]
****
Example #5
From
http://www.vosa.org/includes/attach/611-20080215212858.pdf
Lyrics: sansa kroma ne na woo aw che che kokoma
Pronunciation: Sansa kroma (se se kromah) se se “e” as in bed
ne na woo (nee nay woo; woo as in boo)
aw che che kokoma – e as in bed; chay chay (ay as in hay); kokomah
-snip-
The statement that the correct pronunciation for the word "woo" in the Akan song "Sansa Kroma" may be inaccurate. As shown in this post, the word "woo" is also given as "wuo" and "yo". For various reasons, including its inclusion in the chants and prayers given in R. S. Rattray's 1923 classic book The Ashantis, my sense is that "yo" is probably the most accurate Akan spelling of that word/sound. But how is "woo"/"wuo"/"yo" pronounced?
Out of the five videos that are showcased in Part II of this series, I've heard the word "woo" ("wuo", "yo") pronounced like "boo" in Videos #3 and #5. I also heard that word pronounced very much like the English word "hoard but without the "d" ending in Video #1 in Part II.
A comment by a video viewer who wrote on two different video comment threads about those choirs' pronunciation of the word "woo"/"wuo"/"yo" suggests to me that this commenter knows how to speak Akan - a language I unfortunately don't speak or read.
On the viewer comment thread for the video which I abritarily assigned the number 3, that commenter wrote:
"...But its accutally pronounsed w (o) now 00like woohoo you know. Thats the right ot pronounse
it.
-1iloveyoutoo, 2010, http://www.youtube.com/all_comments?v=wOldAQomNAM
-snip-
I think "now" is a typo for "not".
And on the video which I arbitrarily assigned the number #4, that same commenter wrote:
"...And your the ONLY ones who have sang it right. all the other people say wuu and its annoying."
-1iloveyoutoo, 2010 http://www.youtube.com/all_comments?v=HWI6J1Kqn9s
Actually, out of the five videos I posted of "Sansa Kroma", in two of those videos- Video #2 and Video #4 - the choirs sang what sounds like "woh" (the same as the English word "whoa") to me. The English word "whoa" rhymes with the English word "sew" as in the familiar American saying "Whoa, Nellie!"). I'd love to know which pronounciation is the correct one for this Akan word. If you know that language, please post which is the correct way to say that word. Thanks!
ADDITIONAL COMMENTS
I very much agree with Christine Nowmos's quoted above that because "Sansa Kroma" is a folk song, it is to be expected that there are different versions of that song, including different arrangements, different tempos, and different ways that it is sung (for instance, in unison, call & response, and as a round). That said, from a folkloric perspective, I believe that it would be helpful and interesting to know more about this song. For instance, when was "Sansa Kroma" first documented? One commenter in a YouTube viewer comment thread wrote that indicates her grandmother remembers this song [presumably] from Ghana in the 1930s. Is there any other documentation that precedes that date? It appears from the YouTube videos of "Sansa Kroma" that many arrangements of this song are sung "in the round"; ("A round is a musical composition in which two or more voices sing exactly the same melody (and may continue repeating it indefinitely), but with each voice beginning at different times so that different parts of the melody coincide in the different voices, but nevertheless fit harmoniously together". http://en.wikipedia.org/wiki/Round_(music). Presumably, singing this Akan song that way is a Western adaptation. But were the earliest versions of this song sung in unison or in a call & response pattern, or both? Also, since most versions of this song on YouTube are choral arrangements, I believe it's important to document that this song may have begun as a children's rock passing game song, and not a formal performance song.
Furthermore, I think it would be interesting to explore how this song has become as widely known as it appears to be in the USA and elsewhere, as evidenced by multiple YouTube videos of this song. The Let Your Voice Be Heard! Songs from Ghana and Zimbabwe book is probably one answer to that question. A blogger on that Menc.org/Sansa Kroma discussion thread mentioned that she may have learned "Sansa Kroma" from an education conference, and another blogger on that site added another piece to this puzzle (at least for the United States)
****
From Menc.org/Sansa Kroma
2008-09-22 22:22:03
flutie
"
I've heard it in the gr. 5 Silver Burdett Music book. They write the title as Sasa Akroma. The last "a" of Sasa and the first "A" of Akroma run together. The first 4 bars are: Sah, sah kroh mah, woh nay ah woh chay chay nkoh koh mah and 2nd line repeats with a different tune. Hope this helps."
-snip-
Given this information, it seems to me that the Silver Burdett Music book may be the reason why music teachers mistakenly write the Akan word "sansa" as "sasa". Be aware both of those words are found in various African languages. For example, "sansa" is a South African (regional) generic name for the African thumb piano. Thumb pianos are also called "mbira", "kalimba" and other generic names throughout the huge continent of Africa. According to http://www.theakan.com/THE%20AKAN.pdf "The Akan, Other Africans, and The Sirius Star System" by K. Akwadapa (2008) [hereafter given as The Akan/pdf file], "sasa" is an Akan word that means "Spirit, nature Spirit". "Sasa" [same pronunciation "sah sah" is also a Swahili word that means "now", and shouldn't be confused with the Akan word "sansa". In the song "Sansa Kroma", "Sansa" is said to be a personal name. To date, I've been unable to find any etymological meaning for the Akan personal name "Sansa".
****
A SYMBOLICAL MEANING FOR THE SONG "SANSA KROMA"?
Could there be a symbolical meaning for the song "Sansa Kroma" beyond the widely reported meaning given to children that has been cited above?
I ask that question because in researching this post, I stumbled upon the following paper The Akan/pdf file part of whose content suggested to me that "Sansa Kroma" might have a deeper meaning.*
"The Akan/pdf" is an online paper about African mythology, etymology and related subjects. Note that this pdf file doesn't mention the song "Sansa Kroma" nor do I understand all of the points or "buy" all of the theories offered in that paper.
However, in the context of this post, what interested me was that the author of that paper, an Akan man, K. Akwadapa indicates that "the root word "koroma" in the Akan language means "falcon/hawk". K. Akwadapa also notes that the Bakamba people of South African refer to Egypt as "the land of the Sun-hawk or the Land of the Sun-eagle". If I understand him correctly, that author associates the symbology of the hawk/falcon among other African peoples to the symbology of the Eyptian god "Horus". He further notes the number of references in African mythology (and not just Egyptian mythology) to the falcon clan.
-snip-
In addition, K. Akwadapa indicates that "the Akan have been described as 'the falcon people'. This is because the Ashantis* are led by the falcon clan and the Bono, who were the greatest and longest ruling Akan people and the percusors of the Asantes were ruled by the falcon clan" (pps. 19, 20) K. Akwadapa explains that the Akan name for the falcon clan is "Ayo-ko" (p. 21)
-snip-
* The Ashantis (Asantes) are perhaps the population of the Akan who are best known throughout the world.
The website http://www.twi.bb/akan-abusua.php "Online Dictionary For The Twi Language of the Akan people Of Ghana, West Africa" provides information about the hawk, the falcon and other totems among the Akan people. Among the entries on that page are "Asakyiri abusua is represented by the hawk"; and "The falcon is the symbol of the Oyoko. It is also the family from which the Asantehene* comes".
In addition, that site provides the following summary of Akan beliefs about creation: "Aduana believe that at the time of creation, their ancestors descended from the skies on a golden chain. Others believe that they originally came from Asumanya and they were led by a duiker** with a flame in his mouth and gold in his cheeks. They proceeded to Dormaa where they believe the flame is still kept alight. Still others believe that from Asumanya a section of the Aduana headed for Akwamu"***.
*King
** A duiker is a small sized antelope
*** A community/area in Ghana.
Of course, bird totems and creation beliefs that people on earth are descended from sky beings are quite common throughout the world. However, the fact that some of the Akan totems are hawks, and falcons prompted my speculation about possible symbolical meaning/s of the orphaned hawk in the "Sansa Kroma" children's game song. Perhaps that song does just mean what most people say it means: i.e. that Akan children were assured that if they were ever orphaned they wouldn't have to fend for themselves like the young hawk had to. Yet, even before I learned about the presence of hawk and falcon totems among the Akan, that meaning sounded "too pat" to me What do you think about it?
ADDED July 10, 2014 [I noticed that some people were searching for the meaning of the colloquial phrase "too pat". "Too pat" means
"An explanation or meaning seems to fit preconceived ideas or previously considered theories too perfectly (or too well)." Therefore, that explanation sounds fake.
Here's a definition for the colloquial use of the word "pat":
http://www.thefreedictionary.com/pat
"Adv. 1. pat - completely or perfectly; "he has the lesson pat"; "had the system down pat" "
****
This concludes Part I of this series. Click http://pancocojams.blogspot.com/2012/03/videos-of-ghanaian-song-sansa-kroma.html for Part II of this series.
****
My thanks to all those whose writing I quoted.
Thanks to all those who visited this pancocojams page.
Viewer comments are welcome.
This post is Part I of a two part series on the Ghanaian children's game song "Sansa Kroma". The title "Sansa Kroma" is also given as "Sansa Akroma".
Part 1 of this series provides several text (lyric) examples of that song, information about the song's meaning/s, and information about how the song was traditionally performed in Ghana.
Part II of this series features selected videos of choirs singing "Sansa Kroma". Click http://pancocojams.blogspot.com/2012/03/videos-of-ghanaian-song-sansa-kroma.html for Part II of this series.
****
PART I
LYRICS FOR "SANSA KROMA"
Example #1:
"Sansa Kroma" is an Akan language, children's game song. Here are the words to this song from Let Your Voice Be Heard! Songs from Ghana and Zimbabwe by Kobena Adzenyah, Dumisani Maraire and Judith Cook Tucker (World Music Press, 1967):
Sansa kroma
Ne na woo aw
Che che kokoma
-snip-
According to those authors, the correct pronunciation for those words are: "sah-sah kroh-mah nee nay woo aw-chay chay koh-koh mah"
-snip-
A blogger on the American education site http://www.menc.org/forums/viewtopic.php?id=1082 [Hereafter given as Menc.org/Sansa Kroma] shared the following information about "Sansa Kroma" from that above mentioned book:
"I think probably the most authentic source for the [Sansa Kroma] song is Let Your Voice Be Heard! Songs from Ghana and Zimbabwe by Adzenyah, Maraire, and Tucker (the first 2 authors were born in Africa, the 3rd one is an expert on world music). The words are in the Akan language (one of several languages spoken in Ghana) and the phonetic pronunciation given in this book is:
sah-sah kroh-mah nee nay woo aw-chay chay koh-koh mah
The "n" sound in Sansa is not pronounced. I have seen this song a couple other places and the pronunciation has been listed as the same.
The translation for these words is "Sansa, the hawk. You are an orphan, and so you snatch up baby chicks." The book says:
"Akan children singing this song are reminded that if anything happend to their parents and they became orphans, they would not have to wander alone, frantically trying to provide for their own needs. They would be taken in by a relative or a family in their village."
This version is a playground song. The instructions for the game are:
"A rock is passed around the circle on the ground, according to one of two possible patterns. In the first pattern the rock is grabbed on the first beat and passed low to the ground to the right on the third beat of each measure. [grab, pass] In the second the child taps the rock on the ground on the first and third beat of the first measure. In the next measure the rock is passed on the first beat followed by a clap on the third beat. [tap, tap, pass, clap] This pattern is repeated." It also gives some instructions for clapping patterns, different ways to perform the song, and dancing to the song."
Here's another note from that book:
"Kwasi Aduonum includes a variant of Sansa Kroma called "Sansa Akroma" in his dissertation, a wonderful collection of Ghanian folktale songs. He classifies the song the song as a mmoguo song - a "song interlude" to be used by the audience or narrator at any point during the telling of a story which seems related in some way to the idea of thsi song. In his version, a baby male eagle chases fowl instead of attending his own mother's funeral, because he thought he had to eat before going to the funeral, if he hoped to eat at all. Aduonum writes "this is a teasing song referring to those who are truant and who do not give proper attention to events or duties which need to be given a priority."
As you can see, Let Your Voice Be Heard! is a very valuable resource if you are teaching about African music (this is just the info given for ONE song! and it has lots of great background info on Ghana and Zimbabwe and African music in general.)...
As for different versions... this is just the nature of folksongs in general. Usually the older a song is, the more variants on the song there are (a really old ballad or sea chantey might have a dozen different versions if you look hard enough), like a "whisper down the lane" effect because the songs are passed on through the aural tradition over sometimes hundreds of years in different areas of a country. Most of them weren't put into musical notation till sometime in the late 19th to early 20th century when folksong collectors like Childs, the Lomaxes, or the Seegers started to do this to preserve the music for posterity. Think of all the different versions of American folk songs and singing games like "Little Sally Water," "Tideo," or even "The Wheels on the Bus." One of the defining characterisitcs of a folk song is that it is mutable -the written versions we find are just ONE snapshot of the song collected by one folksong collector/musicologist in one place and time."
-Last edited by Christine Nowmos (2008-09-23 08:19:47)
****
Example #2
From http://wiki.answers.com/Q/What_does_sansa_kroma_ne_na_wou_o_kye_kyer_nko_ko_MBA_mean
"Sansa kroma is an African folk song. The lyrics mean:
Sansa : A name
Kroma : Hawk
Ne na wuo : You were orphaned
O kye kyer : Orphan
Nko ko MBA : To snatch up chicks
It is to be entrepretated [sic] as a children's song used to comfort the children from Ghana. It basically says, you're lucky you are not an orphan. And you are lucky someone feeds you, and you don't have to fend for yourself. It is a very lovely and entertaining song."
-snip-
[This information was not attributed to ID2926647834. No date was given for this comment.]
I believe that the lyrics given above are pronounced the same as those given in Example #1, but the spelling conforms more closely to the way those sounds are spelled in the Akan language. Click http://pancocojams.blogspot.com/2012/03/che-che-kule-origin-lyrics-videos.html for my post on the Akan children's song "Che Che Kule" for examples of same "Kye kye" spelling of the sounds "che che" (chay chay).
****
Example #3
Sansa Kroma
Nene yo keke kokomba (x3)
Sansa (4)
Sansa Kroma
Nene yo keke Kokomba
(Improvisational)
Translation
It's a playground song, which is sung back and forth when playing games like 'tag'.
The hawk chases the chick, but friends save the chick from the hawk.
-alisonleejones, http://www.youtube.com/all_comments?v=wS_tHDl6s4I , 2010 [Hereafter given as Sansa Kroma- Christmas 2007]
****
Example #4
[This was written in response to the lyrics given here as Example #3]:
No it's not! It's
Sansa Kroma
Nene who
a cha cha kokoma
-passionsinging101, 2010 [Sansa Kroma- Christmas 2007]
**
Reply to passionsinging101:
these are the traditional lyrics. Listening to the choir, yes - I see it matches what you have here.
-alisonleejones, 2010 Sansa Kroma- Christmas 2007]
****
Example #5
From
http://www.vosa.org/includes/attach/611-20080215212858.pdf
Lyrics: sansa kroma ne na woo aw che che kokoma
Pronunciation: Sansa kroma (se se kromah) se se “e” as in bed
ne na woo (nee nay woo; woo as in boo)
aw che che kokoma – e as in bed; chay chay (ay as in hay); kokomah
-snip-
The statement that the correct pronunciation for the word "woo" in the Akan song "Sansa Kroma" may be inaccurate. As shown in this post, the word "woo" is also given as "wuo" and "yo". For various reasons, including its inclusion in the chants and prayers given in R. S. Rattray's 1923 classic book The Ashantis, my sense is that "yo" is probably the most accurate Akan spelling of that word/sound. But how is "woo"/"wuo"/"yo" pronounced?
Out of the five videos that are showcased in Part II of this series, I've heard the word "woo" ("wuo", "yo") pronounced like "boo" in Videos #3 and #5. I also heard that word pronounced very much like the English word "hoard but without the "d" ending in Video #1 in Part II.
A comment by a video viewer who wrote on two different video comment threads about those choirs' pronunciation of the word "woo"/"wuo"/"yo" suggests to me that this commenter knows how to speak Akan - a language I unfortunately don't speak or read.
On the viewer comment thread for the video which I abritarily assigned the number 3, that commenter wrote:
"...But its accutally pronounsed w (o) now 00like woohoo you know. Thats the right ot pronounse
it.
-1iloveyoutoo, 2010, http://www.youtube.com/all_comments?v=wOldAQomNAM
-snip-
I think "now" is a typo for "not".
And on the video which I arbitrarily assigned the number #4, that same commenter wrote:
"...And your the ONLY ones who have sang it right. all the other people say wuu and its annoying."
-1iloveyoutoo, 2010 http://www.youtube.com/all_comments?v=HWI6J1Kqn9s
Actually, out of the five videos I posted of "Sansa Kroma", in two of those videos- Video #2 and Video #4 - the choirs sang what sounds like "woh" (the same as the English word "whoa") to me. The English word "whoa" rhymes with the English word "sew" as in the familiar American saying "Whoa, Nellie!"). I'd love to know which pronounciation is the correct one for this Akan word. If you know that language, please post which is the correct way to say that word. Thanks!
ADDITIONAL COMMENTS
I very much agree with Christine Nowmos's quoted above that because "Sansa Kroma" is a folk song, it is to be expected that there are different versions of that song, including different arrangements, different tempos, and different ways that it is sung (for instance, in unison, call & response, and as a round). That said, from a folkloric perspective, I believe that it would be helpful and interesting to know more about this song. For instance, when was "Sansa Kroma" first documented? One commenter in a YouTube viewer comment thread wrote that indicates her grandmother remembers this song [presumably] from Ghana in the 1930s. Is there any other documentation that precedes that date? It appears from the YouTube videos of "Sansa Kroma" that many arrangements of this song are sung "in the round"; ("A round is a musical composition in which two or more voices sing exactly the same melody (and may continue repeating it indefinitely), but with each voice beginning at different times so that different parts of the melody coincide in the different voices, but nevertheless fit harmoniously together". http://en.wikipedia.org/wiki/Round_(music). Presumably, singing this Akan song that way is a Western adaptation. But were the earliest versions of this song sung in unison or in a call & response pattern, or both? Also, since most versions of this song on YouTube are choral arrangements, I believe it's important to document that this song may have begun as a children's rock passing game song, and not a formal performance song.
Furthermore, I think it would be interesting to explore how this song has become as widely known as it appears to be in the USA and elsewhere, as evidenced by multiple YouTube videos of this song. The Let Your Voice Be Heard! Songs from Ghana and Zimbabwe book is probably one answer to that question. A blogger on that Menc.org/Sansa Kroma discussion thread mentioned that she may have learned "Sansa Kroma" from an education conference, and another blogger on that site added another piece to this puzzle (at least for the United States)
****
From Menc.org/Sansa Kroma
2008-09-22 22:22:03
flutie
"
I've heard it in the gr. 5 Silver Burdett Music book. They write the title as Sasa Akroma. The last "a" of Sasa and the first "A" of Akroma run together. The first 4 bars are: Sah, sah kroh mah, woh nay ah woh chay chay nkoh koh mah and 2nd line repeats with a different tune. Hope this helps."
-snip-
Given this information, it seems to me that the Silver Burdett Music book may be the reason why music teachers mistakenly write the Akan word "sansa" as "sasa". Be aware both of those words are found in various African languages. For example, "sansa" is a South African (regional) generic name for the African thumb piano. Thumb pianos are also called "mbira", "kalimba" and other generic names throughout the huge continent of Africa. According to http://www.theakan.com/THE%20AKAN.pdf "The Akan, Other Africans, and The Sirius Star System" by K. Akwadapa (2008) [hereafter given as The Akan/pdf file], "sasa" is an Akan word that means "Spirit, nature Spirit". "Sasa" [same pronunciation "sah sah" is also a Swahili word that means "now", and shouldn't be confused with the Akan word "sansa". In the song "Sansa Kroma", "Sansa" is said to be a personal name. To date, I've been unable to find any etymological meaning for the Akan personal name "Sansa".
****
A SYMBOLICAL MEANING FOR THE SONG "SANSA KROMA"?
Could there be a symbolical meaning for the song "Sansa Kroma" beyond the widely reported meaning given to children that has been cited above?
I ask that question because in researching this post, I stumbled upon the following paper The Akan/pdf file part of whose content suggested to me that "Sansa Kroma" might have a deeper meaning.*
"The Akan/pdf" is an online paper about African mythology, etymology and related subjects. Note that this pdf file doesn't mention the song "Sansa Kroma" nor do I understand all of the points or "buy" all of the theories offered in that paper.
However, in the context of this post, what interested me was that the author of that paper, an Akan man, K. Akwadapa indicates that "the root word "koroma" in the Akan language means "falcon/hawk". K. Akwadapa also notes that the Bakamba people of South African refer to Egypt as "the land of the Sun-hawk or the Land of the Sun-eagle". If I understand him correctly, that author associates the symbology of the hawk/falcon among other African peoples to the symbology of the Eyptian god "Horus". He further notes the number of references in African mythology (and not just Egyptian mythology) to the falcon clan.
-snip-
In addition, K. Akwadapa indicates that "the Akan have been described as 'the falcon people'. This is because the Ashantis* are led by the falcon clan and the Bono, who were the greatest and longest ruling Akan people and the percusors of the Asantes were ruled by the falcon clan" (pps. 19, 20) K. Akwadapa explains that the Akan name for the falcon clan is "Ayo-ko" (p. 21)
-snip-
* The Ashantis (Asantes) are perhaps the population of the Akan who are best known throughout the world.
The website http://www.twi.bb/akan-abusua.php "Online Dictionary For The Twi Language of the Akan people Of Ghana, West Africa" provides information about the hawk, the falcon and other totems among the Akan people. Among the entries on that page are "Asakyiri abusua is represented by the hawk"; and "The falcon is the symbol of the Oyoko. It is also the family from which the Asantehene* comes".
In addition, that site provides the following summary of Akan beliefs about creation: "Aduana believe that at the time of creation, their ancestors descended from the skies on a golden chain. Others believe that they originally came from Asumanya and they were led by a duiker** with a flame in his mouth and gold in his cheeks. They proceeded to Dormaa where they believe the flame is still kept alight. Still others believe that from Asumanya a section of the Aduana headed for Akwamu"***.
*King
** A duiker is a small sized antelope
*** A community/area in Ghana.
Of course, bird totems and creation beliefs that people on earth are descended from sky beings are quite common throughout the world. However, the fact that some of the Akan totems are hawks, and falcons prompted my speculation about possible symbolical meaning/s of the orphaned hawk in the "Sansa Kroma" children's game song. Perhaps that song does just mean what most people say it means: i.e. that Akan children were assured that if they were ever orphaned they wouldn't have to fend for themselves like the young hawk had to. Yet, even before I learned about the presence of hawk and falcon totems among the Akan, that meaning sounded "too pat" to me What do you think about it?
ADDED July 10, 2014 [I noticed that some people were searching for the meaning of the colloquial phrase "too pat". "Too pat" means
"An explanation or meaning seems to fit preconceived ideas or previously considered theories too perfectly (or too well)." Therefore, that explanation sounds fake.
Here's a definition for the colloquial use of the word "pat":
http://www.thefreedictionary.com/pat
"Adv. 1. pat - completely or perfectly; "he has the lesson pat"; "had the system down pat" "
****
This concludes Part I of this series. Click http://pancocojams.blogspot.com/2012/03/videos-of-ghanaian-song-sansa-kroma.html for Part II of this series.
****
My thanks to all those whose writing I quoted.
Thanks to all those who visited this pancocojams page.
Viewer comments are welcome.
Thursday, March 29, 2012
Songs About Strong, Positive Black Men
Edited by Azizi Powell
Black Brother Tribute
Uploaded by quepasse2008 on Dec 24, 2008
****
This post features video performances of songs about strong Black men.
Enjoy and be inspired!
FEATURED VIDEOS
Video #1: Black Brother Tribute
This video is posted at the top of this page.
Here's the video uploader's comment:
"i wanted to show my apprieciation for all black men regardless.**NO COPYRIGHT INTENDED** **ALL PICTUES, MUSIC BELONG TO THEIR RESPECTIVE OWNERS**"
-snip-
The vocalist is Angie Stone.
****
Video #2: 'John Henry' BIG BILL BROONZY (1951) Country Blues Guitar Legend
Uploaded by RagtimeDorianHenry on Apr 2, 2009
-snip-
A summary of the fictitious story of "John Henry" is found in the uploader's comment from http://www.youtube.com/watch?v=pcKJgJ1KHVs "Legends & Tales - John Henry", a video compilation of pictorial depictions of the fictitious character "John Henry":
"John Henry was an African American who was born with a hammer in his hand. Strong, resourceful, John Henry becomes king of the railroad camps, known far and wide for his prowess with a hammer. He can drive more steel than any man alive. To prove it, he is engaged in a contest with a new superior steam drill. Man goes against machine, and man wins! But it kills John Henry, leaving only a legacy of pride and perserverance."
****
Video #3: Isaac Hayes - Shaft [Live In Montreux 2005]
KAD MUSIK, Published on Oct 8, 2012
-snip-
From http://en.wikipedia.org/wiki/Shaft_(1971_film)
"Shaft is a 1971 American blaxploitation film directed by Gordon Parks, released by Metro-Goldwyn-Mayer. An action film with elements of film noir, Shaft tells the story of a black private detective, John Shaft, who travels through Harlem and to the Italian mob neighborhoods in order to find the missing daughter of a black mobster....
The film was one of only three profitable movies that year for MGM, grossing what Time magazine called an "astonishing" $13 million on a budget of $500,000. It not only spawned several years of "blaxploitation" action films, it earned enough money to save then-struggling MGM from bankruptcy....
Shaft was well received by film critics and is considered by many as one of the best films of 1971."
****
Video #4: 4X4 - Waist & Power (African Man)
Uploaded by kwamejoe on Apr 2, 2011
...Visit http://www.GhOnTheMap.BlogSpot.com & http://www.lifestylzgh.com for all your New Ghanaian / African Music 2011 !!
All Music and/or Videos (Including this one) belong to respective owner(s)
-snip-
Here's information about this Ghanaian (West African) group from another video of the same song:
"4x4 is made up of Captain Planet, DeCODED (formally Abortion) & Fresh Prince
Cameos from Nana Boroo, Chase & More
Label - X4 Records / One8 /"
****
Video #5: Heather Headley's "He Is"
Uploaded by stingstungme on Aug 29, 2008
****
My thanks to all composers, and performers. Thanks also to the video uploaders.
Thanks for visiting this page.
Visitor comments are welcome.
Black Brother Tribute
Uploaded by quepasse2008 on Dec 24, 2008
****
This post features video performances of songs about strong Black men.
Enjoy and be inspired!
FEATURED VIDEOS
Video #1: Black Brother Tribute
This video is posted at the top of this page.
Here's the video uploader's comment:
"i wanted to show my apprieciation for all black men regardless.**NO COPYRIGHT INTENDED** **ALL PICTUES, MUSIC BELONG TO THEIR RESPECTIVE OWNERS**"
-snip-
The vocalist is Angie Stone.
****
Video #2: 'John Henry' BIG BILL BROONZY (1951) Country Blues Guitar Legend
Uploaded by RagtimeDorianHenry on Apr 2, 2009
-snip-
A summary of the fictitious story of "John Henry" is found in the uploader's comment from http://www.youtube.com/watch?v=pcKJgJ1KHVs "Legends & Tales - John Henry", a video compilation of pictorial depictions of the fictitious character "John Henry":
"John Henry was an African American who was born with a hammer in his hand. Strong, resourceful, John Henry becomes king of the railroad camps, known far and wide for his prowess with a hammer. He can drive more steel than any man alive. To prove it, he is engaged in a contest with a new superior steam drill. Man goes against machine, and man wins! But it kills John Henry, leaving only a legacy of pride and perserverance."
****
Video #3: Isaac Hayes - Shaft [Live In Montreux 2005]
KAD MUSIK, Published on Oct 8, 2012
-snip-
From http://en.wikipedia.org/wiki/Shaft_(1971_film)
"Shaft is a 1971 American blaxploitation film directed by Gordon Parks, released by Metro-Goldwyn-Mayer. An action film with elements of film noir, Shaft tells the story of a black private detective, John Shaft, who travels through Harlem and to the Italian mob neighborhoods in order to find the missing daughter of a black mobster....
The film was one of only three profitable movies that year for MGM, grossing what Time magazine called an "astonishing" $13 million on a budget of $500,000. It not only spawned several years of "blaxploitation" action films, it earned enough money to save then-struggling MGM from bankruptcy....
Shaft was well received by film critics and is considered by many as one of the best films of 1971."
****
Video #4: 4X4 - Waist & Power (African Man)
Uploaded by kwamejoe on Apr 2, 2011
...Visit http://www.GhOnTheMap.BlogSpot.com & http://www.lifestylzgh.com for all your New Ghanaian / African Music 2011 !!
All Music and/or Videos (Including this one) belong to respective owner(s)
-snip-
Here's information about this Ghanaian (West African) group from another video of the same song:
"4x4 is made up of Captain Planet, DeCODED (formally Abortion) & Fresh Prince
Cameos from Nana Boroo, Chase & More
Label - X4 Records / One8 /"
****
Video #5: Heather Headley's "He Is"
Uploaded by stingstungme on Aug 29, 2008
****
My thanks to all composers, and performers. Thanks also to the video uploaders.
Thanks for visiting this page.
Visitor comments are welcome.
Wednesday, March 28, 2012
Five Songs From Marvin Gaye's 1971 "What's Going On" Album
Edited by Azizi Powell
This post features information about and videos/sound file examples of Marvin Gaye's now classic 1971 song cycle album "What's Goin On".
This post is presented for its historical, sociological, and aesthetic values. All copyrights remain with the copyright holders.
My thanks to Marvin Gaye for focusing attention on important social & political subjects through his creativity, artistry, and advocacy. Thanks to all those who are quoted in this post and thanks to the publishers of these YouTube examples.
-snip-
Additional videos have been added to this post which was originally published in 2012.
Click https://pancocojams.blogspot.com/2017/06/marvin-gaye-mercy-mercy-me-whats-going.html for lyrics and notes about these songs.
****
BACKGROUND FOR THE "WHAT'S GOING ON" ALBUM
From http://en.wikipedia.org/wiki/Marvin_Gaye
"Marvin Pentz Gay, Jr. (April 2, 1939 – April 1, 1984), better known by his stage name Marvin Gaye (he added the 'e' as a young man), was an American singer-songwriter and musician with a three-octave vocal range...
In 1971, Marvin issued his landmark album, What's Going On. The album and its tracks were responsible in the changing landscape of rhythm and blues music as the album presented a full view of social ills in America, including war, police brutality, racism, drug addiction, environmentalism, and urban decay. Beforehand, recordings of social unrest had been recorded by the likes of (Curtis Mayfield &) The Impressions, The Temptations, Sam Cooke, Sly and the Family Stone and James Brown, but this was the first album fully devoted to those issues. The album was produced under what is called a song cycle and because of its theme of "what's going on" was considered one of the first concept albums to be released in soul music...
After helping to collaborate what became "What's Going On", [Marvin Gaye] returned to Hitsville on June 1, 1970 to record the song, which was inspired by Gaye's brother's accounts of his experience at the Vietnam War and co-writer Renaldo "Obie" Benson of the Four Tops' disgust of police brutality after seeing anti-war protesters attacked in San Francisco...
Released on May 21, 1971, the What's Going On album instantly became a million-seller crossing him over to young white rock audiences while also maintaining his strong R&B fan base. Because of its lyrical content and its mixture of funk, jazz, classical and Latin soul arrangements which departed from the then renowned "Motown Sound", it became one of Motown's first autonomous works, without help of Motown's staff producers. Based upon its themes and a segue flow into each of the songs sans the title track, the concept album became the new template for soul music.
Other hit singles that came out of the album included "Mercy Mercy Me (The Ecology)" and "Inner City Blues (Make Me Wanna Holler)", making Gaye the first male solo artist to have three top ten singles off one album on the Billboard Hot 100. All three singles sold over a million copies and were all number-one on the R&B chart. International recognition of the album was slow to come at first though eventually the album would be revered overseas as a "landmark pop record". It has been called "the most important and passionate record to come out of soul music, delivered by one of its finest voices"."
****
FEATURED EXAMPLES
Example #1: Marvin Gaye - Mercy Mercy Me
DeTudo, Uploaded on Sep 6, 2007
lyrics
Oh, mercy mercy me
Oh, things ain't what they used to be
No, no
Where did all the blue sky go?
Poison is the wind that blows
From the north, east, south, and sea
Oh, mercy mercy me
Oh, things ain't what they used to be
No, no
Oil wasted on the oceans and upon our seas
Fish full of mercury
Oh, mercy mercy me
Oh, things ain't what they used to be
No, no
Radiation in the ground and in the sky
Animals and birds who live nearby are dying
Oh, mercy mercy me
Oh, things ain't what they used to be
What about this overcrowded land?
How much more abuse from man can you stand?
My sweet Lord
My sweet Lord
My sweet Lord
****
Example #2: Marvin Gaye - What's Going On + Save the Children LIVE
.
rareformulamusic, Uploaded on Sep 28, 2009
Not owned by me, I just wanted to share Marvin's greatness with everybody.
From his Live in Amsterdam in '76 concert.
****
Example #3: Marvin Gaye - Inner City Blues (Make Me Wanna Holler)
MarvinGayeVEVO, Published on Jul 5, 2011
Music video by Marvin Gaye performing Inner City Blues (Make Me Wanna Holler). (C) 1971 Motown Records, a Division of UMG Recordings, Inc.
****
Example #4: Marvin Gaye "What's Going On - What's Happening Brother"
Abdul Jalil, Published on May 10, 2012
Marvin Gaye "What's Going On - What's Happening Brother"
****
Thanks for visiting pancocojams..
Visitor comments are welcome.
This post features information about and videos/sound file examples of Marvin Gaye's now classic 1971 song cycle album "What's Goin On".
This post is presented for its historical, sociological, and aesthetic values. All copyrights remain with the copyright holders.
My thanks to Marvin Gaye for focusing attention on important social & political subjects through his creativity, artistry, and advocacy. Thanks to all those who are quoted in this post and thanks to the publishers of these YouTube examples.
-snip-
Additional videos have been added to this post which was originally published in 2012.
Click https://pancocojams.blogspot.com/2017/06/marvin-gaye-mercy-mercy-me-whats-going.html for lyrics and notes about these songs.
****
BACKGROUND FOR THE "WHAT'S GOING ON" ALBUM
From http://en.wikipedia.org/wiki/Marvin_Gaye
"Marvin Pentz Gay, Jr. (April 2, 1939 – April 1, 1984), better known by his stage name Marvin Gaye (he added the 'e' as a young man), was an American singer-songwriter and musician with a three-octave vocal range...
In 1971, Marvin issued his landmark album, What's Going On. The album and its tracks were responsible in the changing landscape of rhythm and blues music as the album presented a full view of social ills in America, including war, police brutality, racism, drug addiction, environmentalism, and urban decay. Beforehand, recordings of social unrest had been recorded by the likes of (Curtis Mayfield &) The Impressions, The Temptations, Sam Cooke, Sly and the Family Stone and James Brown, but this was the first album fully devoted to those issues. The album was produced under what is called a song cycle and because of its theme of "what's going on" was considered one of the first concept albums to be released in soul music...
After helping to collaborate what became "What's Going On", [Marvin Gaye] returned to Hitsville on June 1, 1970 to record the song, which was inspired by Gaye's brother's accounts of his experience at the Vietnam War and co-writer Renaldo "Obie" Benson of the Four Tops' disgust of police brutality after seeing anti-war protesters attacked in San Francisco...
Released on May 21, 1971, the What's Going On album instantly became a million-seller crossing him over to young white rock audiences while also maintaining his strong R&B fan base. Because of its lyrical content and its mixture of funk, jazz, classical and Latin soul arrangements which departed from the then renowned "Motown Sound", it became one of Motown's first autonomous works, without help of Motown's staff producers. Based upon its themes and a segue flow into each of the songs sans the title track, the concept album became the new template for soul music.
Other hit singles that came out of the album included "Mercy Mercy Me (The Ecology)" and "Inner City Blues (Make Me Wanna Holler)", making Gaye the first male solo artist to have three top ten singles off one album on the Billboard Hot 100. All three singles sold over a million copies and were all number-one on the R&B chart. International recognition of the album was slow to come at first though eventually the album would be revered overseas as a "landmark pop record". It has been called "the most important and passionate record to come out of soul music, delivered by one of its finest voices"."
****
FEATURED EXAMPLES
Example #1: Marvin Gaye - Mercy Mercy Me
DeTudo, Uploaded on Sep 6, 2007
lyrics
Oh, mercy mercy me
Oh, things ain't what they used to be
No, no
Where did all the blue sky go?
Poison is the wind that blows
From the north, east, south, and sea
Oh, mercy mercy me
Oh, things ain't what they used to be
No, no
Oil wasted on the oceans and upon our seas
Fish full of mercury
Oh, mercy mercy me
Oh, things ain't what they used to be
No, no
Radiation in the ground and in the sky
Animals and birds who live nearby are dying
Oh, mercy mercy me
Oh, things ain't what they used to be
What about this overcrowded land?
How much more abuse from man can you stand?
My sweet Lord
My sweet Lord
My sweet Lord
****
Example #2: Marvin Gaye - What's Going On + Save the Children LIVE
.
rareformulamusic, Uploaded on Sep 28, 2009
Not owned by me, I just wanted to share Marvin's greatness with everybody.
From his Live in Amsterdam in '76 concert.
****
Example #3: Marvin Gaye - Inner City Blues (Make Me Wanna Holler)
MarvinGayeVEVO, Published on Jul 5, 2011
Music video by Marvin Gaye performing Inner City Blues (Make Me Wanna Holler). (C) 1971 Motown Records, a Division of UMG Recordings, Inc.
****
Example #4: Marvin Gaye "What's Going On - What's Happening Brother"
Abdul Jalil, Published on May 10, 2012
Marvin Gaye "What's Going On - What's Happening Brother"
****
Thanks for visiting pancocojams..
Visitor comments are welcome.
Tuesday, March 27, 2012
Chanting At Trayvon Martin March & Rally In Sanford, Florida
Edited by Azizi Powell
[Update: 4/4/2012]
Trayvon Martin, The people of Sanford protested and marched for justice.
Uploaded by Oufinc on Mar 21, 2012
****
This post documents the types of chants that were used by marchers at a Trayvon Martin rally in Sanford, Florida on March 20, 2012. This post can be considered as a companion piece to two previous posts on this blog about chanting during Trayvon Martin Rallies. Click http://pancocojams.blogspot.com/2012/03/chanting-at-trayvon-martin-million.html and http://pancocojams.blogspot.com/2012/03/chanting-at-trayvon-martin-million_24.html for those posts.
BACKGROUND INFORMATION
Information about Trayvon Martin's death from http://en.wikipedia.org/wiki/Shooting_of_Trayvon_Martin:
**
Information about the Sanford, Florida Rally (March 20, 2012) from http://www.miamiherald.com/2012/03/26/2715797/trayvon-martins-death-galvanizes.html:
"Rallies and marches have been held from coast to coast. Students, some dressed in all black, have walked out of classes en masse throughout Miami-Dade County. Celebrities and NBA athletes have adopted the cause. In Sanford, some estimates say as many as 30,000 people showed up at a rally last week –in a town of just 50,000. Even the white Republican mayor joined in predominately black events to denounce the killing, demand a review and begin the healing. More than 2 million people have signed an online petition and more than 400 people have donated money to help the family pay expenses..."
The lack of arrest and an investigation that was widely portrayed as bungled from the start, resonated on Twitter and on the streets, [Rev Al Sharpton] said.
“When nothing happened, no arrest and police give contradictory statements, people saw themselves as completely vulnerable,” Sharpton said. “It’s like, ‘now you’re just saying it’s open season on us.’ ”
...Miami’s Campbell isn’t so optimistic. He believes the protesters are wasting their time and that the news will fade.
They are not going to change anything,” Campbell said. “That’s just the way it is for black folks in America.”
But Trayvon’s family is hopeful, convinced the movement will at least help overturn Florida’s controversial “stand your ground” law, and force legislation to regulate community watch volunteers. They are expected to speak Tuesday with House Democrats who are holding a forum on federal issues related to the case.
“This movement, watching the people of this movement, keeps me going,” Trayvon’s father, Tracy Martin, said Sunday night. “Trayvon’s name will be etched in stone. Long after this movement is over, people will remember Trayvon Martin.”"
****
FEATURED VIDEOS
Video #1: Trayvon Martin, The people of Sanford protested and marched for justice.
http://www.oufinc.com/default.html
http://orlandounityfestival.com/
"People coming together as one once again to demand equal rights and justice for the wrongful death of Trayvon Martin. This is one of many rallies to take place until justice is served. The over flowing crowd filled the streets and then marched to the Sanford Police Department Headquarters. The shooter George Zimmerman has not been charged as of yet and his whereabouts is unknown."
-snip-
In this video many vehicle drivers can be heard honking their horns in support of the marchers. It is quite common in the United States to for protestors to stand on street corners holding a sign saying "Honk" in support of their specific cause or concern.
Also note that this video includes music as backdrop. That music wasn't part of that protest march.
**
Video #2: Trayvon Martin the Rally in Sanford Florida for Justice, Peace, Unity, and Equality on 3/22/2012
Uploaded by Oufinc on Mar 24, 2012
http://www.oufinc.com/default.html
http://orlandounityfestival.com/
-snip-
Editor:
This video's uploader wrote a long comment about what he or she believes is the Sanford, Florida Police Department's history of unfair treatment of Black people. Click http://www.youtube.com/watch?v=YOXWsBl3a2E&feature=relmfu to read that statement.]
****
COMMENTS ABOUT THE CHANTS USED IN TRAYVON MARTIN RALLIES
Most of the chants & signage used in the Sanford, Florida march (March 20, 2012) was also used in the New York City Million Hoodie March (March 22, 2012). While I haven't studied chanting and signage in other Trayvon Martin marches which have been held throughout the United States, I believe that it's reasonable to assume that the chants & signage used in each of those marches are the same as or very similar to those found in the two marches that I have reviewed. Trayvon Martin's mother's filing for trademark protection for the use of her son's name on merchandise serves to corroborate that at least two of those chants are being widely used:
From http://gma.yahoo.com/trayvon-martin-investigator-wanted-manslaughter-charge-151838720--abc-news-topstories.html
"[Trayvon] Martin's mother has moved to trademark two popular rallying cries, "I am Trayvon" and "Justice for Trayvon." The family said it does not want want other people printing memorabilia.
"Sybrina Fulton has no desire to profit from her son's death, but wants to protect her son's name legacy," said family representative Ryan Julison."
Here's another link about Ms. Fulton's seeking trademark protection for those two slogans:
http://news.yahoo.com/trayvon-inc-fla-teens-case-turns-brand-193105131.html
****
EXAMPLES OF CHANTS
This list of chants used in the March 20, 2012 Sanford, Florida march (as per the video above) is given in alphabetical order. The response portion of call & response chants is given in parenthesis, and the type of chant is given in brackets:
I'm also including my sense of what these chants/slogans mean.
1. Chief fire the police!
[rhyming chant]
I'm not sure that I've correctly transcribed this chant. The video includes this notation about the portion near the beginning of this video when that chant is heard "Protestors demanding that the Sanford police chief be fired" (because of the police department's incompetent investigation, including the failure of the police department to adequately gather evidence, and that department's failure to arrest George Zimmerman).
2. Justice for
(Trayvon!)
[a call & response chant]*
* While this slogan/chant was prominently used in the Million Hoodie march as per the videos, articles, and tweets of that march that I reviewed, I didn't get the sense that it was chanted in this call and response manner. However, I could be mistaken about that.
"Justice For Trayvon" is also written on signage in found in that video as "Justice 4 Trayvon".
(The meaning of this chant is self-evident).
3. I AM
(Trayvon Martin!)
[call & response chant]
This slogan/chant as well as chant #7 refer to the fact that any dark skinned teenager or adult could have been the victim of this shooting. Also this chant refers to the belief that an injustice against one person negatively affects the entire community (with "community" here meaning the entire nation, if not the world.
4. No Justice
(No Peace!)
[call & response]
This slogan/chant means that until there is justice in this particular case, there will continue to be protests. This slogan/chant may also have a more generalized meaning that until there is fair and impartial justice for all, there will continue to be protests and advocacy for that goal.
5. We want an arrest!
[unison chant]
This slogan/chant refers to the demand for George Zimmerman to be arrested for killing Trayvon Martin.
6. We want justice.
[unison chant]
The meaning of this slogan/chant is self-evident.
7. We ARE
(Trayvon Martin!)
[call & response chant or a unison chant.]
Read the meaning of this slogan/chant that is written in the entry for chant/slogan #3.
****
UPDATE:
Here's an excerpt from http://www.cbsnews.com/8301-504083_162-57405188-504083/family-defends-trayvon-martin-amid-claims-he-was-aggressor-in-deadly-confrontation/ which mentions participants at a Georgia rally chanting & singing of the civil rights song "We Shall Overcome":
"Thousands rallied Monday on the steps of the Georgia state capitol. The crowd chanted "I am Trayvon!" and "Arrest Zimmerman now!" The protest ended with the crowd linking hands and singing, "We Shall Overcome."
-snip-
In the 1960s, linking hands became the standard way of singing "We Shall Overcome". That song is an adaptation of the African American Gospel song "We'll Overcome". Click http://cocojams.com/content/african-american-civil-rights-songs for examples of that song.
I've read other reports about "We Shall Overcome" being sung at prayer vigils for Trayvon. Such reports are the only mention of participant group singing (spontaneous or planned) that I've come across at contemporary African American protest rallies or prayer vigils. To clarify, by group singing I mean the protestors singing a song together, not performer/s singing a song while the protestors watch.
****
RIP Travon Martin!
****
My thanks to all those who peacefully participated in the rallies & marches for Trayvon Martin. My thanks also to the uploaders of these featured videos.
Thanks for visiting this page.
Viewer comments are welcome.
[Update: 4/4/2012]
Trayvon Martin, The people of Sanford protested and marched for justice.
Uploaded by Oufinc on Mar 21, 2012
****
This post documents the types of chants that were used by marchers at a Trayvon Martin rally in Sanford, Florida on March 20, 2012. This post can be considered as a companion piece to two previous posts on this blog about chanting during Trayvon Martin Rallies. Click http://pancocojams.blogspot.com/2012/03/chanting-at-trayvon-martin-million.html and http://pancocojams.blogspot.com/2012/03/chanting-at-trayvon-martin-million_24.html for those posts.
BACKGROUND INFORMATION
Information about Trayvon Martin's death from http://en.wikipedia.org/wiki/Shooting_of_Trayvon_Martin:
The shooting of Trayvon Martin took place on February 26, 2012, in Sanford, Florida. Trayvon Martin was an African American teenager who was shot and killed by 28-year-old George Zimmerman, a man of mixed ethnicity (Latino and white American Martin, who was unarmed, had been walking to the home of his father's girlfriend from a convenience store when Zimmerman, a community watch captain, followed him after calling the Sanford Police Department, saying he witnessed what he described as suspicious behavior. Soon afterward, he fatally shot Martin.
**
Information about the Sanford, Florida Rally (March 20, 2012) from http://www.miamiherald.com/2012/03/26/2715797/trayvon-martins-death-galvanizes.html:
"Rallies and marches have been held from coast to coast. Students, some dressed in all black, have walked out of classes en masse throughout Miami-Dade County. Celebrities and NBA athletes have adopted the cause. In Sanford, some estimates say as many as 30,000 people showed up at a rally last week –in a town of just 50,000. Even the white Republican mayor joined in predominately black events to denounce the killing, demand a review and begin the healing. More than 2 million people have signed an online petition and more than 400 people have donated money to help the family pay expenses..."
The lack of arrest and an investigation that was widely portrayed as bungled from the start, resonated on Twitter and on the streets, [Rev Al Sharpton] said.
“When nothing happened, no arrest and police give contradictory statements, people saw themselves as completely vulnerable,” Sharpton said. “It’s like, ‘now you’re just saying it’s open season on us.’ ”
...Miami’s Campbell isn’t so optimistic. He believes the protesters are wasting their time and that the news will fade.
They are not going to change anything,” Campbell said. “That’s just the way it is for black folks in America.”
But Trayvon’s family is hopeful, convinced the movement will at least help overturn Florida’s controversial “stand your ground” law, and force legislation to regulate community watch volunteers. They are expected to speak Tuesday with House Democrats who are holding a forum on federal issues related to the case.
“This movement, watching the people of this movement, keeps me going,” Trayvon’s father, Tracy Martin, said Sunday night. “Trayvon’s name will be etched in stone. Long after this movement is over, people will remember Trayvon Martin.”"
****
FEATURED VIDEOS
Video #1: Trayvon Martin, The people of Sanford protested and marched for justice.
http://www.oufinc.com/default.html
http://orlandounityfestival.com/
"People coming together as one once again to demand equal rights and justice for the wrongful death of Trayvon Martin. This is one of many rallies to take place until justice is served. The over flowing crowd filled the streets and then marched to the Sanford Police Department Headquarters. The shooter George Zimmerman has not been charged as of yet and his whereabouts is unknown."
-snip-
In this video many vehicle drivers can be heard honking their horns in support of the marchers. It is quite common in the United States to for protestors to stand on street corners holding a sign saying "Honk" in support of their specific cause or concern.
Also note that this video includes music as backdrop. That music wasn't part of that protest march.
**
Video #2: Trayvon Martin the Rally in Sanford Florida for Justice, Peace, Unity, and Equality on 3/22/2012
Uploaded by Oufinc on Mar 24, 2012
http://www.oufinc.com/default.html
http://orlandounityfestival.com/
-snip-
Editor:
This video's uploader wrote a long comment about what he or she believes is the Sanford, Florida Police Department's history of unfair treatment of Black people. Click http://www.youtube.com/watch?v=YOXWsBl3a2E&feature=relmfu to read that statement.]
****
COMMENTS ABOUT THE CHANTS USED IN TRAYVON MARTIN RALLIES
Most of the chants & signage used in the Sanford, Florida march (March 20, 2012) was also used in the New York City Million Hoodie March (March 22, 2012). While I haven't studied chanting and signage in other Trayvon Martin marches which have been held throughout the United States, I believe that it's reasonable to assume that the chants & signage used in each of those marches are the same as or very similar to those found in the two marches that I have reviewed. Trayvon Martin's mother's filing for trademark protection for the use of her son's name on merchandise serves to corroborate that at least two of those chants are being widely used:
From http://gma.yahoo.com/trayvon-martin-investigator-wanted-manslaughter-charge-151838720--abc-news-topstories.html
"[Trayvon] Martin's mother has moved to trademark two popular rallying cries, "I am Trayvon" and "Justice for Trayvon." The family said it does not want want other people printing memorabilia.
"Sybrina Fulton has no desire to profit from her son's death, but wants to protect her son's name legacy," said family representative Ryan Julison."
Here's another link about Ms. Fulton's seeking trademark protection for those two slogans:
http://news.yahoo.com/trayvon-inc-fla-teens-case-turns-brand-193105131.html
****
EXAMPLES OF CHANTS
This list of chants used in the March 20, 2012 Sanford, Florida march (as per the video above) is given in alphabetical order. The response portion of call & response chants is given in parenthesis, and the type of chant is given in brackets:
I'm also including my sense of what these chants/slogans mean.
1. Chief fire the police!
[rhyming chant]
I'm not sure that I've correctly transcribed this chant. The video includes this notation about the portion near the beginning of this video when that chant is heard "Protestors demanding that the Sanford police chief be fired" (because of the police department's incompetent investigation, including the failure of the police department to adequately gather evidence, and that department's failure to arrest George Zimmerman).
2. Justice for
(Trayvon!)
[a call & response chant]*
* While this slogan/chant was prominently used in the Million Hoodie march as per the videos, articles, and tweets of that march that I reviewed, I didn't get the sense that it was chanted in this call and response manner. However, I could be mistaken about that.
"Justice For Trayvon" is also written on signage in found in that video as "Justice 4 Trayvon".
(The meaning of this chant is self-evident).
3. I AM
(Trayvon Martin!)
[call & response chant]
This slogan/chant as well as chant #7 refer to the fact that any dark skinned teenager or adult could have been the victim of this shooting. Also this chant refers to the belief that an injustice against one person negatively affects the entire community (with "community" here meaning the entire nation, if not the world.
4. No Justice
(No Peace!)
[call & response]
This slogan/chant means that until there is justice in this particular case, there will continue to be protests. This slogan/chant may also have a more generalized meaning that until there is fair and impartial justice for all, there will continue to be protests and advocacy for that goal.
5. We want an arrest!
[unison chant]
This slogan/chant refers to the demand for George Zimmerman to be arrested for killing Trayvon Martin.
6. We want justice.
[unison chant]
The meaning of this slogan/chant is self-evident.
7. We ARE
(Trayvon Martin!)
[call & response chant or a unison chant.]
Read the meaning of this slogan/chant that is written in the entry for chant/slogan #3.
****
UPDATE:
Here's an excerpt from http://www.cbsnews.com/8301-504083_162-57405188-504083/family-defends-trayvon-martin-amid-claims-he-was-aggressor-in-deadly-confrontation/ which mentions participants at a Georgia rally chanting & singing of the civil rights song "We Shall Overcome":
"Thousands rallied Monday on the steps of the Georgia state capitol. The crowd chanted "I am Trayvon!" and "Arrest Zimmerman now!" The protest ended with the crowd linking hands and singing, "We Shall Overcome."
-snip-
In the 1960s, linking hands became the standard way of singing "We Shall Overcome". That song is an adaptation of the African American Gospel song "We'll Overcome". Click http://cocojams.com/content/african-american-civil-rights-songs for examples of that song.
I've read other reports about "We Shall Overcome" being sung at prayer vigils for Trayvon. Such reports are the only mention of participant group singing (spontaneous or planned) that I've come across at contemporary African American protest rallies or prayer vigils. To clarify, by group singing I mean the protestors singing a song together, not performer/s singing a song while the protestors watch.
****
RIP Travon Martin!
****
My thanks to all those who peacefully participated in the rallies & marches for Trayvon Martin. My thanks also to the uploaders of these featured videos.
Thanks for visiting this page.
Viewer comments are welcome.
Latin Jazz - Machito And His Afro-Cuban Orchestra
Edited by Azizi Powell
MACHITO -FRANK GRILLO : EL ECO DEL TAMBOR - FOREVER
Uploaded by jvum on Feb 27, 2007
Machito y sus Afrocubanos , Embajadores Musicales de Cuba en USA desde los cuarentas. Junto con MARIO BAUZA Padres del LATIN JAZZ.
****
This post provides information about "Machito" (Francisco Raúl Gutiérrez Grillo) and features five videos of Machito And His Afro-Cuban Orchestra.
Enjoy!
****
BIOGRAPHICAL INFORMATION
From http://en.wikipedia.org/wiki/Machito
****
SELECTED VIDEOS
Video #1: MACHITO -FRANK GRILLO : EL ECO DEL TAMBOR - FOREVER
This video is posted at the top of this page.
**
Video #2
MACHITO AND HIS AFRO CUBAN ORCHESTRA - Ay Que Mate
Uploaded by ramoburg on Oct 27, 2009
**
Video #3: Machito y Graciela - "Changó Ta' Vení" (Mambo-inn.com)
Uploaded by enriquemambo on Oct 30, 2007
Frank Grillo Machito y Graciela con el Salsa Big Band.
**
Video #4: The Machito Orchestra con Herman Olivera (Mambo-inn.com)
Uploaded by enriquemambo on Jul 2, 2008
**
Video #5: MACHITO - YO SOY LA RUMBA
Uploaded by augustoaranzazu on Apr 16, 2011
****
My thanks to the performers on these videos, with special thanks to Machito for his legacy. Thanks also to the uploaders of these videos.
Thanks you for visiting this page.
Viewer comments are welcome.
MACHITO -FRANK GRILLO : EL ECO DEL TAMBOR - FOREVER
Uploaded by jvum on Feb 27, 2007
Machito y sus Afrocubanos , Embajadores Musicales de Cuba en USA desde los cuarentas. Junto con MARIO BAUZA Padres del LATIN JAZZ.
****
This post provides information about "Machito" (Francisco Raúl Gutiérrez Grillo) and features five videos of Machito And His Afro-Cuban Orchestra.
Enjoy!
****
BIOGRAPHICAL INFORMATION
From http://en.wikipedia.org/wiki/Machito
Machito, born Francisco Raúl Gutiérrez Grillo on February 16, 1908, was an influential Latin jazz musician who helped refine Afro-Cuban jazz and create both Cubop and salsa music.[1][2] He was raised in Havana alongside the singer Graciela, his foster sister.
In New York City, Machito formed the band the Afro-Cubans in 1940, and with Mario Bauzá as musical director, brought together Cuban rhythms and big band arrangements in one group. He made numerous recordings from the 1940s to the 1980s, many with Graciela as singer. Machito changed to a smaller ensemble format in 1975, touring Europe extensively. He brought his son and daughter into the band, and received a Grammy Award in 1983, one year before he died...
Machito's music had an effect on the lives of many musicians who played in the Afro-Cubans over the years, and on those who were attracted to Latin jazz after hearing him. George Shearing, Dizzy Gillespie, Charlie Parker and Stan Kenton credited Machito as an influence. An intersection in East Harlem is named "Machito Square" in his honor...
Young Francisco Raúl Gutiérrez Grillo, the son of a cigar manufacturer, was nicknamed "Macho" as a child because he was the first son born to his parents after they had three daughters.[“Machito” means little macho (man)”]...
Machito's music greatly inspired such North American jazz giants as Dizzy Gillespie, Charlie Parker and Stan Kenton. One of the most famous performances of the Kenton band is an idiomatic Afro-Cuban number known as "Machito", composed by Stan Kenton with Pete Rugolo and released as a Capitol 78 in 1947
****
SELECTED VIDEOS
Video #1: MACHITO -FRANK GRILLO : EL ECO DEL TAMBOR - FOREVER
This video is posted at the top of this page.
**
Video #2
MACHITO AND HIS AFRO CUBAN ORCHESTRA - Ay Que Mate
Uploaded by ramoburg on Oct 27, 2009
**
Video #3: Machito y Graciela - "Changó Ta' Vení" (Mambo-inn.com)
Uploaded by enriquemambo on Oct 30, 2007
Frank Grillo Machito y Graciela con el Salsa Big Band.
**
Video #4: The Machito Orchestra con Herman Olivera (Mambo-inn.com)
Uploaded by enriquemambo on Jul 2, 2008
**
Video #5: MACHITO - YO SOY LA RUMBA
Uploaded by augustoaranzazu on Apr 16, 2011
****
My thanks to the performers on these videos, with special thanks to Machito for his legacy. Thanks also to the uploaders of these videos.
Thanks you for visiting this page.
Viewer comments are welcome.
Saturday, March 24, 2012
Chanting At The Trayvon Martin Million Hoodies March, Part II
Edited by Azizi Powell
This is Part II of a two part series on chants used during the March 22, 2012 Trayvon Martin Million Hoodies March in New York City, New York. Part II focuses on chants from the Trayvon Martin Million Hoodies March that were reported in news reports & tweets.
Part I showcases three selected videos of that march and provides text documentation of the chants from those videos. Part I also includes my overview of the structural types of chants used during those marches.
Click http://pancocojams.blogspot.com/2012/03/chanting-at-trayvon-martin-million.html for Part I of this series.
These posts are provided for their historical, folkloric, educational, and motivational values.
This two part series isn't meant to be a comprehensive report of every chants that was used during the Trayvon Martin Million Hoodies March. However, I believe that these posts provide a good representation of the themes used for the marches' chants and of the types of chants that were used.
****
PART II
SELECTED NEWS REPORTS
[This reports are presented in no ranking order. Italics have been added by me to highlight the chant/s reported]
News Report #1: http://www.theroot.com/buzz/million-hoodie-march-its-about-right-or-wrong
The Million Hoodie March: It's About Right and Wrong
By: Marcia Alesan Dawkins | Posted: March 24, 2012
In a piece for Truth Dig, Marcia Alesan Dawkins writes that while the Million Hoodie March was leaderless, the protesters' demands for justice for Trayvon Martin, combined with their digital footprint, sent a clear message.
Because it was leaderless, the march was very difficult for the NYPD to control. The three crowds diverged and converged several times, and there were moments of running, jumping and evading. Some protesters tore down the barricades surrounding the bull sculpture on Wall Street and climbed on it. But most of the crowd was walking through the fog and talking about how Trayvon Martin’s case is linked to institutional racism. And about how many are seeing the march as “Troy Davis 2.0,” as well as reminders of the tragic cases of Oscar Grant and Wendell Allen. Sometimes protesters shouted at the police and other times they chanted, “Stop stop and frisk!” Or, “Whose streets? Our streets!” Or, “Whose son? Our son!”
-snip-
"Whose streets/our streets" and "Whose son?/our son?" are probably call & response chants.
News Report #2 http://www.huffingtonpost.com/2012/03/21/trayvon-martin-million-hoodie-march_n_1371403.html
Trayvon Martin 'Million Hoodie March' March Draws Hundreds In New York City
By DEEPTI HAJELA 03/21/12 11:37 PM ET
NEW YORK — The parents of a black teenager shot to death by a Hispanic neighborhood watch captain in Florida told hundreds of people at a march in his memory on Wednesday that they won't stop until they get justice for him.
"My son did not deserve to die," the teenager's father, Tracy Martin, said after thanking the crowd.
Martin's son, 17-year-old Trayvon Martin, was killed Feb. 26, in Sanford, Fla. He was returning to a gated community in the city after buying candy at a convenience store. He was unarmed and was wearing a hooded sweat shirt, called a hoodie.
The neighborhood watch captain, George Zimmerman, has not been charged in the shooting. Zimmerman has said the teen attacked him and he shot him in self-defense.
On Wednesday night, demonstrators chanted "we want arrests" during the Million Hoodie March in Manhattan's Union Square.
News Report #3: http://newsfeed.time.com/2012/03/22/million-hoodie-march-in-new-york-rallies-support-for-trayvon-martin/
"Million Hoodie March” in New York Rallies Support for Trayvon Martin
Hundreds marched through the streets of New York to protest the death of the Florida teen.
By Jared T. Miller | @jaredtmiller | March 22, 2012
Supporters chanted “we want arrests!” and “we are all Trayvon” as they marched, many clad in hooded sweatshirts symbolic of the clothing Martin wore when he was killed.
News Report #4: http://www.nydailynews.com/new-york/million-hoodie-march-takes-union-square-protest-trayvon-martin-murder-article-1.1048522
'Million Hoodie' march takes Union Square in protest of Trayvon Martin's fatal shooting
The demonstrators burst into a chant of “Justice for Trayvon!” as slain Florida teen's parents joined protest
By Edgar Sandoval AND Helen Kennedy / NEW YORK DAILY NEWS
Wednesday, March 21, 2012, 8:41 PM
Demonstrators wearing hoodies took turns calling out “Am I suspicious?"
EXCERPTS FROM SELECTED TWEET FEED
http://chirpstory.com/li/5457
A Debate on the #OWS and The #MillionHoodie March for #TrayvonMartin
By drgoddess
The tweets presented below are all of the examples of chants from the New York Million Hoodie March which were posted to the above mentioned tweet feed. With all but one exception that is noted, each of these tweets were posted by "sickjew" on March 21. I've given numbers to these examples for referencing purposes, and I've quoted the chant as it was given on that tweet feed.
Some of these tweets are prefaced by the word "Chants". I've included other tweets without that descriptor because those examples have been documented as chants that have been used in the Million Hoodies march or in other marches.
WARNING: One of the tweets that is featured below contains the beginning letter of a curse word. Also, a number of other tweets in that tweet feed contain profanity.
Editor's Note:
The main rally for the Trayvon Martin Million Hoodies March in New York City was held in Union Square. That same location has been the site of recent activities of New York City's Occupy Wall Street (OWS), including encounters with the New York City police. A number of the tweeters in the selected tweet feed whose link is given above express the opinion that the New York City Occupy Wall Street activists had their own agendas and attempted to "co-opt" (take over) the Million Hoodies March. According to those tweeters who attended this march, one way that the OWS marchers (or some of the OWS marchers) attempted to take over the Million Hoodies March was by chanting over speakers for the Million Hoodies March. Several tweeters in that feed disagreed with that allegation.
For the purposes of this post, that allegation raises the questions "Were the chants used by the OWS marchers different than the chants used by the Million Hoodies marchers, and if so, how were those chants different? "Which chants documented in the videos, news reports, and that tweet were from OWS and which chants were from Million Hoodies marchers? For example, "Mic Check" is a Occupy Wall Street phrase. That phrase is reported to have been used in the chant "Mic Check. Are you ready to march for Trayvon?" Also, "Which Street? Our Street" sounds like an OWS chant. Was this chant used only by OWS marchers, or was it also used (and maybe even started by) Million Hoodies marchers? And did OWS marchers join in the chant (or even start the chant) "Justice For Trayvon?"
It also should be mentioned that one chant that was noted in that tweet thread (#17 below), is given as an Occupy Wall Street chant. If this chant was said during the Trayvon Martin Million Hoodies March, did any non-Occupy Wall Street marchers join in that chant? And were the songs that were mentioned as being performed during that Million Hoodies March started and sung by Occupy Wall Street marchers or by Million Hoodies marchers or both? (if indeed there was a difference in that constituency.) I think these are valid questions, but I'm unable to answer them.
Tweet Examples Of Chants:
1. Chant: "We are Trayvon!"
2. Chant: "The people, united, will never be defeated!"
3. We will not be attacked anymore, will we?" "No!" "Will we?" "NO!"
4. Chant: "Enough is enough!"
5. Chant: "We are Trayvon Martin!"
6. Chant: "I am Trayvon Martin!"
7. Chant: "We've gotta beat back the racist attack! We've gotta beat, beat back the racist attack!"
8. Mic check: "Are you ready to march for Trayvon?"
9."No justice, no peace!"
10. "Whose streets? Our streets!"
11."No justice, no peace. Take to the streets and F the police!"
12. Chant: "Get up, get down, there's revolution in this town!"
13.Loud and vocal chants of: "We are Trayvon Martin!"
14. "What do we want? Justice! When do we want it? Now!"
15. People singing, "Ain't gonna let nobody turn me around, turn me around..."
16. Group with guitar singing "This Little Light of Mine"
17. @luvvieig @huny --> RT @OccupyWallStNYC 1) We are the people. 2) We are united. 3) This Occupation is not leaving! #OWS #UnionSq.
candidreams, March 22, 2012
[I'm assuming this is one chant that has three parts.]
****
This concludes this two part series on chants used during New York City's Trayvon Martin Million Hoodies March.
Click http://pancocojams.blogspot.com/2012/03/chanting-at-trayvon-martin-march-rally.html for the related pancocojams post on "Chanting At Trayvon Martin March & Rally In Sanford, Florida".
****
My thanks to all those who organized and participated in that march. My prayers go to the family and friends of Trayvon Martin & to the family and friends of others who have died because of racial profiling. May they rest in peace and may we continue to work so that there will be justice without regards to race, or any other descriptors in this nation & in this world.
Thanks for visiting this page.
Viewer comments are welcome.
This is Part II of a two part series on chants used during the March 22, 2012 Trayvon Martin Million Hoodies March in New York City, New York. Part II focuses on chants from the Trayvon Martin Million Hoodies March that were reported in news reports & tweets.
Part I showcases three selected videos of that march and provides text documentation of the chants from those videos. Part I also includes my overview of the structural types of chants used during those marches.
Click http://pancocojams.blogspot.com/2012/03/chanting-at-trayvon-martin-million.html for Part I of this series.
These posts are provided for their historical, folkloric, educational, and motivational values.
This two part series isn't meant to be a comprehensive report of every chants that was used during the Trayvon Martin Million Hoodies March. However, I believe that these posts provide a good representation of the themes used for the marches' chants and of the types of chants that were used.
****
PART II
SELECTED NEWS REPORTS
[This reports are presented in no ranking order. Italics have been added by me to highlight the chant/s reported]
News Report #1: http://www.theroot.com/buzz/million-hoodie-march-its-about-right-or-wrong
The Million Hoodie March: It's About Right and Wrong
By: Marcia Alesan Dawkins | Posted: March 24, 2012
In a piece for Truth Dig, Marcia Alesan Dawkins writes that while the Million Hoodie March was leaderless, the protesters' demands for justice for Trayvon Martin, combined with their digital footprint, sent a clear message.
Because it was leaderless, the march was very difficult for the NYPD to control. The three crowds diverged and converged several times, and there were moments of running, jumping and evading. Some protesters tore down the barricades surrounding the bull sculpture on Wall Street and climbed on it. But most of the crowd was walking through the fog and talking about how Trayvon Martin’s case is linked to institutional racism. And about how many are seeing the march as “Troy Davis 2.0,” as well as reminders of the tragic cases of Oscar Grant and Wendell Allen. Sometimes protesters shouted at the police and other times they chanted, “Stop stop and frisk!” Or, “Whose streets? Our streets!” Or, “Whose son? Our son!”
-snip-
"Whose streets/our streets" and "Whose son?/our son?" are probably call & response chants.
News Report #2 http://www.huffingtonpost.com/2012/03/21/trayvon-martin-million-hoodie-march_n_1371403.html
Trayvon Martin 'Million Hoodie March' March Draws Hundreds In New York City
By DEEPTI HAJELA 03/21/12 11:37 PM ET
NEW YORK — The parents of a black teenager shot to death by a Hispanic neighborhood watch captain in Florida told hundreds of people at a march in his memory on Wednesday that they won't stop until they get justice for him.
"My son did not deserve to die," the teenager's father, Tracy Martin, said after thanking the crowd.
Martin's son, 17-year-old Trayvon Martin, was killed Feb. 26, in Sanford, Fla. He was returning to a gated community in the city after buying candy at a convenience store. He was unarmed and was wearing a hooded sweat shirt, called a hoodie.
The neighborhood watch captain, George Zimmerman, has not been charged in the shooting. Zimmerman has said the teen attacked him and he shot him in self-defense.
On Wednesday night, demonstrators chanted "we want arrests" during the Million Hoodie March in Manhattan's Union Square.
News Report #3: http://newsfeed.time.com/2012/03/22/million-hoodie-march-in-new-york-rallies-support-for-trayvon-martin/
"Million Hoodie March” in New York Rallies Support for Trayvon Martin
Hundreds marched through the streets of New York to protest the death of the Florida teen.
By Jared T. Miller | @jaredtmiller | March 22, 2012
Supporters chanted “we want arrests!” and “we are all Trayvon” as they marched, many clad in hooded sweatshirts symbolic of the clothing Martin wore when he was killed.
News Report #4: http://www.nydailynews.com/new-york/million-hoodie-march-takes-union-square-protest-trayvon-martin-murder-article-1.1048522
'Million Hoodie' march takes Union Square in protest of Trayvon Martin's fatal shooting
The demonstrators burst into a chant of “Justice for Trayvon!” as slain Florida teen's parents joined protest
By Edgar Sandoval AND Helen Kennedy / NEW YORK DAILY NEWS
Wednesday, March 21, 2012, 8:41 PM
Demonstrators wearing hoodies took turns calling out “Am I suspicious?"
EXCERPTS FROM SELECTED TWEET FEED
http://chirpstory.com/li/5457
A Debate on the #OWS and The #MillionHoodie March for #TrayvonMartin
By drgoddess
The tweets presented below are all of the examples of chants from the New York Million Hoodie March which were posted to the above mentioned tweet feed. With all but one exception that is noted, each of these tweets were posted by "sickjew" on March 21. I've given numbers to these examples for referencing purposes, and I've quoted the chant as it was given on that tweet feed.
Some of these tweets are prefaced by the word "Chants". I've included other tweets without that descriptor because those examples have been documented as chants that have been used in the Million Hoodies march or in other marches.
WARNING: One of the tweets that is featured below contains the beginning letter of a curse word. Also, a number of other tweets in that tweet feed contain profanity.
Editor's Note:
The main rally for the Trayvon Martin Million Hoodies March in New York City was held in Union Square. That same location has been the site of recent activities of New York City's Occupy Wall Street (OWS), including encounters with the New York City police. A number of the tweeters in the selected tweet feed whose link is given above express the opinion that the New York City Occupy Wall Street activists had their own agendas and attempted to "co-opt" (take over) the Million Hoodies March. According to those tweeters who attended this march, one way that the OWS marchers (or some of the OWS marchers) attempted to take over the Million Hoodies March was by chanting over speakers for the Million Hoodies March. Several tweeters in that feed disagreed with that allegation.
For the purposes of this post, that allegation raises the questions "Were the chants used by the OWS marchers different than the chants used by the Million Hoodies marchers, and if so, how were those chants different? "Which chants documented in the videos, news reports, and that tweet were from OWS and which chants were from Million Hoodies marchers? For example, "Mic Check" is a Occupy Wall Street phrase. That phrase is reported to have been used in the chant "Mic Check. Are you ready to march for Trayvon?" Also, "Which Street? Our Street" sounds like an OWS chant. Was this chant used only by OWS marchers, or was it also used (and maybe even started by) Million Hoodies marchers? And did OWS marchers join in the chant (or even start the chant) "Justice For Trayvon?"
It also should be mentioned that one chant that was noted in that tweet thread (#17 below), is given as an Occupy Wall Street chant. If this chant was said during the Trayvon Martin Million Hoodies March, did any non-Occupy Wall Street marchers join in that chant? And were the songs that were mentioned as being performed during that Million Hoodies March started and sung by Occupy Wall Street marchers or by Million Hoodies marchers or both? (if indeed there was a difference in that constituency.) I think these are valid questions, but I'm unable to answer them.
Tweet Examples Of Chants:
1. Chant: "We are Trayvon!"
2. Chant: "The people, united, will never be defeated!"
3. We will not be attacked anymore, will we?" "No!" "Will we?" "NO!"
4. Chant: "Enough is enough!"
5. Chant: "We are Trayvon Martin!"
6. Chant: "I am Trayvon Martin!"
7. Chant: "We've gotta beat back the racist attack! We've gotta beat, beat back the racist attack!"
8. Mic check: "Are you ready to march for Trayvon?"
9."No justice, no peace!"
10. "Whose streets? Our streets!"
11."No justice, no peace. Take to the streets and F the police!"
12. Chant: "Get up, get down, there's revolution in this town!"
13.Loud and vocal chants of: "We are Trayvon Martin!"
14. "What do we want? Justice! When do we want it? Now!"
15. People singing, "Ain't gonna let nobody turn me around, turn me around..."
16. Group with guitar singing "This Little Light of Mine"
17. @luvvieig @huny --> RT @OccupyWallStNYC 1) We are the people. 2) We are united. 3) This Occupation is not leaving! #OWS #UnionSq.
candidreams, March 22, 2012
[I'm assuming this is one chant that has three parts.]
****
This concludes this two part series on chants used during New York City's Trayvon Martin Million Hoodies March.
Click http://pancocojams.blogspot.com/2012/03/chanting-at-trayvon-martin-march-rally.html for the related pancocojams post on "Chanting At Trayvon Martin March & Rally In Sanford, Florida".
****
My thanks to all those who organized and participated in that march. My prayers go to the family and friends of Trayvon Martin & to the family and friends of others who have died because of racial profiling. May they rest in peace and may we continue to work so that there will be justice without regards to race, or any other descriptors in this nation & in this world.
Thanks for visiting this page.
Viewer comments are welcome.
Chanting At The Trayvon Martin Million Hoodies March
Edited by Azizi Powell
Trayvon Martin's parents enter Union Square. ONE MILLION HOODIES March.
Uploaded by kbee on Mar 22, 2012
****
This is Part I of a two part series on chants used during the March 22, 2012 Trayvon Martin Million Hoodies March in New York City, New York.
Part I of this series showcases three selected videos of that march and provides text documentation of the chants from those videos. Part I also includes my overview of the structural types of chants used during those marches
Part II focuses on chants from the Trayvon Martin Million Hoodies March that were reported in news reports & tweets. Click http://pancocojams.blogspot.com/2012/03/chanting-at-trayvon-martin-million_24.html for Part II of this series.
These posts are provided for their historical, folkloric, educational, and motivational values.
This two part series isn't meant to be a comprehensive report of every chants that was used during the Trayvon Martin Million Hoodies March. However, I believe that these posts provide a good representation of the themes used for the marches' chants and of the types of chants that were used.
Click http://pancocojams.blogspot.com/2012/03/chanting-at-trayvon-martin-march-rally.html for the related pancocojams post on "Chanting At Trayvon Martin March & Rally In Sanford, Florida".
My thanks to all those who organized and participated in that march. My thanks also to the video uploaders.
RIP Trayvon Martin, and all others who have died because of racial profiling.
****
TYPES OF CHANTS
The participants in the Trayvon Martin Million Hoodies March appeared to use three types of chants. In descending order of usage with #1 being the most often used, it appears to me from my review of a number of videos and news reports, and from reading a long tweet report of that march, that those types of chants used were
1. unison repeating one word or a phrase
Example: "Justice For Trayvon!"
2. call & response repeating a word or words
A person says the first part of the chant, and others respond back to him or her with the second part of the chant.
Example:
Caller- "Tray"
Responders- "Von"
3. unison repeating a rhyming verse
Example: “The cops
The court
The Klu Klux Klan
They all are part of
the Marxist Plan”
I only came across three other examples of a rhyming chant that was reported from this march. Those examples are given in Part II of this series. However, since I have not reviewed every news report, video, or tweet feed about the Million Hoodie March, there may indeed be other examples of rhyming chants that were used during that march.
****
SELECTED VIDEOS
Video #1: Trayvon Martin's parents enter Union Square. ONE MILLION HOODIES March.*
This video is posted at the top of this page.
"ONE MILLION HOODIES MARCH. Trayvon Martin's parents, Sybrina Fulton and Tracy Martin, enter Union Square in New York to speak to the crowd. 21 March 2012"
*"Hoodies" is a American vernacular referent for a hooded sweatshirt
[Chant – “Justice 4 Trayvon”]
****
Video #2: Million Hoodies March for Trayvon Martin , Reactions - Union Square, New York City
Uploaded by AllThingsHarlem on Mar 22, 2012
Interviews and reactions to the Million Hoodies March for Trayvon Martin at Union Square, New York City on March 21, 2012.
The turnout for Trayvon Martin was huge. The voices of our youth were loud and clear "we are all Trayvon Martin." We no longer need to feel like lone voices crying in the wilderness, our youth have come, the people are awakening. Death to ignorance and inhumanity!
[Chant: "We Are All Trayvon Martin."]
****
Video #3:Trayvon Martin 1,000,000 Hoodies March with The Source
Uploaded by thesourcemagazine1 on Mar 22, 2012
-snip-
Examples of chants in this video:
“We all are one”
[This is sung more than chanted.]
**
"Do I look suspicious?
**
"Do I fit the profile?"
**
"Justice!
(Now!)
Justice!
(Now!)"
****
A call & response chant with the response given in parenthesis:
"Tray
(Von!)
Tray
(Von!)"
**
"Justice for Trayvon!"
****
This is the end of Part I of this post. Click http://pancocojams.blogspot.com/2012/03/chanting-at-trayvon-martin-million_24.html for Part II of this series.
****
My prayers go to the family and friends of Trayvon Martin & to the family and friends of others who have died because of racial profiling.
Thank you for visiting this page.
Viewer comments are welcome.
Trayvon Martin's parents enter Union Square. ONE MILLION HOODIES March.
Uploaded by kbee on Mar 22, 2012
****
This is Part I of a two part series on chants used during the March 22, 2012 Trayvon Martin Million Hoodies March in New York City, New York.
Part I of this series showcases three selected videos of that march and provides text documentation of the chants from those videos. Part I also includes my overview of the structural types of chants used during those marches
Part II focuses on chants from the Trayvon Martin Million Hoodies March that were reported in news reports & tweets. Click http://pancocojams.blogspot.com/2012/03/chanting-at-trayvon-martin-million_24.html for Part II of this series.
These posts are provided for their historical, folkloric, educational, and motivational values.
This two part series isn't meant to be a comprehensive report of every chants that was used during the Trayvon Martin Million Hoodies March. However, I believe that these posts provide a good representation of the themes used for the marches' chants and of the types of chants that were used.
Click http://pancocojams.blogspot.com/2012/03/chanting-at-trayvon-martin-march-rally.html for the related pancocojams post on "Chanting At Trayvon Martin March & Rally In Sanford, Florida".
My thanks to all those who organized and participated in that march. My thanks also to the video uploaders.
RIP Trayvon Martin, and all others who have died because of racial profiling.
****
TYPES OF CHANTS
The participants in the Trayvon Martin Million Hoodies March appeared to use three types of chants. In descending order of usage with #1 being the most often used, it appears to me from my review of a number of videos and news reports, and from reading a long tweet report of that march, that those types of chants used were
1. unison repeating one word or a phrase
Example: "Justice For Trayvon!"
2. call & response repeating a word or words
A person says the first part of the chant, and others respond back to him or her with the second part of the chant.
Example:
Caller- "Tray"
Responders- "Von"
3. unison repeating a rhyming verse
Example: “The cops
The court
The Klu Klux Klan
They all are part of
the Marxist Plan”
I only came across three other examples of a rhyming chant that was reported from this march. Those examples are given in Part II of this series. However, since I have not reviewed every news report, video, or tweet feed about the Million Hoodie March, there may indeed be other examples of rhyming chants that were used during that march.
****
SELECTED VIDEOS
Video #1: Trayvon Martin's parents enter Union Square. ONE MILLION HOODIES March.*
This video is posted at the top of this page.
"ONE MILLION HOODIES MARCH. Trayvon Martin's parents, Sybrina Fulton and Tracy Martin, enter Union Square in New York to speak to the crowd. 21 March 2012"
*"Hoodies" is a American vernacular referent for a hooded sweatshirt
[Chant – “Justice 4 Trayvon”]
****
Video #2: Million Hoodies March for Trayvon Martin , Reactions - Union Square, New York City
Uploaded by AllThingsHarlem on Mar 22, 2012
Interviews and reactions to the Million Hoodies March for Trayvon Martin at Union Square, New York City on March 21, 2012.
The turnout for Trayvon Martin was huge. The voices of our youth were loud and clear "we are all Trayvon Martin." We no longer need to feel like lone voices crying in the wilderness, our youth have come, the people are awakening. Death to ignorance and inhumanity!
[Chant: "We Are All Trayvon Martin."]
****
Video #3:Trayvon Martin 1,000,000 Hoodies March with The Source
Uploaded by thesourcemagazine1 on Mar 22, 2012
-snip-
Examples of chants in this video:
“We all are one”
[This is sung more than chanted.]
**
"Do I look suspicious?
**
"Do I fit the profile?"
**
"Justice!
(Now!)
Justice!
(Now!)"
****
A call & response chant with the response given in parenthesis:
"Tray
(Von!)
Tray
(Von!)"
**
"Justice for Trayvon!"
****
This is the end of Part I of this post. Click http://pancocojams.blogspot.com/2012/03/chanting-at-trayvon-martin-million_24.html for Part II of this series.
****
My prayers go to the family and friends of Trayvon Martin & to the family and friends of others who have died because of racial profiling.
Thank you for visiting this page.
Viewer comments are welcome.
Friday, March 23, 2012
Autumn Colbert - A Poem For Trayvon Martin
Edited by Azizi Powell
A Poem For Trayvon Martin
Uploaded by ThePrettyyoungthing on Mar 21, 2012
"Dedicated to Trayvon Martin, Oscar Grant, Sean Bell, Emmett Till and others like them...killed innocently."
-snip-
IT'S NOT OKAY: A POEM FOR TRAYVON
(Written by Autumn)*
There's no justice
For the mother that buries her son
Before his eighteenth birthday.
Tear stained cheeks
Hold lifeless body
Wondering how that day could have
gone differently.
Black mothers wonder how to protect
their sons from their own innocence,
Merely being themselves
Walking, Skittles and ice tea in tow.
"Suspicious" they say.
It is NOT okay.
From Trayvon Martin,
Emmitt Till to Oscar Grant,
Sean Bell killed just
Before his wedding day
No amount of time or reasoning
Can wipe that hate away.
Black skin becomes target practice
For those looking to sharpen
Their marksmen skills
Lifes are valued less than that of animals.
Society outcries dog fighting over
Fighting bullets.
Pinned to the ground yelling "Help!"
And everyone hears
But no one is there to stop it.
"Suspicious" they say
It is NOT okay.
To be let free the next day.
To be considered a hero in your community
for a vile display.
"Suspicious" they say?
It is not okay.
Our sons die by the minute
And we think justice has been won?
We have just begun
the fight for freedom and equality
For Trayvon, for Oscar, for Sean, for Emmitt
and the list goes on.
We must fight for justice
As if it were our own son
Till black blood isn't shed on concrete
Till Black boys aren't hunted like game
Till Black mothers have to no longer
bury our brothers
Till we rise and realize that we need each other
To fight till our lifes begin
To reflect the beauty
In which we see each other
Till our time here isn't spent fighting
For what we were given freely...Life -
Till we no longer have another night like tonight.
We must fight
For Trayvon
For Oscar
For Sean
For Emmitt
And for Rodney.
-written by Autumn Colbert; http://www.youtube.com/watch?v=xOweqZvDVZA
Transcription by Azizi Powell
This dedication appeared in print at the end of the poem's recitation:
"Dedicated to Trayvon Martin and others who lost their lives due to racial profiling and hate.
May we keep fighting in the name of justice."
-snip-
*The poet (Autumn Colbert) resides in Baltimore, MD. You can follow her on Twitter at: www.twitter.com/autumncolbert or visit her reverbnation page at: http://www.reverbnation.com/autumnc.
I appreciate being able to share Ms. Colbert's powerful poem with others via this post.
RELATED LINKS
With the exception of Rodney [King], the poem refers to Black males who were slained because of racial profiling.
Here are links to information about the Black males mentioned in this poem:
Trayvon Martin http://abcnews.go.com/blogs/headlines/2012/03/trayvon-martin-case-timeline-of-events/
**
Oscar Grant
http://en.wikipedia.org/wiki/BART_Police_shooting_of_Oscar_Grant
**
Emmit Till
http://en.wikipedia.org/wiki/Emmett_Till
**
Sean Bell
http://en.wikipedia.org/wiki/Sean_Bell_shooting_incident
**
Rodney King
http://en.wikipedia.org/wiki/Rodney_King
****
My thanks to the Autumn for sharing her poem. I cosign her dedication - RIP Trayvon, Oscar, Sean, and Emmitt and all those who died because of racism.
Thanks for visiting this page.
Viewer comments are welcome!
A Poem For Trayvon Martin
Uploaded by ThePrettyyoungthing on Mar 21, 2012
"Dedicated to Trayvon Martin, Oscar Grant, Sean Bell, Emmett Till and others like them...killed innocently."
-snip-
IT'S NOT OKAY: A POEM FOR TRAYVON
(Written by Autumn)*
There's no justice
For the mother that buries her son
Before his eighteenth birthday.
Tear stained cheeks
Hold lifeless body
Wondering how that day could have
gone differently.
Black mothers wonder how to protect
their sons from their own innocence,
Merely being themselves
Walking, Skittles and ice tea in tow.
"Suspicious" they say.
It is NOT okay.
From Trayvon Martin,
Emmitt Till to Oscar Grant,
Sean Bell killed just
Before his wedding day
No amount of time or reasoning
Can wipe that hate away.
Black skin becomes target practice
For those looking to sharpen
Their marksmen skills
Lifes are valued less than that of animals.
Society outcries dog fighting over
Fighting bullets.
Pinned to the ground yelling "Help!"
And everyone hears
But no one is there to stop it.
"Suspicious" they say
It is NOT okay.
To be let free the next day.
To be considered a hero in your community
for a vile display.
"Suspicious" they say?
It is not okay.
Our sons die by the minute
And we think justice has been won?
We have just begun
the fight for freedom and equality
For Trayvon, for Oscar, for Sean, for Emmitt
and the list goes on.
We must fight for justice
As if it were our own son
Till black blood isn't shed on concrete
Till Black boys aren't hunted like game
Till Black mothers have to no longer
bury our brothers
Till we rise and realize that we need each other
To fight till our lifes begin
To reflect the beauty
In which we see each other
Till our time here isn't spent fighting
For what we were given freely...Life -
Till we no longer have another night like tonight.
We must fight
For Trayvon
For Oscar
For Sean
For Emmitt
And for Rodney.
-written by Autumn Colbert; http://www.youtube.com/watch?v=xOweqZvDVZA
Transcription by Azizi Powell
This dedication appeared in print at the end of the poem's recitation:
"Dedicated to Trayvon Martin and others who lost their lives due to racial profiling and hate.
May we keep fighting in the name of justice."
-snip-
*The poet (Autumn Colbert) resides in Baltimore, MD. You can follow her on Twitter at: www.twitter.com/autumncolbert or visit her reverbnation page at: http://www.reverbnation.com/autumnc.
I appreciate being able to share Ms. Colbert's powerful poem with others via this post.
RELATED LINKS
With the exception of Rodney [King], the poem refers to Black males who were slained because of racial profiling.
Here are links to information about the Black males mentioned in this poem:
Trayvon Martin http://abcnews.go.com/blogs/headlines/2012/03/trayvon-martin-case-timeline-of-events/
**
Oscar Grant
http://en.wikipedia.org/wiki/BART_Police_shooting_of_Oscar_Grant
**
Emmit Till
http://en.wikipedia.org/wiki/Emmett_Till
**
Sean Bell
http://en.wikipedia.org/wiki/Sean_Bell_shooting_incident
**
Rodney King
http://en.wikipedia.org/wiki/Rodney_King
****
My thanks to the Autumn for sharing her poem. I cosign her dedication - RIP Trayvon, Oscar, Sean, and Emmitt and all those who died because of racism.
Thanks for visiting this page.
Viewer comments are welcome!
"Jody's Got Your Girl And Gone" - Why Military Cadences Are Known As Jodies
Edited by Azizi Powell
This pancocojams provides information about the history of military cadences and how those chants came to be called "Jodies". This post also provides examples of songs, rhymes, and chants that the same tune and/or similar texts as certain military cadences.
WHY MILITARY CADENCES ARE KNOWN AS "JODIES"
From http://en.wikipedia.org/wiki/Military_cadence [Hereafter given as Wiki/Military Cadences]
"In the armed services, a military cadence or cadence call is a traditional call-and-response work song sung by military personnel while running or marching. In the United States, these cadences are sometimes called jody calls or jodies, after Jody, a recurring character who figures in some traditional cadences."
From http://www.nodepression.com/profiles/blogs/who-is-jody the character
"Jodie’s roots [are] in military and prison culture that evolved after 1939...
The songs get the name jody call or jody (also, jodie) from a recurring character, a civilian named "Jody" whose luxurious lifestyle is contrasted with military deprivations in a number of traditional calls. Jody is the person who stays at home, drives the soldier's car, and gets the soldier's sweetheart while the soldier is in recruit training or in country...Obscene, scatological, and offensively violent jody calls exist; their official use in formal training is now discouraged by the U.S. military, with an emphasis on "clean" versions of traditional jodies. The flexibility of jodies is nearly unlimited, and old jodies have always been retired or rewritten as times and wars change. Jody calls are a subset of work songs, and share in their rhythmic properties. Most jody calls have a call and response structure; one soldier initiates a line, and the remaining soldiers complete it...
So [radio station WFMU] pegs the origins of Jody to that first Blues tune [collected in 1939 in North Carolina by field collectors working with Alan Lomax] , but more probably, it is much older, like other legendary characters in the African American Oral tradition, Jody is a close cousin to Stagger Lee, The Signifying Monkey, Toledo Slim, Pisspot Pete, and many others. Characters who delivered parables, boasts, and toasts in language that was designed to be impenetrable to white ears and spoken in something other than white man's English. Because Black folks were highly discouraged from reading, the ability to tell a good story and a facility with the language was paramount. In my mind the tradition is carried on today by the best practitioners of hip hop."
-snip-
The author of the above mentioned nodepression post reminded his readers to be aware that the language in a number of songs about Jody is very “salty” (contains profanity and sexually explicit references).
"JODY" IN VARIOUS CHANTS, SONGS, AND RHYMES
Versions of the military chant "Sound Off" may include verses that mention "Jody". Here's an example from Wiki/Military Cadences:
You had a good home but you left / You're right
You had a good home but you left / You're right
Jody was there when you left / You're right
Your baby was there when you left / You're right
Sound off! / 1,2
Sound off! / 3,4
Cadence count! / 1,2,3,4,1,2...3,4!
Your baby was lonely, as lonely could be /
Til Jody provided the company
Ain't it great to have a pal /
Who works so hard just to keep up morale
Sound off! / 1,2
Sound off! / 3,4
Cadence count! / 1,2,3,4,1,2...3,4!
There ain't no use in going back /Jody's livin' it up in the shack / Jody's got somethin' you ain't got /
It's been so long I almost forgot / Sound off! /
1,2 / Sound off! / 3,4/ Cadence count!/ 1,2,3,4,1,2...3,4!
-snip-
The military cadence "Aint No Use In Looking Down" is a clean example of a military cadence which includes a reference to Jody.
US Army Cadence Aint No Use In Looking Down, published by usarmy, Uploaded on Aug 5, 2011
[sound file no longer available - as of at least February 3, 2018]
Here' are the words to that rendition of "Ain't No Use In Lookin Down" [military cadence]
AIN'T NO USE IN LOOKIN DOWN
Chorus:
Leader-Woh oh oh oh
Others-(repeat above)
Leader-Woh oh ohohohoh
Others-(repeat above)
Leader-Wohoh oh oh
Others-(repeat above)
Leader-Woh oh ohohohoh
Leader Ain’t no use in lookin down
Others-(repeat above)
Leader-Ain’t no discharge on the ground
Others-(repeat above)
(Repeat entire verse 1x)
(Repeat chorus 2x)
Leader-Ain’t no use in lookin back
Others-(repeat above)
Leader-Jodie’s got your cadillac
Others-(repeat above)
(Repeat entire verse 1x)
(Repeat chorus 2x)
Leader-I used to date a beauty queen
Others-Now I love my M16
Leader-I used to date a beauty queen
Others-Now I love my M16
(Repeat entire verse 1x)
(Repeat chorus 2x)
Leader- I used to drive a chevolet
Others-Now I’m humpin all the way
Leader- I used to drive a chevolet
Others-Now I’m humpin all the way
(Repeat entire verse 1x)
Leader- Woh ohohoh
Others-(repeat above)
Lead-Woh ohohohohoh
Others- (repeat above)
Leader- Woh ohohoh
Others-(repeat above)
Lead-Woh ohohohohoh
Others- (repeat above)
Leader-Misery misery
Others-(repeat above)
Leader-Army life is killin me.
Others-(repeat above)
Leader-Misery oh misery
Others-(repeat above)
Leader-Army life is killin me.
Others-(repeat above)
-UnMotivated; July 06, 2008 (transcribed by Azizi Powell)
-snip-
This same tune and tempo is sung by men associated with the historically Black Greek lettered fraternity Omega Psi Phi, Inc. Click http://pancocojams.blogspot.com/2012/10/two-omega-psi-phi-fraternity-inc-songs.html
-snip-
[ADDED February 3, 2018 sound file added]
Here's another example of this military cadence, posted without a transcription
Army Cadence Ain't no use in looking down)
US Military Videos By OpsLens, Published on Jun 5, 2013
-snip-
Here are selected comments from this sound file's discussion thread:
ea4026, 2013
"memories... I can road march to this all day.
Ft. Sill.. ohhh yeah."
**
Floyd Mcvicker
"Ft. knox .. Oh yeah!
**
Parker Dubee, 2014
"Is this cadence running or marching?"
**
REPLY
**
David Will
"marching"
**
REPLY
Josef Bailey
"Marching .. it's to slow for running .. you won't be able to catch your breath"
**
Amds Major, 2015
"I used to dislike this cadence.. Fort Benning 1984 and 1985, Sand Hill. It was so melancholy. Now.....I miss those days so much. What I would give to be able to go back."
**
thekhan517, 2016
"Thanks to the Army..I can sleep standing up. Thanks to all who serve. All Branches."
**
David Furick, 2017
"I'm still trying to find Jody..."
**
REPLY
Joe Allen, 2017
"David Furick did you try the closet?"
Levi Maag, 2018
"I miss hearing my drill sargants sing this
Harmony Church, Ft. Benning, GA. Best job I have ever had. Hooah."
****
JOHNNIE TAYLOR- JODY'S GOT YOUR GIRL AND GONE [R&B song]
The 1972 R&B song "Jody's Got Your Girl And Gone" is based on the character "Joe The Grinder".
Johnnie Taylor - Jody's Got Your Girl and Gone (1972)
Uploaded by seezurefall on Oct 22, 2010
-snip-
The chorus of that song is "Aint no sense in going home / Jody's got your girl and gone."
Click http://www.lyrics007.com/Johnnie%20Taylor%20Lyrics/Jody's%20Got%20Your%20Girl%20And%20Gone%20Lyrics.html for the complete lyrics to that song.
-snip-
The handclap rhyme "Mama Mama Can't You See" has the same tune as "Jody Got Your Girl And Gone". However, the military cadence with the same title from which that handclap rhyme probably originates has a slightly different tune.
Click http://pancocojams.blogspot.com/2012/02/mama-mama-cant-you-see-usmc-cadence.html for a post on "Mama Mama Can't You See".
It also can be noted that the Black Greek lettered fraternity chant "We Are The Men Of Q Psi Phi" has the same two line rhyming structure with the same "Whoa oh oh oh" refrain as "Jody's Got Your Girl And Gone" and "Ain't No Use Looking Down". Furthermore, "We Are The Men Of Q Psi Phi" has similar lines as those compositions, for instance "kiss my girl and made her cry/cause I was pledgin Q Psi Phi". However, that chant doesn't use that same tune. Click http://cocojams.com/content/fraternity-and-sorority-chants for text examples of that chant.
****
Click http://pancocojams.blogspot.com/2012/08/three-songs-about-joe-grinder.html for a pancocojams' post about Joe The Grinder.
****
My thanks to all those vocalists, musicians, and producers of this post's featured videos. My thanks also to these videos' uploaders.
Thanks for visiting pancocojams.
Viewer comments are welcome.
This pancocojams provides information about the history of military cadences and how those chants came to be called "Jodies". This post also provides examples of songs, rhymes, and chants that the same tune and/or similar texts as certain military cadences.
WHY MILITARY CADENCES ARE KNOWN AS "JODIES"
From http://en.wikipedia.org/wiki/Military_cadence [Hereafter given as Wiki/Military Cadences]
"In the armed services, a military cadence or cadence call is a traditional call-and-response work song sung by military personnel while running or marching. In the United States, these cadences are sometimes called jody calls or jodies, after Jody, a recurring character who figures in some traditional cadences."
From http://www.nodepression.com/profiles/blogs/who-is-jody the character
"Jodie’s roots [are] in military and prison culture that evolved after 1939...
The songs get the name jody call or jody (also, jodie) from a recurring character, a civilian named "Jody" whose luxurious lifestyle is contrasted with military deprivations in a number of traditional calls. Jody is the person who stays at home, drives the soldier's car, and gets the soldier's sweetheart while the soldier is in recruit training or in country...Obscene, scatological, and offensively violent jody calls exist; their official use in formal training is now discouraged by the U.S. military, with an emphasis on "clean" versions of traditional jodies. The flexibility of jodies is nearly unlimited, and old jodies have always been retired or rewritten as times and wars change. Jody calls are a subset of work songs, and share in their rhythmic properties. Most jody calls have a call and response structure; one soldier initiates a line, and the remaining soldiers complete it...
So [radio station WFMU] pegs the origins of Jody to that first Blues tune [collected in 1939 in North Carolina by field collectors working with Alan Lomax] , but more probably, it is much older, like other legendary characters in the African American Oral tradition, Jody is a close cousin to Stagger Lee, The Signifying Monkey, Toledo Slim, Pisspot Pete, and many others. Characters who delivered parables, boasts, and toasts in language that was designed to be impenetrable to white ears and spoken in something other than white man's English. Because Black folks were highly discouraged from reading, the ability to tell a good story and a facility with the language was paramount. In my mind the tradition is carried on today by the best practitioners of hip hop."
-snip-
The author of the above mentioned nodepression post reminded his readers to be aware that the language in a number of songs about Jody is very “salty” (contains profanity and sexually explicit references).
"JODY" IN VARIOUS CHANTS, SONGS, AND RHYMES
Versions of the military chant "Sound Off" may include verses that mention "Jody". Here's an example from Wiki/Military Cadences:
You had a good home but you left / You're right
You had a good home but you left / You're right
Jody was there when you left / You're right
Your baby was there when you left / You're right
Sound off! / 1,2
Sound off! / 3,4
Cadence count! / 1,2,3,4,1,2...3,4!
Your baby was lonely, as lonely could be /
Til Jody provided the company
Ain't it great to have a pal /
Who works so hard just to keep up morale
Sound off! / 1,2
Sound off! / 3,4
Cadence count! / 1,2,3,4,1,2...3,4!
There ain't no use in going back /Jody's livin' it up in the shack / Jody's got somethin' you ain't got /
It's been so long I almost forgot / Sound off! /
1,2 / Sound off! / 3,4/ Cadence count!/ 1,2,3,4,1,2...3,4!
-snip-
The military cadence "Aint No Use In Looking Down" is a clean example of a military cadence which includes a reference to Jody.
US Army Cadence Aint No Use In Looking Down, published by usarmy, Uploaded on Aug 5, 2011
[sound file no longer available - as of at least February 3, 2018]
Here' are the words to that rendition of "Ain't No Use In Lookin Down" [military cadence]
AIN'T NO USE IN LOOKIN DOWN
Chorus:
Leader-Woh oh oh oh
Others-(repeat above)
Leader-Woh oh ohohohoh
Others-(repeat above)
Leader-Wohoh oh oh
Others-(repeat above)
Leader-Woh oh ohohohoh
Leader Ain’t no use in lookin down
Others-(repeat above)
Leader-Ain’t no discharge on the ground
Others-(repeat above)
(Repeat entire verse 1x)
(Repeat chorus 2x)
Leader-Ain’t no use in lookin back
Others-(repeat above)
Leader-Jodie’s got your cadillac
Others-(repeat above)
(Repeat entire verse 1x)
(Repeat chorus 2x)
Leader-I used to date a beauty queen
Others-Now I love my M16
Leader-I used to date a beauty queen
Others-Now I love my M16
(Repeat entire verse 1x)
(Repeat chorus 2x)
Leader- I used to drive a chevolet
Others-Now I’m humpin all the way
Leader- I used to drive a chevolet
Others-Now I’m humpin all the way
(Repeat entire verse 1x)
Leader- Woh ohohoh
Others-(repeat above)
Lead-Woh ohohohohoh
Others- (repeat above)
Leader- Woh ohohoh
Others-(repeat above)
Lead-Woh ohohohohoh
Others- (repeat above)
Leader-Misery misery
Others-(repeat above)
Leader-Army life is killin me.
Others-(repeat above)
Leader-Misery oh misery
Others-(repeat above)
Leader-Army life is killin me.
Others-(repeat above)
-UnMotivated; July 06, 2008 (transcribed by Azizi Powell)
-snip-
This same tune and tempo is sung by men associated with the historically Black Greek lettered fraternity Omega Psi Phi, Inc. Click http://pancocojams.blogspot.com/2012/10/two-omega-psi-phi-fraternity-inc-songs.html
-snip-
[ADDED February 3, 2018 sound file added]
Here's another example of this military cadence, posted without a transcription
Army Cadence Ain't no use in looking down)
US Military Videos By OpsLens, Published on Jun 5, 2013
-snip-
Here are selected comments from this sound file's discussion thread:
ea4026, 2013
"memories... I can road march to this all day.
Ft. Sill.. ohhh yeah."
**
Floyd Mcvicker
"Ft. knox .. Oh yeah!
**
Parker Dubee, 2014
"Is this cadence running or marching?"
**
REPLY
**
David Will
"marching"
**
REPLY
Josef Bailey
"Marching .. it's to slow for running .. you won't be able to catch your breath"
**
Amds Major, 2015
"I used to dislike this cadence.. Fort Benning 1984 and 1985, Sand Hill. It was so melancholy. Now.....I miss those days so much. What I would give to be able to go back."
**
thekhan517, 2016
"Thanks to the Army..I can sleep standing up. Thanks to all who serve. All Branches."
**
David Furick, 2017
"I'm still trying to find Jody..."
**
REPLY
Joe Allen, 2017
"David Furick did you try the closet?"
Levi Maag, 2018
"I miss hearing my drill sargants sing this
Harmony Church, Ft. Benning, GA. Best job I have ever had. Hooah."
****
JOHNNIE TAYLOR- JODY'S GOT YOUR GIRL AND GONE [R&B song]
The 1972 R&B song "Jody's Got Your Girl And Gone" is based on the character "Joe The Grinder".
Johnnie Taylor - Jody's Got Your Girl and Gone (1972)
Uploaded by seezurefall on Oct 22, 2010
-snip-
The chorus of that song is "Aint no sense in going home / Jody's got your girl and gone."
Click http://www.lyrics007.com/Johnnie%20Taylor%20Lyrics/Jody's%20Got%20Your%20Girl%20And%20Gone%20Lyrics.html for the complete lyrics to that song.
-snip-
The handclap rhyme "Mama Mama Can't You See" has the same tune as "Jody Got Your Girl And Gone". However, the military cadence with the same title from which that handclap rhyme probably originates has a slightly different tune.
Click http://pancocojams.blogspot.com/2012/02/mama-mama-cant-you-see-usmc-cadence.html for a post on "Mama Mama Can't You See".
It also can be noted that the Black Greek lettered fraternity chant "We Are The Men Of Q Psi Phi" has the same two line rhyming structure with the same "Whoa oh oh oh" refrain as "Jody's Got Your Girl And Gone" and "Ain't No Use Looking Down". Furthermore, "We Are The Men Of Q Psi Phi" has similar lines as those compositions, for instance "kiss my girl and made her cry/cause I was pledgin Q Psi Phi". However, that chant doesn't use that same tune. Click http://cocojams.com/content/fraternity-and-sorority-chants for text examples of that chant.
****
Click http://pancocojams.blogspot.com/2012/08/three-songs-about-joe-grinder.html for a pancocojams' post about Joe The Grinder.
****
My thanks to all those vocalists, musicians, and producers of this post's featured videos. My thanks also to these videos' uploaders.
Thanks for visiting pancocojams.
Viewer comments are welcome.
Thursday, March 22, 2012
Burning Spear "I Stand Strong" - Lyrics, Video, Information
Edited by Azizi Powell
This post showcases the song "I Stand Strong" by Jamaican Reggae singer/composer Burning Spear.
This song is showcased for its historical, folkloric, aesthetic, and inspirational values.
VIDEO
Burning spear I stand strong
keddist3, Published on Nov 21, 2013
-snip-
Update: January 17, 2019- This sound file replaces one that is no longer available.
****
LYRICS
I STAND STRONG
(Burning Spear)
I Stand Strong
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I didn't do no wrong
I didn't do no wrong
I didn't do no wrong
I didn't do no wrong
His Majesty big Marcus Garvey
His Majesty big Martin Luther King
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I am the master of my fate
I am the capton of my soul
I am the master of my fate
I am the capton of my soul
His Majesty big Marcus Garvey
His Majesty big Martin Luther King
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I will watch my footsteps
I will watch them in a Babylon
I will watch my footsteps
I will watch them in a Babylon
Watch your back in a Babylon
Watch your back
Check your move in a Babylon
Check your move
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
Online source http://www.lyricstime.com/burning-spear-i-stand-strong-lyrics.html
****
INFORMATION
From
http://en.wikipedia.org/wiki/Burning_Spear
*"OD" "The Order of Distinction in Jamaica is the fifth in order of precedence of the Orders of Societies of Honour, which were instituted by an Act of Parliament – The National Honours and Awards Act in 1968.
The Motto of the Order is "Distinction Through Service
"Order of Distinction"
Source - http://en.wikipedia.org/wiki/Order_of_Distinction
****
From http://debate.uvm.edu/dreadlibrary/dbardfield.html
*This excerpt is re-posted with corrected typographical errors
RELATED LINK
http://www.burningspear.net/home
**
http://www.amazon.com/World-Should-Know-Burning-Spear/dp/B00000042O
****
My thanks to composer,vocalist, activist Burning Spears. My thanks also to the musicians featured in this video, and to this video's uploader.
Thank you for visiting this page.
Viewer comments are welcome.
This post showcases the song "I Stand Strong" by Jamaican Reggae singer/composer Burning Spear.
This song is showcased for its historical, folkloric, aesthetic, and inspirational values.
VIDEO
Burning spear I stand strong
keddist3, Published on Nov 21, 2013
-snip-
Update: January 17, 2019- This sound file replaces one that is no longer available.
****
LYRICS
I STAND STRONG
(Burning Spear)
I Stand Strong
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I didn't do no wrong
I didn't do no wrong
I didn't do no wrong
I didn't do no wrong
His Majesty big Marcus Garvey
His Majesty big Martin Luther King
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I am the master of my fate
I am the capton of my soul
I am the master of my fate
I am the capton of my soul
His Majesty big Marcus Garvey
His Majesty big Martin Luther King
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I will watch my footsteps
I will watch them in a Babylon
I will watch my footsteps
I will watch them in a Babylon
Watch your back in a Babylon
Watch your back
Check your move in a Babylon
Check your move
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
I stand strong in a Babylon
Online source http://www.lyricstime.com/burning-spear-i-stand-strong-lyrics.html
****
INFORMATION
From
http://en.wikipedia.org/wiki/Burning_Spear
Winston Rodney, OD* (born 1 March 1945), also known as Burning Spear, is a Jamaican roots reggae singer and musician. Burning Spear is known for his Rastafari movement messages...
Rodney was born in Saint Ann's Bay, Saint Ann, Jamaica, as were reggae singer Bob Marley and political activist Marcus Garvey who both had a great influence on Rodney's life: Garvey in his philosophy, which Burning Spear greatly took to, and Marley in directly helping Burning Spear get started in the music industry (by some accounts) by introducing him to Clement Dodd.
*"OD" "The Order of Distinction in Jamaica is the fifth in order of precedence of the Orders of Societies of Honour, which were instituted by an Act of Parliament – The National Honours and Awards Act in 1968.
The Motto of the Order is "Distinction Through Service
"Order of Distinction"
Source - http://en.wikipedia.org/wiki/Order_of_Distinction
****
From http://debate.uvm.edu/dreadlibrary/dbardfield.html
The popular use of the word"Babylon" can be definitively traced to Marcus Garvey's teachings, which liken the Afro-Caribs in the West to the Jews Exile into Babylon. The institution of slavery created tremendous suffering for those that were enslavedin both of these cases. Many people in Jamaica are still suffering, due to the successor of slavery, which is racism and poverty. The Bible contains many stories of slavery that describe the hardship that was endured in ancient times, as well as the eventual emancipation from the hardship. Rastas have found much applicable meaning from within the Bible, and it is only natural that they identify with the Jews in Babylon, who faced much of the same obstacles that they themselves face. By labeling the source of their own oppression as "Babylon", the Rastas shed more light on the fact that oppression is in fact taking place. This definitive name gives the oppression that they face a center, or a heart, which can be targeted easier. Instead of saying "Injustice must fall", "Poverty must be alleviated", or" Jamaican legislation must represent its people", a Rasta need only say "Babylon must fall". When this centralized, encompassing word is used, it provides the Rasta with a target to be passionately against, and increases his sense of unity with his people.
The word Babylon is by no means an arbritary word that is used to describe oppression. Babylon was one of the first cities to ever stand on Earth. It is quite clear that there is much to be learned about this mythical city that will help us to better understand the modern"Babylon system". I believe that the modern definition of Babylon describes a type of mentality that is common to all the institutions that are labeled as being "Babylon". However, the essence of what this midframe is can be most closely encountered through the study of the real Babylon as it grew, prospered and fell thousands of years ago.
*This excerpt is re-posted with corrected typographical errors
RELATED LINK
http://www.burningspear.net/home
**
http://www.amazon.com/World-Should-Know-Burning-Spear/dp/B00000042O
****
My thanks to composer,vocalist, activist Burning Spears. My thanks also to the musicians featured in this video, and to this video's uploader.
Thank you for visiting this page.
Viewer comments are welcome.
Wednesday, March 21, 2012
Confrontational Words & Body Stances In Stomp & Shake Cheerleading (Including videos & words to certain cheers)
VSU Woo Woos - "Work It"
Uploaded by GoTrojans on Sep 11, 2008
[The lyrics to this cheer can be found at the bottom of this post.]
****
Edited by Azizi Powell
Latest Revision - June 16, 2024
This pancocojams post is largely a re-print of three selected comments that I made to a SocImages post that I wrote on the subject of stomp & shake cheerleading http://thesocietypages.org/socimages/2011/07/21/race-and-the-changing-shape-of-cheerleading/.
I've corrected typos found in those comments and I have also included a small amount of additional material in this post, including the video on the top of this page which was a part of the original SocImages post.
This post is presented for folkloric and sociological consideration.
COMMENT #1
..."the point that I was trying to make was that the image of the bubbly, perky, always smiling cheerleader is the exact opposite of the image of stomp n shake cheerleaders.
In contrast to that image of mainstream cheerleaders, stomp n shake cheerleaders want to be viewed as "hard" (tough) and intimidating in their words and actions. This image is supposed to be conveyed in the words of their chants & in their routines. Some key examples in the routines are the use of the "don't go there" /stop hand gesture, the leaning forward (as though you're getting in someone's face in an argument) the moving forward aggressive stances, and the cheerleaders' balled up fists. Furthermore, Stomp n Shake cheerleaders often put on (I say “put on” because a lot of this is a dramatic act) either an expressionless (stone face) look or a scowling look that African Americans refer to as "grittin". The cheerleader's facial expression, their body language, movements, and the words of the chants are supposed to clearly convey the message that these cheerleaders are all about "serious business". That doesn't mean that they don't really enjoy what they do. But I imagine that mainstream cheerleaders also enjoy what they do, even though the expectation for them is to be always smiling. That said, I agree with you that the always smiling decree for mainstream cheerleaders can come across as fake.
Probably the video example and words to the cheer in this post & comment thread which best conveys the image of the tough/we mean business stomp n shake cheerleaders is Winston-Salem State University's cheer "You Get No Respect In Here".
YOU GETS NO RESPECT
Editor's note: This is the third cheer in the following video.
[Cheer title corrected- June 26, 2017 I had previously written "get" instead of "gets"
WSSU Cheerleaders Gettin Crunk*
Uploaded by ORIGINALCHEERPHI on Feb 22, 2008
-snip-
YOU GETS NO RESPECT IN HERE
-Winston-Salem State University WSSU Cheer Phi Cheerleaders; 2007 (Cheer #3 in this video)
-snip-
Update: June 26, 2017
I had previously given this cheer's title as "You Get No Respect In Here". The correct cheer title is "You Gets No Respect In Here".
I corrected my earlier transcription of this cheer using the lyrics that are found on this video discussion thread:
https://www.youtube.com/watch?v=GyRaRAge3PE&t=6s WSSU CHEERLEADERS GETTIN' CRUNK,Published by ORIGINALCHEERPHI on Feb 22, 2008 [performed at The Ultimate Cheere & Dance Experience Triad High School Cheerleading Competition 2007**
-posted by Jalise Cobia,2012
Lyrics:
"you gets no respect in here (No Respect Hey Hey) (No Respect Hey Heyy)
we see our moves in all your cheers (In All Your Cheers) (In All Your Cheers)
we know you think you are the best ( You Think You Are) (You Think You Are)
Su will Put You To The Test ( Put You To The Test) (Put You To The Test)
So Dont Start No Stuff Wont Be No Stuff
Dont Start No Stuff Wont Be No Stuff
Cause When You Messing With The Rams You Bound To Get ( Ahhh Say What) CRUSHED"
-snip-
"SU" refers to WSSU (Winston Salem State University).
* "Crunk" is an African American slang term which may have been derived from the two words "crazy and drunk". In some contexts, "getting crunk" may just mean to be very energetic, to be "pumped up", " to be hyped".
Click http://en.wikipedia.org/wiki/Crunk for information about "crunk".
**Since WSSU's Cheer Phi is a university cheerleading squad, my guess is that they were the guest performers at The Ultimate Cheer & Dance Experience Triad High School Cheerleading Competition 2007.
Uploaded by GoTrojans on Sep 11, 2008
[The lyrics to this cheer can be found at the bottom of this post.]
****
Edited by Azizi Powell
Latest Revision - June 16, 2024
This pancocojams post is largely a re-print of three selected comments that I made to a SocImages post that I wrote on the subject of stomp & shake cheerleading http://thesocietypages.org/socimages/2011/07/21/race-and-the-changing-shape-of-cheerleading/.
I've corrected typos found in those comments and I have also included a small amount of additional material in this post, including the video on the top of this page which was a part of the original SocImages post.
This post is presented for folkloric and sociological consideration.
COMMENT #1
..."the point that I was trying to make was that the image of the bubbly, perky, always smiling cheerleader is the exact opposite of the image of stomp n shake cheerleaders.
In contrast to that image of mainstream cheerleaders, stomp n shake cheerleaders want to be viewed as "hard" (tough) and intimidating in their words and actions. This image is supposed to be conveyed in the words of their chants & in their routines. Some key examples in the routines are the use of the "don't go there" /stop hand gesture, the leaning forward (as though you're getting in someone's face in an argument) the moving forward aggressive stances, and the cheerleaders' balled up fists. Furthermore, Stomp n Shake cheerleaders often put on (I say “put on” because a lot of this is a dramatic act) either an expressionless (stone face) look or a scowling look that African Americans refer to as "grittin". The cheerleader's facial expression, their body language, movements, and the words of the chants are supposed to clearly convey the message that these cheerleaders are all about "serious business". That doesn't mean that they don't really enjoy what they do. But I imagine that mainstream cheerleaders also enjoy what they do, even though the expectation for them is to be always smiling. That said, I agree with you that the always smiling decree for mainstream cheerleaders can come across as fake.
Probably the video example and words to the cheer in this post & comment thread which best conveys the image of the tough/we mean business stomp n shake cheerleaders is Winston-Salem State University's cheer "You Get No Respect In Here".
YOU GETS NO RESPECT
Editor's note: This is the third cheer in the following video.
[Cheer title corrected- June 26, 2017 I had previously written "get" instead of "gets"
WSSU Cheerleaders Gettin Crunk*
Uploaded by ORIGINALCHEERPHI on Feb 22, 2008
-snip-
YOU GETS NO RESPECT IN HERE
-Winston-Salem State University WSSU Cheer Phi Cheerleaders; 2007 (Cheer #3 in this video)
-snip-
Update: June 26, 2017
I had previously given this cheer's title as "You Get No Respect In Here". The correct cheer title is "You Gets No Respect In Here".
I corrected my earlier transcription of this cheer using the lyrics that are found on this video discussion thread:
https://www.youtube.com/watch?v=GyRaRAge3PE&t=6s WSSU CHEERLEADERS GETTIN' CRUNK,Published by ORIGINALCHEERPHI on Feb 22, 2008 [performed at The Ultimate Cheere & Dance Experience Triad High School Cheerleading Competition 2007**
-posted by Jalise Cobia,2012
Lyrics:
"you gets no respect in here (No Respect Hey Hey) (No Respect Hey Heyy)
we see our moves in all your cheers (In All Your Cheers) (In All Your Cheers)
we know you think you are the best ( You Think You Are) (You Think You Are)
Su will Put You To The Test ( Put You To The Test) (Put You To The Test)
So Dont Start No Stuff Wont Be No Stuff
Dont Start No Stuff Wont Be No Stuff
Cause When You Messing With The Rams You Bound To Get ( Ahhh Say What) CRUSHED"
-snip-
"SU" refers to WSSU (Winston Salem State University).
* "Crunk" is an African American slang term which may have been derived from the two words "crazy and drunk". In some contexts, "getting crunk" may just mean to be very energetic, to be "pumped up", " to be hyped".
Click http://en.wikipedia.org/wiki/Crunk for information about "crunk".
**Since WSSU's Cheer Phi is a university cheerleading squad, my guess is that they were the guest performers at The Ultimate Cheer & Dance Experience Triad High School Cheerleading Competition 2007.
Note: June 16, 2024- WSSU's cheerleading squads have changed names more than once since 2007. "WSSU Powerhouse of Red And White" is the name that I've seen used in YouTube videos in 2024. That name refers to two squads - "red" (uniforms) is the referent for the varsity squad and "white" (uniforms) is the referent for the junior varsity squad.
"Don't start no stuff/ won't be no stuff" is a very familiar vernacular African American saying that warns people not to start any trouble unless they are prepared to deal with the consequences of their words and actions.
-snip-
Here's another video example of that street tough image:
(North Carolina Central University) -You Ain't Bad
Uploaded by MrFierce06 on Nov 20, 2008
The words to that cheer are a good example of the aggressively bragging spirit of many stomp n shake cheers:"You ain't bad, you ain't tough, the eagles will rock your stuff".
Another NCCU video on YouTube is titled "Thug Passion" http://www.youtube.com/watch?v=qTBAk8TX3kU.
In that video, that cheerleading squad doesn't chant, or perform any cheer routines. Instead, they do cheer dancing (performing dance-like movements to the accompaniment of the university's band). It's unlikely that any mainstream cheerleader squad would perform such a routine, let alone title it "Thug Passion".
-Azizi Powell (writing under the facebook name "cocojams jambalayah", with additional comments), July 2011
COMMENT #2
..."Re my statement that stomp n shake cheerleaders rarely smile, the "We Are The Trojans" cheer is an example of stomp n shake cheerleaders smiling.
Olympic high cheerleaders 09-10
Uploaded by batay1978 on Feb 17, 2010
we are the trojans and we are h-o-t- hot we keep it goin and we just dont stop
-snip-
It seems to me that if the cheer is one in which the squad is bragging on themselves, then it would fit the spirit of the cheer if some of the cheerleaders if all of the cheerleaders smile. But if it’s a "battle cheer" (a confrontational cheer in which the squad may "brag on" their team or their squad, but mostly confront/put down their opponent squad and/or team), then smiling wouldn't fit.
Also, it seems to me that "bragging on their squad" and, chanting about how other squads steal their cheers, are two other ways that stomp n shake cheerleading is different from mainstream cheerleading where the focus is on the athlete team, and/or the university (school) and not the cheerleading squad itself."
-Azizi Powell (writing under the facebook name "cocojams jambalayah"), August 2011
COMMENT #3
[This comment was made in response to a commenter on that SocImages comment thread]
"Here's my response to your question "doesn't anybody else see this as a perhaps subtle but still persistent way of categorizing and stereotyping black culture as being aggressive (oh, and thus even contributing to the classic stereotype of black people possessing a sexualized aggression/aggressive sexuality)?" :
Stomp & shake cheerleading is a performance art that includes dramatic role playing. It isn't meant to convey how those cheerleaders always express themselves every moment of every day, in any & all contexts.
Instead of attempting to understand the roles & meanings of a particular cultural element within the context of a particular culture, and the values given to that particular cultural element by that particular culture, people who are ignorant about that culture, including people who have ulterior motives such racists and/or sexists, attach their own roles & meanings to those cultural elements that they pinpoint.
People from a particular culture aren't responsible for how people outside of their culture define, interpret, or evaluate what they value, or what they say or do. Furthermore, people from a particular culture not only don't have to accept but shouldn't accept without questions or consideration the definitions, interpretations, or evaluations that have been given to their culture as a whole, and/or to specific elements of that culture from persons outside of their culture (or, for that matter, from individuals or groups within their own culture).
Even if that culture also defines those words and/or behaviors as "aggressive" and/or "sexualized", and even if there are multiple elements within that particular culture of "aggressive" and/or "sexualized" words and behaviors, those elements may not mean the same things and/or may not have the same values within that culture as they have outside of that culture. Also, identifying elements of aggressive performances or sexualized performances within a particular Black culture or within several or all Black culure, doesn't mean that the stereotypes about Black people as hyper aggressive and/or hyper sexualized are true for all Black people in all contexts.
-Azizi Powell (writing under the facebook name "cocojams jambalayah"), March 2012
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WORDS TO VIDEO #1
Here are the words to the VSU Woo Woos - "Work It" video which is posted at the top of this page:
WORK IT
V-S-U let's work it
Ayeee yee yee
Work it
Ayyeee yee yee
Trojans [you] know how we do
Get out ya seats and work Big Blue
Ahhhhh work it
Ayeeee yee yee
-GoTrojans on Sep 11, 2008
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Click http://pancocojams.blogspot.com/2011/10/weighty-subject-being-thick-in-african.html for another post from this blog on stomp & shake cheerleading.
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Viewer comments are welcome.
-snip-
Here's another video example of that street tough image:
(North Carolina Central University) -You Ain't Bad
Uploaded by MrFierce06 on Nov 20, 2008
The words to that cheer are a good example of the aggressively bragging spirit of many stomp n shake cheers:"You ain't bad, you ain't tough, the eagles will rock your stuff".
Another NCCU video on YouTube is titled "Thug Passion" http://www.youtube.com/watch?v=qTBAk8TX3kU.
In that video, that cheerleading squad doesn't chant, or perform any cheer routines. Instead, they do cheer dancing (performing dance-like movements to the accompaniment of the university's band). It's unlikely that any mainstream cheerleader squad would perform such a routine, let alone title it "Thug Passion".
-Azizi Powell (writing under the facebook name "cocojams jambalayah", with additional comments), July 2011
COMMENT #2
..."Re my statement that stomp n shake cheerleaders rarely smile, the "We Are The Trojans" cheer is an example of stomp n shake cheerleaders smiling.
Olympic high cheerleaders 09-10
Uploaded by batay1978 on Feb 17, 2010
we are the trojans and we are h-o-t- hot we keep it goin and we just dont stop
-snip-
It seems to me that if the cheer is one in which the squad is bragging on themselves, then it would fit the spirit of the cheer if some of the cheerleaders if all of the cheerleaders smile. But if it’s a "battle cheer" (a confrontational cheer in which the squad may "brag on" their team or their squad, but mostly confront/put down their opponent squad and/or team), then smiling wouldn't fit.
Also, it seems to me that "bragging on their squad" and, chanting about how other squads steal their cheers, are two other ways that stomp n shake cheerleading is different from mainstream cheerleading where the focus is on the athlete team, and/or the university (school) and not the cheerleading squad itself."
-Azizi Powell (writing under the facebook name "cocojams jambalayah"), August 2011
COMMENT #3
[This comment was made in response to a commenter on that SocImages comment thread]
"Here's my response to your question "doesn't anybody else see this as a perhaps subtle but still persistent way of categorizing and stereotyping black culture as being aggressive (oh, and thus even contributing to the classic stereotype of black people possessing a sexualized aggression/aggressive sexuality)?" :
Stomp & shake cheerleading is a performance art that includes dramatic role playing. It isn't meant to convey how those cheerleaders always express themselves every moment of every day, in any & all contexts.
Instead of attempting to understand the roles & meanings of a particular cultural element within the context of a particular culture, and the values given to that particular cultural element by that particular culture, people who are ignorant about that culture, including people who have ulterior motives such racists and/or sexists, attach their own roles & meanings to those cultural elements that they pinpoint.
People from a particular culture aren't responsible for how people outside of their culture define, interpret, or evaluate what they value, or what they say or do. Furthermore, people from a particular culture not only don't have to accept but shouldn't accept without questions or consideration the definitions, interpretations, or evaluations that have been given to their culture as a whole, and/or to specific elements of that culture from persons outside of their culture (or, for that matter, from individuals or groups within their own culture).
Even if that culture also defines those words and/or behaviors as "aggressive" and/or "sexualized", and even if there are multiple elements within that particular culture of "aggressive" and/or "sexualized" words and behaviors, those elements may not mean the same things and/or may not have the same values within that culture as they have outside of that culture. Also, identifying elements of aggressive performances or sexualized performances within a particular Black culture or within several or all Black culure, doesn't mean that the stereotypes about Black people as hyper aggressive and/or hyper sexualized are true for all Black people in all contexts.
-Azizi Powell (writing under the facebook name "cocojams jambalayah"), March 2012
****
WORDS TO VIDEO #1
Here are the words to the VSU Woo Woos - "Work It" video which is posted at the top of this page:
WORK IT
V-S-U let's work it
Ayeee yee yee
Work it
Ayyeee yee yee
Trojans [you] know how we do
Get out ya seats and work Big Blue
Ahhhhh work it
Ayeeee yee yee
-GoTrojans on Sep 11, 2008
****
Click http://pancocojams.blogspot.com/2011/10/weighty-subject-being-thick-in-african.html for another post from this blog on stomp & shake cheerleading.
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
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